| |
| |
| |
| Establishing Shots | |
| |
| |
| |
| Flashbacks: A Short History of Filmmaking | |
| |
| |
| The First Machines | |
| |
| |
| The First Stories | |
| |
| |
| The Silent Era | |
| |
| |
| The "Talkies" | |
| |
| |
| More New Technologies: Color and the Widescreen | |
| |
| |
| The Golden Age of Hollywood | |
| |
| |
| Non-Fiction Films | |
| |
| |
| A New Medium: Television | |
| |
| |
| |
| Loglines: An Overview of Film Genres | |
| |
| |
| Exploring Fiction Film Genres | |
| |
| |
| Taking Stock of Non-Fiction Films | |
| |
| |
| Calling Cards: Short Films | |
| |
| |
| |
| Mise-en-scÿne: Basic Elements of Films and Videos | |
| |
| |
| Getting the Picture | |
| |
| |
| Mixing the Sound | |
| |
| |
| Telling the Story | |
| |
| |
| Adding Style: Art, Information, or Entertainment | |
| |
| |
| |
| Making an Independent Film | |
| |
| |
| Packaging Your Script | |
| |
| |
| Financing Through Potential Domestic Distribution | |
| |
| |
| Money, Money, Money: Investor Financing | |
| |
| |
| Financing Through Foreign Pre-Sales | |
| |
| |
| |
| Making a Hollywood Film | |
| |
| |
| Selling the Script | |
| |
| |
| Making the Deal | |
| |
| |
| Staying Attached | |
| |
| |
| Surviving Development Hell | |
| |
| |
| Developing Television Movies | |
| |
| |
| |
| Opening Sequence: Script And Pre-Production | |
| |
| |
| |
| Act I: Developing the Script | |
| |
| |
| What's the Story? From Concept to Script | |
| |
| |
| Top Ten Reasons Scripts Get Rejected in Hollywood | |
| |
| |
| The Non-Fiction Script | |
| |
| |
| The Short Film Script | |
| |
| |
| |
| The Set-Up: Script Breakdown and Shooting Schedule | |
| |
| |
| Breaking Down the Script Manually | |
| |
| |
| Breaking Down the Script on the Computer | |
| |
| |
| Preparing a Production Board | |
| |
| |
| Determining the Schedule | |
| |
| |
| Using Storyboards | |
| |
| |
| |
| Show Me the Money: The Budge | |
| |
| |
| Choosing the Medium | |
| |
| |
| Shooting for No Budget to Low Budget | |
| |
| |
| Selecting Tools for Budgeting | |
| |
| |
| Adding Up the Above-the-Line Elements | |
| |
| |
| Filling in the Below-the-Line Elements | |
| |
| |
| Estimating Documentary Budgets | |
| |
| |
| |
| Collaborators: Hiring the Cast and Crew | |
| |
| |
| Casting the Leads and Supporting Actors | |
| |
| |
| Unit Production Manager or Line Producer | |
| |
| |
| Director of Photography | |
| |
| |
| Production Designer | |
| |
| |
| Editor | |
| |
| |
| Production Sound Mixer | |
| |
| |
| Other Departments and Crew | |
| |
| |
| |
| Foreshadow: Planning the Shoot | |
| |
| |
| Arranging for Sets and Sound Stages | |
| |
| |
| Scouting Locations | |
| |
| |
| Permissions and Permits | |
| |
| |
| Equipment | |
| |
| |
| Laboratories and Sound Facilities | |
| |
| |
| Food, Drink, and Accommodations | |
| |
| |
| Insurance | |
| |
| |
| |
| Roll Camera: Production | |
| |
| |
| |
| Directing the Crew | |
| |
| |
| Be Prepared | |
| |
| |
| Knowing What Will Cut | |
| |
| |
| The First Take | |
| |
| |
| Pick-Up Shots and Wild Tracks | |
| |
| |
| Preventing Crew Fatigue | |
| |
| |
| Respect for the Locations and Community | |
| |
| |
| |
| Directing Actors | |
| |
| |
| Knowing What You Want | |
| |
| |
| Rehearsals | |
| |
| |
| Respecting the Actor's Style | |
| |
| |
| Directing the Actor on the Set | |
| |
| |
| Handling Difficult Actors | |
| |
| |
| |
| Directing Yourself | |
| |
| |
| Creating Movement | |
| |
| |
| Finding the Right Pace | |
| |
| |
| Communicating Through Composition | |
| |
| |
| Introducing Sound Effects and Music | |
| |
| |
| Focusing on the Narrative | |
| |
| |
| Maintaining Consistency of Style | |
| |
| |
| |
| Dealing with Production Problems | |
| |
| |
| Dailies Can Save Your Film | |
| |
| |
| Solving People Problems | |
| |
| |
| Going in New Directions | |
| |
| |
| Dealing with Equipment Breakdowns | |
| |
| |
| Anticipating Weather Problems | |
| |
| |
| Dealing with Scheduling Problems | |
| |
| |
| Facing Budget Problems | |
| |
| |
| Preventing Accidents and Injuries | |
| |
| |
| |
| Producing and Directing Non-Fiction Films | |
| |
| |
| Developing a Non-Fiction Film | |
| |
| |
| Going into Pre-Production | |
| |
| |
| Interviewing Non-Actors | |
| |
| |
| Directing Action in Non-Fiction Films | |
| |
| |
| Writing and Directing Narration | |
| |
| |
| |
| It's A Wrap: Post-Production | |
| |
| |
| |
| Preparing to Edit | |
| |
| |
| Editing History and Current Options | |
| |
| |
| Getting Ready to Edit | |
| |
| |
| Working with Your Editor | |
| |
| |
| |
| Editing the Rough Cut | |
| |
| |
| Knowing Basic Editing Principles | |
| |
| |
| Scene Changes | |
| |
| |
| Editing Dialogue | |
| |
| |
| Creating the First Assembly | |
| |
| |
| Editing Documentary Films | |
| |
| |
| |
| Fine-Tuning the Film | |
| |
| |
| Starting the Fine-Cut Process | |
| |
| |
| Finding the Pace and Rhythm | |
| |
| |
| Using Optical Transitions | |
| |
| |
| Focusing on Structure | |
| |
| |
| Getting Feedback from Test Screenings | |
| |
| |
| Finding the Right Length | |
| |
| |
| |
| Finishing the Film or Video | |
| |
| |
| Planning the Sound Edit | |
| |
| |
| The Sound-Effects Edit | |
| |
| |
| Adding Music | |
| |
| |
| Mixing the Sound | |
| |
| |
| Adding Opticals, Titles, and Photographic Effects | |
| |
| |
| Finishing on Film | |
| |
| |
| Finishing on Video | |
| |
| |
| |
| Completing Other Post-Production Tasks | |
| |
| |
| Making a Post-Production Schedule | |
| |
| |
| Getting Clearances: Legal and Copyright Issues | |
| |
| |
| Preparing Credits | |
| |
| |
| |
| Now Play9Ing At...? Distribution | |
| |
| |
| |
| The Hollywood Distribution System | |
| |
| |
| Signing the Distribution Deal | |
| |
| |
| Marketing Your Film | |
| |
| |
| Release Strategies | |
| |
| |
| Merchandising and Commercial Tie-Ins | |
| |
| |
| Publicity Junkets and Premieres | |
| |
| |
| |
| Independent Feature Distribution | |
| |
| |
| Getting Help from the Independent Feature Project | |
| |
| |
| Going Where the Buyers Are: Film Festivals | |
| |
| |
| Working the Festival | |
| |
| |
| Meeting the Independent Buyers | |
| |
| |
| |
| Television Sales | |
| |
| |
| The Television Deal | |
| |
| |
| Public Television | |
| |
| |
| Commercial Broadcast Networks | |
| |
| |
| The Major Cable Networks | |
| |
| |
| |
| Alternative and New Media Distribution | |
| |
| |
| The Life of a Conventionally Distributed Film | |
| |
| |
| Four Walling and Distributors for Hire | |
| |
| |
| Direct-to-Video | |
| |
| |
| Short Film Distribution: Your Calling Card | |
| |
| |
| Non-Theatrical Distribution | |
| |
| |
| The Internet | |
| |
| |
| Appendixes | |
| |
| |
| |
| Who's Where? | |
| |
| |
| |
| Online Resources | |
| |
| |
| |
| Further Reading | |
| |
| |
| |
| Glossary | |
| |
| |
| Index | |