book

Producing and Directing the Short Film and Video, 5th Edition

by Peter W. Rea, David K. Irving

March 2015

Beginner

468 pages

23h 21m

English

Routledge

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InternetCraft versus Art and CollaborationWhat Are the Steps?The Organization of the BookProducer and DirectorThe ProducerThe DirectorSix Short FilmsThe Filmmakers SpeakChapter BreakdownsCompanion Web Site

THE CREATIVE PRODUCERDeveloping the ScriptAnimationDo Your HomeworkWhat Is a Script?What Does a Script Look Like?Where Do Scripts Come From?How Are Scripts Developed?Workshop Your IdeaBasic Guidelines for the Short FormLengthThe Central ThemeConflictThe Basic ConflictsThe Dramatic Arc or SpineOne Primary EventOne Major CharacterFollow-ThroughMinimum Back StoryInternal Motives, External ActionNo Talking HeadsImages before WordsAdaptationWhy Adapt?RightsWhat Is the Story About?Find Your Plot and CharactersMake the Internal ExternalDramatic ExpectationsWhat Do You Do Now?General Guidelines for AdaptationTrue Stories and EventsLegalitiesRights and Adaptations (Preexisting Material)Noncommercial/Festival RightsOriginal MaterialCopyrightCollaborationWorking with a WriterRewritingHow Do Scripts Affect Budgets?DIRECTORSupervising or Performing RewritesWorking with the WriterDirector as StorytellerReadingsStory QuestionsScene AnalysisThe Shooting ScriptDocumentariesDeveloping a Web PresenceSelecting a Web MasterDesigning the InterfaceKEY POINTS
PRODUCERRaising the CapitalBasic Fundraising ProblemsHow Much Money Will You Need?Funding OptionsPrivate InvestorsFiscal SponsorshipPrivate Foundation GrantsPublic Foundation GrantsCorporate SponsorshipBank LoansPersonal SavingsIn-Kind Services and DonationsDo Your ResearchThe ProspectusPresentation Is EverythingSpending the Money ResponsiblyThe Digital ProspectusGeneral Fundraising SuggestionsStudent Fundraising StrategiesSources for StudentsDIRECTORPitching the ProjectThe Elevator ChallengeSteps to a Successful PitchKEY POINTS
PRODUCERBreaking Down the ScriptProduction BookProper Script FormatBreaking Down the ScriptStep 1: BreakdownsStep 2: ScheduleStep 3: BudgetThe Digital ProducerDIRECTORDeveloping a Shooting PlanOrganization Leads to FlexibilityDirector BreakdownsKnow the ScriptKnow the ThemeDevelop a History for the Main CharactersKnow What Each Character Wants in the StoryBreak Down Each Scene into Dramatic BeatsDetermine a Visual Style for the StoryStudy the Locations and Rehearse the ActorsSettle on Pacing and ToneWorkshop Ideas on VideoCreate Floor Plans and StoryboardsMake a Shot ListAnimationThe Final WordKEY POINTS
PRODUCER (AS PRODUCTION MANAGER)Building a StripboardGeneral GuidelinesFixed DatesLocationsCastExteriorsNight ShootingContinuity of SequencesShooting OutChild ActorsTime of YearWeatherSpecial Effects, Stunts, and AnimalsCrowd SequencesSpecial EquipmentTurnaround, Setup Time, and Swing CrewsAnimationOther ConsiderationsBeginning the ScheduleCreating the ScheduleThe First DayMaking the DayKeep the Day under 12 Hours!Shooting during PreproductionAnimation Lip-SyncLocking the ScheduleCall SheetScheduling DocumentariesStudent Scheduling TipsWeb Presence for the ProjectDIRECTORDetermining the Visual PlanCoverage = Time = Schedule = BudgetContingency Plans for OveragesThings ChangeKEY POINTS
DIRECTORShooting for the MoonPRODUCERCreating a BudgetScript and BudgetWho Creates the Budget?Budgeting SoftwareProduction ValueThe Budget FormAbove-the-Line Costs001 Script and Rights002 Producer/003 Director004 CastBelow-the-Line CostsBasic Decisions005 Production006 Crew007 Equipment008 Art009 Location010 Film and LabPostproduction011 Editing012 Sound013 LabPostproduction Finish Digital014 Office Expenses015 Insurance016 ContingencyPetty CashBeginning the BudgetThe Budget ProcessInformation Is PowerLearn by DoingStudent BudgetsKEY POINTS
DIRECTORChoosing the CrewPRODUCERHiring the CrewWho Hires the Crew?When Do You Need a Crew?How Big a Crew Do You Need?The 3–30 RuleSelecting the CrewAttracting the Right PeopleEvaluating CreditsNegotiating the DealKey Crew MembersProduction ManagerDirector of PhotographyThe Digital AssistantArt Director (Production Designer)Assistant DirectorProduction Sound MixerThe Digital Imaging TechnicianSpecialty CrewProduction AssistantInternsDocumentary CrewsHiring an AnimatorDeveloping the Right ChemistryKEY POINTS
CastingPRODUCERThe Casting ProcessCasting DirectorThe Basic Casting StepsAdvertise Specific RolesScout Local Theater CompaniesScout Acting SchoolsContact State Film CommissionsOrganize Submitted Head Shots and RésumésArrange Casting CallsReaderArrange CallbacksNegotiate with Selected ActorsContracts and Deal MemosDeal with Rejected ActorsAdded Benefits of CastingDIRECTORAuditionsTypes of AuditionsAudition GuidelinesBefore the AuditionBeginning the AuditionThe ReadingEvaluating the AuditionVideo OperatorsCallbacksCasting ChildrenHappy AccidentsPoints to Keep in MindCasting the DocumentaryPRODUCERRehearsal ScheduleDIRECTORRehearsalsThe Goals of RehearsalBefore RehearsalsDeveloping Mutual TrustResearching the CharacterCharacter ArcFirst Read-ThroughDevelop the ThemeSecond Read-ThroughKeep NotesScene by SceneStaging the SceneRecord the RehearsalsDiscovering BeatsSubtextPaceImprovisationSpecial SituationsRehearsing with ChildrenCommunicating on the SetInterviewsKEY POINTS
DIRECTORScouting LocationsAesthetic Concerns versus Practical LimitationsBe FlexibleThe Power of IllusionIdentifying the LocationInterior or ExteriorDay or NightStage or Practical LocationNear or DistantWalk-ThroughsPRODUCERSecuring LocationsWhere to Look for LocationsScouting the LocationsLightingPowerSoundGreen Room and Other Special AreasSafety and SecurityProximityBackupsSecuring the LocationLocation ContractLocation FeePermitsInsuranceCommunicationTransportationParkingCompany MovesCateringKEY POINTS
DIRECTORProduction DesignSome HistoryArchitect of IllusionCreating a LookHow to Define the “Look”Defining the Space with Visual IdeasCommunication with the Director of PhotographyBasic DecisionsLocations or SetsFormatBlack and White versus ColorBreakdowns: Listen to the ScriptCamera TestsPRODUCERAssembling the TeamThe Art DepartmentImages Can Tell a StoryResponsibilities of the Art DepartmentStages and LocationsWhat Does the Script Require?Set DressingDuplicate Set ItemsPropsDuplicate PropsWeaponsFoodWardrobeConsulting the ActorsSpecialty GarbDuplicate CostumesConsulting the Director of PhotographyContinuity and Script TimeMakeupSpecial Effects MakeupHairAnimationThe Producer’s RoleFinal Walk-ThroughKEY POINTS
DIRECTORCollaborateKeeping Up with TechnologyDo Your HomeworkStyleListen to the MaterialDocumentaryIntroduce the Camera during PreproductionConsult with the Director of PhotographyResponsibilities of the Director of PhotographyIn PreproductionIn ProductionPostproductionCamera—Lighting TeamBasic DecisionsFilm StockTape—TapelessFilm vs. Video Dynamic RangeUse of Color or Black and WhiteHow Can Color Be Controlled?TestsThe Camera as StorytellerCoverage = Shot ListType of Shot (Traditional Coverage)Staging for the CameraThe FrameCompositionDepthDrawing the Viewer’s EyeExtending the FrameFocusThe ShotThe LensThe Shot SizeShot PerspectivesPoint-of-View ShotThe RevealThe Fourth WallCamera MovementFind the BalanceOne Long TakeCreating Camera MovementShoot with Editing in MindContinuityOverlapping ActionThe 180° RuleCrossing the LineScreen Direction in MovementMontageDocumentariesKeeping TrackSecond UnitSpecialty ShotsGreen ScreenIntegrating AnimationLighting StyleLighting BasicsLighting for ExteriorsLighting for InteriorsLighting with PracticalsLighting for DocumentariesLighting for HDDo It in the Camera or Do It in Post?Broadcast QualityTricksPoor Man’s ProcessSimple Mattes (for Film Shoots)Night for DayFilmEquipmentFilm CameraFilm FormatsAspect RatioCamera TermsLighting PackageOther EquipmentGrip PackageTechnical ConsiderationsPowerFansVideoVideo CameraCamcorderThe Waveform Monitor and VectorscopeThe MonitorThe Video FormatFrame and Sensor SizeProgressive and Interlace ScanningInterlace FactorThe Frame RateGeorge Lucas and 24pHow Color Is RecordedColor SystemsColor SamplingWhat Do You Call a Format?The Evolution of Video FormatsStandard Definition Analog FormatsStandard Definition Digital FormatsHigh Definition Digital FormatsDigital Cinema FormatsPRODUCERSupportLaboratory (If Shooting Film)Rental HouseKEY POINTS
DIRECTORRecording Clean TracksWhy Getting Good Sound Is So ImportantThe Sound TeamProduction Sound MixerBoom OperatorUtility Sound TechnicianThe EquipmentMicrophonesPreproduction PlanningSite VisitResponsibilities of the Sound TeamDialoguePerspectiveConsistency in Sound RecordingRoom ToneSound EffectsAdditional SoundsPlayback/Music VideoCommunication on the SetSound ReportApproaches to Recording SoundBoomOverhead BoomPlants/StashLavalierWireless MicrophoneVariables for Placing MicrophonesRecording ConcernsPickupsKeeping It CleanGuide TracksCrowd ScenesDigital Video SoundDocumentaryAdditional Sound Information on the Web SitePRODUCERControlling the EnvironmentEquipment Needs for the ShootHow Big a Sound Package and Crew Do You Need?Low to High BudgetKEY POINTS
Art on SetFinal Walk-ThroughSet ProceduresThe Day of the ShootSet DressingPropsWardrobeMakeupHairAdditional CrewDIRECTOR ON SETInspiresDirecting ActorsThe Director as AudienceActing StylesComedyUnderstatementTypes of CharactersPrimary CharactersSecondary CharactersBackground CharactersUntrained ActorsSpecial SituationsStaging for CameraEye-LineTechnical Requirements for the ActorLensesHitting MarksApple BoxesVideo TapDigital AssistantDailiesTips for DirectingInterviewing for DocumentariesInterview QuestionsDirector’s DiseasePRODUCER ON SETAccommodating ActorsSocializingGuidelinesAct as CoordinatorSupport the Director and the Creative TeamWatch the BudgetKeep Morale UpBe a TroubleshooterKeep the Production Moving AheadProper Wrap OutKeeping Track of the Art DepartmentCover SetsWrapping UpSet ProtocolsOrganized ChaosSet EtiquetteThe ProcessCall TimeOn CallStand-InsMakeup and HairFinal StagingA Typical DayCamera MovesShot ProcedureScript SupervisionContinuityOverlapping ActionSlatesSlating ProcedureAction! Cut!Calling the ShotKEY POINTSArtDirector
DIRECTORThe “Final Draft”The Director as EditorThe EditorThe Editor SpeaksThe Documentary EditorThe Editing ProcessWhat Is Editing?Screening the Dailies (Working with an Editor)Shaping the StoryThe AssemblyThe Rough CutAnalyzing the Rough CutScreening for StoryScreening for PacingElectronic FeedbackRestructuring the PictureScreening the Second CutRefining the StoryEditing TechniquesSpeed Is Not EverythingEvolution of the EditShifts in TonePace Is EverythingBe RuthlessLocking the PictureDelivering to the Sound Designer/Sound Effects EditorDigital BasicsKey TermsSMPTE TimecodeDrop and Nondrop Frame TimecodeAnalog versus DigitalSampling RateResolutionDigital CompressionCompression MethodsWorking with Digital DataDigital ConnectionsHard Drive StorageFile Formats and Data ExchangesBasic Workflow of a Nonlinear Editing SystemBasic Nonlinear InterfaceBasic TermsStorageMonitorsCapturing and Organizing ClipsDigitizingSetting Color and AudioOrganizing ClipsEditing SequencesEditing Interface and Time LineIts Only Virtual—Back up Please!Marking and Assembling ClipsAdding ClipsRemoving Clips from a SequenceTrimming ClipsBasic Sound EditingSpecial Digital Video EffectsTypes of EffectsCreating TitlesPerforming Real-Time versus Rendered EffectsWorking with Third-Party Graphics ApplicationsFilm Match-Back IssuesEnding a SessionAnimationComputer-Generated Images (CGI)Technical Considerations When Editing Film on VideoTelecineThe 29.97 ComplicationVideo DailiesPRODUCERAdviseWhat You Want from a System?Editing RoomPostproduction ScheduleThe HD WorkflowFinding an EditorEvaluating Prospective EditorsThe Editor SpeaksStepping Back and Looking AheadKEY POINTS
DIRECTORSound DesignSome HistoryWhat Is Sound Design?Respect for SoundHow We Perceive Sound Versus PictureSound Equals SpaceSound Expands the FrameWhat Is a Soundtrack?The Design of SoundDo You Need a Sound Designer?Post Flow OptionsProjects Shot on Digital VideoProjects Shot on FilmThe Digital Audio WorkstationCreating the SoundtrackThe WorkflowSpottingDialogue TracksEditing DialogueAutomatic Dialogue Replacement (ADR)ADR SpottingWallaVoice-Overs and NarrationRefining the NarrationSound Effects TracksUnique or Enhanced SoundsMusic TracksFunctionThe Impact of MusicThe Music TeamThe Original ScoreMusic SpottingThe Music EditorWorking with a ComposerPreexisting MusicThe MixDifferent FormatsMusic Tips for Students and BeginnersPRODUCERSupervising Postproduction… And DistributorsThe MoralKEY POINTS
PRODUCERKeeping TrackDIRECTORThe Finished LookNonlinear Online EditColor CorrectionBasic WorkflowsFilm-to-Film WorkflowOpticalsTimingCutting the NegativeOptical TrackTypes of PrintsMute PrintFirst TrialAnswer PrintRelease PrintFilm—Digital—Film WorkflowFilm Cut Lists24/30 Frame IssuesDigital IntermediateDI—Finish in FilmVideo-to-Film TransferSystemsThe Digital-to-Digital WorkflowOffine/OnlineOnline WorkflowOffine/Online WorkflowAnimation and CGI: Rendering and CompositingFinishing and OutputTHE PRODUCERLooking Ahead/Key Points
PRODUCERLaunching the FilmStart Early: Have a Plan from the BeginningYour Web PresenceThe MarketsExhibitionYouTubeiTunesOnline Distribution SitesDVDTelevisionTheatrical MarketsForeign MarketsNontheatrical MarketsEducational MarketInstitutional MarketDistribution OptionsSelf-DistributionDistributorDIRECTORPublicityCitizenThe Lunch DateCrazy GlueMirror MirrorThe Academy Awards
Memory Lane
Length of a Shoot DayAll in a Day’s WorkOn the Road: What You Can Do When You’re TiredGeneral Safety GuidelinesAttireSpecial EffectsChemicals and Flammable MaterialsSet ConstructionLighting and ElectricGrip/RiggingLifting and Moving Heavy ObjectsLadders and ScaffoldsDolliesGrip TrucksStunts, Prop Weapons, and PyrotechnicsFire and PyrotechnicsGuns, Knives, and Other Prop WeaponsPhysical StuntsFilming Stunts in PublicSpecial EffectsMotor VehiclesWater ScenesAdditional Safety ConsiderationsLight SafelyDo You Know What to Look Out For?Electrical Tie-InsLocation ScoutBlowing a FuseUsing GelsSet EtiquetteChanging BulbsAdditional ConcernsSafety in the StudioLighting GridSets and FlatsShooting in Extreme Weather ConditionsExtreme ColdExtreme HeatInclement WeatherUsing Animals in Film
Music RightsPublic Domain and Fair UseThe Process of Licensing MusicInsuranceComprehensive LiabilityMiscellaneous EquipmentThird-Party Property Damage LiabilityErrors and OmissionsCast InsuranceNegative Film and Digital VideotapeFaulty Stock, Camera, and ProcessingProps, Sets, and WardrobeExtra ExpenseWorkers’ CompensationHired, Loaned, or Donated Auto LiabilityHired, Loaned, or Donated Auto Physical DamageGuild/Union Travel AccidentOffice ContentsAnimal Mortality
AnimationExperimental, Alternative, Avant GardeCorporateCommercialsMusic Videos
Short Films Showcased in the 5th EditionCollectionsEarly Shorts by Well-Known FilmmakersDocumentariesExperimental/Avant Garde/PoeticAnimationClassic Shorts
ProgramsReferencesUnited States and CanadaInternational
Adam Davidson, The Lunch DateJan Krawitz, Mirror MirrorTatia Rosenthal, Crazy GlueJames Darling, CitizenJim Taylor, Memory LaneLuke Matheny, God of Love

Content preview from Producing and Directing the Short Film and Video, 5th Edition

Chapter nine

The art director did everything, including wardrobe. But what she was really good at was sculpting set pieces. She built the bowling ball rack. We had to dig a pit and then she shaped it with green architectural moss to make the bowling alley.

Jim Taylor

If there is one person who did more than any other to demonstrate the importance of art direction in filmmaking, it was William Cameron Menzies (check www.IMDb.com for his credits). For Gone with the Wind (1939), producer David O. Selznick wanted Menzies, who had won the first two academy awards for art direction, to be heavily involved in the preparatory stages so he could plan the whole film on paper. He also wanted Menzies ...