- Cover
- Half Title
- Title Page
- Copyright Page
- Dedication
- Table of Contents
- Preface
- Part I Prep and Production
- Chapter 1 Producing Media
- Chapter 2 Script Breakdown and Scheduling
- Scheduling a Film: A Step-by-Step Overview
- The Script Breakdown
- What are the Elements?
- Speaking Cast (Underline in Red)
- Extras/Atmosphere (Underline in Green)
- Silent Bits (Underline in Yellow)
- Props (Underline in Lime) and Set Dressing (Underline in Purple)
- Wardrobe (Circle the Item)
- Makeup (Mark with an Asterisk)
- Stunts (Underline in Orange)
- Special Effects (Underline in Blue)
- Sound Effects (Underline in Brown)
- Special Equipment (Draw a Box around the Action)
- Vehicles and Animals/Livestock (Underline in Pink)
- Music (Underline in Aqua)
- Other Categories
- A Note on Continuity
- Breaking the Script into “Eighths”
- The Breakdown Sheet
- The Strip or Production Board
- Creating a Schedule
- Scheduling Parameters
- Putting the Schedule Together
- Schedules to Print
- Updating Your Schedule
- Summary
- Chapter 3 The Budget
- Chapter 4 The Production Team and Staff
- Unit Production Manager
- Production Office Coordinator
- Local Production Coordinator
- Assistant Production Office Coordinator
- Travel/Movement
- Office Production Assistants
- Receptionist
- Head Accountant
- First Assistant Accountant, Second Assistant Accountant, and Accounting Apprentice
- Technical Advisor
- Script Supervisor
- Safety Officer/Manager
- Product Placement
- Summary
- Chapter 5 The Production office
- The Production Office
- Blocks of Rooms
- Ample Office Space
- Proximity to Restaurants and Shops
- Proximity to Airport
- Room Service
- Nicer Rooms for Stars
- Refrigerators
- Parking
- Proximity to Locations
- Laundry Service
- Setting up the Office
- Running the Production Office
- The Meet-and-Greet
- The Wrap Party
- Wrapping Out the Production Office
- Production Lists
- Summary
- Chapter 6 The Director's Team & 2nd Unit
- Director
- First Assistant Director
- The First Assistant Director-Director Relationship
- Production Meetings
- Second Assistant Director
- Walkie-Talkie Etiquette
- Second Second Assistant Director and/or DGA Trainee
- Set Production Assistants
- Director's Assistant
- Choreographer
- Dialogue Coach/Dialect Coach
- Storyboard Artist
- Set Operations
- Closed Set
- Set Protocol
- The Set Box
- AD Paperwork
- 2nd Unit
- Director
- Unit Production Manager or Production Office Coordinator
- First Assistant Director
- Locations
- Camera
- Sound
- Other Units
- Operations
- Equipment
- Paperwork
- Summary
- Chapter 7 Casting, Actors, Extras, and Stunt People
- Casting Department
- Casting Director
- Local Casting Director
- Extras Casting
- Casting Assistants
- How to Run a Casting Session
- Screen Tests
- Rehearsals and Training
- Fittings
- Working with Minors
- Working with Animals
- The Taft–Hartley
- Categories of Actors
- Day Players Versus Weekly Players
- Stunts
- Stunt Coordinator
- Stunt Person
- How a Stunt Could Work: A Car Roll
- Summary
- Chapter 8 The Art Department
- Production Designer
- Art Director
- Set Decorator
- Lead Man and Swing Gang
- Art Department Coordinator
- Set Designer
- Set Dresser
- Props
- Illustrator
- Draftsperson
- Assistant Props
- Art Department Production Assistants
- Assistant to Production Designer and Art Director
- Construction Coordinator
- Construction Foreman
- Construction Laborers
- Standby Painter
- Standby Greensperson
- Operations
- Summary
- Chapter 9 The Camera Department
- Chapter 10 Grip and Electric
- Chapter 11 The Sound Department
- Chapter 12 Special Effects and Visual Effects
- Chapter 13 The Wardrobe Department
- Chapter 14 Makeup and Hair
- Chapter 15 Locations
- Chapter 16 The Transportation Department
- Part II Post-Production
- Chapter 17 Editing Picture and Sound
- Chapter 18 Music
- Part III The Rest of the Story
- Chapter 19 Contractuals & Other Matters
- Chapter 20 Miscellaneous
- Craft Services
- The Craft Service Person
- Catering
- Set First AID
- Set Massage Therapist
- Production Etiquette
- Unions, Guilds, and Associations
- American Society of Composers, Authors, and Publishers (ASCAP)—www.ascap.com
- International Alliance of Theatrical Stage Employees (IATSE)—www.iatse-intl.org/home.html
- International Brotherhood of Electrical Workers (IBEW)—www.ibew.org
- National Association of Broadcast Employees and Technicians—www.nabetcwa.org
- Casting Society of America (CSA)—www.castingsociety.com
- Actors' Equity Association (AEA) —Error! Hyperlink reference not valid.
- American Federation of Television and Radio Artists (AFTRA)—www.aftra.org
- International Documentary Association (IDA)—www.documentary.org
- Directors Guild of America (DGA)—www.dga.org
- Writers Guild of America (WGA)—www.wga.org
- Screen Actors Guild (SAG)—www.sag.org
- Academy of Motion Picture Arts and Sciences (AMPAS)— www.oscars.org
- Academy of Television Arts and Sciences (ATAS)—www.emmys.tv
- Producers Guild of America (PGA)—www.producersguild.org
- American Federation of Musicians (AFM)—www.afm.org
- The Film Foundation—www.film-foundation.org
- National Association of Broadcasters (NAB)—www.nab.org
- American Film Marketing Association (AFMA)—www.afma.com
- Motion Picture Association of America (MPAA)—www.mpaa.org
- Summary
- Appendix
- Glossary
- Index
This book is dedicated to Dad who taught me the value of hard work, integrity and counting your blessings, I will always count him a blessing, and to the filmmakers, the ones who do it because they love it, because they want to make great films and because they love the crazy chaotic process that it takes to get there.
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