The complete guide to film and digital production: the people and the process
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London
Routledge
2024
|
| Ausgabe: | Fourth edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xxiii, 392 Seiten Illustrationen |
| ISBN: | 9781032348636 9781032348650 |
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Contents List ofFigures xix Preface xxi Acknowledgments xxiii PART I Development and Pre-Production 1 Media Development 3 Executive Producer 3 Qualities of a Good EP 4 Acquiring the Script 5 Working With Writers 6 Developing the Package 6 The Pitch Deck 6 The Business Plan 8 Executive Summary 9 The Company 11 The Project 11 Schedule 13 Industry Statement 13 Marketing 13 Distribution 14 Return on Investment (ROI) 14 Distribution Agreement 14 The Budget 14 Locations 17 Business Plan Checklist 17 Acquisitions, Contracts, and Deals Unions, Guilds, and Organizations Summary 24 Reference List 24 18 24 vii
viii Contents 2 The Producers 27 The Producer’s Job 27 Working With First-Time Directors Associate Producer 31 Assistant to the Producer 32 Qualities of a Good Assistant 32 Field Producing 33 Producing Live Events 34 Producing Documentary 37 Content Producers 40 Producing Animation 40 The Psychology of Producing 41 Producing Is Leading 43 Unions, Guilds, and Organizations Summary 48 Reference List 48 3 Script Breakdown and Schedul ing 31 45 49 Scheduling a Film: Step-by-Step Overview The Script Breakdown 50 What Are the Elements? 52 Other Categories 55 A Note on Continuity 56 Breaking the Script Into “Eighths” 57 The Breakdown Sheet 59 The Strip or Production Board 61 Creating a Schedule 63 Putting the Schedule Together 66 Schedules to Print 66 Day-Out-of-Days 68 Updating Your Schedule 71 There’s an App for That! 72 Summary 72 4 The Budget 73 Budgeting Software 75 Budget Structure 75 Starting to Write a Budget 77 50
Contents ix Padding the Budget 89 The Contingency 89 Fringe Benefits 89 Union Versus Nonunion 91 Local Versus Distant 92 The Budgeting Process 93 Budget Disbursement and Tracking 93 Managing the Budget 94 Good Budgeting Versus Bad Budgeting 98 Budget Line Items 98 Tax Incentives 98 Conditions for Receiving Incentives 104 There’s an App for That! 106 Summary 106 Reference List 106 5 The Production Team and Staff 109 Unit Production Manager 109 Qualities of a Good UPM 111 Production Office Coordinator 111 Qualities of a Good РОС 113 Local Production Coordinator 113 Assistant Production Office Coordinator 113 Qualities of a Good APOC 116 Travel/Movement 116 Office Production Assistants 117 Paper Production Assistant 117 Receptionist 117 Qualities of Good PAs and Receptionists 118 Head Accountant 118 First Assistant Accountant, Second Assistant Accountant, and Accounting Apprentice 119 Qualities of a Good Accounting Staff 119 Technical Advisor 119 Script Supervisor 120 Qualities of a Good Script Supervisor 123 Craft Services 124 The Craft Services Person 126 Choices for Good Craft Services 127 Catering 127 Hiring Catering Companies 127 The Last Supper 128
x Contents Product Placement 128 There’s an App for That! 129 Unions, Guilds, and Organizations Summary 130 Reference List 130 6 The Production Office 129 131 Production Office Considerations 131 Setting Up the Office 134 Running the Production Office 136 Keeping It Running Smoothly 138 The Meet-and-Greet 138 The Wrap Party 138 Wrapping Out the Production Office 138 Production Lists 139 Summary 142 PART II Production 7 The Directors Team and 2nd Unit 145 Director 146 First Assistant Director 146 Qualities of a Good 1st AD 148 The 1st AD-Director Relationship 149 What the 1st AD Wants From the Director 149 Production Meetings 149 2nd Assistant Director 150 A Note on Directing Extras 152 Qualities of a Good 2nd AD 152 Walkie-Talkie Etiquette 152 2nd 2nd Assistant Director and/or DGA Trainee 153 Set Production Assistants 153 Qualities of Good 2nd 2nds, DGA Trainees, and Set Pas Director’s Assistant 154 154
Contents xi Choreographer 155 Dialogue Coach/Dialect Coach 155 Storyboard Artist 156 Set Operations 156 Closed Set 158 Set Protocol 158 The Set Box 159 AD Paperwork 160 2nd Unit 165 Unions, Guilds, and Organizations 167 There’s an App for That! 168 Summary 168 Reference List 168 8 Casting, Actors, Extras, and Stunt People Casting Department 169 Casting Director 169 Local Casting Director 172 Extras Casting 173 The Background Coordinator 174 Casting Assistants 174 How to Run a Casting Session 175 Screen Tests 177 Rehearsals and Training 177 Fittings 179 Working With Minors 179 Working With Animals 180 The Taft-Hartley 181 Categories of Actors 181 Day Players Versus Weekly Players 183 Stunts 183 Stunt Coordinator 183 Stunt Person 184 The Cast Read-Through 184 Working with SAG-AFTRA 185 Unions, Guilds, and Organizations 189 Summary 190 Reference List 190 169
xii Contents 9 The Art Department 191 Production Designer 191 Art Director 194 Set Decorator 194 Lead Person and Swing Gang 195 Art Department Coordinator 195 Set Designer 195 Set Dresser 195 Props 196 Assistant Props 196 Armorer 196 Concept Artist 197 Illustrator/Graphic Design 197 Draftsperson 197 Art Department Production Assistants 197 Assistant to Production Designer and Art Director Construction Coordinator 198 Construction Foreman 198 Construction Laborers 198 Standby Painter 199 Standby Greensperson 199 Operations 199 Unions, Guilds, and Organizations 200 There’s an App for That! 200 Summary 200 Reference List 200 IO The Camera Department 201 Director of Photography 201 The Digital Imaging Technician (DIT) 203 DIT - The Typical Day 205 Qualities of a Good DIT 206 The Data Wrangler 206 Camera Operator 207 First Assistant Cameraperson 207 Second Assistant Cameraperson 208 Clapper and Loader 210 Camera Production Assistant 210 Video Village 210 198
Contents xiii Steadicam Operator 211 Special Operators 211 The Camera Package 211 Operations 212 Stock 213 Dailies 213 Behind-the-Scenes 214 Tests 215 Unions, Guilds, and Organizations There’s an App for That! 216 Summary 216 Reference List 216 11 Grip and Electric 215 217 Gaffer 218 Best Boy Electric 219 Electrics 219 Generator Operator 219 Rigging Crew 220 Key Grip 220 Best Boy Grip 221 Company Grips 221 Dolly Grip 221 Crane Operator 222 Operations for Grip and Electric The Grip Package 223 The Lighting Package 224 Laying Dolly Track 224 Truck Wrap 224 Unions, Guilds, and Organizations There’s an App for That! 225 Summary 225 12 The Sound Department Sound Mixer 227 Boom Operator 230 Cable Puller/Person 231 Sound Production Assistant 227 231 222 225
xiv Contents The Sound Package 231 Coms 231 Operations 231 Playback 232 Unions, Guilds, and Organizations There’s an App for That! 233 Summary 233 Reference List 233 13 Visual Effects and Special Effects 235 Special Effects 235 Full-Scale Physical Effects 236 Weather Effects 236 Special Effects Coordinator 237 Operations on Set 237 Visual Effects 238 Visual Effects Producer 239 VFX Artist 239 VFX Editor 239 VFX Data Wrangler 240 Match Mover 240 VFX Editorial Assistant 240 Virtual Production TD 240 Modelers 240 Operations 241 The Pipeline 241 Unions, Guilds, and Organizations Summary 242 Reference List 242 14 The Wardrobe Department 232 242 245 Costume Designer 246 Wardrobe Supervisor 247 249 Men’s Costumer/Women’s Costumer Seamstress 249 Wardrobe Production Assistant 249 249 Assistant to the Costume Designer Operations 250 Other Issues 250
Contents xv Unions, Guilds, and Organizations There’s an App for That! 251 Summary 251 Reference List 251 15 Makeup and Hair 251 253 Key Makeup 254 Other Makeup Personnel 256 Key Hair 257 Assistant Hair/Additional Hair/Extra Hair Operations 258 Qualities of a Good Makeup and Hair Team Unions, Guilds, and Organizations 259 There’s an App for That! 259 Summary 259 Reference List 259 16 Locations 261 Location Manager 262 Assistant Location Manager 264 Location Production Assistant 264 Location Scout - the Person 265 Location Scout - the Event 265 Location Considerations 266 The Technical Scout 267 Maps 268 Location Services 269 Location Paperwork 269 Unions, Guilds, and Organizations 273 There’s an App for That! 273 Summary 273 Reference List 273 17 The Transportation Department Transportation Coordinator 275 Transportation Captain 278 275 258 258
xvi Contents More Transportation Crew 279 Qualities of a Good Transportation Team Operations 279 Picture Vehicles 280 Production Vehicles 281 Unions, Guilds, and Organizations 282 Summary 282 279 PART ill Post-Production and Beyond 18 Post-Production 285 Post-Production Supervisor 285 Editor 287 Assistant Editors 288 Sound Designer 288 Sound Editor 289 Dialogue Editor 291 Sound Effects Editor 292 Music Editor 293 ADR Editor 293 Looping/ADR 294 Re-Recording Mixers 295 The Sound Mix 295 The Post-Production Process 296 The Digital Workflow 296 Color Correction 297 Main Titles and End Credits 298 Unions, Guilds, and Organizations There’s an App for That! 300 Summary 301 Reference List 301 19 Music 303 Licensing Rights 303 The Music Licensing Process Split Rights 305 304 300
Contents Music in the Public Domain 305 Other Ways to Get Music 306 Music Supervisor 306 Composer 307 Conductor 307 Arranger/Orchestrator 307 Copyist 307 The Scoring Session 308 Soundtrack Album 308 Unions, Guilds, and Organizations There’s an App for That! 310 Summary 310 20 Safety on Set 311 OSHA 311 Safety Officer/Manager/Coordinator Qualities of a Good Safety Manager The Set Medic 313 Safety in Pre-Production 313 Issues or Hazards 315 Weapon Safety During Production The Safety Check 318 In Case of Emergency 318 Unions, Guilds, and Organizations There’s an App for That! 319 Summary 321 Reference List 321 21 Legal Issues 308 312 312 317 319 323 Copyright and Intellectual Property 323 How Long Does Copyright Last? 324 Copyright Infringement 326 Fair Use 326 A Note on Lawsuits 327 Parodies 328 Clearances 328 Releases 330 xvii
xviii Contents Contracts for Cast, Crew, and Services Insurance 332 Workers’ Compensation 337 Completion Bond 337 Why You Should Get a Lawyer 339 Getting the Right Lawyer 339 Summary 340 Reference List 340 22 Marketing and Distribution - 341 Marketing Starts in Production 341 The Unit Publicist 342 The Still Photographer 342 Press Day 343 Publicity Kicks In 344 Testing 345 The P A Budget 345 The Marketing Plan 345 Distribution 349 The Distribution Process 349 Film Revenue Stream 350 The Distribution Contract 353 Distribution Rights 355 Bargaining 356 Sub-Distribution Agreements 357 Packaging 357 Delivery 358 Territory 358 Revenue Considerations 358 Revenue Payments 358 Unions, Guilds, and Organizations 359 Summary 360 Reference List 360 Glossary 361 Index 387 332 |
| adam_txt |
Contents List ofFigures xix Preface xxi Acknowledgments xxiii PART I Development and Pre-Production 1 Media Development 3 Executive Producer 3 Qualities of a Good EP 4 Acquiring the Script 5 Working With Writers 6 Developing the Package 6 The Pitch Deck 6 The Business Plan 8 Executive Summary 9 The Company 11 The Project 11 Schedule 13 Industry Statement 13 Marketing 13 Distribution 14 Return on Investment (ROI) 14 Distribution Agreement 14 The Budget 14 Locations 17 Business Plan Checklist 17 Acquisitions, Contracts, and Deals Unions, Guilds, and Organizations Summary 24 Reference List 24 18 24 vii
viii Contents 2 The Producers 27 The Producer’s Job 27 Working With First-Time Directors Associate Producer 31 Assistant to the Producer 32 Qualities of a Good Assistant 32 Field Producing 33 Producing Live Events 34 Producing Documentary 37 Content Producers 40 Producing Animation 40 The Psychology of Producing 41 Producing Is Leading 43 Unions, Guilds, and Organizations Summary 48 Reference List 48 3 Script Breakdown and Schedul ing 31 45 49 Scheduling a Film: Step-by-Step Overview The Script Breakdown 50 What Are the Elements? 52 Other Categories 55 A Note on Continuity 56 Breaking the Script Into “Eighths” 57 The Breakdown Sheet 59 The Strip or Production Board 61 Creating a Schedule 63 Putting the Schedule Together 66 Schedules to Print 66 Day-Out-of-Days 68 Updating Your Schedule 71 There’s an App for That! 72 Summary 72 4 The Budget 73 Budgeting Software 75 Budget Structure 75 Starting to Write a Budget 77 50
Contents ix Padding the Budget 89 The Contingency 89 Fringe Benefits 89 Union Versus Nonunion 91 Local Versus Distant 92 The Budgeting Process 93 Budget Disbursement and Tracking 93 Managing the Budget 94 Good Budgeting Versus Bad Budgeting 98 Budget Line Items 98 Tax Incentives 98 Conditions for Receiving Incentives 104 There’s an App for That! 106 Summary 106 Reference List 106 5 The Production Team and Staff 109 Unit Production Manager 109 Qualities of a Good UPM 111 Production Office Coordinator 111 Qualities of a Good РОС 113 Local Production Coordinator 113 Assistant Production Office Coordinator 113 Qualities of a Good APOC 116 Travel/Movement 116 Office Production Assistants 117 Paper Production Assistant 117 Receptionist 117 Qualities of Good PAs and Receptionists 118 Head Accountant 118 First Assistant Accountant, Second Assistant Accountant, and Accounting Apprentice 119 Qualities of a Good Accounting Staff 119 Technical Advisor 119 Script Supervisor 120 Qualities of a Good Script Supervisor 123 Craft Services 124 The Craft Services Person 126 Choices for Good Craft Services 127 Catering 127 Hiring Catering Companies 127 The Last Supper 128
x Contents Product Placement 128 There’s an App for That! 129 Unions, Guilds, and Organizations Summary 130 Reference List 130 6 The Production Office 129 131 Production Office Considerations 131 Setting Up the Office 134 Running the Production Office 136 Keeping It Running Smoothly 138 The Meet-and-Greet 138 The Wrap Party 138 Wrapping Out the Production Office 138 Production Lists 139 Summary 142 PART II Production 7 The Directors Team and 2nd Unit 145 Director 146 First Assistant Director 146 Qualities of a Good 1st AD 148 The 1st AD-Director Relationship 149 What the 1st AD Wants From the Director 149 Production Meetings 149 2nd Assistant Director 150 A Note on Directing Extras 152 Qualities of a Good 2nd AD 152 Walkie-Talkie Etiquette 152 2nd 2nd Assistant Director and/or DGA Trainee 153 Set Production Assistants 153 Qualities of Good 2nd 2nds, DGA Trainees, and Set Pas Director’s Assistant 154 154
Contents xi Choreographer 155 Dialogue Coach/Dialect Coach 155 Storyboard Artist 156 Set Operations 156 Closed Set 158 Set Protocol 158 The Set Box 159 AD Paperwork 160 2nd Unit 165 Unions, Guilds, and Organizations 167 There’s an App for That! 168 Summary 168 Reference List 168 8 Casting, Actors, Extras, and Stunt People Casting Department 169 Casting Director 169 Local Casting Director 172 Extras Casting 173 The Background Coordinator 174 Casting Assistants 174 How to Run a Casting Session 175 Screen Tests 177 Rehearsals and Training 177 Fittings 179 Working With Minors 179 Working With Animals 180 The Taft-Hartley 181 Categories of Actors 181 Day Players Versus Weekly Players 183 Stunts 183 Stunt Coordinator 183 Stunt Person 184 The Cast Read-Through 184 Working with SAG-AFTRA 185 Unions, Guilds, and Organizations 189 Summary 190 Reference List 190 169
xii Contents 9 The Art Department 191 Production Designer 191 Art Director 194 Set Decorator 194 Lead Person and Swing Gang 195 Art Department Coordinator 195 Set Designer 195 Set Dresser 195 Props 196 Assistant Props 196 Armorer 196 Concept Artist 197 Illustrator/Graphic Design 197 Draftsperson 197 Art Department Production Assistants 197 Assistant to Production Designer and Art Director Construction Coordinator 198 Construction Foreman 198 Construction Laborers 198 Standby Painter 199 Standby Greensperson 199 Operations 199 Unions, Guilds, and Organizations 200 There’s an App for That! 200 Summary 200 Reference List 200 IO The Camera Department 201 Director of Photography 201 The Digital Imaging Technician (DIT) 203 DIT - The Typical Day 205 Qualities of a Good DIT 206 The Data Wrangler 206 Camera Operator 207 First Assistant Cameraperson 207 Second Assistant Cameraperson 208 Clapper and Loader 210 Camera Production Assistant 210 Video Village 210 198
Contents xiii Steadicam Operator 211 Special Operators 211 The Camera Package 211 Operations 212 Stock 213 Dailies 213 Behind-the-Scenes 214 Tests 215 Unions, Guilds, and Organizations There’s an App for That! 216 Summary 216 Reference List 216 11 Grip and Electric 215 217 Gaffer 218 Best Boy Electric 219 Electrics 219 Generator Operator 219 Rigging Crew 220 Key Grip 220 Best Boy Grip 221 Company Grips 221 Dolly Grip 221 Crane Operator 222 Operations for Grip and Electric The Grip Package 223 The Lighting Package 224 Laying Dolly Track 224 Truck Wrap 224 Unions, Guilds, and Organizations There’s an App for That! 225 Summary 225 12 The Sound Department Sound Mixer 227 Boom Operator 230 Cable Puller/Person 231 Sound Production Assistant 227 231 222 225
xiv Contents The Sound Package 231 Coms 231 Operations 231 Playback 232 Unions, Guilds, and Organizations There’s an App for That! 233 Summary 233 Reference List 233 13 Visual Effects and Special Effects 235 Special Effects 235 Full-Scale Physical Effects 236 Weather Effects 236 Special Effects Coordinator 237 Operations on Set 237 Visual Effects 238 Visual Effects Producer 239 VFX Artist 239 VFX Editor 239 VFX Data Wrangler 240 Match Mover 240 VFX Editorial Assistant 240 Virtual Production TD 240 Modelers 240 Operations 241 The Pipeline 241 Unions, Guilds, and Organizations Summary 242 Reference List 242 14 The Wardrobe Department 232 242 245 Costume Designer 246 Wardrobe Supervisor 247 249 Men’s Costumer/Women’s Costumer Seamstress 249 Wardrobe Production Assistant 249 249 Assistant to the Costume Designer Operations 250 Other Issues 250
Contents xv Unions, Guilds, and Organizations There’s an App for That! 251 Summary 251 Reference List 251 15 Makeup and Hair 251 253 Key Makeup 254 Other Makeup Personnel 256 Key Hair 257 Assistant Hair/Additional Hair/Extra Hair Operations 258 Qualities of a Good Makeup and Hair Team Unions, Guilds, and Organizations 259 There’s an App for That! 259 Summary 259 Reference List 259 16 Locations 261 Location Manager 262 Assistant Location Manager 264 Location Production Assistant 264 Location Scout - the Person 265 Location Scout - the Event 265 Location Considerations 266 The Technical Scout 267 Maps 268 Location Services 269 Location Paperwork 269 Unions, Guilds, and Organizations 273 There’s an App for That! 273 Summary 273 Reference List 273 17 The Transportation Department Transportation Coordinator 275 Transportation Captain 278 275 258 258
xvi Contents More Transportation Crew 279 Qualities of a Good Transportation Team Operations 279 Picture Vehicles 280 Production Vehicles 281 Unions, Guilds, and Organizations 282 Summary 282 279 PART ill Post-Production and Beyond 18 Post-Production 285 Post-Production Supervisor 285 Editor 287 Assistant Editors 288 Sound Designer 288 Sound Editor 289 Dialogue Editor 291 Sound Effects Editor 292 Music Editor 293 ADR Editor 293 Looping/ADR 294 Re-Recording Mixers 295 The Sound Mix 295 The Post-Production Process 296 The Digital Workflow 296 Color Correction 297 Main Titles and End Credits 298 Unions, Guilds, and Organizations There’s an App for That! 300 Summary 301 Reference List 301 19 Music 303 Licensing Rights 303 The Music Licensing Process Split Rights 305 304 300
Contents Music in the Public Domain 305 Other Ways to Get Music 306 Music Supervisor 306 Composer 307 Conductor 307 Arranger/Orchestrator 307 Copyist 307 The Scoring Session 308 Soundtrack Album 308 Unions, Guilds, and Organizations There’s an App for That! 310 Summary 310 20 Safety on Set 311 OSHA 311 Safety Officer/Manager/Coordinator Qualities of a Good Safety Manager The Set Medic 313 Safety in Pre-Production 313 Issues or Hazards 315 Weapon Safety During Production The Safety Check 318 In Case of Emergency 318 Unions, Guilds, and Organizations There’s an App for That! 319 Summary 321 Reference List 321 21 Legal Issues 308 312 312 317 319 323 Copyright and Intellectual Property 323 How Long Does Copyright Last? 324 Copyright Infringement 326 Fair Use 326 A Note on Lawsuits 327 Parodies 328 Clearances 328 Releases 330 xvii
xviii Contents Contracts for Cast, Crew, and Services Insurance 332 Workers’ Compensation 337 Completion Bond 337 Why You Should Get a Lawyer 339 Getting the Right Lawyer 339 Summary 340 Reference List 340 22 Marketing and Distribution - 341 Marketing Starts in Production 341 The Unit Publicist 342 The Still Photographer 342 Press Day 343 Publicity Kicks In 344 Testing 345 The P A Budget 345 The Marketing Plan 345 Distribution 349 The Distribution Process 349 Film Revenue Stream 350 The Distribution Contract 353 Distribution Rights 355 Bargaining 356 Sub-Distribution Agreements 357 Packaging 357 Delivery 358 Territory 358 Revenue Considerations 358 Revenue Payments 358 Unions, Guilds, and Organizations 359 Summary 360 Reference List 360 Glossary 361 Index 387 332 |
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| spellingShingle | Wales, Lorene M. The complete guide to film and digital production the people and the process Filmregie (DE-588)4129888-3 gnd Filmwirtschaft (DE-588)4154384-1 gnd Filmproduktion (DE-588)4124971-9 gnd |
| subject_GND | (DE-588)4129888-3 (DE-588)4154384-1 (DE-588)4124971-9 |
| title | The complete guide to film and digital production the people and the process |
| title_auth | The complete guide to film and digital production the people and the process |
| title_exact_search | The complete guide to film and digital production the people and the process |
| title_exact_search_txtP | The complete guide to film and digital production the people and the process |
| title_full | The complete guide to film and digital production the people and the process Lorene M. Wales |
| title_fullStr | The complete guide to film and digital production the people and the process Lorene M. Wales |
| title_full_unstemmed | The complete guide to film and digital production the people and the process Lorene M. Wales |
| title_short | The complete guide to film and digital production |
| title_sort | the complete guide to film and digital production the people and the process |
| title_sub | the people and the process |
| topic | Filmregie (DE-588)4129888-3 gnd Filmwirtschaft (DE-588)4154384-1 gnd Filmproduktion (DE-588)4124971-9 gnd |
| topic_facet | Filmregie Filmwirtschaft Filmproduktion |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034615736&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT waleslorenem thecompleteguidetofilmanddigitalproductionthepeopleandtheprocess |