Index

AC adapters, camcorders, 33

Action line, and continuity, 214–16

Adobe Premiere editing software, 270

Advertising own films, 335

Advertising/commercial films, 49–50

Analog tape, for output from editing, 254

Analog technology vs DV:

audio quality, 13

and broadcast standards, 12

colour rendition, 11–12

compatibility, 12

copying quality, 12

costs, 71–2

picture resolution, 12

Apple Computer:

FireWire cable, 14

history with editing, 13–14

iMove editing software, 271

Arthouse films, 365–6

Aspect ratios, web movies, 191

Atmosphere creation, 194–5

Audio:

camcorder inputs, 27

with digital editing, 253

earphone monitoring, 27

quality, analogue vs DV, 13

timecodes, 266

see also Microphone techniques; Microphones; Sound

Automatic dialogue replacement (ADR), 261–2

Avid multimedia company, 13

Batteries:

care of, 34

and chargers, AC adapters, 33

usage, 27

Betacam SP:

analog format, 21

picture resolution, 11

Broadcast standards:

‘broadcast quality’ terminology, 12, 19

DV acceptability by broadcasters, 12

frame rate, 21

NTSC (National Television Systems Committee), 20–1

PAL (Phase Alternating Line), 20–1

pixels, 21

SECAM (Sequential Couleur Avec Memoire), 20–1

timecode, 24

see also Computer video formats; MPEG (Motion Picture Experts Group); Video recording formats

Budgeting:

above-the-line costs, 72, 74–5

analog vs DV costs, 71–2

below-the-line costs, 73, 75–6

budget size, 76–7

for equipment, 72

insurance, 76

music costs, 75–6

story limitations, 74

see also Low-budget filmmaking; Money raising

Buying guide, camcorders, 28

Cable television and satellite, own films for, 327

Cabling, balanced/unbalanced to microphones, 168

Camcorder features and selection:

basic principle, 16–24

buying guide, 28

lenses, 17

single/three-chip, 18–19

Camcorder operation:

aperture and depth of field, 25

audio inputs, 27

automatic features, problems with, 26, 157

batteries and power, 27

camera mic problems, 161–2

depth of field and light, 18, 158

earphone monitoring, 27

focusing, 25, 31, 209

iris and light, 17, 25, 26, 30, 157–8

LCD monitor use, 34

radio/power line interference, 33

shutter speed, 17–18, 31

support/tripods, 24

timecode and tape striping, 27, 267

white balance/colour temperature, 26, 30–1, 155–6

zoom, 18, 24

see also Batteries; Shooting

Camcorder safety/protection:

cleaning, 33

condensation, 32

dust and sand, 33

excessive use, 33

from magnetized equipment, 32

sunlight, 32

water, 32

Camera usage/language/framing:

30-degree rule, 216

180-degree rule, 214–15

360-degree movement, 218

action line aspects, 214–16

camera wobble, 209

close-up shots, 204, 278

extra/spare shots, 202, 210

framing, 204

image reading principles, 205–6

multiple meanings, 204–5

multiple shots in one frame, 207–8

tilt, 204

see also Continuity; Film language; Focusing; Shooting

Captions, 269

Capture cards, 245–6

Career map:

about the career map, 314–16

ambitious projects, 321–2

crew member: runner/researcher, 318

feedback review, 320

film school, 316–17

getting experience and skills, 316

getting films seen, 320–1

making own films, 318–19

preparation, 316

Careers, 297–325

about careers, 297

awareness, need for, 302–4

case studies, 298–9

culture awareness, 304–5

essential knowledge, 302–6

essential qualities, 306–11

film industry awareness and change tracking, 305–6

flexibility, need for, 307

freelance/personal aims conflict, 300

multi-skilling, 300

and organizational skills, 308

persistence, need for, 307–8

playing your strengths, 300

professionalism, 310–11

self awareness, 309

self employment, 300–1

taxation, 301–2

teamwork and people skills, 310

three career stages:

1. expansion and investigation, 311–12

2. focusing and defining, 312–13

3. sustainability, 314

troubleshooting careers:

abandoning projects, 323–4

needing more skills, 324–5

overdone self criticism, 323

stalled careers, 322–3

and work discipline, 309

work outside films, 300

zeitgeist, 303

see also Distribution issues and methods

CD output from editing, 254

Cell phone movies, 329–30

Charge coupled devices, (CCDs), single and threechip, 18–19

Cinepak Codec, 37

Cleaning camcorders, 33

Close-ups, 204, 278

web movies, 190

Codecs:

Cinepak, 37

H.263, 37

Intel Indeo 4 and 5, 38

MPEG standards, 36–7

RealG2, 37–8

Sorenson, 38

Collaboration see Crews, working with Colour rendition, 11–12

Colour temperature/white balance, 26, 30–1, 155–6

Compatibility, analogue vs DV, 12

Composition:

about composition, 195–6

basics, 196–7

division by thirds method, 197, 199–200

getting depth, 200–1

lazy screen parts, 198

on a low budget, 196

spare shots, 202

tripod usage, 201

unexpected shots, 202–3

using audience imagination, 196

Compression see Video compression

Computer video formats:

Microsoft Windows Media, 38

QuickTime, 38–9

RealPlayer, 39

Video for Windows, 38

see also Video recording formats

Computers for video editing, 246–7

Condensation problems, camcorders, 32

Continuity, 211–21

about continuity, 211

action line aspects, 214–16

bad continuity avoidance, 212–17

and camera adjustment consistency, 213

common space, 218

jump cuts, 215–16

and light quality, 217

and lighting, 152

linked imagery, 219

motif, 218

motion, 216–17

narrative continuity, 211–12

non-narrative movies, 217–19

planned rule breaking, 212

plot disruption, 213

shot length, 218

and sound, 213

with sound, 219

style disruption, 214

and tape quality, 212–13

tracking shots, 218

transitions, 218

see also Camera usage/language/framing; Editing video; Genre editing; Schedule making

Contracts and distribution deals, 337–9

Copying quality, analogue vs DV, 12

Copyright, 78–9

out-of-copyright stories, 128

Costs/costing see Budgeting

Credits, presentation of, 268–9

Crews, working with:

collaboration working, 90–1, 92–4

crew required, 85–6

deferred payments, 83

group working, 86–90

medium crew working, 82

message posting, 84–5

pay/no pay, 82–4

power sharing, 90–1

recruitment, 84–5

skills required, 87

small crew working, 81

working solo, 80

Cutaways/extra shots, 210

Data rates:

internet/modems, 41

web movies, 188

Depth of field:

and aperture, 25

and light, 18

Desktop editing see Digital editing facilities; Editing video; Genre editing

Digi-Beta recording format, 22

Digital 8 (Sony) recording format, 23

Digital cinemas, 15

Digital editing facilities:

about Digital editing, 244–5

analog tape output, 254

audio manipulation, 253

basic procedure, 245

capture cards, 245–6

capturing clips, 248

CD output, 254

computer features required, 246–7, 249

digital tape output, 254

DVD output, 254

files and saving, 249

FireWire/iLink/IEEE 1394, 14, 247

importing clips, 250

rendering, 253

timeline use, 252

trimming clips, 250–2

USB (Universal Serial Bus), 247–8

web output, 254

see also Editing video; Genre editing; Software for editing; Sound; Timecodes

Digital video (DV), use and technology:

about digital technology, 10–11

analogue vs DV, 8, 11–13, 19

Apple and Microsoft Windows, 13–14

audio, analogue vs DV, 13

basic features, 11–13

brief history, 13–16

broadcast standards, 12

colour rendition, 11–12

compatibility, 12

copying, 12

digital vs analog, 10–11

FireWire/iLink/IEEE 1394, 14, 247

picture resolution, 11

Director's cut, 278–9

Distribution issues and methods:

about distribution, 331–2

about distributors, 332–3

advertising, 335

cable television and satellite, 327

cell phone movies, 329–30

contracts and deals, 337–9

domestic theatres, 335

DVD, 330–1, 337

educational films, 327–8

foreign distribution, 333

internet distribution, 328–9, 339–41

music promos, 330–1

projection methods of theatres, 335–6

self distribution, 334–6

shorts for sale, 334

terms of agreements, 335

terrestrial television, local and national, 326–7

video streaming, 340–1

Documentary films, 45–6, 221–9

about documentary films, 221

background to revival, 223–4

documentary convergence, 224–6

future for, 226–7

low budget documentaries, 221–3

Downloading problems, 376–7

DVC AM recording format, 22

DVC Pro recording format, 22

DVD and interactivity, 366

DVD output from editing, 254

DVD own film distribution, 330–1, 337

DVD-RAM recording format, 23

Editing video:

captions, 269

condensed guide, 243–4

credit presentation, 268–9

edit decision list (EDL), 256

edit log, 255–6

montage editing, 290–6

paper edit, 257

priorities, 5

skills required, 5

software, 255–6, 257–8

text for editing, 268–9

see also Continuity; Digital editing facilities; Genre editing; Non-narrative film editing; Software for editing; Sound; Timecodes

Educational films, own films for, 327–8

Experimental/art gallery films, 46–7

Exposure see Iris and light

Festivals see Film festivals

Film as art see Genre editing

Film festivals:

about film festivals, 349–50

fees, 354

and the film industry, 375

information sources, 353–4

as markets, 350–2

online festivals, 355

prizes, 355

for promotion, 342

short clip submissions, 350–1

short film festivals, 353

specialist festivals, 352–3

submission methods, 352–5

Film industry issues:

about the film industry, 362–5

arthouse films, 365–6

bite-size content, 367

content overdrive, 368–70

converging forms, 367

downloading problems, 376–7

DVD and interactivity, 366

expansion and convergence, 365–78

feature film finance, 363

festivals and the film industry, 375

futurology, 377–8

Hollywood, adaptation by, 372–3

nanotainment, 369

piracy problems, 376

polymedia artists, 373–5

public funding, 364

territory shift, 371–3

threats, 376–7

trends affecting film, 378–80

video games, 370–1

viewing alone, 366

viewing audiences, 365–7

viral movies, 368

Film language:

about film language, 63–4

case study ‘Don't look now’, 68–9

conveying meaning, 65

information control, 207

motif, 67–8

signs and symbols, 65

symbolism, 65–7

syntax, 64–5

see also Camera usage/language/framing

Film noir/high contrast films, 153

Film school, 316–17

Filmmaking:

about filmmaking, 55–6

cultural and cinematic connotations, 59–60

overview, 1–9

plot/story, 56–7

political and social connotations, 61–3

subtext, 57–8

themes, 58–9

see also Documentary films; Low-budget filmmaking

Final Cut Pro (Apple editing software), 270

FireWire/IEEE 1394/iLink, 14, 247

Focusing, 25, 31, 209

Formats see Computer video formats; Video recording formats

Frame rate, NTSC and PAL, 21

Freelance see Careers

Genre editing:

about genre editing, 272–3

accept good idea changes, 279

action sequence, 276

avoid planning rigidity, 279–80

clarity, 274–5, 277–8

close-ups, 278

conflict in story, 276–7

continuity in genre editing, 273

cut scenes that only look good, 278

cutting on movement, 279

director's cuts, 278–9

economy of saying it, 277

edit sympathetically, 280

good editor features, 280–1

hyping it up, 277

identifying with characters, 276

juxtaposition, 275–6

pace setting, 274

progression of action, 278

and realism, 273

rhythm, 275

scene setting, 274

thrills and spills, 276

time creation and control, 274

see also Non-narrative film editing

H.263 codec, 37

HDV recording format, 22

High definition (HD) video, 15–16

History, digital video, 13–16

Hollywood cinema, 372–3

budgets for films, 6

IEEE 1394/FireWire/iLink, 14, 247

Image reading principles, 205–6

iMove (Apple editing software), 271

In-camera editing:

about in-camera editing, 52–3

project 1., 29–31

project 2., 52–4

Insurance, need for, 76, 149

Intel Indeo 4 and 5 codecs, 38

Internet:

data rates, 41, 188

getting help from, 149

own films for, 328–9, 339–41

possibilities, 1

video streaming, 340–1

see also Codecs; Web movies

Internet broadcasting sites:

film specifications, 356–7

film submission, 356

paying to show, 358

rights, 357–8

see also Web movies

Investment see Money raising

Investment firms, beware of, 79

Iris and light, 17, 25, 26, 30

Key frame planning method, 142–3

Lamps see Light/lighting

LCD monitor use, 34

Lenses, 17

Light/lighting:

camera response to light, 157–8

and continuity, 152

cosine law, 156

creative lighting, 150–2

film noir/high contrast, 153

good practice, 152–4

hue/saturation and brightness, 152

ideal kit-bag of equipment for, 160

inverse square law, 156–7

lamp characteristics, 158

lamp types, 158–9

lamps for realism, 153–4

mood/atmosphere creation, 151

natural and ambient lighting, 154–5

softening contrast, 153

for web films, 190

white balance/colour temperature, 26, 30–1, 155–6

see also Iris and light

Linear/non-linear editing, 13–14

Location shooting:

crew comments, 186–7

equipment choices, 184–5

essential tips, 185–6

how shoot went comments, 181

worst moment comments, 181–3

see also Microphone techniques

Low-budget filmmaking:

about low-budget filmmaking, 2, 7–9

about stories for, 124–5

acquiring a published story, 127

big money vs small, 6

documentaries, 221–3

with DV technology, 8

expensive story elements to avoid, 125–6

micro-budget filmmaking, 6–7

narrative costs, 125

opportunities, 2, 9

optioning a story, 127

out-of-copyright stories, 128

own script writing, 127

true stories, 128

using what you have, 126–8

Macintosh see Apple Computer

Magnetized equipment hazards, 32

Marketing strategies:

acquisitions execs, 345

buzz creation, 347

company formation, 344–5

free publicity, 347

online buyers/sellers sites, 345–6

press packs, 345

producer's reps, 347

screenings, 343–4

shorts, 347

web films, 347

website creation, 345

see also Film festivals; Promotion strategies

MicroMV recording format, 23

Microphone techniques:

audio mixing boards, 173

camera mic problems, 161–2

lavalier mic on actor, 172–3

location shooting, 171, 173–5

overhead boom/shotgun mic, 172

shotgun from underneath, 172

shotgun and lavalier mic, 172

Microphones:

bidirectional mics, 170

boundary effect mics, 168

camcorder mic problems, 161–2

cardioid mics, 171

contact mics, 169

dynamic mics, 169

hand-held mics, 168

hypercardioid mics, 171

omnidirectional mics, 170

parabolic mics, 171

personal/lavalier/clip-on mics, 168

shotgun mics, 169

studio mics, 169

supercardioid mics, 171

unidirectional mics, 164–5, 170

and XLR connectors, 168

Microsoft:

and Apple Computer, 13

Windows Media format, 38

Windows Movie Maker, 271

Mini-DV recording format, 22

Money raising:

amount required, 76–7

on credit cards, 79

getting investment, 77

investment firms, beware of, 79

investment packages:

background material, 78

budget, 78

copyright, 78–9

résumés, 77

showreels, 77–8

see also Budgeting

Montage editing, 290–6

Mood/atmosphere conveying, 194–5 with lighting, 151

Motifs, 67–8, 218

MPEG (Motion Picture Experts Group):

about MPEG, 14–15

MPEG-1, 36

MPEG-2, 36–7

MPEG-4, 36–7

MPEG-7, 36

Music, 263–4

cost of, 75–6

do it yourself, 264

from local musicians, 263–4

permission, 263

sampling tracks, 263

Music videos/promos and the VJ:

about music videos, 48–9, 50–1, 229–30

beginnings, 230

features of successful promos, 234–6

history, 230–1

modern promos, 231–3

and movies, 233

MTV, 232

top promo agencies, 237

Nanotainment, 369

Narrative film, 43–5

about narrative films, 43–4

low budget, 125

micro-short movies, 44

short movies, 44

Non-diagetic sound, 262

Non-narrative film editing, 281–90

about non-narrative films/editing, 46–7, 281–3

aims of, 284–5

disorientation, 287

ending is the story, 285–6

imitation of the dream, 286

and strong rhythm, 285

symbolism, 287

NTSC (National Television Systems Committee), 20–1

frame rate, 21

timecode, 24, 265–6

Optioning a story, 127

Own films:

advertising, 335

making, 318–19

script writing, 104, 127

see also Low-budget filmmaking

PAL (Phase Alternating Line), 20–1

frame rate, 21

timecode, 24, 265–6

Picture resolution, DV vs analog, 11

Piracy problems, 376

Pixels, NTSC and PAL, 21

Planning the filmmaking, 2–4

see also Storyboards and planning

Plot/story, 56–7

Polymedia films/artists, 50, 373–6

Post production see Digital editing facilities; Editing

video; Genre editing

Power and batteries, 27

Press packs, 345

Production:

better looking films, 194

mood conveying, 194–5

rule bending, 194

see also Camera usage/language/framing; Composition; Film language; Shooting

Projections, 51–2

Projects:

project 1., 29–32

project 1. In-camera edit: manual settings, 29–32

project 2. In-camera edit: basic shooting, 52–4

project 3. Scene description, 91–2

project 4. Collaboration, 92–4

project 5. Developing stories, 94–6

project 6. Core scenes, 112–13

project 7. Silent movie remake, 114–18

project 8. New movie structure, 123–4

project 9. Revealing subtext, 128–9

project 10. Symbolism, 130–2

project 11. The chase, 176–9

Project 12. Sound environment, 179–80

project 13. New format movie, 192–3

project 14. Close-ups, 206–10

project 15. Urban legends, 219–21

project 16. My obituary, 227–9

project 17. Music Video, 238–41

project 18. Polymedia movie, 289–90

project 19. Movie spell, 295–6

project 20. Showreel: who am I?, 348–9

Promos see Music videos/promos and the VJ

Promotion strategies:

about promotion, 341

advanced route, 342–3

beginner's route, 342

intermediate route, 342

planning, 341–3

see also Marketing strategies; Promotion strategies

QuickTime format, 38–9

Raising money see Money raising

RealG2 Codec, 37–8

RealPlayer format, 39

Recording formats see Video recording formats

Rendering, for digital editing, 253

Resolution, DV vs analog, 11

Royalties, web movies, 359

S-VHS, picture resolution, 11

Satellite television, own films for, 327

Schedule making:

about schedule making, 96

and continuity, 98

enough good footage, 96

pre-production schedule, 98

shoot lengths, 99

shooting schedule, 98–9

Scripts, story and structure:

about scripts, 4

about stories, 100

action and pace, 111

branch structure, 119–22

case study, 122

trope and closure, 121–2

classic script structure, 100–1

conflict usage, 107–8

core scenes, 112–13

embedding structure early, 107

good structure development, 105–7

mainstream movie structure, 101–2

micro-structures within scenes, 108

own script writing, 104–5, 127

pace in script, 110–12

pinch points, 104

plot vs story, 100

protagonists, use of, 108–9

subplots, 109

subtexts, 109–10

‘three acts’ structure, 102–4

timeline usage, 105–7

see also Low-budget filmmaking; Storyboards and planning

SECAM (sequential couleur avec memoire), 20–1

Shooting:

about shooting, 4–5

actor considerations, 148

assistance, advice on, 148– 9

audio operation summary, 148

camera operation summary, 147

condensed guide, 146–50

crew considerations, 148

emergency funding, 150

equipment summary, 146–7

insurance, 149

permissions, 149–50

preparation, 146

scheduling, 98–9, 149

shooting ratio, 96, 149

see also Camcorder operation; Camera usage/language/framing; Continuity; Light/lighting; Schedule making; Web movies

Short films/clips, for film festivals, 350–1, 353

Shutter speed, camcorders, 17–18, 31

Software for editing, 255–6, 257–8

Adobe Premiere, 270

Final Cut Pro, 270

iMove, 271

Vegas Video, 270

Windows Movie Maker, 271

Solo working, 80

Sony camcorders, 12

Sorenson Codec, 38

Sound:

about sound recording, 161

ambient sound, 163–4

atmosphere adding, 259–60

automatic dialogue replacement (ADR), 261–2

camera mic problems, 161–2

capturing, 264

clean sound, 162

consistency and continuity in recording, 167–8

continuity, helping with, 258

digital editing facilities, 253, 258–65, 259

foreground and background, 260–1

hyper-real sound, 262

layers of sound, 259

matching camera with sound, 166

natural sound creation, 261

non-diagetic sound, 262

prioritizing soundtracks, 260–1

sound environment, 164–7

creation of, 166–7

sound skills, 162–8

soundtrack building, 259–61

special effects, 264

web movies, 189

see also Audio; Microphone techniques; Microphones; Music

Sound effects:

from DAT, 175–6

from mini-disc, 175–6

Standards see Broadcast standards; MPEG (Motion Picture Experts Group)

Stories for films see Scripts, story and structure

Story development, 94–6

Storyboards and planning:

about film planning, 136–8

about storyboards, 3–4

alternatives to storyboards:

image circle method, 143

image prioritizing, 143

key frame method, 142–3

reducing control, 142

timeline usage, 142

image control, 141

making images with meaning, 141

storyboard usage, 138–41

Striping tapes, 27, 267

Structure of films see Scripts, story and structure

Studio lighting see Light/lighting

Subtext, 57–8

Sunlight dangers, 32

Symbolism, 65–7, 130–2, 287

Tape, storage, 34–5

Tape striping, 27, 267

Taxation, 301–2

Television, terrestrial, distribution, 326–7

Terrestrial television, own films for, 326–7

Themes, 58–9

Timecodes:

about timecodes, 265

audio tracks, 266

Timecodes: (contd)

continuous in filming, 267

with editing, 267

NTSC and PAL, 24, 265–6

as part of video signal, 266

and tape striping, 27, 267

Timeline usage, 105–7, 142, 252

Universal Serial Bus (USB), 247–8

Vegas Video editing software, 270

VHS/S-VHS recording format, 23

Video cameras see Camcorder

Video compression:

basic principle, 35–6

compression rates for camera formats, 20

and data rates, 41

DIY compression, 40–2

file sizes, 41–2

web encoding, 41

see also Codecs; MPEG (Motion Picture Experts Group)

Video editing see Editing video; Genre editing; Software for editing; Sound; Timecodes

Video games, 370–1

Video recording formats:

Betacam SP, 212

Digi-Beta, 22

Digital 8 (Sony), 23

DVCAM, 22

DVCPro, 22

DVD-RAM, 22

HDV, 22

MicroMV, 23

Mini-DV, 22

VHS/S-VHS, 23

see also Broadcast standards; Computer video formats

Video streaming, 39, 340–1

Video for Windows format, 38

Videotape see Tape

Viral movies, 368

Visualizations/visual blueprints, 3

Visualizing new films: about visualizing, 132

developing ideas into pictures, 135

methods, 133–4

sketching with video, 135–6

translating words into images, 132–5

see also Storyboards

VJ (video jockey) films see Music videos/promos and the VJ

Water damage, camcorders, 32

Web movies:

about web movies, 188, 340

aspect ratios, 191

audio/video quality priority, 189

being creative with, 191–2

and broadcast by satellite, 15

clear text needed, 189

clear-cut stories, 189

close-ups desirable, 190

colour recommendations, 190

distribution agreements, 359

encoding for, 41

file sizes, 340

film types, 340–1

internet data rates, 188

lengths of movies, 188

lighting recommendations, 190

marketing, 347

for marketing rather than finance, 360–1

protecting your rights, 359–61

rights, 360

royalties, 359

simple imagery essential, 189–90

and video streaming, 340–1

written agreements, 360

see also Internet; Internet broadcasting

Web output from digital editing, 254

White balance/colour temperature, 26, 30–1, 155–6

Windows Movie Maker (Microsoft editing software), 271

WWW see Internet; Web movies

XLR balanced mic connections, 168

Zeitgeist, 303

Zoom, camcorders, 18, 24