book

Producing and Directing the Short Film and Video, 6th Edition

Name: Producing and Directing the Short Film and Video, 6th Edition
ISBN: 9781040339244

by Peter W. Rea, David K. Irving

May 2025

Intermediate to advanced

312 pages

14h 51m

English

Focal Press

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Cover
Half Title
Title
Copyright
Contents
Preface: Sixth Edition
Introduction
InternetCraft Versus Art and CollaborationWhat Are the Steps?The Organization of the BookProducer and DirectorThe ProducerThe DirectorSix Short FilmsChapter BreakdownsSupport Material
Timeline
Part I Preproduction
1 Script
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?A Word About AIWorkshop 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 ScriptDeveloping a Web PresenceKey Points

2 Finance
ProducerRaising the CapitalBasic Fundraising ProblemsHow Much Money Will You Need?Funding OptionsPrivate InvestorsCrowdfundingFiscal SponsorshipPrivate Foundation GrantsPublic Foundation GrantsCorporate SponsorshipBank LoansPersonal SavingsIn-Kind Services and DonationsDo Your ResearchThe ProspectusPresentation Is EverythingSpending the Money ResponsiblyThe Digital ProspectusGeneral Fundraising SuggestionsBe Positive and be PatientBe InformedAct ProfessionallyThank You, and Stay in Touch!Student Fundraising StrategiesSources for StudentsDirectorPitching the ProjectThe Elevator ChallengeSteps to a Successful PitchKey Points
3 Breakdowns
ProducerBreaking Down the ScriptProduction BookProper Script FormatBreaking Down the ScriptStep 1: BreakdownsFill in Breakdown SheetsBreakdown Sheet HeaderLining the ScriptPrepare Strips for the StripboardColor-CodingStep 2: SchedulePlace Strips on the StripboardStep 3: BudgetPrice Each Line ItemThe 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 StoryboardsFloor PlansStoryboardsMake a Shot ListAnimationMondayTuesdayThe Final WordKey Points
4 Schedule
Producer (As Production Manager)Building a StripboardGeneral GuidelinesFixed DatesLocationsCastExteriorsNight ShootingContinuity of SequencesShooting OutChild ActorsTime of YearWeatherSpecial Effects, CGI, 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 SheetStudent Scheduling TipsDirectorDetermining the Visual PlanCoverage = Time = Schedule = BudgetContingency Plans for OveragesThings ChangeKey Points
5 Budget
DirectorShooting for the MoonProducerCreating a BudgetScript and BudgetWho Creates the Budget?Budgeting SoftwareProduction ValueThe Budget FormAbove-The-Line CostsScript and RightsProducer/DirectorCastBelow-the-Line CostsBasic DecisionsProductionCrewEquipmentArtLocationFilm and LabPostproductionEditingSoundLabPostproduction Finish DigitalOffice ExpensesInsuranceContingencyPetty CashBeginning the BudgetThe Budget ProcessInformation Is PowerLearn by DoingStudent BudgetsKey Points
6 Crew
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 ManagerSupport CrewDirector of PhotographyEvaluating Potential Directors of PhotographyTroubleshootingSupport CrewOperating the CameraLighting for the CameraThe Digital AssistantMoving the CameraArt Director (Production Designer)Evaluating Potential Art DirectorsSupport CrewRelated CrewAssistant DirectorSupport CrewProduction Sound MixerEvaluating Potential Production Sound MixersSupport CrewThe Digital Imaging TechnicianSpecialty CrewIntimacy CoordinatorProduction AssistantInternsHiring an AnimatorDeveloping the Right ChemistryKey Points
7 Actors
CastingProducerThe Casting ProcessCasting DirectorThe Basic Casting StepsAdvertise Specific RolesWeb PresenceScout Local Theater CompaniesScout Acting SchoolsContact State Film CommissionsOrganize Submitted Head Shots and RésumésArrange Casting CallsReaderArrange CallbacksNegotiate With Selected ActorsContracts and Deal MemosDeal With Rejected ActorsFiring TalentWrap OutAdded Benefits of CastingDirectorAuditionsTypes of AuditionsAudition GuidelinesBefore the AuditionBeginning the AuditionThe ReadingEvaluating the AuditionVideo OperatorsCallbacksCasting ChildrenHappy AccidentsPoints to Keep in MindProducerRehearsal ScheduleDirectorRehearsalsThe Goals of RehearsalBefore RehearsalsGetting to Know the ActorsDeveloping Mutual TrustResearching the CharacterCharacter ArcFirst Read-ThroughDevelop the ThemeSecond Read-ThroughKeep NotesScene by SceneStaging the SceneRecord the RehearsalsDiscovering BeatsSubtextPaceImprovisationSpecial SituationsRehearsing With ChildrenCommunicating on the SetKey Points
8 Location
DirectorScouting LocationsAesthetic Concerns Versus Practical LimitationsBe FlexibleThe Power of IllusionIdentifying the LocationInterior or ExteriorDay or NightStage or Practical LocationStagePractical LocationNear or DistantWalk-ThroughsProducerSecuring LocationsWhere to Look for LocationsScouting the LocationsLightingPowerSoundGreen Room and Other Special AreasSafety and SecurityProximityBackupsSecuring the LocationLocation ContractLocation FeePermitsInsuranceCommunicationTransportationParkingCompany MovesCateringKey Points
9 Art Direction
DirectorProduction Design/Art DirectionArchitect 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
10 Camera
DirectorCollaborateKeeping Up With TechnologyDo Your HomeworkStyleListen to the MaterialIntroduce the Camera During PreproductionConsult With the Director of PhotographyResponsibilities of the Director of PhotographyIn PreproductionIn ProductionPostproductionCamera—Lighting TeamBasic DecisionsFilm vs. Video Dynamic RangeUse of Color or Black and WhiteBlack and WhiteColor PaletteHow 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 MovementMontageKeeping TrackSecond UnitSpecialty ShotsGreen Screen and CGILighting StyleLighting BasicsLighting for ExteriorsLighting for InteriorsLighting With LED InstrumentsLighting With PracticalsDo It in the Camera or Do It in Post?Key Points
11 Sound
DirectorRecording Clean TracksWhy Getting Good Sound Is So ImportantProduction SoundThe 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 SoundAdditional Sound Information on the Web SiteProducerControlling the EnvironmentEquipment Needs for the ShootHow Big a Sound Package and Crew Do You Need?Key Points
Part II Production
12 On Set
Art on SetFinal Walk-ThroughSet ProceduresThe Day of the ShootSet DressingContinuityDuplicatesPropsWeaponsContinuityDuplicatesPersonal EffectsImprovisationWardrobeSpecial RigsMakeupContinuityPositive ReinforcementSpecial EffectsHairContinuityAdditional CrewDirector on SetInspiresDirecting ActorsThe Director as AudienceActing StylesComedyUnderstatementTypes of CharactersPrimary CharactersSecondary CharactersBackground CharactersUntrained ActorsSpecial SituationsChildren and AnimalsStunts and NudityStaging for CameraEye-LineTechnical Requirements for the ActorLensesHitting MarksApple BoxesDigital AssistantDailiesTips for DirectingDirector’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 ProcedureInformal SlatesTail SlatesAction! Cut!Calling the ShotKey PointsArtDirector
Part III Postproduction
13 Pix Postproduction
DirectorThe “Final Draft”The Director as EditorThe EditorThe Editor SpeaksThe Editing ProcessThe Creative Steps to EditingWhat Is Editing?Creating the “Final Draft”Screening the Dailies (Working With an Editor)Shaping the StoryThe AssemblyThe Rough CutGuidelines for Editing the Rough CutRough Cut Editing TipsAnalyzing the Rough CutScreening for StoryScreening for PacingElectronic FeedbackRestructuring the PictureScreening the Second CutRefining the StoryEditing TechniquesSpeed Is Not EverythingTemporary MusicCutting With Sound in MindAdding Reshoots and Stock FootageEvolution of the EditShifts in TonePace Is EverythingBe RuthlessLocking the PictureCapturing and Organizing ClipsOrganizing ClipsEditing SequencesEditing Interface and TimelineIt’s Only Virtual—Back Up, Please!Marking and Assembling ClipsAdding ClipsRemoving Clips From a SequenceTrimming ClipsBasic Sound EditingSpecial Digital Video EffectsTypes of EffectsTransitionsSegment EffectsMultilayer (Layered or Composited) EffectsKeysMotion EffectsCreating TitlesPerforming Real-Time Versus Rendered EffectsWorking With Third-Party Graphics ApplicationsEnding a SessionAnimationComputer-Generated Images (CGI)ProducerAdviseWhat You Want From a System?Editing RoomPostproduction ScheduleThe HD WorkflowFinding an EditorThe Editor SpeaksStepping Back and Looking AheadKey Points
14 Sound Postproduction
DirectorSound DesignWhat 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 OptionsCreating the SoundtrackThe WorkflowSpottingDialogue TracksEditing DialogueAutomatic Dialogue Replacement (ADR)ADR SpottingWallaVoice-Overs and NarrationImpactRefining the NarrationSound Effects TracksUnique or Enhanced SoundsMusic TracksSourceFunctionThe Impact of MusicThe Music TeamThe Original ScoreFinding a ComposerMusic SpottingThe Music EditorWorking With a ComposerPreexisting MusicThe MixProducerSupervising Postproduction… and DistributorsThe MoralKey Points
15 Distribution/Exhibition
ProducerLaunching the FilmStart Early: Have a Plan From the BeginningThe MarketsExhibitionFestivalsGenre FestivalsShorts OnlyApplicationsMuseum ScreeningsCultural SocietiesFilm School FestivalsSchool and Community GroupsYouTubeThe ProsThe ConsiTunesTelevisionTheatrical MarketsForeign MarketsNontheatrical MarketsEducational MarketSchoolsHigher EducationInstitutional MarketDistribution OptionsSelf-DistributionEvaluationProductionMarketingDistributorApproaching a DistributorGeneral DistributionForeign DistributionContractsMarketing Your Short FilmDeliverablesDirectorPublicityThe Lunch DateCrazy GlueThe Academy Awards
Appendix
Appendix A Safety Issues
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
Appendix B Music Clearance and Insurance
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
Appendix C Screening List
Short Films Showcased in the 6th EditionCollectionsEarly Shorts by Well-Known FilmmakersClassic Shorts
Bibliography/Software/Internet
Index

Content preview from Producing and Directing the Short Film and Video, 6th Edition

Appendix A Safety Issues

Length of a Shoot Day

All in a Day’s Work

Although tight shooting schedules and tight budgets may add stress to a production, it is imperative that student film shoots comply with the recommended maximum 12-hour shoot day, which should begin at crew call time and end at wrap time. Subsequently, the crew must also be given proper turnaround time before reporting to set the following shoot day. When working with SAG-AFTRA actors or any union performers and minors, please abide by all union rules regarding maximum workday requirements.

The following is a true story about the dangers involved when cast and crew are subjected to extremely long shoot days (excerpt taken from the IA Local 600 website at http://www.cameraguild.com ...

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Producing and Directing the Short Film and Video, 6th Edition

by Peter W. Rea, David K. Irving

Appendix A Safety Issues