CONTENTS
Preface
PART I Prep and Production
CHAPTER 1
Producing Media
The Producer’s Job
Pre-Production
Production
Post-Production
Line Producer
Pre-Production
Production
Post-Production and Wrap
Associate Producer
Assistant to the Producer
Qualities of a Good Assistant
Acquiring the Script
Working with Writers
Working with First-Time Directors
Producing in the Field
Producing Live Events
Producing Documentary
Producing Mobile Content
Producing Animation
Distribution
Summary
CHAPTER 2
Script Breakdown and Scheduling
Scheduling a Film: A Step-by-Step Overview
The Script Breakdown
Electronically—Scheduling Software
By Hand
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
Animal Handler
Greenery
Security
Additional Labor
Optical Effects/CGI or Visual Effects
Miscellaneous
Notes
A Note on Continuity
Breaking the Script into “Eighths”
The Breakdown Sheet
The Strip or Production Board
Creating a Schedule
Scheduling Parameters
Geography
Set
Cast Members
Day/Night
EXT/INT
Sequence
Children
Time of Year/Climate
Special Effects and Stunts
Second Camera/Second Unit
Special Equipment
Putting the Schedule Together
Schedules to Print
Shooting Schedule
Production Schedule
One-Liner
Day-Out-of-Days
Updating Your Schedule
Revision Colors
Summary
CHAPTER 3
The Budget
Budgeting Software
Budget Structure
Above-the-Line
Below-the-Line (Production)
Post-Production
Total Other
Starting to Write a Budget
Budgeting with Software Packages
Spreadsheet Budgeting
Padding the Budget
The Contingency
Fringe Benefits
Taxes
Payroll Fees
Employee Benefits
Union Versus Nonunion
Becoming Signatory
Local Versus Distant
Budget Disbursement and Tracking
Disbursing Funds
Disbursement Forms
Managing the Budget
Good Budgeting Versus Bad Budgeting
Budget Line Items
Summary
CHAPTER 4
The Production Team and Staff
Unit Production Manager
Pre-Production
Production
Post-Production and Wrap
Qualities of a Good UPM
Production Office Coordinator
Pre-Production
Production
Wrap
Qualities of a Good POC
Local Production Coordinator
Assistant Production Office Coordinator
Pre-Production
Production
Wrap
Qualities of a Good APOC
Travel/Movement
Office Production Assistants
Receptionist
Qualities of Good PAs and Production Receptionists
Head Accountant
First Assistant Accountant, Second Assistant Accountant, and Accounting Apprentice
Qualities of a Good Accounting Staff
Technical Advisor
Script Supervisor
Pre-Production
Production
Wrap
Qualities of a Good Script Supervisor
Safety Officer/Manager
Qualities of a Good Safety 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
Assigning Offices
Making the Office Operational
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
Pre-Production
Production
Post-Production
First Assistant Director
Pre-Production
Production
Qualities of a Good 1st AD
The First Assistant Director-Director Relationship
What the 1st AD Wants from the Director
Production Meetings
The Concept Meeting
The Big Production Meeting
Second Assistant Director
Pre-Production
Production
A Note on Directing Extras
Qualities of a Good 2nd AD
Walkie-Talkie Etiquette
Second Second Assistant Director and/or DGA Trainee
Pre-Production
Production
Set Production Assistants
Pre-Production
Production
Qualities of Good 2nd 2nds, DGA Trainees, and Set PAs
Director’s Assistant
Choreographer
Dialogue Coach/Dialect Coach
Storyboard Artist
Set Operations
Importance of Calling Rolling and Cut
At the End of the Day
Closed Set
Set Protocol
The Set Box
AD Paperwork
The Call Sheet
The Production Report
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
Pre-Production
Local Casting Director
Extras Casting
Casting Assistants
How to Run a Casting Session
Screen Tests
Rehearsals and Training
Fittings
Working with Minors
Tutors
Working with Parents
Working with Animals
The Taft—Hartley
Categories of Actors
Leads
Supporting Roles
Extras
Silent Bits and Special Ability
Stand-Ins
Day Players Versus Weekly Players
Stunts
Stunt Coordinator
Pre-Production
Production
Wrap
Stunt Person
How a Stunt Could Work: A Car Roll
Summary
CHAPTER 8
The Art Department
Production Designer
Pre-Production
Production
Wrap
Art Director
Pre-Production
Production
Wrap
Set Decorator
Pre-Production
Production
Wrap
Lead Man and Swing Gang
Art Department Coordinator
Set Designer
Set Dresser
Props
Pre-Production
Production
Wrap
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
Director of Photography
Pre-Production
Production
Wrap
Camera Operator
Production
First Assistant Cameraperson
Second Assistant Cameraperson
Clapper/Loader
Camera Production Assistant
Video Assist
Steadicam Operator
Special Operators
The Camera Package
Operations
Stock
Dailies
Behind-the-Scenes for DVD
Tests
Summary
CHAPTER 10
Grip and Electric
Gaffer
Pre-Production
Production
Wrap
Best Boy Electric
Electricians
Generator Operator
Rigging Crew
Key Grip
Pre-Production
Production
Wrap
Best Boy Grip
Company Grips
Dolly Grip
Crane Operator
Operations for Grip and Electric
The Grip Package
The Lighting Package
Laying Dolly Track
Truck Wrap
Summary
CHAPTER 11
The Sound Department
Sound Mixer
Pre-Production
Production
Boom Operator
Cable Puller/Cable Person
Sound Production Assistant
The Sound Package
Operations
Playback
Summary
CHAPTER 12
Special Effects and Visual Effects
Special Effects
Creature Design
Creature Manufacturer
Modelers
Miniatures
Remote Vehicles
Miniature Pyrotechnics
Traveling Matte
Full-Scale Physical Effects
Weather Effects
Special Effects Coordinator
Operations on Set
Visual Effects
Visual Effects Producer
Operations
Summary
CHAPTER 13
The Wardrobe Department
Costume Designer
Pre-Production
Production
Wrap
Wardrobe Supervisor
Pre-Production
Production
Wrap
Men’s Costumer/Women’s Costumer
Seamstress
Wardrobe Production Assistant
Assistant to the Costume Designer
Operations
Other Issues
Summary
CHAPTER 14
Makeup and Hair
Key Makeup
Pre-Production
Production
Wrap
Other Makeup Personnel
Key Hair
Pre-Production
Production
Wrap
Assistant Hair/Additional Hair/Extra Hair
Operations
Qualities of a Good Makeup and Hair Team
Summary
CHAPTER 15
Locations
Location Manager
Pre-Production
Production
Wrap
Assistant Location Manager
Location Production Assistant
Location Scout—The Person
Location Scout—The Event
Location Considerations
The Technical Scout
Location Determinations on a Tech Scout
Maps
Location Services
Shooting on Location Versus in Studio Facilities
Advantages of Shooting on Location
Disadvantages of Shooting on Location
Advantages of Shooting in a Studio
Disadvantages of Shooting in a Studio
Location Paperwork
Location Agreement
Certificate of Insurance
Permits
Summary
CHAPTER 16
The Transportation Department
Transportation Coordinator
Pre-Production
Production
Wrap
Transportation Captain
More Transportation Crew
Qualities of a Good Transportation Team
Operations
Picture Vehicles
Production Vehicles
Summary
PART II Post-Production
CHAPTER 17
Editing Picture and Sound
Post-Production Supervisor
Editor
Assistant Editors
Sound Designer
Sound Editor
Dialogue Editor
Sound Effects Editor
Music Editor
ADR Editor
Re-Recording Mixers
Looping/Adr
What to Do Before the Session
What to Do During the Session
The Sound Mix
The Post-Production Process
Shooting Film for Release on Film
Working with the Lab
Negative Cutting
Shooting Digitally
Main Titles and End Credits
Summary
CHAPTER 18
Music
Licensing Rights
Music in the Public Domain
Music Supervisor
Composer
Music Package Fee
Conductor
Arranger/Orchestrator
Copyist
The Scoring Session
Sound Track Album
Summary
PART III The Rest of the Story
CHAPTER 19
Contractuals & Other Matters
Insurance
Errors and Omissions
Production Package
Cast
Equipment
Negative
Third Party
Faulty Stock
Auto
Money and Securities
Extra Expense
Worker’s Compensation
Completion Bond
The Legal Department
Why You Should Get a Lawyer
Getting the Right Lawyer
Clearances
Releases
Contracts for Cast, Crew, and Services
Publicity
The Unit Publicist
The Still Photographer
What Not to Shoot
Shooting the Action
Press Day
Summary
CHAPTER 20
Miscellaneous
Craft Services
The Craft Service Person
Pre-Production
Production
Choices for Good Craft Services
Catering
Hiring Catering Companies
The Last Supper
Set First AID
Emergency Procedures
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
