The power filmmaking kit: make your professional movie on a next-to-nothing budget
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Amsterdam
Focal Press
2008
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes index. |
| Beschreibung: | xxi, 409 p. zahlr. Ill., graph. Darst. 24 cm. + 1 DVD (4 3/4 in.) |
| ISBN: | 9780240810218 024081021X |
Internformat
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| 245 | 1 | 0 | |a The power filmmaking kit |b make your professional movie on a next-to-nothing budget |c Jason J. Tomaric |
| 264 | 1 | |a Amsterdam |b Focal Press |c 2008 | |
| 300 | |a xxi, 409 p. |b zahlr. Ill., graph. Darst. |c 24 cm. + |e 1 DVD (4 3/4 in.) | ||
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| 500 | |a Includes index. | ||
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| 650 | 4 | |a Motion pictures |x Production and direction | |
| 650 | 4 | |a Low budget films | |
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Datensatz im Suchindex
| _version_ | 1804137800224735232 |
|---|---|
| adam_text | THE POWER FILMMAKING KIT MAKE YOUR PROFESSIONAL MOVIE ON A
NEXT-TO-NOTHING BUDGET JASON J. TOMARIE ELSEVIER AMSTERDAM. BOSTON.
HETDELBERG. LONDON NEW YORK * OXFORD * PARIS. SAN DIEGO SAN FRANCISCO *
SINCAPORE * SYDNEY * TOKYO FOCAL PRESS IS AN IMPRIRLT OF ELSEVIER
CONTENTS UNIT 1 DEVELOPMENT 1 TIMELINE 1 CHAPTER 1: THE SCRIPT 3
INTRODUCTION 3 WRITING YOUR OWN SCRIPT 4 DEVELOPING THE IDEA 4 SETTING
UP YOUR SPACE 7 DEVELOPING APREMISE 7 * STEP 1: FICTION OR NONFICTION 7
STEP 2: GENRE 8 STEP 3: FORMAT 8 STEP 4: PLOT TYPE 10 OPTIONING MATERIAL
10 WORKING WITH A WRITER 11 STORY STRUCTURE 12 THE A PLOT 12 ACT 1 12
ACT 2 13 TUMING POINT 14 ACT 3 14 SUBPLOTS 15 THE GASP MOMENTS 16
WRITING A SCRIPT 16 TIDE 18 THEME 18 LOGLINE 18 TREATMENT 18 OUTLINE 19
SCRIPT 20 CREATING CHARACTERS 21 CONTENTS BOX: MAKING ORIGINAL
CHARACTERS 22 ACTIVITIES 23 FORMATTING GUIDELINES 23 TIPS FOR WRITING
SUCCESSFULLY 27 BOX: RESOMCES FOR WRITERS 29 WRITING ON A BUDGET 30
REWRITES 31 PROTECTING YOM SCRIPT 32 OPTIONING A SCRIPT 32 UNIT 2
PREPRODUCTION 34 TIMELINE 34 CHAPTER 2: PREPRODUCTION 37 INTRODUETION 37
SETTING UP AN OFFICE 39 LEGAL CONSULTATIONS 39 RELEASE FORMS 40 BOOKS 41
BOX: PREPRODUCTION 41 * CHAPTER 3: BUDGETING 43 INTRODUCTION 43 RAISING
MONEY 43 BOX: BUSINESS FORMULAS 44 BUDGETING 45 CAST AND CREW 49 THE
BUSINESS PLAN 50 FORMING A COMPANY 52 MANAGING THE BUDGET 54 BUDGET
CATEGORIES 55 CHAPTER 4: SCHEDULING 61 INTRODUCTION 61 STEP 1: LINING
THE SCRIPT 62 STEP 2: SCENE BREAKDOWN SHEETS 62 STEP 3: DETERMINE THE
NUMBER OF SHOOTING DAYS 64 STEP 4: MAKING THE DAILY SCHEDULE 68 STEP 5:
FINALIZING THE SCHEDULE 73 STEP 6: DMING PRODUCTION 73 CONTACT LIST 73
CALL SHEETS 73 CHAPTER 5: INSURANCE INTRODUETION INSURANCE TYPES GENERAL
LIABILITY INSURANCE CAST INSURANCE FILM AND VIDEO TAPE INSURANCE
EQUIPMENT INSURANCE WORKER S COMPENSATION ERRORS AND OMISSIONS INSURANCE
WHAT DO YOU REALLY NEED? CERTIFICATE OF INSURANCE CHAPTER 6: LOCATIONS
77 77 77 77 78 78 78 78 78 79 81 83 INTRODUCTION 83 FINDING LOCATIONS 83
LOCATION SCOUTING TIPS 86 BOX: INFORMATION AND ADVICE FOR SHOOTING IN
LONDON 87 LOCATIONS 10 AVOID 89 SEEURING A LOCATION 89 COMMUNITY
RELATIONS 93 PERMITS 93 WORKING IN A COMMUNITY 93 ACTIVITY 97
FILMMAKERS CODE OF CONDUCT 97 FILM COMMISSIONS 98 DURING PRODUETION 102
* CHAPTER 7: AUDITIONING ACTORS INTRODUCTION FINDING AN AUDITION SPACE
ATTRAETING AETORS TO THE AUDITION BOX: CASTING RESOMEES WORKING WITH
CASTING AGENCIES HOW TO CONDUET AN AUDITION THE FIRST AUDITION MONOLOGS
THE SECOND AUDITION THE THIRD AUDITION BOX: AUDITION WARNING SIGNS
AETIVITY AFTER THE AUDITIONS 105 105 106 106 107 109 109 109 113 113 114
115 116 116 * CHAPTER 8: CHAPTER 9: THE CREW INTRODUCTION CREW POSITIONS
THE PRODUCERS THE PRODUCTION DEPARTMENT THE DIRECTOR OF PHOTOGRAPHY (DP)
AND THE CAMERA CREW THE GRIP DEPARTMENT THE ELECTRIC DEPARTMENT THE ART
DEPARTMENT THE PROP DEPARTMENT THE HAIR AND MAKEUP DEPARTMENT THE
WARDROBE DEPARTMENT THE AUDIO DEPARTMENT THE STUNTS/SPECIAL EFFECTS
DEPARTMENT THE TRANSPORTATION DEPARTMENT POSTPRODUCTION HOW TO HIRE THE
CREW CREW STRUCTURES THE U]TRASMALL CREW STRUETURE THE BASIC CREW
STRUCTURE FINDING QUALIFIED CREW MEMBERS PAYING CREW MEMBERS MONEY
DEFERRED PAYMENT CREDIT BOX: CONTRACTS AND DEAL MEMOS CREW WAGES UNIONS
AND GUILDS 121 121 121 122 122 124 126 127 128 129 129 129 130 130 130
131 131 131 133 135 135 138 138 139 139 142 142 145 INTRODUCTION 145
SCREEN AETORS GUILD 147 STUDENT FILM AGREEMENT 148 SHORT-FILM AGREEMENT
148 UITRA-LOW-BUDGET AGREEMENT 148 MODIFIED LOW-BUDGET AGREEMENT 148
LOW-BUDGET AGREEMENT 149 DIVERSITY CASTING INCENTIVES 149 BACKGROUND
ACTOR INCENTIVE 149 WRITERS GUILD OF AMERICA 150 WRITERS GUILD
LOW-BUDGET CONTRACT 150 IATSE (INTERNATIONAL ALLIANCE OF THE THEATRICAL
STAGE EMPLOYEES) 151 DIRECTORS GUILD OF AMERICA 152 BOX: GUILD AND UNION
CONTACT INFORMATION 153 CHAPTER 10: EQUIPMENT INTRODUCTION CAMERAS VIDEO
VS FILM SHOOTING FILM FILM FORMATS BUYING FILM FILM WORKFLOW TRADITIONAL
POSTPRODUCTION DIGITAL POSTPRODUCTION 1 DIGITAL POSTPRODUCTION 2 16 MM
COLOR PRODUCTION LAB COSTS 35 MM COLOR PRODUCTION LAB COSTS BOX:
BENEFITS AND DRAWBACKS OF SHOOTING FILM SHOOTING VIDEO STANDARD
DEFINITION 720 X 480 4: 3 ASPECT RATIO 29.97 INTERLACED FRAMES BOX:
BENEFITS AND DRAWBACKS OF SHOOTING VIDEO HIGH DEFINITION 720P BOX:
TELEVISION STANDARDS 1080I/P CAMCORDER PURCHASING TIPS CAMERA SUPPORT
LIGHTING TUNGSTEN FLUORESCENT HMI SOFT BOXES LIGHT KITS LIGHTING SUPPORT
GELS DIFFUSION MICROPHONES WHAT DO YOU REALLY NEED? LOW-BUDGET
ALTERNATIVES APPROACHING ARENTAL FACILITY BOX: VENDOR CONTACT
INFORMATION CHAPTER 11: PRODUCTION DESIGN INTRODUCTION PROPS 155 155 156
156 157 157 160 162 162 163 163 164 165 166 166 167 167 167 168 168 169
169 170 171 171 172 175 176 176 177 177 178 178 179 179 180 180 181 182
183 187 187 189 CONTENTS * CONTENTS UNIT 3 WARDROBE BUILDING SETS SET
DRESSING CREATING A TIME PERIOD PRODUCTION 190 192 194 196 200 *
TIMELINE CHAPTER 12: PRODUCTION INTRODUCTION BOX: GENING READY FOR
PRODUETION A DAY ON SET SAMPIE PRODUCTION SCHEDULE BOX: ORDER OF ON-SET
COMMANDS SAFETY ORGANIZATION OF SHOTS CHAPTER 13: ACTING INTRODUCTION
TIPS FOR THE DIRECTOR ACTIVITIES TIPS FOR THE ACTOR BOX: SUBTEXT ACTING
TECHNIQUES THE STANISLAVSKY SYSTEM THE MEISNER TECHNIQUE THE CHEKHOV
TECHNIQUE BACKSTORY CHAPTER 14: DIRECTING INTRODUCTION DIRECTING DURING
PREPRODUCTION READING THE SCRIPT DETERMINING COVERAGE STORYBOARDING
REHEARSING ACTORS REHEARSAL L-UNDERSTANDING THE STORY REHEARSAL
2-CREATING THE CHARACTERS AFTER THE SECOND REHEARSAL REHEARSAL 3-SCENE
SPECIFICS OVERREHEARSING EXERCISES DURING REHEARSALS 200 203 203 203 204
208 209 210 211 213 213 213 215 216 219 220 220 221 222 222 225 225 226
226 227 229 232 232 237 238 238 239 240 WORKING WITH THE CREW DURING
PREPRODUCTION ACTIVITIES DIRECTING DURING PRODUCTION BLOCKING THE SCENE
DIRECTING ACTORS DIRECTING THE SUBTEXT DIRECTING EXTRAS BALANCING ACTING
WITH THE TECHNICAL TOOLS DIRECTING THE CREW DIRECTING THE CAMERA
DIRECTING PROBLEMS DIRECTING DURING POSTPRODUCTION CHAPTER 15:
CINEMATOGRAPHY INTRODUETION WORKING WITH A DIRECTOR OF PHOTOGRAPHY
SHOOTING STYLES DOGME 95 CINEMA VERITE POLISHED THE ROVING CAMERA THE
CAMERA CHOOSING THE LENS PRIME LENSES ZOOM LENSES THE FIVE RINGS OF
POWER RING I-FOCUS PULLING FOCUS RING 2-FOCAL LENGTH RING 3-THE IRIS:
EXPOSURE RING 4-MACRO FOCUS RING 5-BACK FOCUS LENS CARE CAMERA SETTINGS
SHUTTER SPEED GAIN WHITE BALANCE BOX: COLOR TEMPERATURES WORKING WITH
THE FRAME ASPECT RATIOS LETTERBOX PAN AND SCAN RULES OF COMPOSITION SHOT
TYPES 240 242 242 243 244 246 247 249 249 251 253 254 257 257 257 259
259 259 260 260 260 261 261 261 262 262 263 265 266 267 268 268 269 269
270 270 271 273 273 273 273 273 278 CONTENTS .. * CONTENTS WORKING WITH
A PRODUCTION MONITOR LIGHTING WORKING WITH SHADOWS THE QUALITIES OF
LIGHT LIGHTING A SCENE WORKING WITH A SINGLE LIGHT SOURCE GUIDE TO
BUILDING A CHEAP SOFTBOX GETTING THE FILM LOOK SHOOTING THE SCENE
KEEPING ORGANIZED USING A CLAPBOARD CAMERA LOGS SCRIPT SUPERVISOR
CHAPTER 16: AUDIO RECORDING INTRODUCTION ANALOG VS DIGITAL MICROPHONE
TYPES OMNIDIRECTIONAL CARDIOID SHOTGUN LAVALIER PREPPING AUDIO ROLE OF
THE SOUND TEAM ON SET BEFORE ACTION RECORDING TO THE CAMERA SYNC SOUND
BOOM HANDLING TECHNIQUES RECORDING WITH A SHOT GUN MICROPHONE BOX: BUILD
AN INEXPENSIVE BOOM POLE USING LAVALIERS WIRELESS MICROPHONE SYSTEMS
AMBIENT SOUND WORKING WITH EXTRAS SOUND LOGS BOX: TIPS FOR RECORDING
GOOD ON-SET AUDIO CHAPTER 17: HAIR AND MAKEUP INTRODUCTION STRAIGHT
MAKEUP BOX: MAKEUP TERMS BUILDING A MAKEUP KIT PROSTHETICS SPECIAL
EFFECTS MAKEUP HAIRSTYLING ACTIVITY 282 283 285 287 288 289 294 294 295
297 298 299 299 303 303 304 305 305 305 306 306 306 308 309 309 311 312
313 313 315 316 316 317 317 319 319 319 321 322 322 323 324 324 CHAPTER
18: CRAFT SERVICES AND CATERING 327 INTRODUCTION 327 CRAFT SERVICES 328
BREAKFAST 328 THROUGHOUT THE DAY 328 CATERING 330 TIPS FOR ON SET 331
UNIT4 POSTPRODUCTION 332 TIMELINE 332 CHAPTER 19: EDITING 335
INTRODUCTION 335 CONCEPTS OF EDITING 336 RELATIONSHIP BETWEEN SHOTS 336
EDITING SYSTEMS 336 THE EDITING PROCESS 338 ORGANIZING YOUR CLIPS 338
THE ASSEMBLY CUT 338 THE ROUGH CUT 340 THE WORKING CUT 341 * THE FINE
CUT 341 EDITING TECHNIQUES 342 EDITING AN ACTION SCENE 342 EDITING A
DIALOG SCENE 342 EDITING TIPS 343 ACTIVITIES 345 CONTINUITY 345 CUTTING
ON MOTION 346 MONTAGES 347 EDIT TYPES 347 USING TRANSITIONS 349 COLOR
CORRECTION 349 TITLES AND GRAPHICS 350 COMPRESSION 350 CREDITS 351
CHAPTER 20: DIGITAL EFFECTS 353 INTRODUCTION 353 COMPOSITING 354 BOX:
DEFINITIONS 355 CHROMA KEY 357 THREE-DIMENSIONAL ANIMATION 360 * CHAPTER
21: POSTPRODUCTION AUDIO INTRODUCTION THE FIVE AUDIO TRACKS TRACK 1-THE
DIALOG TRACK ADR TRACK 2-THE FOLEY TRACK MOVES TRACK FOOT TRACK
SPECIFICS TRACK 3-THE AMBIENCE TRACK ROOM TONE SOUNDS OF THE LOCATION
TRACK 4-THE SOUND EFFECTS TRACK TRACK 5-THE MUSIC TRACK MIXING THE AUDIO
M&E TRACKS CHAPTER 22: MUSIC INTRODUETION STOCK MUSIC USING COPYRIGHTED
MUSIC MUSIC LOOPS WRITING ORIGINAL MUSIC FINDING A COMPOSER WORKING WITH
A COMPOSER SPOTTING THE FILM SAMPIE SCORES TEMP TRACKS WORKING WITH MIDI
FINISHING THE SCORE ACTIVITIES 361 361 362 362 362 363 364 364 364 365
365 366 367 367 367 369 371 371 372 374 375 376 376 377 378 379 379 379
380 381 UNIT 5 DISTRIBUTION 382 TIMELINE CHAPTER 23: DISTRIBUTION
INTRODUCTION FOREIGN DISTRIBUTION DOMESTIC DISTRIBUTION BOX: SOME
FOREIGN DISTRIBUTORS DISTRIBUTION CATEGORIES ATTRACTING DISTRIBUTORS 382
385 385 387 388 389 390 390 INDEX BOX: DOMESTIC DISTRIBUTORS PAYMENT
DELIVERABLES FILM FESTIVALS BOX: TOP FILM FESTIVALS SELF-DISTRIBUTION
PREMIERING ON YOM OWN PRESS RELEASES 391 393 394 395 397 397 398 401 403
..
|
| adam_txt |
THE POWER FILMMAKING KIT MAKE YOUR PROFESSIONAL MOVIE ON A
NEXT-TO-NOTHING BUDGET JASON J. TOMARIE ELSEVIER AMSTERDAM. BOSTON.
HETDELBERG. LONDON NEW YORK * OXFORD * PARIS. SAN DIEGO SAN FRANCISCO *
SINCAPORE * SYDNEY * TOKYO FOCAL PRESS IS AN IMPRIRLT OF ELSEVIER
CONTENTS UNIT 1 DEVELOPMENT 1 TIMELINE 1 CHAPTER 1: THE SCRIPT 3
INTRODUCTION 3 WRITING YOUR OWN SCRIPT 4 DEVELOPING THE IDEA 4 SETTING
UP YOUR SPACE 7 DEVELOPING APREMISE 7 * STEP 1: FICTION OR NONFICTION 7
STEP 2: GENRE 8 STEP 3: FORMAT 8 STEP 4: PLOT TYPE 10 OPTIONING MATERIAL
10 WORKING WITH A WRITER 11 STORY STRUCTURE 12 THE A PLOT 12 ACT 1 12
ACT 2 13 TUMING POINT 14 ACT 3 14 SUBPLOTS 15 THE GASP MOMENTS 16
WRITING A SCRIPT 16 TIDE 18 THEME 18 LOGLINE 18 TREATMENT 18 OUTLINE 19
SCRIPT 20 CREATING CHARACTERS 21 CONTENTS BOX: MAKING ORIGINAL
CHARACTERS 22 ACTIVITIES 23 FORMATTING GUIDELINES 23 TIPS FOR WRITING
SUCCESSFULLY 27 BOX: RESOMCES FOR WRITERS 29 WRITING ON A BUDGET 30
REWRITES 31 PROTECTING YOM SCRIPT 32 OPTIONING A SCRIPT 32 UNIT 2
PREPRODUCTION 34 TIMELINE 34 CHAPTER 2: PREPRODUCTION 37 INTRODUETION 37
SETTING UP AN OFFICE 39 LEGAL CONSULTATIONS 39 RELEASE FORMS 40 BOOKS 41
BOX: PREPRODUCTION 41 * CHAPTER 3: BUDGETING 43 INTRODUCTION 43 RAISING
MONEY 43 BOX: BUSINESS FORMULAS 44 BUDGETING 45 CAST AND CREW 49 THE
BUSINESS PLAN 50 FORMING A COMPANY 52 MANAGING THE BUDGET 54 BUDGET
CATEGORIES 55 CHAPTER 4: SCHEDULING 61 INTRODUCTION 61 STEP 1: LINING
THE SCRIPT 62 STEP 2: SCENE BREAKDOWN SHEETS 62 STEP 3: DETERMINE THE
NUMBER OF SHOOTING DAYS 64 STEP 4: MAKING THE DAILY SCHEDULE 68 STEP 5:
FINALIZING THE SCHEDULE 73 STEP 6: DMING PRODUCTION 73 CONTACT LIST 73
CALL SHEETS 73 CHAPTER 5: INSURANCE INTRODUETION INSURANCE TYPES GENERAL
LIABILITY INSURANCE CAST INSURANCE FILM AND VIDEO TAPE INSURANCE
EQUIPMENT INSURANCE WORKER'S COMPENSATION ERRORS AND OMISSIONS INSURANCE
WHAT DO YOU REALLY NEED? CERTIFICATE OF INSURANCE CHAPTER 6: LOCATIONS
77 77 77 77 78 78 78 78 78 79 81 83 INTRODUCTION 83 FINDING LOCATIONS 83
LOCATION SCOUTING TIPS 86 BOX: INFORMATION AND ADVICE FOR SHOOTING IN
LONDON 87 LOCATIONS 10 AVOID 89 SEEURING A LOCATION 89 COMMUNITY
RELATIONS 93 PERMITS 93 WORKING IN A COMMUNITY 93 ACTIVITY 97
FILMMAKERS' CODE OF CONDUCT 97 FILM COMMISSIONS 98 DURING PRODUETION 102
* CHAPTER 7: AUDITIONING ACTORS INTRODUCTION FINDING AN AUDITION SPACE
ATTRAETING AETORS TO THE AUDITION BOX: CASTING RESOMEES WORKING WITH
CASTING AGENCIES HOW TO CONDUET AN AUDITION THE FIRST AUDITION MONOLOGS
THE SECOND AUDITION THE THIRD AUDITION BOX: AUDITION WARNING SIGNS
AETIVITY AFTER THE AUDITIONS 105 105 106 106 107 109 109 109 113 113 114
115 116 116 * CHAPTER 8: CHAPTER 9: THE CREW INTRODUCTION CREW POSITIONS
THE PRODUCERS THE PRODUCTION DEPARTMENT THE DIRECTOR OF PHOTOGRAPHY (DP)
AND THE CAMERA CREW THE GRIP DEPARTMENT THE ELECTRIC DEPARTMENT THE ART
DEPARTMENT THE PROP DEPARTMENT THE HAIR AND MAKEUP DEPARTMENT THE
WARDROBE DEPARTMENT THE AUDIO DEPARTMENT THE STUNTS/SPECIAL EFFECTS
DEPARTMENT THE TRANSPORTATION DEPARTMENT POSTPRODUCTION HOW TO HIRE THE
CREW CREW STRUCTURES THE U]TRASMALL CREW STRUETURE THE BASIC CREW
STRUCTURE FINDING QUALIFIED CREW MEMBERS PAYING CREW MEMBERS MONEY
DEFERRED PAYMENT CREDIT BOX: CONTRACTS AND DEAL MEMOS CREW WAGES UNIONS
AND GUILDS 121 121 121 122 122 124 126 127 128 129 129 129 130 130 130
131 131 131 133 135 135 138 138 139 139 142 142 145 INTRODUCTION 145
SCREEN AETORS GUILD 147 STUDENT FILM AGREEMENT' 148 SHORT-FILM AGREEMENT
148 UITRA-LOW-BUDGET AGREEMENT 148 MODIFIED LOW-BUDGET AGREEMENT 148
LOW-BUDGET AGREEMENT 149 DIVERSITY CASTING INCENTIVES 149 BACKGROUND
ACTOR INCENTIVE 149 WRITERS GUILD OF AMERICA 150 WRITERS GUILD
LOW-BUDGET CONTRACT 150 IATSE (INTERNATIONAL ALLIANCE OF THE THEATRICAL
STAGE EMPLOYEES) 151 DIRECTORS GUILD OF AMERICA 152 BOX: GUILD AND UNION
CONTACT INFORMATION 153 CHAPTER 10: EQUIPMENT INTRODUCTION CAMERAS VIDEO
VS FILM SHOOTING FILM FILM FORMATS BUYING FILM FILM WORKFLOW TRADITIONAL
POSTPRODUCTION DIGITAL POSTPRODUCTION 1 DIGITAL POSTPRODUCTION 2 16 MM
COLOR PRODUCTION LAB COSTS 35 MM COLOR PRODUCTION LAB COSTS BOX:
BENEFITS AND DRAWBACKS OF SHOOTING FILM SHOOTING VIDEO STANDARD
DEFINITION 720 X 480 4: 3 ASPECT RATIO 29.97 INTERLACED FRAMES BOX:
BENEFITS AND DRAWBACKS OF SHOOTING VIDEO HIGH DEFINITION 720P BOX:
TELEVISION STANDARDS 1080I/P CAMCORDER PURCHASING TIPS CAMERA SUPPORT
LIGHTING TUNGSTEN FLUORESCENT HMI SOFT BOXES LIGHT KITS LIGHTING SUPPORT
GELS DIFFUSION MICROPHONES WHAT DO YOU REALLY NEED? LOW-BUDGET
ALTERNATIVES APPROACHING ARENTAL FACILITY BOX: VENDOR CONTACT
INFORMATION CHAPTER 11: PRODUCTION DESIGN INTRODUCTION PROPS 155 155 156
156 157 157 160 162 162 163 163 164 165 166 166 167 167 167 168 168 169
169 170 171 171 172 175 176 176 177 177 178 178 179 179 180 180 181 182
183 187 187 189 CONTENTS * CONTENTS UNIT 3 WARDROBE BUILDING SETS SET
DRESSING CREATING A TIME PERIOD PRODUCTION 190 192 194 196 200 *
TIMELINE CHAPTER 12: PRODUCTION INTRODUCTION BOX: GENING READY FOR
PRODUETION A DAY ON SET SAMPIE PRODUCTION SCHEDULE BOX: ORDER OF ON-SET
COMMANDS SAFETY ORGANIZATION OF SHOTS CHAPTER 13: ACTING INTRODUCTION
TIPS FOR THE DIRECTOR ACTIVITIES TIPS FOR THE ACTOR BOX: SUBTEXT ACTING
TECHNIQUES THE STANISLAVSKY SYSTEM THE MEISNER TECHNIQUE THE CHEKHOV
TECHNIQUE BACKSTORY CHAPTER 14: DIRECTING INTRODUCTION DIRECTING DURING
PREPRODUCTION READING THE SCRIPT DETERMINING COVERAGE STORYBOARDING
REHEARSING ACTORS REHEARSAL L-UNDERSTANDING THE STORY REHEARSAL
2-CREATING THE CHARACTERS AFTER THE SECOND REHEARSAL REHEARSAL 3-SCENE
SPECIFICS OVERREHEARSING EXERCISES DURING REHEARSALS 200 203 203 203 204
208 209 210 211 213 213 213 215 216 219 220 220 221 222 222 225 225 226
226 227 229 232 232 237 238 238 239 240 WORKING WITH THE CREW DURING
PREPRODUCTION ACTIVITIES DIRECTING DURING PRODUCTION BLOCKING THE SCENE
DIRECTING ACTORS DIRECTING THE SUBTEXT DIRECTING EXTRAS BALANCING ACTING
WITH THE TECHNICAL TOOLS DIRECTING THE CREW DIRECTING THE CAMERA
DIRECTING PROBLEMS DIRECTING DURING POSTPRODUCTION CHAPTER 15:
CINEMATOGRAPHY INTRODUETION WORKING WITH A DIRECTOR OF PHOTOGRAPHY
SHOOTING STYLES DOGME 95 CINEMA VERITE POLISHED THE ROVING CAMERA THE
CAMERA CHOOSING THE LENS PRIME LENSES ZOOM LENSES THE FIVE RINGS OF
POWER RING I-FOCUS PULLING FOCUS RING 2-FOCAL LENGTH RING 3-THE IRIS:
EXPOSURE RING 4-MACRO FOCUS RING 5-BACK FOCUS LENS CARE CAMERA SETTINGS
SHUTTER SPEED GAIN WHITE BALANCE BOX: COLOR TEMPERATURES WORKING WITH
THE FRAME ASPECT RATIOS LETTERBOX PAN AND SCAN RULES OF COMPOSITION SHOT
TYPES 240 242 242 243 244 246 247 249 249 251 253 254 257 257 257 259
259 259 260 260 260 261 261 261 262 262 263 265 266 267 268 268 269 269
270 270 271 273 273 273 273 273 278 CONTENTS . * CONTENTS WORKING WITH
A PRODUCTION MONITOR LIGHTING WORKING WITH SHADOWS THE QUALITIES OF
LIGHT LIGHTING A SCENE WORKING WITH A SINGLE LIGHT SOURCE GUIDE TO
BUILDING A CHEAP SOFTBOX GETTING THE FILM LOOK SHOOTING THE SCENE
KEEPING ORGANIZED USING A CLAPBOARD CAMERA LOGS SCRIPT SUPERVISOR
CHAPTER 16: AUDIO RECORDING INTRODUCTION ANALOG VS DIGITAL MICROPHONE
TYPES OMNIDIRECTIONAL CARDIOID SHOTGUN LAVALIER PREPPING AUDIO ROLE OF
THE SOUND TEAM ON SET BEFORE ACTION RECORDING TO THE CAMERA SYNC SOUND
BOOM HANDLING TECHNIQUES RECORDING WITH A SHOT GUN MICROPHONE BOX: BUILD
AN INEXPENSIVE BOOM POLE USING LAVALIERS WIRELESS MICROPHONE SYSTEMS
AMBIENT SOUND WORKING WITH EXTRAS SOUND LOGS BOX: TIPS FOR RECORDING
GOOD ON-SET AUDIO CHAPTER 17: HAIR AND MAKEUP INTRODUCTION STRAIGHT
MAKEUP BOX: MAKEUP TERMS BUILDING A MAKEUP KIT PROSTHETICS SPECIAL
EFFECTS MAKEUP HAIRSTYLING ACTIVITY 282 283 285 287 288 289 294 294 295
297 298 299 299 303 303 304 305 305 305 306 306 306 308 309 309 311 312
313 313 315 316 316 317 317 319 319 319 321 322 322 323 324 324 CHAPTER
18: CRAFT SERVICES AND CATERING 327 INTRODUCTION 327 CRAFT SERVICES 328
BREAKFAST 328 THROUGHOUT THE DAY 328 CATERING 330 TIPS FOR ON SET 331
UNIT4 POSTPRODUCTION 332 TIMELINE 332 CHAPTER 19: EDITING 335
INTRODUCTION 335 CONCEPTS OF EDITING 336 RELATIONSHIP BETWEEN SHOTS 336
EDITING SYSTEMS 336 THE EDITING PROCESS 338 ORGANIZING YOUR CLIPS 338
THE ASSEMBLY CUT 338 THE ROUGH CUT 340 THE WORKING CUT 341 * THE FINE
CUT 341 EDITING TECHNIQUES 342 EDITING AN ACTION SCENE 342 EDITING A
DIALOG SCENE 342 EDITING TIPS 343 ACTIVITIES 345 CONTINUITY 345 CUTTING
ON MOTION 346 MONTAGES 347 EDIT TYPES 347 USING TRANSITIONS 349 COLOR
CORRECTION 349 TITLES AND GRAPHICS 350 COMPRESSION 350 CREDITS 351
CHAPTER 20: DIGITAL EFFECTS 353 INTRODUCTION 353 COMPOSITING 354 BOX:
DEFINITIONS 355 CHROMA KEY 357 THREE-DIMENSIONAL ANIMATION 360 * CHAPTER
21: POSTPRODUCTION AUDIO INTRODUCTION THE FIVE AUDIO TRACKS TRACK 1-THE
DIALOG TRACK ADR TRACK 2-THE FOLEY TRACK MOVES TRACK FOOT TRACK
SPECIFICS TRACK 3-THE AMBIENCE TRACK ROOM TONE SOUNDS OF THE LOCATION
TRACK 4-THE SOUND EFFECTS TRACK TRACK 5-THE MUSIC TRACK MIXING THE AUDIO
M&E TRACKS CHAPTER 22: MUSIC INTRODUETION STOCK MUSIC USING COPYRIGHTED
MUSIC MUSIC LOOPS WRITING ORIGINAL MUSIC FINDING A COMPOSER WORKING WITH
A COMPOSER SPOTTING THE FILM SAMPIE SCORES TEMP TRACKS WORKING WITH MIDI
FINISHING THE SCORE ACTIVITIES 361 361 362 362 362 363 364 364 364 365
365 366 367 367 367 369 371 371 372 374 375 376 376 377 378 379 379 379
380 381 UNIT 5 DISTRIBUTION 382 TIMELINE CHAPTER 23: DISTRIBUTION
INTRODUCTION FOREIGN DISTRIBUTION DOMESTIC DISTRIBUTION BOX: SOME
FOREIGN DISTRIBUTORS DISTRIBUTION CATEGORIES ATTRACTING DISTRIBUTORS 382
385 385 387 388 389 390 390 INDEX BOX: DOMESTIC DISTRIBUTORS PAYMENT
DELIVERABLES FILM FESTIVALS BOX: TOP FILM FESTIVALS SELF-DISTRIBUTION
PREMIERING ON YOM OWN PRESS RELEASES 391 393 394 395 397 397 398 401 403
. |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Tomaric, Jason J. |
| author_facet | Tomaric, Jason J. |
| author_role | aut |
| author_sort | Tomaric, Jason J. |
| author_variant | j j t jj jjt |
| building | Verbundindex |
| bvnumber | BV023411836 |
| callnumber-first | P - Language and Literature |
| callnumber-label | PN1995 |
| callnumber-raw | PN1995.9.P7 |
| callnumber-search | PN1995.9.P7 |
| callnumber-sort | PN 41995.9 P7 |
| callnumber-subject | PN - General Literature |
| ctrlnum | (DE-599)BVBBV023411836 |
| dewey-full | 791.43/3 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.43/3 |
| dewey-search | 791.43/3 |
| dewey-sort | 3791.43 13 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| discipline_str_mv | Allgemeines |
| format | Book |
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| id | DE-604.BV023411836 |
| illustrated | Illustrated |
| index_date | 2024-07-02T21:27:53Z |
| indexdate | 2024-07-09T21:18:03Z |
| institution | BVB |
| isbn | 9780240810218 024081021X |
| language | English |
| lccn | 2007038454 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016594437 |
| open_access_boolean | |
| owner | DE-M472 |
| owner_facet | DE-M472 |
| physical | xxi, 409 p. zahlr. Ill., graph. Darst. 24 cm. + 1 DVD (4 3/4 in.) |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Focal Press |
| record_format | marc |
| spelling | Tomaric, Jason J. Verfasser aut The power filmmaking kit make your professional movie on a next-to-nothing budget Jason J. Tomaric Amsterdam Focal Press 2008 xxi, 409 p. zahlr. Ill., graph. Darst. 24 cm. + 1 DVD (4 3/4 in.) txt rdacontent n rdamedia nc rdacarrier Includes index. Film Motion pictures Production and direction Low budget films GBV Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016594437&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Tomaric, Jason J. The power filmmaking kit make your professional movie on a next-to-nothing budget Film Motion pictures Production and direction Low budget films |
| title | The power filmmaking kit make your professional movie on a next-to-nothing budget |
| title_auth | The power filmmaking kit make your professional movie on a next-to-nothing budget |
| title_exact_search | The power filmmaking kit make your professional movie on a next-to-nothing budget |
| title_exact_search_txtP | The power filmmaking kit make your professional movie on a next-to-nothing budget |
| title_full | The power filmmaking kit make your professional movie on a next-to-nothing budget Jason J. Tomaric |
| title_fullStr | The power filmmaking kit make your professional movie on a next-to-nothing budget Jason J. Tomaric |
| title_full_unstemmed | The power filmmaking kit make your professional movie on a next-to-nothing budget Jason J. Tomaric |
| title_short | The power filmmaking kit |
| title_sort | the power filmmaking kit make your professional movie on a next to nothing budget |
| title_sub | make your professional movie on a next-to-nothing budget |
| topic | Film Motion pictures Production and direction Low budget films |
| topic_facet | Film Motion pictures Production and direction Low budget films |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016594437&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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