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001 EBC535150
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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
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