Producing and directing the short and film video:
Saved in:
| Main Authors: | , |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
New York [u.a.]
Focal Press
2015
|
| Edition: | Fifth edition |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Item Description: | Includes bibliographical references and index |
| Physical Description: | xxviii, 468 S. Ill. 28 cm |
| ISBN: | 9780415732550 |
Staff View
MARC
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| 020 | |z 9781315849065 |c ebk. |9 978-1-315-84906-5 | ||
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| 100 | 1 | |a Rea, Peter W. |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Producing and directing the short and film video |c by Peter W. Rea and David K. Irving |
| 250 | |a Fifth edition | ||
| 264 | 1 | |a New York [u.a.] |b Focal Press |c 2015 | |
| 300 | |a xxviii, 468 S. |b Ill. |c 28 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Includes bibliographical references and index | ||
| 650 | 4 | |a Short films / Production and direction | |
| 650 | 4 | |a Video recordings / Production and direction | |
| 650 | 7 | |a Short films / Production and direction |2 fast | |
| 650 | 7 | |a Video recordings / Production and direction |2 fast | |
| 650 | 0 | 7 | |a Filmproduktion |0 (DE-588)4124971-9 |2 gnd |9 rswk-swf |
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| 689 | 0 | 1 | |a Filmproduktion |0 (DE-588)4124971-9 |D s |
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| 689 | 0 | |C b |5 DE-604 | |
| 700 | 1 | |a Irving, David K. |d 1949- |e Verfasser |0 (DE-588)140825665 |4 aut | |
| 856 | 4 | 2 | |m Digitalisierung UB Regensburg - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028045313&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
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Record in the Search Index
| _version_ | 1804174784189169664 |
|---|---|
| adam_text | Contents
Preface: Fifth Edition xv
Acknowledgments xvii
Introduction xix
Internet xix
Craft versus Art and Collaboration xix
What Are the Steps? xx
The Organization of the Book xx
Producer and Director xx
The Producer xxi
The Director xxi
Six Short Films xxii
The Filmmakers Speak xxii
Chapter Breakdowns xxii
Companion Web Site xxiii
Timeline xxv
part I Preproduction 1
1 Script 9
THE CREATIVE PRODUCER 9
Developing the Script 9
Animation 10
Do Your Homework 10
What Is a Script? 11
What Does a Script Look Like? 11
Where Do Scripts Come From? 12
How Are Scripts Developed? 15
Workshop Your Idea 16
Basic Guidelines for the Short Form 16
Length 17
The Central Theme 17
Conflict 17
The Basic Conflicts 18
The Dramatic Arc or Spine 18
One Primary Event 19
One Major Character 19
Follow-Through 20
Minimum Back Story 20
Internal Motives, External Action 20
No Talking Heads 21
Images before Words 21
Adaptation 21
Why Adapt? 21
Rights 22
What Is the Story About? 22
Find Your Plot and Characters 22
Make the Internal External 24
Dramatic Expectations 24
What Do You Do Now? 24
General Guidelines for Adaptation 25
True Stories and Events 25
Legalities 25
Rights and Adaptations (Preexisting
Material) 25
Noncommercial/Festival Rights 26
Original Material 26
Copyright 26
Collaboration 27
Working with a Writer 27
Rewriting 27
How Do Scripts Affect Budgets? 27
DIRECTOR 28
Supervising or Performing Rewrites 28
Working with the Writer 28
Director as Storyteller 28
Readings 28
Story Questions 29
Scene Analysis 29
The Shooting Script 29
Documentaries 30
Developing a Web Presence 31
Selecting a Web Master 31
Designing the Interface 31
KEY POINTS 32
vi · CONTENTS
2 Finance 33
PRODUCER 33
Raising the Capital 33
Basic Fundraising Problems 33
How Much Money Will You Need? 34
Funding Options 34
Private Investors 35
Fiscal Sponsorship 35
Private Foundation Grants 35
Public Foundation Grants 36
Corporate Sponsorship 36
Bank Loans 36
Personal Savings 36
In-Kind Services and Donations 36
Do Your Research 37
The Prospectus 37
Presentation Is Everything 41
Spending the Money Responsibly 41
The Digital Prospectus 42
General Fundraising Suggestions 42
Student Fundraising Strategies 43
Sources for Students 43
DIRECTOR 43
Pitching the Project 43
The Elevator Challenge 44
Steps to a Successful Pitch 44
KEY POINTS 44
3 Breakdowns 47
PRODUCER 47
Breaking Down the Script 47
Production Book 47
Proper Script Format 48
Breaking Down the Script 48
Step 1: Breakdowns 49
Step 2: Schedule 53
Step 3: Budget 53
The Digital Producer 53
DIRECTOR 54
Developing a Shooting Plan 54
Organization Leads to Flexibility 54
Director Breakdowns 56
Know the Script 57
Know the Theme 57
Develop a History for the Main Characters 57
Know What Each Character Wants in the
Story 58
Break Down Each Scene into Dramatic
Beats 58
Determine a Visual Style for the Story 59
Study the Locations and Rehearse the
Actors 60
Settle on Pacing and Tone 60
Workshop Ideas on Video 60
Create Floor Plans and Storyboards 60
Make a Shot List 62
Animation 62
The Final Word 63
KEY POINTS 63
4 Schedule 65
PRODUCER (AS PRODUCTION
MANAGER) 65
Building a Stripboard 65
General Guidelines 65
Fixed Dates 66
Locations 67
Cast 67
Exteriors 68
Night Shooting 68
Continuity of Sequences 69
Shooting Out 69
Child Actors 69
Time of Year 69
Weather 69
Special Effects, Stunts, and Animals 70
Crowd Sequences 70
Special Equipment 70
Turnaround, Setup Time, and Swing Crews 70
Animation 71
Other Considerations 71
Beginning the Schedule 71
Creating the Schedule 71
The First Day 72
Making the Day 72
Keep the Day under 12 Hours! 72
Shooting during Preproduction 74
Animation Lip-Sync 74
Locking the Schedule 74
Call Sheet 75
Scheduling Documentaries 75
Student Scheduling Tips 75
Web Presence for the Project 77
DIRECTOR 77
Determining the Visual Plan 77
Coverage = Time = Schedule =
Budget 78
Contingency Plans for Overages 78
Things Change 78
KEY POINTS 78
5 Budget 81
DIRECTOR 81
Shooting for the Moon 81
CONTENTS · VÜ
PRODUCER 81
Creating a Budget 81
Script and Budget 82
Who Creates the Budget? 82
Budgeting Software 82
Production Value 82
The Budget Form 83
Above-the-Line Costs 83
001 Script and Rights 84
002 Producer/003 Director 87
004 Cast 87
Below-the-Line Costs 88
Basic Decisions 88
005 Production 90
006 Crew 90
007 Equipment 91
008 Art 92
009 Location 93
010 Film and Lab 94
Postproduction 95
011 Editing 95
012 Sound 95
013 Lab 96
Postproduction Finish Digital 96
014 Office Expenses 97
015 Insurance 97
016 Contingency 97
Petty Cash 97
Beginning the Budget 98
The Budget Process 98
Information Is Power 98
Learn by Doing 99
Student Budgets 99
KEY POINTS 100
6 Crew 103
DIRECTOR 103
Choosing the Crew 103
PRODUCER 103
Hiring the Crew 103
Who Hires the Crew? 104
When Do You Need a Crew? 104
How Big a Crew Do You Need? 104
The 3-30 Rule 104
Selecting the Crew 105
Attracting the Right People 105
Evaluating Credits 106
Negotiating the Deal 106
Key Crew Members 106
Production Manager 107
Director of Photography 108
The Digital Assistant 110
Art Director (Production Designer) 111
Assistant Director 113
Production Sound Mixer 114
The Digital Imaging Technician 115
Specialty Crew 115
Production Assistant 115
Interns 116
Documentary Crews 116
Hiring anAnimator 116
Developing the Right Chemistry 117
KEY POINTS 117
7 Actors 119
Casting 119
PRODUCER 120
The Casting Process 120
Casting Director 120
The Basic Casting Steps 121
Advertise Specific Roles 121
Scout Local Theater Companies
122
Scout Acting Schools 122
Contact State Film Commissions 123
Organize Submitted Head Shots and
Résumés 123
Arrange Casting Calls 123
Reader 123
Arrange Callbacks 123
Negotiate with Selected Actors 124
Contracts and Deal Memos 124
Deal with Rejected Actors 125
Added Benefits of Casting 125
DIRECTOR 126
Auditions 126
Types of Auditions 126
Audition Guidelines 127
Before the Audition 127
Beginning the Audition 127
The Reading 127
Evaluating the Audition 128
Video Operators 129
Callbacks 129
Casting Children 130
Happy Accidents 130
Points to Keep in Mind 131
Casting the Documentary 131
PRODUCER 132
Rehearsal Schedule 132
DIRECTOR 132
Rehearsals 132
The Goals of Rehearsal 133
Before Rehearsals 133
Developing Mutual Trust 133
Researching the Character 133
viii · CONTENTS
Character Arc 134
First Read-Through 134
Develop the Theme 134
Second Read-Through 135
Keep Notes 135
Scene by Scene 135
Staging the Scene 135
Record the Rehearsals 136
Discovering Beats 136
Subtext 137
Pace 137
Improvisation 137
Special Situations 138
Rehearsing with Children 138
Communicating on the Set 138
Interviews 138
KEY POINTS 139
8 Location 141
DIRECTOR 141
Scouting Locations 141
Aesthetic Concerns versus Practical
Limitations 141
Be Flexible 141
The Power of Illusion 143
Identifying the Location 144
Interior or Exterior 144
Day or Night 144
Stage or Practical Location 145
Near or Distant 145
Walk-Throughs 146
PRODUCER 146
Securing Locations 146
Where to Look for Locations 147
Scouting the Locations 147
Lighting 148
Power 148
Sound 148
Green Room and Other Special Areas 148
Safety and Security 149
Proximity 149
Backups 149
Securing the Location 149
Location Contract 149
Location Fee 150
Permits 150
Insurance 150
Communication 150
Transportation 150
Parking 150
Company Moves 151
Catering 151
KEY POINTS 151
9 Art Direction 153
DIRECTOR 153
Production Design 153
Some History 153
Architect of Illusion 154
Creating a Look 155
How to Define the “Look” 155
Defining the Space with Visual Ideas 156
Communication with the Director of
Photography 156
Basic Decisions 156
Locations or Sets 156
Format 157
Black and White versus Color 157
Breakdowns: Listen to the Script 157
Camera Tests 158
PRODUCER 158
Assembling the Team 158
The Art Department 158
Images Can Tell a Story 158
Responsibilities of the Art Department 159
Stages and Locations 159
What Does the Script Require? 159
Set Dressing 161
Duplicate Set Items 162
Props 162
Duplicate Props 164
Weapons 164
Food 165
Wardrobe 165
Consulting the Actors 166
Specialty Garb 167
Duplicate Costumes 167
Consulting the Director of
Photography 167
Continuity and Script Time 167
Makeup 167
Special Effects Makeup 168
Hair 168
Animation 168
The Producer’s Role 169
Final Walk-Through 170
KEY POINTS 170
10 Camera 171
DIRECTOR 171
Collaborate 171
Keeping Up with Technology 171
Do Your Homework 172
Style 172
Listen to the Material 172
Documentary 173
CONTENTS · IX
Introduce the Camera during
Preproduction 173
Consult with the Director of
Photography 173
Responsibilities of the Director of
Photography 173
In Preproduction 174
In Production 174
Postproduction 174
Camera—Lighting Team 174
Basic Decisions 175
Film Stock 176
Tape—Tapeless 177
Film vs. Video Dynamic Range 177
Use of Color or Black and White 178
How Can Color Be Controlled? 179
Tests 180
The Camera as Storyteller 180
Coverage = Shot List 182
Type of Shot (Traditional Coverage) 183
Staging for the Camera 183
The Frame 186
Composition 186
Depth 187
Drawing the Viewer’s Eye 187
Extending the Frame 187
Focus 188
The Shot 188
The Lens 188
The Shot Size 189
Shot Perspectives 190
Point-of-View Shot 190
The Reveal 190
The Fourth Wall 192
Camera Movement 192
Find the Balance 193
One Long Take 193
Creating Camera Movement 193
Shoot with Editing in Mind 196
Continuity 197
Overlapping Action 197
The 180° Rule 198
Crossing the Line 198
Screen Direction in Movement 198
Montage 199
Documentaries 199
Keeping Track 199
Second Unit 199
Specialty Shots 199
Green Screen 199
Integrating Animation 202
Lighting Style 202
Lighting Basics 203
Lighting for Exteriors 203
Lighting for Interiors 204
Lighting with Practicáis 204
Lighting for Documentaries 204
Lighting for HD 205
Do It in the Camera or Do It in Post? 205
Broadcast Quality 205
Tricks 205
Poor Man’s Process 206
Simple Mattes (for Film Shoots) 206
Night for Day 206
Film 206
Equipment 206
Film Camera 206
Film Formats 207
Aspect Ratio 207
Camera Terms 208
Lighting Package 209
Other Equipment 210
Grip Package 210
Technical Considerations 211
Power 211
Fans 211
Video 211
Video Camera 211
Camcorder 211
The Waveform Monitor and
Vectorscope 212
The Monitor 213
The Video Format 213
Frame and Sensor Size 214
Progressive and Interlace Scanning 214
Interlace Factor 215
The Frame Rate 215
George Lucas and 24p 215
How Color Is Recorded 216
Color Systems 216
Color Sampling 217
What Do You Call a Format? 217
The Evolution of Video Formats 217
Standard Definition Analog Formats
218
Standard Definition Digital Formats 218
High Definition Digital Formats 219
Digital Cinema Formats 219
PRODUCER 220
Support 220
Laboratory (If Shooting Film) 220
Rental House 220
KEY POINTS 221
11 Sound 223
DIRECTOR 223
Recording Clean Tracks 223
X · CONTENTS
Why Getting Good Sound Is So
Important 223
The Sound Team 224
Production Sound Mixer 224
Boom Operator 225
Utility Sound Technician 226
The Equipment 226
Microphones 226
Preproduction Planning 226
Site Visit 227
Responsibilities of the Sound Team 227
Dialogue 227
Perspective 227
Consistency in Sound Recording 228
Room Tone 228
Sound Effects 229
Additional Sounds 229
Playback/Music Video 229
Communication on the Set 230
Sound Report 230
Approaches to Recording Sound 231
Boom 231
Overhead Boom 232
Plants/Stash 232
Lavalier 233
Wireless Microphone 233
Variables for Placing Microphones 233
Recording Concerns 234
Pickups 234
Keeping It Clean 235
Guide Tracks 235
Crowd Scenes 235
Digital Video Sound 235
Documentary 236
Additional Sound Information on the Web
Site 237
PRODUCER 237
Controlling the Environment 237
Equipment Needs for the Shoot 237
How Big a Sound Package and Crew Do You
Need? 238
Low to High Budget 238
KEY POINTS 238
part II Production 239
12 OnSet 243
Art on Set 243
Final Walk-Through 243
Set Procedures 244
The Day of the Shoot 244
Set Dressing 244
Props 245
Wardrobe 246
Makeup 246
Hair 246
Additional Crew 247
DIRECTOR ON SET 247
Inspires 247
Directing Actors 247
The Director as Audience 248
Acting Styles 248
Comedy 249
Understatement 249
Types of Characters 249
Primary Characters 249
Secondary Characters 250
Background Characters 250
Untrained Actors 251
Special Situations 252
Staging for Camera 252
Eye-Line 253
Technical Requirements for the Actor
253
Lenses 253
Hitting Marks 253
Apple Boxes 254
Video Tap 254
Digital Assistant 254
Dailies 255
Tips for Directing 255
Interviewing for Documentaries 255
Interview Questions 256
Director’s Disease 256
PRODUCER ON SET 257
Accommodating Actors 257
Socializing 257
Guidelines 257
Act as Coordinator 257
Support the Director and the Creative
Team 258
Watch the Budget 258
Keep Morale Up 258
Be a Troubleshooter 258
Keep the Production Moving Ahead 259
Proper Wrap Out 259
Keeping Track of the Art Department 259
Cover Sets 260
Wrapping Up 260
Set Protocols 261
Organized Chaos 261
Set Etiquette 261
The Process 261
Call Time 261
On Call 262
Stand-Ins 262
CONTENTS · xi
Makeup and Hair 262
Final Staging 262
A Typical Day 262
Camera Moves 266
Shot Procedure 266
Script Supervision 267
Continuity 268
Overlapping Action 269
Slates 269
Slating Procedure 269
Action! Cut! 271
Calling the Shot 271
KEY POINTS 271
Art 271
Director 271
part III Postproduction 273
13 Pix Postproduction 277
DIRECTOR 277
The “Final Draft” 277
The Director as Editor 277
The Editor 278
The Editor Speaks 278
The Documentary Editor 278
The Editing Process 278
What Is Editing? 279
Screening the Dailies (Working with an
Editor) 279
Shaping the Story 279
The Assembly 279
The Rough Cut 280
Analyzing the Rough Cut 280
Screening for Story 281
Screening for Pacing 281
Electronic Feedback 281
Restructuring the Picture 282
Screening the Second Cut 282
Refining the Story 282
Editing Techniques 282
Speed Is Not Everything 284
Evolution of the Edit 286
Shifts in Tone 286
Pace Is Everything 287
Be Ruthless 287
Locking the Picture 288
Delivering to the Sound Designer/Sound
Effects Editor 288
Digital Basics 288
Key Terms 288
SMPTE Timecode 288
Drop and Nondrop Frame Timecode 289
Analog versus Digital 289
Sampling Rate 290
Resolution 290
Digital Compression 291
Compression Methods 292
Working with Digital Data 294
Digital Connections 294
Hard Drive Storage 294
File Formats and Data Exchanges 294
Basic Workflow of a Nonlinear Editing
System 295
Basic Nonlinear Interface 295
Basic Terms 295
Storage 296
Monitors 296
Capturing and Organizing Clips 296
Digitizing 297
Setting Color and Audio 297
Organizing Clips 297
Editing Sequences 298
Editing Interface and Time Line 298
Its Only Virtual—Back up Please! 298
Marking and Assembling Clips 299
Adding Clips 299
Removing Clips from a Sequence 299
Trimming Clips 299
Basic Sound Editing 299
Special Digital Video Effects 300
Types of Effects 300
Creating Titles 300
Performing Real-Time versus Rendered
Effects 300
Working with Third-Party Graphics
Applications 301
Film Match-Back Issues 301
Ending a Session 301
Animation 301
Computer-Generated Images (CGI) 301
Technical Considerations When Editing
Film on Video 303
Telecine 303
The 29.97 Complication 303
Video Dailies 304
PRODUCER 305
Advise 305
What You Want from a System? 306
Editing Room 306
Postproduction Schedule 306
The HD Workflow 307
Finding an Editor 307
Evaluating Prospective Editors 307
The Editor Speaks 307
Stepping Back and Looking Ahead 309
KEY POINTS 310
xii · CONTENTS
14 Sound Postproduction 311
DIRECTOR 311
Sound Design 311
Some History 311
What Is Sound Design? 312
Respect for Sound 312
How We Perceive Sound Versus
Picture 312
Sound Equals Space 313
Sound Expands the Frame 313
What Is a Soundtrack? 313
The Design of Sound 314
Do You Need a Sound Designer? 315
Post Flow Options 315
Projects Shot on Digital Video 315
Projects Shot on Film 315
The Digital Audio Workstation 316
Creating the Soundtrack 316
The Workflow 316
Spotting 316
Dialogue Tracks 317
Editing Dialogue 318
Automatic Dialogue Replacement
(ADR) 318
ADR Spotting 319
Walla 319
Voice-Overs and Narration 319
Refining the Narration 320
Sound Effects Tracks 320
Unique or Enhanced Sounds 322
Music Tracks 322
Function 323
The Impact of Music 323
The Music Team 324
The Original Score 325
Music Spotting 326
The Music Editor 326
Working with a Composer 326
Preexisting Music 328
The Mix 328
Different Formats 329
Music Tips for Students and Beginners 330
PRODUCER 333
Supervising Postproduction 333
... And Distributors 334
The Moral 334
KEY POINTS 334
15 Fmishing/Online/
Laboratory 335
PRODUCER 335
Keeping Track 335
DIRECTOR 336
The Finished Look 336
Nonlinear Online Edit 336
Color Correction 337
Basic Workflows 337
Film-to-Film Workflow 338
Opticals 338
Timing 339
Cutting the Negative 340
Optical Track 340
Types of Prints 340
Mute Print 340
First Trial 340
Answer Print 340
Release Print 341
Film—Digital—Film Workflow 341
Film Cut Lists 341
24/30 Frame Issues 341
Digital Intermediate 342
DI—Finish in Film 342
Video-to-Film Transfer 344
Systems 344
The Digital-to-Digital Workflow 344
Offline/Online 344
Online Workflow 345
Offline/Online Workflow 345
Animation and CGI: Rendering and
Compositing 345
Finishing and Output 346
THE PRODUCER 346
Looking Ahead/Key Points 346
16 Distribution/Exhibition 349
PRODUCER 349
Launching the Film 349
Start Early: Have a Plan from the
Beginning 350
Your Web Presence 351
The Markets 352
Exhibition 352
YouTube 355
iTunes 355
Online Distribution Sites 355
DVD 355
Television 356
Theatrical Markets 356
Foreign Markets 356
Nontheatrical Markets 356
Educational Market 357
Institutional Market 358
Distribution Options 359
Self-Distribution 359
Distributor 359
CONTENTS · xiii
DIRECTOR 361
Publicity 361
Citizen 361
The Lunch Date 362
Crazy Glue 364
Mirror Mirror 364
The Academy Awards 364
Length of a Shoot Day 385
All in a Day’s Work 385
On the Road: What You Can Do When
You’re Tired 385
General Safety Guidelines 385
Attire 386
Special Effects 386
Chemicals and Flammable Materials 386
Set Construction 387
Lighting and Electric 387
Grip/Rigging 387
Lifting and Moving Heavy Objects 388
Ladders and Scaffolds 388
Dollies 388
Grip Trucks 388
Stunts, Prop Weapons, and Pyrotechnics 388
Fire and Pyrotechnics 388
Guns, Knives, and Other Prop
Weapons 388
Physical Stunts 388
Filming Stunts in Public 388
Special Effects 389
Motor Vehicles 389
Water Scenes 389
Additional Safety Considerations 389
Light Safely 389
Do You Know What to Look Out
For? 389
Electrical Tie-Ins 389
Location Scout 389
Blowing a Fuse 390
Using Gels 390
Set Etiquette 390
Changing Bulbs 390
Additional Concerns 390
Safety in the Studio 390
Lighting Grid 390
Sets and Flats 390
Shooting in Extreme Weather
Conditions 391
Extreme Cold 391
Extreme Heat 391
Inclement Weather 391
Using Animals in Film 391
Appendix C
Music Clearance and
Insurance 393
Music Rights 393
Public Domain and Fair Use 393
The Process of Licensing Music 394
Insurance 395
Comprehensive Liability 395
Miscellaneous Equipment 395
Third-Party Property Damage
Liability 395
Errors and Omissions 395
Cast Insurance 395
Negative Film and Digital Videotape 396
Faulty Stock, Camera, and Processing 396
Props, Sets, and Wardrobe 396
Extra Expense 396
Workers’ Compensation 396
Hired, Loaned, or Donated Auto
Liability 396
Hired, Loaned, or Donated Auto Physical
Damage 396
Guild/Union Travel Accident 396
Office Contents 396
Animal Mortality 397
Appendix D
A Short History of the
Short Film 399
Appendix E
Genres 401
Animation 401
Experimental, Alternative, Avant Garde 401
Corporate 402
Commercials 402
Music Videos 403
Appendix F
Screening List 405
Short Films Showcased in the 5th
Edition 405
Appendix A
Script Sample 367
Memory Lane 368
Appendix B
Safety Issues 385
xiv · CONTENTS
Collections 405
Early Shorts by Well-Known Filmmakers 406
Documentaries 406
Experimental/Avant Garde/Poetic 407
Animation 407
Classic Shorts 408
Appendix G
Film and Media
Programs 411
Programs 411
References 412
United States and Canada 413
International 414
Appendix H
Where Are They
Now? 417
Adam Davidson, The Lunch Date 417
Jan Krawitz, Mirror Mirror 418
Tatia Rosenthal, Crazy Glue 420
James Darling, Citizen 421
Jim Taylor, Memory Lane 421
Luke Matheny, God of Love 423
Glossary 425
Bibliography/Software/Intemet 447
Index 453
|
| any_adam_object | 1 |
| author | Rea, Peter W. Irving, David K. 1949- |
| author_GND | (DE-588)140825665 |
| author_facet | Rea, Peter W. Irving, David K. 1949- |
| author_role | aut aut |
| author_sort | Rea, Peter W. |
| author_variant | p w r pw pwr d k i dk dki |
| building | Verbundindex |
| bvnumber | BV042612459 |
| classification_rvk | AP 48700 AP 50800 |
| ctrlnum | (OCoLC)913412764 (DE-599)BVBBV042612459 |
| discipline | Allgemeines |
| edition | Fifth edition |
| format | Book |
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| id | DE-604.BV042612459 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:05:53Z |
| institution | BVB |
| isbn | 9780415732550 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028045313 |
| oclc_num | 913412764 |
| open_access_boolean | |
| owner | DE-355 DE-BY-UBR DE-M472 DE-1050 |
| owner_facet | DE-355 DE-BY-UBR DE-M472 DE-1050 |
| physical | xxviii, 468 S. Ill. 28 cm |
| publishDate | 2015 |
| publishDateSearch | 2015 |
| publishDateSort | 2015 |
| publisher | Focal Press |
| record_format | marc |
| spelling | Rea, Peter W. Verfasser aut Producing and directing the short and film video by Peter W. Rea and David K. Irving Fifth edition New York [u.a.] Focal Press 2015 xxviii, 468 S. Ill. 28 cm txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Short films / Production and direction Video recordings / Production and direction Short films / Production and direction fast Video recordings / Production and direction fast Filmproduktion (DE-588)4124971-9 gnd rswk-swf Regie (DE-588)4177403-6 gnd rswk-swf Kurzfilm (DE-588)4166233-7 gnd rswk-swf Kurzfilm (DE-588)4166233-7 s Filmproduktion (DE-588)4124971-9 s Regie (DE-588)4177403-6 s b DE-604 Irving, David K. 1949- Verfasser (DE-588)140825665 aut Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028045313&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Rea, Peter W. Irving, David K. 1949- Producing and directing the short and film video Short films / Production and direction Video recordings / Production and direction Short films / Production and direction fast Video recordings / Production and direction fast Filmproduktion (DE-588)4124971-9 gnd Regie (DE-588)4177403-6 gnd Kurzfilm (DE-588)4166233-7 gnd |
| subject_GND | (DE-588)4124971-9 (DE-588)4177403-6 (DE-588)4166233-7 |
| title | Producing and directing the short and film video |
| title_auth | Producing and directing the short and film video |
| title_exact_search | Producing and directing the short and film video |
| title_full | Producing and directing the short and film video by Peter W. Rea and David K. Irving |
| title_fullStr | Producing and directing the short and film video by Peter W. Rea and David K. Irving |
| title_full_unstemmed | Producing and directing the short and film video by Peter W. Rea and David K. Irving |
| title_short | Producing and directing the short and film video |
| title_sort | producing and directing the short and film video |
| topic | Short films / Production and direction Video recordings / Production and direction Short films / Production and direction fast Video recordings / Production and direction fast Filmproduktion (DE-588)4124971-9 gnd Regie (DE-588)4177403-6 gnd Kurzfilm (DE-588)4166233-7 gnd |
| topic_facet | Short films / Production and direction Video recordings / Production and direction Filmproduktion Regie Kurzfilm |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028045313&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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