Producing and Directing the Short Film and Video
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Producing and Directing the Short Film and Video Producing and Directing the Short Film and Video Fourth Edition Peter W. Rea David K. Irving AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK # 2010 ELSEVIER Inc. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein. Library of Congress Cataloging-in-Publication Data Irving, David K. Producing and directing the short film and video / David K. Irving, Peter W. Rea. – 4th ed. p. cm. Includes bibliographical references and index. ISBN 978-0-240-81174-1 (alk. paper) 1. Short films–Production and direction. 2. Video recordings–Production and direction. I. Rea, Peter W. II. Title. PN1995.9.P7I75 2010 791.4302032–dc22 2009046285 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-81174-1 For information on all Focal Press publications visit our website at www.elsevierdirect.com 10 11 12 13 14 5 4 3 2 1 Printed in the United States of America Contents Web Contents . ................. xi Student Fundraising Strategies . 33 Preface .................... xiii Director ................34 Acknowledgments ................xv Pitching the Project . 34 Introduction . ................ xvii The Elevator Challenge . 34 Timeline ....................xxiii Steps to a Successful Pitch . 34 Key Points ..............35 Chapter 1: Script . 1 The Creative Producer ....... 1 Developing the Script . 1 Part I Do Your Homework . 2 Preproduction What Is a Script? . 3 What Does a Script Look Like? . 3 Chapter 3: Breakdowns . 45 Where Do Scripts Come From? . 4 How Are Scripts Developed? . 6 Producer ...............45 Adaptation . 7 Breaking Down the Script . 45 Legalities . 8 Production Book . 45 Basic Guidelines for the Short Proper Script Format . 46 Form.............. 9 Breaking Down the Script . 46 Collaboration . 14 Director ................51 What Do You Do Now? . 17 Storyboards and Floor Plans . 51 True Stories and Events . 17 Developing a Shooting Plan . 52 Director ................18 The Final Word . 60 Supervising or Performing Key Points ..............61 Rewrites . 18 Working with the Writer . 18 Chapter 4: Schedule . 63 Director as Storyteller . 18 Story Questions . 19 Producer (as Production .............63 Scene Analysis . 19 Manager) Building a Stripboard . 63 The Shooting Script . 19 General Guidelines . 63 How Do Scripts Affect Budgets? . 20 Beginning the Schedule . 68 Animation . 20 Creating the Schedule . 69 Documentaries . 20 The First Day . 69 Developing a Web Presence . 21 Making the Day . 69 ..............22 Key Points Shooting During Preproduction . 71 Locking the Schedule . 71 Chapter 2: Finance . 23 Call Sheet . 72 Producer ...............23 Scheduling Documentaries . 74 Raising the Capital . 23 Student Scheduling Tips . 74 Basic Fundraising Problems . 23 Web Presence for the Project . 75 Funding Options . 24 Director ................75 Do Your Research . 26 Determining the Visual Plan . 75 The Prospectus . 27 Coverage ¼ Time ¼ Schedule ¼ Spending the Money Responsibly . 32 Budget . 75 The Digital Prospectus . 32 Contingency Plans for Overages . 76 General Fundraising Suggestions 32 Things Change . 76 Sources for Students . 33 Key Points ..............76 v vi Contents Chapter 5: Budget . 77 Props . 128 Wardrobe . 130 Producer ...............77 Makeup . 132 Creating a Budget . 77 Hair . 132 Production Value . 77 Animation . 133 Script and Budget . 78 The Producer’s Role . 134 Who Creates the Budget? . 78 Web Presence . 134 Budgeting Software . 78 Director ............... 135 The Budget Form . 78 Creating a Look . 135 Beginning the Budget . 91 Architect of Illusion . 135 Learn by Doing . 92 How to Define the “Look” . 136 Director ................93 Breakdowns: Listen to the Script . 137 Shooting for the Moon . 93 Defining the Space with Visual Key Points ..............94 Ideas . 138 Camera Tests . 138 Chapter 6: Crewing . 95 Key Points ............. 138 Producer ...............95 Hiring the Crew . 95 Chapter 9: Location . 139 Who Hires the Crew? . 95 When Do You Need a Crew? . 95 Producer .............. 139 How Big a Crew Do You Need? . 95 Securing Locations . 139 Selecting the Crew . 96 Where to Look for Locations . 139 Key Crew Members . 98 Scouting the Locations . 140 Developing the Right Chemistry 107 Securing the Location . 142 Web Presence . 108 Director ............... 144 Scouting Locations . 144 Director ............... 108 Hiring the Crew . 108 Aesthetic Concerns versus Director’s Disease . 109 Practical Limitations . 144 Key Points ............. 109 Be Flexible . 144 The Power of Illusion . 145 Chapter 7: Casting . 111 Identifying the Location . 146 Walk-throughs . 148 .............. 111 Producer ............. 148 Auditions . 111 Key Points The Casting Director . 111 The Basic Casting Steps . 112 Chapter 10: Rehearsals . 149 Added Benefits of Casting . 115 Director ............... 149 Web Presence . 115 Working on Scenes . 149 Director ............... 115 Before Rehearsals . 149 Auditions . 115 Developing Mutual Trust . 150 Casting . 116 Researching the Character . 150 Audition Guidelines . 117 Back Story . 150 Casting the Documentary . 120 Rehearsals . 150 Key Points ............. 121 Shape the Scene . 152 Communicating on the Set . 153 Chapter 8: Art Direction . 123 Interviews . 154 .............. 155 .............. 123 Producer Producer Rehearsal Schedule . 155 Assembling the Team . 123 ............. 155 Production Design . 123 Key Points The Art Department . 124 Images Can Tell a Story . 124 Chapter 11: Camera . 157 Responsibilities of the Art Director ............... 157 Department . 125 Collaborate . 157 Communication with the DP . 126 Keeping Up with Technology . 157 Set Dressing . 127 Style . 157 Contents vii Listen to the Material . 158 Chapter 13: Art on Set . 219 Documentary . 158 Do Your Homework . 158 Director ............... 219 Consult with the Director of Guide . 219 Photography . 159 Final Walk-through . 219 Camera Team . 161 Set Procedures . 219 Basic Decisions . 161 Set Dressing . 220 Film Stock . 163 Props . 221 Digital Video Format . 163 Wardrobe . 222 Tests . 164 Makeup . 222 The Camera as Storyteller . 164 Hair . 223 The Frame . 167 Additional Crew . 223 Size of Shot . 170 Producer .............. 223 Camera Movement . 173 Keeping Track . 223 Editing . 175 Cover Sets . 224 Continuity . 177 Wrapping Up . 224 Second Unit . 178 Key Points ............. 224 Greenscreen . 181 Lighting Style . 182 Part II Equipment . 184 Video . 188 Production Video Formats . 192 Other Equipment . 198 Chapter 14: Set Procedures . 229 Tricks . 199 Director ............... 229 Integrating Animation . 200 Inspires . 229 Producer .............. 200 Organized Chaos . 229 Support . 200 Set Etiquette . 229 Technical Considerations . 201 A Typical Day . 230 Key Points ............. 201 Camera Moves . 234 Video Tap . 235 Digital Assistant . 235 Chapter 12: Sound . 203 Slates . 235 Director ............... 203 Calling the Shot . 237 Recording Clean Tracks . 203 Script Supervision . 238 Why Getting Good Sound Is So Dailies . 239 Important . 203 Producer .............. 239 The Sound Team . 204 Coordinate . 239 The Equipment . 206 Guidelines . 240 Responsibilities of the Sound Proper Wrap Out . 241 Team . 206 Key Points ............. 241 Approaches to Recording Sound . 210 Variables for Placing Chapter 15: The Actor . 243 Microphones . 212 Director ............... 243 Recording Concerns . 213 Direct . 243 Video Sound . 214 The Process . 243 Documentary . 215 Technical Requirements for Web Site Information . 215 the Actor . 244 Producer .............. 215 The Director’s Tools . 246 Controlling the Environment . 215 Types of Characters . 246 Equipment Needs for the Shoot 216 Directing Actors . 249 How Big of a Sound