The complete film production handbook:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Amsterdam [u.a.]
Focal Press, Elsevier
2010
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| Ausgabe: | 4. ed. |
| Schlagworte: | |
| Online-Zugang: | Publisher description Table of contents Inhaltsverzeichnis |
| Beschreibung: | Includes indexes. |
| Beschreibung: | XVIII, 524 S. |
| ISBN: | 9780240811505 |
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| 245 | 1 | 0 | |a The complete film production handbook |c Eve Light Honthaner |
| 250 | |a 4. ed. | ||
| 264 | 1 | |a Amsterdam [u.a.] |b Focal Press, Elsevier |c 2010 | |
| 300 | |a XVIII, 524 S. | ||
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| adam_text | Titel: The complete film production handbook
Autor: Honthaner, Eve Light
Jahr: 2010
Contents Introduction.................. xiv Acknowledgments...............xvii Forms in the book...............xviii Chapter 1: The Production Team and Who Does What Introduction..............1 Producers................1 Executive Producer.........2 Producer...............2 Co-Producer.............2 Line Producer............2 Post Production Producer.....3 Associate Producer.........3 Production Management.......3 Unit Production Manager.....3 First Assistant Director.......4 Second Assistant Director.....4 Production Supervisor.......4 Production Coordinator......4 Chapter 2: The Production Office Introduction............. 11 Office Space............. 11 Setting Up.............. 13 Phone Systems..........15 The Traveling Production Kit... . 16 Answering the Phone........ 18 Confidentiality............ 18 Shredding.............19 Watermarking...........19 Production Assistants........ 19 Interns................ 20 Ain t Technology Great?...... 22 Techie Wanted..........22 Employees Driving
Their Own Vehicles for Business Purposes............. 23 Staff Scheduling and Assignment of Duties............. 23 Staff Meetings............ 23 Office Lunches............ 25 Time Management......... 24 Office Inventories, Logs, and Sign-Out Sheets......... 25 The Files............... 25 Files of Blank Forms.......26 Files for Features, Movies for Television, Cable or Internet.............26 Series Files............27 Day Files.............28 Forms in This Chapter....... 28 Chapter 3: Basic Accounting Introduction............. 33 The Production Accountant .... 33 The Accounting Department.... 34 Flandling Payroll........... 35 Payroll Companies......... 35 Accounting Guidelines....... 36 Start Paperwork Packets.....36 Payroll...............36 Box Rentals............37 Vendor Accounts.........37 Competitive Bids.........38 Purchase Orders.........38 Check Requests..........39 Petty Cash.............40 Online Purchases.........41 Cell Phone Reimbursement.........41 Auto Allowances.........41
Mileage Reimbursement.....42 Drive-To..............42 Per Diem and Living Allowance...........42 Invoicing.............42 Additional Taxable Income.............42 The Budget.............. 43 Tracking Costs............ 46 The Audit............... 47 Forms in This Chapter....... 47 Chapter 4: From Script to Schedule Introduction............. 79 It All Starts with a Script...... 79 Script Revisions..........79 The Breakdown........... 81 v
Contents The Board.............. 84 The Schedule............ 85 Day-Out-of-Days.........86 Breakdowns............87 Chapter 5: Incentives Introduction............. 89 The Evolution of Incentive Programs............. 89 In Flux....... 90 What to Consider.......... 91 Infrastructure............. 92 Types of Incentives......... 92 Rebate...............92 Tax Credits............92 Refundable Tax Credits......93 Transferable Tax Credits.....93 Nonrefundable, Nontransferable Tax Credits...........93 Up-Front or Back-End Funding.............93 Chapter 6: Pre-Production What Is Pre-Production?...... 95 Establishing Company Policies ... 95 Stages................. 96 Meetings, Meetings, and More Meetings............. 97 Communications.......... 99 Cellular Phones, BlackBerrys, Wireless Internet and More . . 99 Walkie-Talkies.........100 Previsualization...........101 Plan Ahead..............102 Sample Pre-Production Schedule.............102 Week #1 (8 weeks to go).... 102 Week #2 (7 weeks to go)...
. 103 Week #3 (6 weeks to go)... . 103 Week #4 (5 weeks to go)... . 103 Week #5 (4 weeks to go).... 103 Week #6 (3 weeks to go)... . 103 Week #7 (2 weeks to go)... . 103 Week #8 (final week of prep) . 104 Daily Prep Schedules........105 More on Logs and Sign-Out Sheets...............105 Distribution .............106 Collecting Information and Making Lists...........106 Crew Information Sheet .... 106 The Crew List..........106 The Executive Staff List.....106 The Cast List..........106 The Contact List ........ 110 Better Safe than Sorry.......111 Pre-Production Checklist......111 Starting from Scratch...... 111 Creating Your Own Production Manual..............117 For Your Own Good........118 Forms in This Chapter.......118 Chapter 7: Insurance Requirements Introduction.............125 General Insurance Guidelines . . .126 Errors and Omissions (E O) .... 126 Comprehensive General Liability..............127 Certificates of Insurance......127 Hired, Loaned, Donated or Nonowned Auto Liability
.... 128 Hired, Loaned or Donated Auto Physical Damage.........128 Workers Compensation and Employer s Liability.......128 Guild/Union Accident Coverage.............129 Production Package (Portfolio Policy)...............129 Cast Insurance.........130 Essential Elements .......131 Bereavement Coverage.....131 Production Media (Film, Digital Elements or Other Medium)/ Direct Physical Loss.....131 Faulty Stock, Camera and Processing..........131 Props, Sets and Scenery; Costumes and Wardrobe; Miscellaneous Rented Equipment; Office Contents........... 131 Extra Expense..........132 Third-Party Property Damage............132 Supplemental (or Optional) Coverages............132 Umbrella (Excess Liability) . . . 132 Use of Aircraft.........132 Use of Watercraft........132 Use of Railroads or Railroad Facilities...........132 Use of Valuables........132 Use of Livestock or Animals . . 133
Contents Signal Interruption Insurance . . 133 Foreign Package Policy.....133 Political Risk Insurance.....133 Weather Insurance.......133 Completion Bonds.........133 Claims Reporting Procedures ... 134 Submitting Claims.......134 Forms in This Chapter.......135 Chapter 10: Deal Memos Introduction..... The Cast Deal Memo Crew Deal Memos . Writers Deal Memos DGA Deal Memos . . Forms in This Chapter 189 189 189 189 189 190 Chapter 8: During the Shoot The Prep Continues.........157 The Set................157 Communications..........158 The Daily Routine..........158 Call Sheets and Production Reports..............160 Paperwork from the Set......161 The Script Supervisor s Role .... 162 The Day Before...........163 Reshoots...............163 Daily Wrap..............164 On the Lighter Side.........165 Forms in This Chapter.......166 Chapter 9: Building Strong Industry Relationships: Making Good Deals and Navigating the Politics Introduction.............181 Vendors................181 Negotiating
with Vendors ... 182 Studio and Network Executives ..183 Agents.................183 Your Crew..............184 Negotiating Tips for Hiring Crew............. 185 Avoid Cutting Off Your Nose to Spite Your Face.........185 Standards of Business Conduct ..186 Politics and Principles........186 #1: Jonathan Sanger ( Elephant Man, Frances, Vanilla Sky, Suspect Zero, The Producers) ......... 187 #2: A Top Production Exective (who prefers to remain anonymous)......... 187 #3: Ira Shuman (Just Married, Cheaper by the Dozen, The Pink Panther, Night at the Museum, The Pink Panther 2, The Spy Next Door) .......... 188 A Producer s Mission........188 Chapter 11: Unions and Guilds Introduction.............199 An Overview of Industry Unions and Guilds............199 Union versus Nonunion Shows . . 200 Becoming a Union Member .... 200 Becoming a Union Signatory.... 201 More Specifically..........201 Screen Actors Guild (SAG) . . . 201 SAGIndie ...........201 Short Film Agreement . . 201 Ultra-Low-Budget
Agreement.......201 Modified Low-Budget Agreement.......202 Low-Budget Agreement. . 202 AFTRA..............202 Directors Guild of America (DGA).............202 Getting into the DGA .... 203 Creative Rights ........204 Writers Guild of America (WGA)............205 The Producers Guild of America (PGA)........205 The Alliance of Motion Picture and Television Producers (AMPTP) .............206 Contract Services Administration Trust Fund............206 SAG, DGA and WGA: Forms and Reports..............206 Union and Guild Contact Information............207 Chapter 12: Principal Talent Introduction.............209 With a Little Help from Technology............209 Follow-Through After an Actor s Been Cast.............209 Work Calls..............211 Performer Categories........211 Stunt Performer Categories .... 212 Interviews..............212
Contents Workweek..............212 Rest Periods.............212 Consecutive Employment.....213 Transportation and Location Expenses ............. 213 Looping................213 Dubbing (Theatrical Motion Pictures Only)..........213 The Employment of Minors . . . .214 Work Permits..........214 Coogan s Law . .........214 Parents, Guardians, Teachers and Schooling........215 Working Hours.........215 Miscellaneous Guidelines Pertaining to Minors...........216 Specific California Guidelines..........216 Taft/Hartley..............216 Nudity.................217 Work in Smoke...........218 SAG Background Actors......218 Additionally.............218 Forms in This Chapter.......218 Screen Actors Guild Offices .... 218 Chapter 13: Background Talent Background Casting Agencies . . . 261 Finding Specific Types.....261 The Process.............261 Gathering Large Crowds and Filling Stadiums.......263 Background Casting on Location . 263 Specifically SAG...........264 Moving from Nonunion to Union Status.........265
With the Extra in Mind.......265 Reminder of Professional Conduct for Background Actors.............266 Forms in This Chapter.......266 Chapter 14: There s An Animal In My Film Introduction.............269 The Process.............269 Shipping Animals........270 Animal Trainers.........270 Some Expert Advice.........270 The American Humane Association............270 Chapter 15: Clearances and Releases Introduction.............273 What Needs to Be Cleared.....274 Likeness.............274 Crowd Notice..........274 Locations............274 Name..............274 Names of Actual Businesses or Organizations........274 Telephone Numbers......274 License Plates..........275 Depiction of Public Authorities..........275 Street Addresses.........275 Depiction of Actual Products . 275 Posters and Paintings......275 Publications...........275 Currency............275 Web Addresses.........275 Music..............275 Product Placement.........275 Guidelines for the Use of Clips, Stills and News Footage
in Multimedia Programs......277 Literary Works.........277 News and/or Stock Footage . . 277 Film Clips............277 Television Clips.........277 Still Photos...........278 Public Domain Films and Stills..............278 Trailers.............278 Talent Clearance........279 News Footage .........279 Public Figures in News Footage.........279 Feature Films .........280 Television Programs .....280 Directors and Writers Payments...........281 Distribution of Release Forms . . . 281 Forms in This Chapter.......281 Chapter 16: A Guide to Music Clearance What Is Music Clearance?.....303 Why Does a Producer Have to Secure Licenses for Music Rights ?.........303 How Does Your Errors and Omission Insurance Policy Relate to Music Clearance?. . . 303
Contents QD Who Are the Owners of If a License Is Obtained to Use a Musical Compositions and Film Clip from a Television Recordings?.......... 304 Program or Feature Film, Will What Was the U.S. Supreme that License Include the Right Court s Rear Window Decision to Use the Music Contained on and How Does It Affect Music the Clip?............. 308 Licensing?............. 304 If a Record Company Issues a What Rights Are Needed in Order License to Use a Music Video to Make Sure that the Musical Clip, Will Further Clearances Material Used in a Production Be Required?........... 308 Is Properly Cleared?....... 304 Is a Synchronization License Public Performing Rights .... 304 Required for the First U.S. Reproduction Rights...... 305 Network Broadcast of an Original Adaptation Rights........ 305 Live or Taped Television From Whom Are These Music Program?............. 309 Rights Obtained?........ 305 What Rights Are Required to Musical Compositions..... 305 Release a Program for Sale in Recordings...........
305 the Home Video DVD What Is a Music Cue Sheet and Marketplace?........... 309 Why Is It So Important? . . . . 306 What Do Music Copyright To Where Should Music Cue Owners Charge for Home Sheets Be Sent?......... 306 Video DVD Rights?....... 309 Can a Copyright Owner Prevent How Are Feature Films Music from Being Used? . . . . 306 Licensed?............. 309 What Happens If a Song Is Used How Is Music Licensed in Without Clearance?....... 306 Religious Programs?....... 310 What About Old Songs? Aren t How Much Will It Cost to Clear These Songs in the Public a Song for Use in My Domain, and Free to Be Used Television or Film Project? . . . 310 Without Restrictions?...... 307 What Is a Needle Drop?...... 310 How Long Can Music Be What Happens When Licenses Protected by Copyright? . . . . 307 Expire? .............. 310 May 1 Use Eight Bars of a Song Without Paying for It?...... What Is Fair Use ?......... 307 307 Chapter 17: Safety May the Title of a Song Be Safety Programs........... 311
Used as the Title of a Safety Meetings........... 311 Program?............. 307 Safety Training............ 312 Must a License Be Secured if Designated Areas of Song Lyrics Are Spoken in Responsibility.......... 312 Dialogue?............. 308 Safety Bulletins........... 312 May Lyrics to an Existing Song General Code of Safe Practices Be Changed Without for Production........ 312 Permission?............ 308 Procedural Guidelines . . . . 313 If a Song Is Cleared for One General Safety Guidelines for Episode of a Television Series, Production............ 313 May It Be Used in Other General Rules.......... 313 Episodes Without Additional Lifting and Moving....... 314 Permission?............ 308 Common Fall Risks (Catwalks, Is It Necessary to Clear Music Runways, Floor Openings, That s to Be Used in Guard Rails, Scaffolds and Commercials?.......... 308 Stairwells)........... 314 May Records or Compact Discs Hazardous Materials...... 314 Be Used on a Television Hand Tools and Related Show?............... 308 Equipment.......... 314
Contents Filming Equipment (Booms, Camera and Insert Cars, Cranes, Dollies, etc.)..... Filming Vehicles (Aircraft, Helicopters, Cars, Trains, etc.).......... Electrical Safety......... Water Hazards......... Stunts and Special Effects . . . Smoke.............. Firearms.............. Animals............. Environmental Concerns .... Preparing for an Emergency . . Screen Actors Guild - Safety Regulations............ Working Under Hazardous Conditions............ Advice from an Expert....... Sexual Harassment......... On Location - Personal Safety Considerations and Suggestions............ Visit Locations Prior to First Day of Shooting....... Gang-Occupied Locations . . . Additional Suggestions..... Taking Action.......... Conflict Resolution....... Self-Defense........... Forms in This Chapter....... Chapter 18: Locations Introduction............. The Location Manager....... Filmmaker s Code of Conduct. . . Sample Notification Letter..... Forms in This Chapter....... Chapter 19: Distant
Location Introduction............. Location Managers on Distant Location.............. The Production Office....... The Traveling Production Office............. Distant Location Checklist..... Welcome to Location........ Interacting with Local Communities........... Film Commissions.......... SAG Branch Offices......... Form in This Chapter........ Chapter 20: Foreign Locations Introduction.............345 U.S. Companies Shooting in Foreign Countries........345 Before You Make Your Plane Reservations.........345 Supplying Information to Cast and Crew...........348 Instructions for Crossing into a Foreign Country.......348 The U.S. Foreign Corrupt Practices Act (FCPA).....349 Final Notes...........350 The United States as a Foreign Location..............350 O Visas.............350 P Visas..............350 H-2B Visas...........350 Chapter 21: Travel and Housing Introduction.............353 Travel Considerations........353 General Travel Information . . 354 Movement Lists and Individual Travel
Itineraries.......355 Housing................355 There s Always Someone .... 357 Alternative Housing ......358 Forms in This Chapter.......539 Chapter 22: Shipping Introduction.............365 Shipping Companies........365 Shipping Coordination.......366 General Shipping Guidelines . . . 366 Dangerours Goods.......367 Modes of Transportation .... 368 Ground ............ 368 Air ...............368 Ocean .............368 Domestic Shipping.........369 Manifests............369 Packing and Labeling......370 Shipping Dailies........370 Weapons, Ammunition, and Explosives ..........371 Shipping Animals........371 Returns.............372 Personal Items ........373 Sea Containers and Rolling Stock ............373 Rolling Stock .........374 International Shipping.......374 315 315 315 315 315 315 315 315 315 315 316 316 317 317 317 317 318 318 318 318 318 318 323 323 327 328 329 337 337 338 338 339 340 341 342 342 342
Contents GD General Customs and Shipping Guidelines..........374 Weapons ...........375 Temporary versus Definite . . . 375 Brokers and Freight Forwarders 375 Methods of Importing Goods on a Temporary Basis .... 376 Carnets ............376 Certificate of Registration . .376 Pro-Forma Shipping Invoices ...........376 Temporary Importation Bonds (TiBs) ........378 In-Bond ............378 Shipper Export Declaration . .378 Transporting Goods Across the Border..........378 Fees...............378 Packing and Labeling International Shipments ... 379 Providing Information to Vendors............379 Returns.............379 Film and Dailies on a Foreign Location...........380 U.5. Sales Tax Exemptions . . . 380 Final Notes...........380 Forms in This Chapter.......380 Chapter 23: Effects Introduction.............389 Visual Effects.............389 Physical Effects............392 Mechanical Effects..........392 Chapter 24: Specifically Television Introduction.............395 Showrunners.............395
TV Directors.............395 Cable Movies............396 The One-Hour Drama.......396 Overview............396 Airdates.............397 Titles...............398 A Prep Schedule........398 Budgets.............399 The Cast.............399 The HD Factor.........399 Some Differences Between Broadcast Network and Cable Shows.........400 Reality TV...............400 Reality as a Genre.......400 Casting.............401 Insurance Considerations.... 401 Product Placement.......401 Staff and Crew.........401 Post Production.........402 Summing It Up.........402 Half-Hour Sitcoms..........402 Chapter 25: Independent Filmmaking Introduction.............405 Specialty Divisions.........405 So You re Going to Make a Film................406 For Starters...........406 Rights..............407 Completion Bonds.......408 From Financing to Distribution............408 A Business Plan.........408 Financing Models........409 Bank Loan............410 About Sales Agents.......411 Producer s Reps.........411 Distribution...........411
Acquisition Executives.....412 Some Additional Resources .... 412 Chapter 26: Practical Low-Budget Filmmaking Introduction.............415 General Suggestions for Low- and Ultra-Low-Budget Films.....415 Filming on a Shoestring.......417 What Is It? ...........419 How Does It Work? .....419 What to Include in the Proposal ..........419 Some Very Important Notes ............419 Short Films..............420 Marrying Creativity with Business . 421 Film Festivals.............422 Direct-to-DVD............423 Documentaries............425 More on Marketing.........427 Music for Your Film.........427 Additional Resources........428 Forms in This Chapter.......428 Chapter 27: New Media Introduction.............435 What Is New Media?........435 Cross-Platforms...........436
XII Contents Studios and Networks....... New Media Producers, Studios and Production Companies . . Games................ Special Venues............ Interactive TV............ Marketing in the Digital Age .... Where to Go for More....... A Little Terminology......... Website Resources......... Conferences............. Final Thoughts............ Chapter 28: Commercial Production Introduction............. Developing, Bidding and Awarding............. The Pre-Production Book..... The Relationship Between the Client, the Agency and the Production Company.... Differences.............. The Wrap Book........... Forms in This Chapter....... Chapter 29: Wrap Introduction............. Recoverable Assets......... Getting Started........... Tentative Screen Credits...... At the Completion of Principal Photography........... Short Ends.............. Wrapping by Department..... Wardrobe............ Props.............. Set Dressing........... Set Dressing/Construction . . . Art Department/Construction.
. Construction .......... Packing................ To Submit to Your Production Exec or Parent Company . . . . Your Basic Wrap Book....... Wrap Checklist........... The Final Production Book . . . Forms in This Chapter....... Chapter 30: Post Production Overview Introduction............. Shooting on Film.......... The Process........... Shooting Digitally.......... Editing................ The Director s Cut..........466 Under the DGA Basic Agreement..........467 Under a DGA Low-Budget Agreement..........467 Dailies.................467 Post Production Sound.......467 Schedules and Workflow......468 Screen Credits............469 Directors Guild of America (DGA).............470 Director - Theatrical Motion Pictures ...........470 Director - Television .....470 Unit Production Manager/First Assistant Director/Second Assistant Director - Theatrical Motion Pictures and Television ..........470 Screen Actors Guild (SAG) . . . 470 Performers - Theatrical Motion Pictures ......470 Performers - Television
Motion Pictures ......470 Writers Guild of America (WGA) . 471 Writers - Theatrical and Television Credits .....471 Other Significant Screen Credits............471 Producers Credits ......471 Casting ............471 Music .............471 Film Editor ..........471 Art Director/Production Designer ..........471 Director of Photography . . .471 Costume Designer ......471 Set Decorator .........471 Costumers ...........471 Flair and Make-Up ......471 Alternative Titles........471 Sample Screen Credits.....471 Standard Delivery Requirements . 475 Negative and Picture Elements ..........475 Sound Elements ........476 Videotape Masters ......476 Publicity Materials ......476 Music Documents ......476 General Documents .....476 Work Materials ........477 Post Production Terminology . . . 477 Film Terms Translated to Their Digital Equivalent......481 437 438 438 439 439 439 440 440 440 442 442 443 443 445 445 445 446 447 449 449 450 451 452 452 453 453 453 453 453 453 453 454 454 455 455 457 457 463 464 465 465 466
Contents Chapter 31: Greener Filmmaking Introduction.............483 General Guidelines.........484 Recycle!.............484 Conserve Energy!........484 Be Environmentally Responsible!.........485 Properly Dispose of Hazardous Waste!......485 Departmental Guidelines......485 The Production Office.....485 Construction ..........486 Transportation..........486 On-Set..............486 Craft Service/Catering.....486 Grip and Electric........487 Special Effects..........487 Wardrobe............487 Make-Up and Hair.......487 Camera.............487 What Can Be Recycled.......487 Paper..............488 Metals..............488 Glass...............488 Plastics .............488 Do Not Recycle These Items.............488 Green Guidelines..........488 Green Links.............489 Chapter 32: Industry Survival Tips Introduction.............495 Key Ingredients to a Successful Career...............495 #1: Passion! Passion! And More Passion!........495 #2: Being Prepared.......495 #3: It s Who You Know and
Who Knows You.......496 #4: It s Also What You Know About the Industry......496 #5: Understanding the Power of Networking........496 #6: Having a Plan, and Committing to Your Success............497 #7: Standing Out from the Crowd ............497 #8: Developing a Thick Skin..............497 #9: Perfecting Your Craft .... 498 #10: Having Good Interview Skills.............498 #11 : Being Able to Ask for What You Want.......498 #12: A Winning Attitude .... 498 #13: A Willingness and an Ability to Play the Game.............499 #14: Being Well Liked and Having a Good Reputation..........499 #15: A Game Plan for Getting Through the Rough Times . . 499 #16: The Seven Ps.......499 More on Getting Through the Tough Times...........500 Getting Work............501 Developing Good Work Habits and Necessary People Skills................503 A Lesson in Paying Dues......504 It s the Attitude, Dummy......504 How to Keep Learning.......504 Easier Said than Done.......504 Remembering Why You Got into This
Business to Begin With . . 506 Recipe for Success.........507 Glossary........................ 509 Index......................... 517
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| edition | 4. ed. |
| format | Book |
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| id | DE-604.BV035968015 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-09T22:08:44Z |
| institution | BVB |
| isbn | 9780240811505 |
| language | English |
| lccn | 00063598 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-018862081 |
| oclc_num | 495547078 |
| open_access_boolean | |
| owner | DE-703 DE-M472 DE-706 DE-739 |
| owner_facet | DE-703 DE-M472 DE-706 DE-739 |
| physical | XVIII, 524 S. |
| publishDate | 2010 |
| publishDateSearch | 2010 |
| publishDateSort | 2010 |
| publisher | Focal Press, Elsevier |
| record_format | marc |
| spelling | Honthaner, Eve Light 1950- Verfasser (DE-588)1075197333 aut The complete film production handbook Eve Light Honthaner 4. ed. Amsterdam [u.a.] Focal Press, Elsevier 2010 XVIII, 524 S. txt rdacontent n rdamedia nc rdacarrier Includes indexes. Filmproduktion (DE-588)4124971-9 gnd rswk-swf Filmproduktion (DE-588)4124971-9 s DE-604 http://www.loc.gov/catdir/description/els031/00063598.html Publisher description http://www.loc.gov/catdir/toc/els031/00063598.html Table of contents HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018862081&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Honthaner, Eve Light 1950- The complete film production handbook Filmproduktion (DE-588)4124971-9 gnd |
| subject_GND | (DE-588)4124971-9 |
| title | The complete film production handbook |
| title_auth | The complete film production handbook |
| title_exact_search | The complete film production handbook |
| title_full | The complete film production handbook Eve Light Honthaner |
| title_fullStr | The complete film production handbook Eve Light Honthaner |
| title_full_unstemmed | The complete film production handbook Eve Light Honthaner |
| title_short | The complete film production handbook |
| title_sort | the complete film production handbook |
| topic | Filmproduktion (DE-588)4124971-9 gnd |
| topic_facet | Filmproduktion |
| url | http://www.loc.gov/catdir/description/els031/00063598.html http://www.loc.gov/catdir/toc/els031/00063598.html http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018862081&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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