Complete Guide to Film and Digital Production, 2nd Edition

Complete Guide to Film and Digital Production, 2nd Edition

by Lorene Wales
Released July 2015
Publisher(s): Focal Press
ISBN: 9781317349303

Read it now on the O’Reilly learning platform with a 10-day free trial.

O’Reilly members get unlimited access to books, live events, courses curated by job role, and more from O’Reilly and nearly 200 top publishers.

Start your free trial

Book description

Now available in an updated, 2nd edition, The Complete Guide to Film and Digital Production: The People and The Process, 2/e,discusses the entire production process for film and digital media, and provides you with a comprehensive view of production in the field, at live events, for mobile content and for animation. This book covers all aspects of the production process and readers learn the nuts and bolts of film and digital production from pre-production through delivery. This edition will make your production experience more marketable to an ever-expanding and converging industry.

Table of contents

  1. Cover
  2. Half Title
  3. Title Page
  4. Copyright Page
  5. Dedication
  6. Table of Contents
  7. Preface
  8. Part I Prep and Production
    1. Chapter 1 Producing Media
      1. The Producer's Job
        1. Pre-Production
        2. Production
        3. Post-Production
      2. Line Producer
        1. Pre-Production
        2. Production
        3. Post-Production and Wrap
      3. Associate Producer
      4. Assistant to the Producer
        1. Qualities of a Good Assistant
      5. Acquiring the Script
      6. Working with Writers
      7. Working with First-Time Directors
      8. Producing in the Field
      9. Producing Live Events
      10. Producing Documentary
      11. Producing Mobile Content
      12. Producing Animation
      13. Distribution
      14. Summary
    2. Chapter 2 Script Breakdown and Scheduling
      1. Scheduling a Film: A Step-by-Step Overview
      2. The Script Breakdown
        1. Electronically—Scheduling Software
        2. By Hand
      3. What are the Elements?
        1. Speaking Cast (Underline in Red)
        2. Extras/Atmosphere (Underline in Green)
        3. Silent Bits (Underline in Yellow)
        4. Props (Underline in Lime) and Set Dressing (Underline in Purple)
        5. Wardrobe (Circle the Item)
        6. Makeup (Mark with an Asterisk)
        7. Stunts (Underline in Orange)
        8. Special Effects (Underline in Blue)
        9. Sound Effects (Underline in Brown)
        10. Special Equipment (Draw a Box around the Action)
        11. Vehicles and Animals/Livestock (Underline in Pink)
        12. Music (Underline in Aqua)
      4. Other Categories
        1. Animal Handler
        2. Greenery
        3. Security
        4. Additional Labor
        5. Optical Effects/CGI or Visual Effects
        6. Miscellaneous
        7. Notes
      5. A Note on Continuity
      6. Breaking the Script into “Eighths”
      7. The Breakdown Sheet
      8. The Strip or Production Board
      9. Creating a Schedule
      10. Scheduling Parameters
        1. Geography
        2. Set
        3. Cast Members
        4. Day/Night
        5. EXT/INT
        6. Sequence
        7. Children
        8. Time of Year/Climate
        9. Special Effects and Stunts
        10. Second Camera/Second Unit
        11. Special Equipment
      11. Putting the Schedule Together
      12. Schedules to Print
        1. Shooting Schedule
        2. Production Schedule
        3. One-Liner
        4. Day-Out-of-Days
      13. Updating Your Schedule
        1. Revision Colors
      14. Summary
    3. Chapter 3 The Budget
      1. Budgeting Software
      2. Budget Structure
        1. Above-the-Line
        2. Below-the-Line (Production)
        3. Post-Production
        4. Total Other
      3. Starting to Write a Budget
        1. Budgeting with Software Packages
        2. Spreadsheet Budgeting
      4. Padding the Budget
      5. The Contingency
      6. Fringe Benefits
        1. Taxes
        2. Payroll Fees
        3. Employee Benefits
      7. Union Versus Nonunion
      8. Becoming Signatory
      9. Local Versus Distant
      10. Budget Disbursement and Tracking
        1. Disbursing Funds
        2. Disbursement Forms
      11. Managing the Budget
      12. Good Budgeting Versus Bad Budgeting
      13. Budget Line Items
      14. Summary
    4. Chapter 4 The Production Team and Staff
      1. Unit Production Manager
        1. Pre-Production
        2. Production
        3. Post-Production and Wrap
        4. Qualities of a Good UPM
      2. Production Office Coordinator
        1. Pre-Production
        2. Production
        3. Wrap
        4. Qualities of a Good POC
      3. Local Production Coordinator
      4. Assistant Production Office Coordinator
        1. Pre-Production
        2. Production
        3. Wrap
        4. Qualities of a Good APOC
      5. Travel/Movement
      6. Office Production Assistants
      7. Receptionist
        1. Qualities of Good PAs and Production Receptionists
      8. Head Accountant
      9. First Assistant Accountant, Second Assistant Accountant, and Accounting Apprentice
        1. Qualities of a Good Accounting Staff
      10. Technical Advisor
      11. Script Supervisor
        1. Pre-Production
        2. Production
        3. Wrap
        4. Qualities of a Good Script Supervisor
      12. Safety Officer/Manager
        1. Qualities of a Good Safety Manager
      13. Product Placement
      14. Summary
    5. Chapter 5 The Production office
      1. The Production Office
      2. Blocks of Rooms
      3. Ample Office Space
      4. Proximity to Restaurants and Shops
      5. Proximity to Airport
      6. Room Service
      7. Nicer Rooms for Stars
      8. Refrigerators
      9. Parking
      10. Proximity to Locations
      11. Laundry Service
      12. Setting up the Office
        1. Assigning Offices
        2. Making the Office Operational
      13. Running the Production Office
      14. The Meet-and-Greet
      15. The Wrap Party
      16. Wrapping Out the Production Office
      17. Production Lists
      18. Summary
    6. Chapter 6 The Director's Team & 2nd Unit
      1. Director
        1. Pre-Production
        2. Production
        3. Post-Production
      2. First Assistant Director
        1. Pre-Production
        2. Production
        3. Qualities of a Good 1st AD
      3. The First Assistant Director-Director Relationship
        1. What the 1st AD Wants from the Director
      4. Production Meetings
        1. The Concept Meeting
        2. The Big Production Meeting
      5. Second Assistant Director
        1. Pre-Production
        2. Production
        3. A Note on Directing Extras
        4. Qualities of a Good 2nd AD
      6. Walkie-Talkie Etiquette
      7. Second Second Assistant Director and/or DGA Trainee
        1. Pre-Production
        2. Production
      8. Set Production Assistants
        1. Pre-Production
        2. Production
        3. Qualities of Good 2nd 2nds, DGA Trainees, and Set PAs
      9. Director's Assistant
      10. Choreographer
      11. Dialogue Coach/Dialect Coach
      12. Storyboard Artist
      13. Set Operations
        1. Importance of Calling Rolling and Cut
        2. At the End of the Day
      14. Closed Set
      15. Set Protocol
      16. The Set Box
      17. AD Paperwork
        1. The Call Sheet
        2. The Production Report
      18. 2nd Unit
      19. Director
      20. Unit Production Manager or Production Office Coordinator
      21. First Assistant Director
      22. Locations
      23. Camera
      24. Sound
      25. Other Units
      26. Operations
      27. Equipment
      28. Paperwork
      29. Summary
    7. Chapter 7 Casting, Actors, Extras, and Stunt People
      1. Casting Department
      2. Casting Director
        1. Pre-Production
      3. Local Casting Director
      4. Extras Casting
      5. Casting Assistants
      6. How to Run a Casting Session
      7. Screen Tests
      8. Rehearsals and Training
      9. Fittings
      10. Working with Minors
        1. Tutors
        2. Working with Parents
      11. Working with Animals
      12. The Taft–Hartley
      13. Categories of Actors
        1. Leads
        2. Supporting Roles
        3. Extras
        4. Silent Bits and Special Ability
        5. Stand-Ins
      14. Day Players Versus Weekly Players
      15. Stunts
      16. Stunt Coordinator
        1. Pre-Production
        2. Production
        3. Wrap
      17. Stunt Person
      18. How a Stunt Could Work: A Car Roll
      19. Summary
    8. Chapter 8 The Art Department
      1. Production Designer
        1. Pre-Production
        2. Production
        3. Wrap
      2. Art Director
        1. Pre-Production
        2. Production
        3. Wrap
      3. Set Decorator
        1. Pre-Production
        2. Production
        3. Wrap
      4. Lead Man and Swing Gang
      5. Art Department Coordinator
      6. Set Designer
      7. Set Dresser
      8. Props
        1. Pre-Production
        2. Production
        3. Wrap
      9. Illustrator
      10. Draftsperson
      11. Assistant Props
      12. Art Department Production Assistants
      13. Assistant to Production Designer and Art Director
      14. Construction Coordinator
      15. Construction Foreman
      16. Construction Laborers
      17. Standby Painter
      18. Standby Greensperson
      19. Operations
      20. Summary
    9. Chapter 9 The Camera Department
      1. Director of Photography
        1. Pre-Production
        2. Production
        3. Wrap
      2. Camera Operator
        1. Production
      3. First Assistant Cameraperson
      4. Second Assistant Cameraperson
      5. Clapper/Loader
      6. Camera Production Assistant
      7. Video Assist
      8. Steadicam Operator
      9. Special Operators
      10. The Camera Package
      11. Operations
      12. Stock
      13. Dailies
      14. Behind-the-Scenes for DVD
      15. Tests
      16. Summary
    10. Chapter 10 Grip and Electric
      1. Gaffer
        1. Pre-Production
        2. Production
        3. Wrap
      2. Best Boy Electric
      3. Electricians
      4. Generator Operator
      5. Rigging Crew
      6. Key Grip
        1. Pre-Production
        2. Production
        3. Wrap
      7. Best Boy Grip
      8. Company Grips
      9. Dolly Grip
      10. Crane Operator
      11. Operations for Grip and Electric
      12. The Grip Package
      13. The Lighting Package
      14. Laying Dolly Track
      15. Truck Wrap
      16. Summary
    11. Chapter 11 The Sound Department
      1. Sound Mixer
        1. Pre-Production
        2. Production
      2. Boom Operator
      3. Cable Puller/Cable Person
      4. Sound Production Assistant
      5. The Sound Package
      6. Operations
      7. Playback
      8. Summary
    12. Chapter 12 Special Effects and Visual Effects
      1. Special Effects
        1. Creature Design
        2. Creature Manufacturer
        3. Modelers
        4. Miniatures
        5. Remote Vehicles
        6. Miniature Pyrotechnics
        7. Traveling Matte
        8. Full-Scale Physical Effects
        9. Weather Effects
      2. Special Effects Coordinator
      3. Operations on Set
      4. Visual Effects
      5. Visual Effects Producer
      6. Operations
      7. Summary
    13. Chapter 13 The Wardrobe Department
      1. Costume Designer
        1. Pre-Production
        2. Production
        3. Wrap
      2. Wardrobe Supervisor
        1. Pre-Production
        2. Production
        3. Wrap
      3. Men's Costumer/Women's Costumer
      4. Seamstress
      5. Wardrobe Production Assistant
      6. Assistant to the Costume Designer
      7. Operations
      8. Other Issues
      9. Summary
    14. Chapter 14 Makeup and Hair
      1. Key Makeup
      2. Pre-Production
        1. Production
        2. Wrap
      3. Other Makeup Personnel
      4. Key Hair
        1. Pre-Production
        2. Production
        3. Wrap
      5. Assistant Hair/Additional Hair/Extra Hair
      6. Operations
      7. Qualities of a Good Makeup and Hair Team
      8. Summary
    15. Chapter 15 Locations
      1. Location Manager
        1. Pre-Production
        2. Production
        3. Wrap
      2. Assistant Location Manager
      3. Location Production Assistant
      4. Location Scout—The Person
      5. Location Scout—The Event
        1. Location Considerations
      6. The Technical Scout
        1. Location Determinations on a Tech Scout
      7. Maps
      8. Location Services
      9. Shooting on Location Versus in Studio Facilities
        1. Advantages of Shooting on Location
        2. Disadvantages of Shooting on Location
        3. Advantages of Shooting in a Studio
        4. Disadvantages of Shooting in a Studio
      10. Location Paperwork
        1. Location Agreement
        2. Certificate of Insurance
        3. Permits
      11. Summary
    16. Chapter 16 The Transportation Department
      1. Transportation Coordinator
        1. Pre-Production
        2. Production
        3. Wrap
      2. Transportation Captain
      3. More Transportation Crew
      4. Qualities of a Good Transportation Team
      5. Operations
      6. Picture Vehicles
      7. Production Vehicles
      8. Summary
  9. Part II Post-Production
    1. Chapter 17 Editing Picture and Sound
      1. Post-Production Supervisor
      2. Editor
      3. Assistant Editors
      4. Sound Designer
      5. Sound Editor
      6. Dialogue Editor
      7. Sound Effects Editor
      8. Music Editor
      9. ADR Editor
      10. Re-Recording Mixers
      11. Looping/Adr
        1. What to Do Before the Session
        2. What to Do During the Session
      12. The Sound Mix
      13. The Post-Production Process
        1. Shooting Film for Release on Film
      14. Working with the Lab
      15. Negative Cutting
        1. Shooting Digitally
      16. Main Titles and End Credits
      17. Summary
    2. Chapter 18 Music
      1. Licensing Rights
      2. Music in the Public Domain
      3. Music Supervisor
      4. Composer
      5. Music Package Fee
      6. Conductor
      7. Arranger/Orchestrator
      8. Copyist
      9. The Scoring Session
      10. Sound Track Album
      11. Summary
  10. Part III The Rest of the Story
    1. Chapter 19 Contractuals & Other Matters
      1. Insurance
        1. Errors and Omissions
        2. Production Package
        3. Cast
        4. Equipment
        5. Negative
        6. Third Party
        7. Faulty Stock
        8. Auto
        9. Money and Securities
        10. Extra Expense
      2. Worker's Compensation
      3. Completion Bond
      4. The Legal Department
        1. Why You Should Get a Lawyer
        2. Getting the Right Lawyer
      5. Clearances
      6. Releases
      7. Contracts for Cast, Crew, and Services
      8. Publicity
      9. The Unit Publicist
      10. The Still Photographer
        1. What Not to Shoot
        2. Shooting the Action
      11. Press Day
      12. Summary
    2. Chapter 20 Miscellaneous
      1. Craft Services
      2. The Craft Service Person
        1. Pre-Production
        2. Production
        3. Choices for Good Craft Services
      3. Catering
        1. Hiring Catering Companies
        2. The Last Supper
      4. Set First AID
        1. Emergency Procedures
      5. Set Massage Therapist
      6. Production Etiquette
      7. Unions, Guilds, and Associations
        1. American Society of Composers, Authors, and Publishers (ASCAP)—www.ascap.com
        2. International Alliance of Theatrical Stage Employees (IATSE)—www.iatse-intl.org/home.html
        3. International Brotherhood of Electrical Workers (IBEW)—www.ibew.org
        4. National Association of Broadcast Employees and Technicians—www.nabetcwa.org
        5. Casting Society of America (CSA)—www.castingsociety.com
        6. Actors' Equity Association (AEA) —Error! Hyperlink reference not valid.
        7. American Federation of Television and Radio Artists (AFTRA)—www.aftra.org
        8. International Documentary Association (IDA)—www.documentary.org
        9. Directors Guild of America (DGA)—www.dga.org
        10. Writers Guild of America (WGA)—www.wga.org
        11. Screen Actors Guild (SAG)—www.sag.org
        12. Academy of Motion Picture Arts and Sciences (AMPAS)— www.oscars.org
        13. Academy of Television Arts and Sciences (ATAS)—www.emmys.tv
        14. Producers Guild of America (PGA)—www.producersguild.org
        15. American Federation of Musicians (AFM)—www.afm.org
        16. The Film Foundation—www.film-foundation.org
        17. National Association of Broadcasters (NAB)—www.nab.org
        18. American Film Marketing Association (AFMA)—www.afma.com
        19. Motion Picture Association of America (MPAA)—www.mpaa.org
      8. Summary
  11. Appendix
  12. Glossary
  13. Index

Product information

  • Title: Complete Guide to Film and Digital Production, 2nd Edition
  • Author(s): Lorene Wales
  • Release date: July 2015
  • Publisher(s): Focal Press
  • ISBN: 9781317349303