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Basics of Filmmaking: Screenwriting, Producing, Directing, Cinematography, Audio, & Editing [Minkštas viršelis]

  • Formatas: Paperback / softback, 174 pages, aukštis x plotis: 280x210 mm, weight: 520 g
  • Išleidimo metai: 28-Apr-2020
  • Leidėjas: Routledge
  • ISBN-10: 0367026066
  • ISBN-13: 9780367026066
  • Formatas: Paperback / softback, 174 pages, aukštis x plotis: 280x210 mm, weight: 520 g
  • Išleidimo metai: 28-Apr-2020
  • Leidėjas: Routledge
  • ISBN-10: 0367026066
  • ISBN-13: 9780367026066

The Basics of Filmmaking is an introductory textbook tailored to the needs of beginning and intermediate film students and independent filmmakers that expertly guides you through the entirety of the craft, from screenwriting all the way through to editing, with details chapters covering each department involved in the filmmaking process.

The book takes a behind-the-scenes look at every aspect of the filmmaking process: writing the screenplay (and getting it critiqued by a professional), pre-production, cinematography, lighting, the shooting process, getting good audio, editing, and even going to a pitch meeting to sell it. It addresses the real fundamentals, the mechanics and the basics concepts of how to write, produce, direct, shoot, record, and edit your movie.

Written by Blain Brown, a seasoned expert who has worked professionally as a cinematographer, screenwriter, director, producer, line producer, assistant director, gaffer, grip, and editor, this is a must have resource for any filmmaking student.

Featuring an accompanying companion website with video examples of scene directing methods, continuity and coverage, working with the camera, lighting, audio, and editing and downloadable production forms you can fill out and use for your projects.

The Basics Of Filmmaking iii
There are no rules in filmmaking, right? xi
Telling Stories Visually xi
Top Ten Ways to Screw Up Your Movie xii
Production Mistakes xii
Writing Your Story
1(20)
Telling Stories With Pictures
2(1)
Is It Plot Or Story?
2(1)
How Short Films Are Different
2(1)
It All Starts With Conflict
3(1)
External Conflict
3(1)
Internal Conflict
3(1)
Protagonist v Antagonist
4(1)
The Need
4(1)
Changing Direction
5(1)
Obstacles
5(1)
Roadblocks
5(1)
Premise
6(1)
The Theme: What Is Your Story Really About?
6(1)
Aristotle
6(1)
Creating Characters
7(1)
Write Their Backstory
7(1)
Point-of-View
7(1)
What is their Dramatic Need? Their Goal?
7(1)
25 Words Or Less
7(1)
The Cards and the Outline
8(2)
The Step Outline
8(1)
The Cards
8(1)
Synopsis
8(2)
Three Act Structure
10(1)
Beginning, Middle and End
10(1)
Story Points
11(1)
Getting The Story Started
11(1)
Plot Point One
11(1)
Act Two
12(1)
Midpoint
12(1)
Plot Point Two
13(1)
Wrapping It Up
13(1)
Don't Jump The Shark!
14(2)
We're Gonna' Need A Bigger Boat!
14(1)
Emotionally Satisfying Ending
14(1)
Let's Review
14(2)
Dialog That Is Not On the Nose
16(1)
Subtext
16(1)
Fully Cooked
16(1)
Not Exposing Your Exposition
17(1)
Why is it a necessary evil?
17(1)
Show, Don't Tell
17(1)
Formatting A Script
17(1)
A Sample Script Page
18(1)
Loglines, Treatment and Synopsis
19(1)
Synopsis
19(1)
Logline
19(1)
Presentation
20(1)
Binding
20(1)
Pitching
20(1)
The Elevator Pitch
20(1)
Production
21(24)
What Is a Producer?
22(1)
Executive Producer
22(1)
Producer
22(1)
Associate Producer
22(1)
Line Producer
22(1)
Unit Production Manager
22(1)
The Production Team
23(1)
The Production Office
23(1)
On The Set
23(1)
Pre-production
23(1)
Other Departments
23(1)
Location Scouting
23(1)
Making a Budget
24(1)
The Budget Form
24(1)
The Top Sheet
25(1)
Budget Details
26(1)
Script Marking
27(1)
Eighths of a Page
27(1)
Breakdown Pages
28(1)
Tech Scout
29(1)
The Walk Through
29(1)
Script Pages and Scene Numbers
30(1)
Locked Script
30(1)
Script Page Color Code
30(1)
Putting a Crew Together
31(1)
Permits
32(1)
Stealing Scenes
32(1)
Pickup Day
32(1)
Reshoots
32(1)
Location Scouting
33(1)
Location Checklist
33(1)
Tech Scouts
33(1)
Location Checklist
34(1)
Contact Lists
35(1)
Day Out of Days
35(1)
Transpo
36(1)
Transpo Coordinator
36(1)
Production Report
37(1)
Releases and Deal Memos
38(1)
Contracts
38(1)
Deal Memos
38(1)
Crew Deal Memo
38(1)
Talent Releases
39(1)
Why Releases Are Important
39(1)
Talent Release Form
39(1)
Location Release
40(1)
Sides
41(1)
Catering/Craft Services
42(1)
Walkie-Talkies
43(1)
Setiquette
43(1)
What Production Assistants Do
44(1)
Receipts
44(1)
The Ad Team
45(12)
Running the Show
46(1)
First Assistant Director
46(1)
Second AD
46(1)
Second Second AD
46(1)
Production Assistants
46(1)
The Jobs of the First Assistant Director
47(1)
First AD --- Pre-production
47(1)
Things you should do
47(1)
Things not to do
47(1)
Creating the Schedule
48(2)
Strip Boards
48(1)
Cover Sets
48(2)
Strip Boards on Computer
50(1)
Other Schedule Considerations
50(1)
How the First AD Runs the Set
51(3)
Rough In
51(1)
Blocking Rehearsal
51(1)
Lighting
51(1)
Final Rehearsal
51(1)
Last Looks
51(3)
Second AD
54(1)
Second Second AD
54(1)
Production Assistants
55(1)
What a PA doesn't do
55(1)
Ways for a PA (or anybody) to Get Fired
56(1)
How to Survive As An Extra
56(1)
Continuity And Coverage
57(8)
Continuity: Making Sure It Works
58(2)
Continuity
58(1)
Cutability
58(1)
Screen Direction
58(1)
The Line
58(2)
The 20% Rule
60(1)
The 30 Degree Rule
60(1)
Two Lens Sizes
60(1)
Point-of-View
60(1)
True Subjective POV
60(1)
Screen Direction In Dialog Scenes
61(3)
Jump Cuts
62(1)
Ellipsis
62(1)
Door and Window Match
62(1)
Location Stitching
63(1)
Faking it with Redressing
63(1)
Types of Continuity
64(1)
Wardrobe
64(1)
Screen direction
64(1)
Props
64(1)
Time
64(1)
The Work Of The Director
65(14)
Director and Producer
66(1)
The Director's Jobs
66(1)
The Stages of Filmmaking
66(1)
Getting Started
67(1)
Understanding The Script
67(1)
Table Read
67(1)
Rehearsal
67(1)
Page Turn
67(1)
Director's Pre-Production
68(1)
Casting
68(1)
Location scout
68(1)
Collaborations
68(1)
A Director Prepares
69(2)
The shot list
69(1)
Setups
69(1)
Sketches
69(1)
Overheads
70(1)
Storyboards
70(1)
Working With Actors
71(1)
Action, Attitude, Activity
71(1)
Blocking the Actors
72(1)
Blocking For The Camera
72(1)
Block, Light, Rehearse, Shoot
73(1)
Action, Cut, Circle That
74(1)
The Shooting Methods
74(5)
The Master Scene Method
74(1)
Overlapping or Triple-Take Method
75(1)
In-One
76(1)
The Developing Master
76(1)
Walk and Talk
76(1)
Freeform Method
76(2)
Montage
78(1)
Invisible Technique
78(1)
Cinematography
79(22)
The Camera Department
80(1)
Director of Photography
80(1)
First AC
80(1)
Second AC
80(1)
Clapper-Loader
80(1)
DMT
80(1)
DIT
80(1)
Operator
80(1)
Second Unit
80(1)
Shooting Digital
81(1)
Aspect Ratio
81(1)
Frame Rate
81(1)
Camera Terms
81(1)
Focal Length
82(1)
The personality of a lens
82(1)
Iris/Aperture
82(2)
Rack Focus / Focus Pull
83(1)
Shallow Focus
83(1)
Exposure
84(1)
Don't Blow Out the Highlights, Don't Get Into Noise
84(1)
Histogram
84(1)
Zebras
84(1)
Color Balance
85(1)
Composition
86(1)
Point-of-View
87(1)
The Shots: Building Blocks of a Scene
88(3)
Character Shots
89(2)
Typical Character Shots
91(1)
Inserts
92(1)
Framing People
93(1)
Camera Support
94(1)
Camera Angles
95(1)
Camera Movements
96(1)
The Prime Directive
97(1)
Managing Your Media
97(1)
Marking
98(1)
Marking During Blocking Rehearsal
98(1)
Pulling Focus
99(1)
Some focus practices
99(1)
Shooting Greenscreen
100(1)
Background Plates
100(1)
The Foreground Plate
100(1)
Tracking Marks Are Important
100(1)
Lighting And Grip
101(12)
Why Lighting Matters
102(1)
The Most Important Thing About Lighting
102(1)
The Lighting Process
102(1)
Types of Lights
103(1)
Fresnels
103(1)
Open face
103(1)
LEDs
103(1)
Fluorescent
103(1)
Practicals
103(1)
Hard vs. Soft
104(1)
Hard Light
104(1)
Soft Light
104(1)
Lighting Terms and Concepts
105(1)
Basic Principles
106(1)
Let The Set and the Scene Motivate Your Lighting
106(1)
Back Cross Keys
106(1)
Less Is More
106(1)
Lighting Methods
106(2)
Controlling Light
108(1)
The Amazing C-Stand
109(1)
How To Set a Light
109(1)
Getting Power
109(1)
Expendables
110(1)
Lighting Order
110(2)
Lighting Definitions
112(1)
The Art Department
113(8)
The Art Department
114(2)
Production Designer
114(1)
Art Director
114(1)
Set Construction, Scenic Artists
114(1)
Set Decorator
115(1)
Set Dresser
115(1)
Props
116(1)
Finding the Look of a Film
116(4)
The Right Details
117(1)
Wardrobe
117(1)
Continuity
118(1)
Makeup and Hair
119(1)
Building Sets
120(1)
Slating And Scripty
121(10)
Scripty
122(1)
Lining A Script
122(1)
A Sample Lined Script
123(1)
Sample Script Notes
124(1)
Script Notes Key
125(1)
End of Day Report
126(1)
Anatomy of a Slate
127(1)
Slate Numbers For Coverage
127(1)
Clapboards
128(3)
Scene Numbers
128(1)
Slate Like A Pro
129(1)
Tail Slates
130(1)
Reshoots
130(1)
VFX Plates and Room Tone
130(1)
Audio Basics
131(10)
Double System vs. Single System Sound
132(1)
Sound Recordist Team
132(1)
Microphones
133(1)
Phantom Power
134(1)
Audio Basics
134(2)
Rule #1
134(1)
Rule #2
134(1)
Scratch Track
134(1)
Room Tone
135(1)
ADR Is Expensive
135(1)
Headphones
135(1)
Boom Operating
135(1)
Mixing Audio
136(2)
Shooting To Playback
137(1)
Sound reports
137(1)
Syncing
138(3)
Timecode Slate
138(3)
The Work Of The Editor
141(8)
Why Do We Edit?
142(1)
What the Editor Does
142(1)
The Director/Editor Collaboration
142(1)
The Six Steps of Editing
142(1)
Logging
142(1)
First Assembly
142(1)
Rough Cut
142(1)
First Cut
143(1)
Fine Cut
143(1)
Final Cut
143(1)
What Is an Edit?
143(1)
Post-Production
143(1)
Continuity Cutting
143(1)
Seven Elements of Editing
144(2)
Types of Edits
145(1)
Establishing The Geography
146(1)
Invisible Technique
146(1)
J and L Cuts
146(1)
Jump Cuts
146(1)
Hidden Cuts
146(1)
Walter Murch's Rule of Six
147(2)
Emotion
147(1)
Story
147(1)
Rhythm
147(1)
Eye-Trace
147(1)
Two-Dimensional Place On Screen
147(1)
Three-Dimensional Space
147(1)
Ellipsis and Cross-Cutting
148(1)
Safety On The Set
149(2)
Get Out Alive!
150(1)
Getting Started In The Business
151(2)
Film School?
152(1)
Working as a PA
152(1)
Shoot a Trailer
152(1)
Make a Short Film, or Even A Whole Movie
152(1)
Work as Background/Extra
152(1)
Terminology
153(8)
Resources
161(8)
How To Read a Movie
162(2)
The Story
162(1)
The Frame
162(1)
Movement
162(1)
Lighting
162(1)
Editing
163(1)
Time
163(1)
Audio
163(1)
Resources
164(1)
Books
164(1)
Movies About Movie Making
164(1)
Great Movies Made on Absurdly Small Budgets
164(1)
Short Films Worth Seeing
164(1)
Movies To Watch To Learn About Filmmaking
165(1)
Websites for Filmmakers
166(2)
Job Search
167(1)
Online Classes in Filmmaking
167(1)
Dedication
168(1)
About The Author
168(1)
The Website
168(1)
Index 169
Blain Brown has been in the film business for over 30 years, working as a director of photography, director, screenwriter, producer, and editor. Before becoming a DP/Director, he worked as a lighting technician, gaffer, and grip. He has written, directed, and photographed feature films, commercials, music videos, and corporate videos. He has taught at several film schools in the Los Angeles area, including Columbia College, UCLA, Los Angeles Film School, and AFI. He studied architecture and planning at MIT, and the Harvard Graduate School of Design. His other books include Cinematography: Theory and Practice (3rd edition), Motion Picture and Video Lighting (3rd edition), and The Filmmakers Guide to Digital Imaging.