LEADER 00000nam a22004933i 4500 
001    EBC535150 
003    MiAaPQ 
005    20200713055144.0 
006    m     o  d |       
007    cr cnu|||||||| 
008    200713s2010    xx      o     ||||0 eng d 
020    9780080884998|q(electronic bk.) 
020    |z9780240811505 
035    (MiAaPQ)EBC535150 
035    (Au-PeEL)EBL535150 
035    (CaPaEBR)ebr10382849 
035    (CaONFJC)MIL254066 
035    (OCoLC)647765365 
040    MiAaPQ|beng|erda|epn|cMiAaPQ|dMiAaPQ 
050  4 PN1995.9.P7 -- H66 2010eb 
082 0  791.4302/32 
100 1  Honthaner, Eve Light 
245 14 The Complete Film Production Handbook 
250    4th ed 
264  1 Oxford :|bTaylor & Francis Group,|c2010 
264  4 |c©2010 
300    1 online resource (543 pages) 
336    text|btxt|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
505 0  Cover -- Title Page -- Copyright Page -- Table of Contents
       -- Introduction -- Acknowledgments -- Forms in the book --
       Chapter 1: The Production Team and Who Does What -- 
       Introduction -- Producers -- Executive Producer -- 
       Producer -- Co-Producer -- Line Producer -- Post 
       Production Producer -- Associate Producer -- Production 
       Management -- Unit Production Manager -- First Assistant 
       Director -- Second Assistant Director -- Production 
       Supervisor -- Production Coordinator -- Chapter 2: The 
       Production Office -- Introduction -- Office Space -- 
       Setting Up -- Phone Systems -- The Traveling Production 
       Kit -- Answering the Phone -- Confidentiality -- Shredding
       -- Watermarking -- Production Assistants -- Interns -- 
       Ain't Technology Great? -- Techie Wanted -- Employees 
       Driving Their Own Vehicles for Business Purposes -- Staff 
       Scheduling and Assignment of Duties -- Staff Meetings -- 
       Office Lunches -- Time Management -- Office Inventories, 
       Logs, and Sign-Out Sheets -- The Files -- Files of Blank 
       Forms -- Files for Features, Movies for Television, Cable 
       or Internet -- Series Files -- Day Files -- Forms in This 
       Chapter -- Chapter 3: Basic Accounting -- Introduction -- 
       The Production Accountant -- The Accounting Department -- 
       Handling Payroll -- Payroll Companies -- Accounting 
       Guidelines -- Start Paperwork Packets -- Payroll -- Box 
       Rentals -- Vendor Accounts -- Competitive Bids -- Purchase
       Orders -- Check Requests -- Petty Cash -- Online Purchases
       -- Cell Phone Reimbursement -- Auto Allowances -- Mileage 
       Reimbursement -- Drive-To -- Per Diem and Living Allowance
       -- Invoicing -- Additional Taxable Income -- The Budget --
       Tracking Costs -- The Audit -- Forms in This Chapter -- 
       Chapter 4: From Script to Schedule -- Introduction -- It 
       All Starts with a Script -- Script Revisions -- The 
       Breakdown -- The Board -- The Schedule -- Day-Out-of-Days 
       -- Breakdowns 
505 8  Chapter 5: Incentives -- Introduction -- The Evolution of 
       Incentive Programs -- In Flux -- What to Consider -- 
       Infrastructure -- Types of Incentives -- Rebate -- Tax 
       Credits -- Refundable Tax Credits -- Transferable Tax 
       Credits -- Nonrefundable, Nontransferable Tax Credits -- 
       Up-Front or Back-End Funding -- Chapter 6: Pre-Production 
       -- What Is Pre-Production? -- Establishing Company 
       Policies -- Stages -- Meetings, Meetings, and More 
       Meetings -- Communications -- Cellular Phones, BlackBerrys,
       Wireless Internet and More -- Walkie-Talkies -- 
       Previsualization -- Plan Ahead -- Sample Pre-Production 
       Schedule -- Week #1 (8 weeks to go) -- Week #2 (7 weeks to
       go) -- Week #3 (6 weeks to go) -- Week #4 (5 weeks to go) 
       -- Week #5 (4 weeks to go) -- Week #6 (3 weeks to go) -- 
       Week #7 (2 weeks to go) -- Week #8 (final week of prep) --
       Daily Prep Schedules -- More on Logs and Sign-Out Sheets -
       - Distribution -- Collecting Information and Making Lists 
       -- Crew Information Sheet -- The Crew List -- The 
       Executive Staff List -- The Cast List -- The Contact List 
       -- Better Safe than Sorry -- Pre-Production Checklist -- 
       Starting from Scratch -- Creating Your Own Production 
       Manual -- For Your Own Good -- Forms in This Chapter -- 
       Chapter 7: Insurance Requirements -- Introduction -- 
       General Insurance Guidelines -- Errors and Omissions (E&O)
       -- Comprehensive General Liability -- Certificates of 
       Insurance -- Hired, Loaned, Donated or Nonowned Auto 
       Liability -- Hired, Loaned or Donated Auto Physical Damage
       -- Workers' Compensation and Employer's Liability -- Guild
       /Union Accident Coverage -- Production Package (Portfolio 
       Policy) -- Cast Insurance -- Essential Elements -- 
       Bereavement Coverage -- Production Media (Film, Digital 
       Elements or Other Medium)/Direct Physical Loss -- Faulty 
       Stock, Camera and Processing -- Props, Sets and Scenery --
       Costumes and Wardrobe 
505 8  Miscellaneous Rented Equipment -- Office Contents -- Extra
       Expense -- Third-Party Property Damage -- Supplemental (or
       Optional) Coverages -- Umbrella (Excess Liability) -- Use 
       of Aircraft -- Use of Watercraft -- Use of Railroads or 
       Railroad Facilities -- Use of Valuables -- Use of 
       Livestock or Animals -- Signal Interruption Insurance -- 
       Foreign Package Policy -- Political Risk Insurance -- 
       Weather Insurance -- Completion Bonds -- Claims Reporting 
       Procedures -- Submitting Claims -- Forms in This Chapter -
       - Chapter 8: During the Shoot -- The Prep Continues -- The
       Set -- Communications -- The Daily Routine -- Call Sheets 
       and Production Reports -- Paperwork from the Set -- The 
       Script Supervisor's Role -- The Day Before -- Reshoots -- 
       Daily Wrap -- On the Lighter Side -- Forms in This Chapter
       -- Chapter 9: Building Strong Industry Relationships: 
       Making Good Deals and Navigating the Politics -- 
       Introduction -- Vendors -- Negotiating with Vendors -- 
       Studio and Network Executives -- Agents -- Your Crew -- 
       Negotiating Tips for Hiring Crew -- Avoid Cutting Off Your
       Nose to Spite Your Face -- Standards of Business Conduct -
       - Politics and Principles -- #1: Jonathan Sanger (Elephant
       Man, Frances, Vanilla Sky, Suspect Zero, The Producers) --
       #2: A Top Production Exective (who prefers to remain 
       anonymous) -- #3: Ira Shuman (Just Married, Cheaper by the
       Dozen, The Pink Panther, Night at the Museum, The Pink 
       Panther 2, The Spy Next Door) -- A Producer's Mission -- 
       Chapter 10: Deal Memos -- Introduction -- The Cast Deal 
       Memo -- Crew Deal Memos -- Writers' Deal Memos -- DGA Deal
       Memos -- Forms in This Chapter -- Chapter 11: Unions and 
       Guilds -- Introduction -- An Overview of Industry Unions 
       and Guilds -- Union versus Nonunion Shows -- Becoming a 
       Union Member -- Becoming a Union Signatory -- More 
       Specifically -- Screen Actors Guild (SAG) -- SAGIndie 
505 8  Short Film Agreement -- Ultra-Low-Budget Agreement -- 
       Modified Low-Budget Agreement -- Low-Budget Agreement -- 
       AFTRA -- Directors Guild of America (DGA) -- Getting into 
       the DGA -- Creative Rights -- Writers Guild of America 
       (WGA) -- The Producers Guild of America (PGA) -- The 
       Alliance of Motion Picture and Television Producers 
       (AMPTP) -- Contract Services Administration Trust Fund -- 
       SAG, DGA and WGA: Forms and Reports -- Union and Guild 
       Contact Information -- Chapter 12: Principal Talent -- 
       Introduction -- With a Little Help from Technology -- 
       Follow-Through After an Actor's Been Cast -- Work Calls --
       Performer Categories -- Stunt Performer Categories -- 
       Interviews -- Workweek -- Rest Periods -- Consecutive 
       Employment -- Transportation and Location Expenses -- 
       Looping -- Dubbing (Theatrical Motion Pictures Only) -- 
       The Employment of Minors -- Work Permits -- Coogan's Law -
       - Parents, Guardians, Teachers and Schooling -- Working 
       Hours -- Miscellaneous Guidelines Pertaining to Minors -- 
       Specific California Guidelines -- Taft/Hartley -- Nudity -
       - Work in Smoke -- SAG Background Actors -- Additionally -
       - Forms in This Chapter -- Screen Actors Guild Offices -- 
       Chapter 13: Background Talent -- Background Casting 
       Agencies -- Finding Specific Types -- The Process -- 
       Gathering Large Crowds and Filling Stadiums -- Background 
       Casting on Location -- Specifically SAG -- Moving from 
       Nonunion to Union Status -- With the Extra in Mind -- 
       Reminder of Professional Conduct for Background Actors -- 
       Forms in This Chapter -- Chapter 14: There's An Animal In 
       My Film -- Introduction -- The Process -- Shipping Animals
       -- Animal Trainers -- Some Expert Advice -- The American 
       Humane Association -- Chapter 15: Clearances and Releases 
       -- Introduction -- What Needs to Be Cleared -- Likeness --
       Crowd Notice -- Locations -- Name -- Names of Actual 
       Businesses or Organizations 
505 8  Telephone Numbers -- License Plates -- Depiction of Public
       Authorities -- Street Addresses -- Depiction of Actual 
       Products -- Posters and Paintings -- Publications -- 
       Currency -- Web Addresses -- Music -- Product Placement --
       Guidelines for the Use of Clips, Stills and News Footage 
       in Multimedia Programs -- Literary Works -- News and/or 
       Stock Footage -- Film Clips -- Television Clips -- Still 
       Photos -- Public Domain Films and Stills -- Trailers -- 
       Talent Clearance -- News Footage -- Public Figures in News
       Footage -- Feature Films -- Television Programs -- 
       Directors and Writers Payments -- Distribution of Release 
       Forms -- Forms in This Chapter -- Chapter 16: A Guide to 
       Music Clearance -- What Is Music Clearance? -- Why Does a 
       Producer Have to Secure Licenses for "Music Rights"? -- 
       How Does Your Errors and Omission Insurance Policy Relate 
       to Music Clearance? -- Who Are the Owners of Musical 
       Compositions and Recordings? -- What Was the U.S. Supreme 
       Court's Rear Window Decision and How Does It Affect Music 
       Licensing? -- What Rights Are Needed in Order to Make Sure
       that the Musical Material Used in a Production Is Properly
       Cleared? -- Public Performing Rights -- Reproduction 
       Rights -- Adaptation Rights -- From Whom Are These Music 
       Rights Obtained? -- Musical Compositions -- Recordings -- 
       What Is a Music Cue Sheet and Why Is It So Important? -- 
       To Where Should Music Cue Sheets Be Sent? -- Can a 
       Copyright Owner Prevent Music from Being Used? -- What 
       Happens If a Song Is Used Without Clearance? -- What About
       Old Songs? Aren't These Songs in the Public Domain, and 
       Free to Be Used Without Restrictions? -- How Long Can 
       Music Be Protected by Copyright? -- May I Use Eight Bars 
       of a Song Without Paying for It? -- What Is "Fair Use"? --
       May the Title of a Song Be Used as the Title of a Program?
       -- Must a License Be Secured if Song Lyrics Are Spoken in 
       Dialogue? 
505 8  May Lyrics to an Existing Song Be Changed Without 
       Permission? 
520    This book is for working film/TV professionals and 
       students alike. If you're a line producer, production 
       manager, production supervisor, assistant director or 
       production coordinator--the book has everything you'll 
       need (including all the forms, contracts, releases and 
       checklists) to set up and run a production--from finding a
       production office to turning over delivery elements. Even 
       if you know what you're doing, you will be thrilled to 
       find everything you need in one place. If you're not 
       already working in film production, but think you'd like 
       to be, read the book -- and then decide. If you choose to 
       pursue this career path, you'll know what to expect, 
       you'll be prepared, and you'll be ten steps ahead of 
       everyone else just starting out. New topics and 
       information in the fourth edition include: * Low-budget 
       independent films, including documentaries and shorts * 
       Information specific to television production and 
       commercials * The industry's commitment to go green and 
       how to do it * Coverage of new travel and shipping 
       regulations * Updated information on scheduling, budgeting,
       deal memos, music clearances, communications, digital 
       production, and new forms throughout 
588    Description based on publisher supplied metadata and other
       sources 
590    Electronic reproduction. Ann Arbor, Michigan : ProQuest 
       Ebook Central, 2020. Available via World Wide Web. Access 
       may be limited to ProQuest Ebook Central affiliated 
       libraries 
650  0 Motion pictures - Production and direction 
655  4 Electronic books 
776 08 |iPrint version:|aHonthaner, Eve Light|tThe Complete Film 
       Production Handbook|dOxford : Taylor & Francis Group,c2010
       |z9780240811505 
856 40 |uhttps://ebookcentral.proquest.com/lib/sinciatw/
       detail.action?docID=535150|zClick to View