Power Filmmaking Kit

432 Pages·2008·13.25 MB·English

by  Jason Tomaric

The Power Filmmaking Kit
Make Your Professional Movie on a
Next-to-Nothing Budget
Jason J. Tomaric
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Library of Congress Cataloging-in-Publication Data
Tomaric, Jason.
The power fi lmmaking kit : make your professional movie on a next-to-nothing budget / Jason
Tomaric.
p. cm.
Includes index.
ISBN 978-0-240-81021-8 (pbk. : alk. paper) 1. Motion pictures—Production and
direction. 2. Low budget motion pictures. I. Title.
PN1995.9.P7T65 2008
791.43′3—dc22
2007038454
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
ISBN: 978-0-240-81021-8
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Contents
UNIT 1 DEVELOPMENT 1
Timeline 1
Chapter 1: The Script 3
Introduction 3
Writing Your Own Script 4
Developing the Idea 4
Setting up Your Space 7
Developing a Premise 7 iii
Step 1: Fiction or Nonfi ction 7
Step 2: Genre 8
Step 3: Format 8
Step 4: Plot Type 10
Optioning Material 10
Working with a Writer 11
Story Structure 12
The A Plot 12
Act 1 12
Act 2 13
Turning Point 14
Act 3 14
Subplots 15
The gasp moments 16
Writing a script 16
Title 18
Theme 18
Logline 18
Treatment 18
Outline 19
Script 20
Creating Characters 21
Contents
Box: Making Original Characters 22
Activities 23
Formatting Guidelines 23
Tips for Writing Successfully 27
Box: Resources for Writers 29
Writing on a Budget 30
Rewrites 31
Protecting Your Script 32
Optioning a script 32
UNIT 2 PREPRODUCTION 34
Timeline 34
Chapter 2: Preproduction 37
Introduction 37
Setting Up an Offi ce 39
Legal Consultations 39
Release Forms 40
Books 41
Box: Preproduction 41
iv
Chapter 3: Budgeting 43
Introduction 43
Raising Money 43
Box: Business Formulas 44
Budgeting 45
Cast and Crew 49
The Business Plan 50
Forming a Company 52
Managing the Budget 54
Budget Categories 55
Chapter 4: Scheduling 61
Introduction 61
Step 1: Lining the Script 62
Step 2: Scene Breakdown Sheets 62
Step 3: Determine the Number of Shooting Days 64
Step 4: Making the Daily Schedule 68
Step 5: Finalizing the Schedule 73
Step 6: During Production 73
Contact List 73
Call Sheets 73
Contents
Chapter 5: Insurance 77
Introduction 77
Insurance Types 77
General Liability Insurance 77
Cast Insurance 78
Film and Video Tape Insurance 78
Equipment Insurance 78
Worker’s Compensation 78
Errors and Omissions Insurance 78
What Do You Really Need? 79
Certifi cate of Insurance 81
Chapter 6: Locations 83
Introduction 83
Finding Locations 83
Location scouting tips 86
Box: Information and Advice for Shooting in London 87
Locations to avoid 89
Securing a Location 89
Community Relations 93
Permits 93
v
Working in a community 93
Activity 97
Filmmakers’ code of conduct 97
Film Commissions 98
During Production 102
Chapter 7: Auditioning Actors 105
Introduction 105
Finding an Audition Space 106
Attracting Actors to the Audition 106
Box: Casting Resources 107
Working with Casting Agencies 109
How to Conduct an Audition 109
The fi rst audition 109
Monologs 113
The second audition 113
The third audition 114
Box: Audition Warning Signs 115
Activity 116
After the Auditions 116
Contents
Chapter 8: The Crew 121
Introduction 121
Crew Positions 121
The Producers 122
The Production Department 122
The Director of Photography (DP) and
the Camera Crew 124
The Grip Department 126
The Electric Department 127
The Art Department 128
The Prop Department 129
The Hair and Makeup Department 129
The Wardrobe Department 129
The Audio Department 130
The Stunts/Special Effects Department 130
The Transportation Department 130
Postproduction 131
How to Hire the Crew 131
Crew Structures 131
The Ultrasmall Crew Structure 133
The Basic Crew Structure 135
Finding Qualifi ed Crew Members 135
Paying Crew Members 138
vi
Money 138
Deferred Payment 139
Credit 139
Box: Contracts and Deal Memos 142
Crew Wages 142
Chapter 9: Unions and Guilds 145
Introduction 145
Screen Actors Guild 147
Student fi lm agreement 148
Short-fi lm agreement 148
Ultra-low-budget agreement 148
Modifi ed low-budget agreement 148
Low-budget agreement 149
Diversity casting incentives 149
Background actor incentive 149
Writers Guild of America 150
Writers Guild Low-Budget Contract 150
I ATSE (International Alliance of the Theatrical Stage
Employees) 151
Directors Guild of America 152
Box: Guild and Union Contact Information 153
Contents
Chapter 10: Equipment 155
Introduction 155
Cameras 156
Video vs Film 156
Shooting Film 157
Film Formats 157
Buying Film 160
Film Workfl ow 162
Traditional postproduction 162
Digital postproduction 1 163
Digital postproduction 2 163
16 mm color production lab costs 164
35 mm color production lab costs 165
Box: Benefi ts and Drawbacks of Shooting Film 166
Shooting Video 166
Standard Defi nition 167
720 ¥ 480 167
4 : 3 Aspect Ratio 167
29.97 Interlaced Frames 168
Box: Benefi ts and Drawbacks of Shooting Video 168
High Defi nition 169
720p 169
Box: Television standards 170
vii
1080i/p 171
Camcorder Purchasing Tips 171
Camera Support 172
Lighting 175
Tungsten 176
Fluorescent 176
HMI 177
Soft boxes 177
Light Kits 178
Lighting Support 178
Gels 179
Diffusion 179
Microphones 180
What Do You Really Need? 180
Low-Budget Alternatives 181
Approaching a Rental Facility 182
Box: Vendor Contact Information 183
Chapter 11: Production Design 187
Introduction 187
Props 189
Contents
Wardrobe 190
Building Sets 192
Set Dressing 194
Creating a Time Period 196
UNIT 3 PRODUCTION 200
Timeline 200
Chapter 12: Production 203
Introduction 203
Box: Getting Ready for Production 203
A Day on Set 204
Sample Production Schedule 208
Box: Order of On-Set Commands 209
Safety 210
Organization of Shots 211
Chapter 13: Acting 213
Introduction 213
Tips for the Director 213
viii Activities 215
Tips for the Actor 216
Box: Subtext 219
Acting Techniques 220
The Stanislavsky System 220
The Meisner Technique 221
The Chekhov Technique 222
Backstory 222
Chapter 14: Directing 225
Introduction 225
Directing during Preproduction 226
Reading the Script 226
Determining Coverage 227
Storyboarding 229
Rehearsing Actors 232
Rehearsal 1—Understanding the Story 232
Rehearsal 2—Creating the Characters 237
After the Second Rehearsal 238
Rehearsal 3—Scene Specifi cs 238
Overrehearsing 239
Exercises during Rehearsals 240
Contents
Working with the Crew during Preproduction 240
Activities 242
Directing during Production 242
Blocking the Scene 243
Directing Actors 244
Directing the Subtext 246
Directing Extras 247
Balancing Acting with the Technical Tools 249
Directing the Crew 249
Directing the Camera 251
Directing Problems 253
Directing during Postproduction 254
Chapter 15: Cinematography 257
Introduction 257
Working with a Director of Photography 257
Shooting Styles 259
Dogme 95 259
Cinema Verité 259
Polished 260
The roving camera 260
The Camera 260 ix
Choosing the Lens 261
Prime Lenses 261
Zoom Lenses 261
The Five Rings of Power 262
Ring 1—Focus 262
Pulling Focus 263
Ring 2—Focal Length 265
Ring 3—The Iris: Exposure 266
Ring 4—Macro Focus 267
Ring 5—Back Focus 268
Lens Care 268
Camera Settings 269
Shutter Speed 269
Gain 270
White Balance 270
Box: Color Temperatures 271
Working with the Frame 273
Aspect Ratios 273
Letterbox 273
Pan and Scan 273
Rules of Composition 273
Shot Types 278