The Basics Of Filmmaking |
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There are no rules in filmmaking, right? |
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xi | |
Telling Stories Visually |
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xi | |
Top Ten Ways to Screw Up Your Movie |
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xii | |
Production Mistakes |
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1 | (20) |
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Telling Stories With Pictures |
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2 | (1) |
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2 | (1) |
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How Short Films Are Different |
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2 | (1) |
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It All Starts With Conflict |
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3 | (1) |
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3 | (1) |
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3 | (1) |
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4 | (1) |
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4 | (1) |
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5 | (1) |
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5 | (1) |
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5 | (1) |
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6 | (1) |
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The Theme: What Is Your Story Really About? |
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6 | (1) |
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6 | (1) |
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7 | (1) |
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7 | (1) |
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7 | (1) |
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What is their Dramatic Need? Their Goal? |
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7 | (1) |
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7 | (1) |
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The Cards and the Outline |
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8 | (2) |
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8 | (1) |
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8 | (1) |
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8 | (2) |
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10 | (1) |
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Beginning, Middle and End |
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10 | (1) |
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11 | (1) |
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Getting The Story Started |
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11 | (1) |
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11 | (1) |
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12 | (1) |
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12 | (1) |
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13 | (1) |
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13 | (1) |
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14 | (2) |
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We're Gonna' Need A Bigger Boat! |
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14 | (1) |
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Emotionally Satisfying Ending |
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14 | (1) |
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14 | (2) |
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Dialog That Is Not On the Nose |
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16 | (1) |
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16 | (1) |
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16 | (1) |
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Not Exposing Your Exposition |
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17 | (1) |
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Why is it a necessary evil? |
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17 | (1) |
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17 | (1) |
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17 | (1) |
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18 | (1) |
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Loglines, Treatment and Synopsis |
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19 | (1) |
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19 | (1) |
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19 | (1) |
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20 | (1) |
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20 | (1) |
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20 | (1) |
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20 | (1) |
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21 | (24) |
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22 | (1) |
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22 | (1) |
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22 | (1) |
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22 | (1) |
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22 | (1) |
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22 | (1) |
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23 | (1) |
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23 | (1) |
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23 | (1) |
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23 | (1) |
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23 | (1) |
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23 | (1) |
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24 | (1) |
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24 | (1) |
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25 | (1) |
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26 | (1) |
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27 | (1) |
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27 | (1) |
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28 | (1) |
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29 | (1) |
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29 | (1) |
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Script Pages and Scene Numbers |
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30 | (1) |
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30 | (1) |
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30 | (1) |
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31 | (1) |
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32 | (1) |
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32 | (1) |
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32 | (1) |
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32 | (1) |
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33 | (1) |
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33 | (1) |
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33 | (1) |
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34 | (1) |
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35 | (1) |
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35 | (1) |
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36 | (1) |
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36 | (1) |
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37 | (1) |
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38 | (1) |
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38 | (1) |
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38 | (1) |
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38 | (1) |
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39 | (1) |
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Why Releases Are Important |
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39 | (1) |
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39 | (1) |
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40 | (1) |
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41 | (1) |
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42 | (1) |
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43 | (1) |
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43 | (1) |
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What Production Assistants Do |
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44 | (1) |
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44 | (1) |
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45 | (12) |
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46 | (1) |
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46 | (1) |
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46 | (1) |
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46 | (1) |
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46 | (1) |
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The Jobs of the First Assistant Director |
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47 | (1) |
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First AD --- Pre-production |
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47 | (1) |
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47 | (1) |
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47 | (1) |
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48 | (2) |
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48 | (1) |
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48 | (2) |
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50 | (1) |
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Other Schedule Considerations |
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50 | (1) |
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How the First AD Runs the Set |
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51 | (3) |
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51 | (1) |
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51 | (1) |
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51 | (1) |
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51 | (1) |
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51 | (3) |
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54 | (1) |
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54 | (1) |
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55 | (1) |
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55 | (1) |
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Ways for a PA (or anybody) to Get Fired |
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56 | (1) |
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How to Survive As An Extra |
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56 | (1) |
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57 | (8) |
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Continuity: Making Sure It Works |
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58 | (2) |
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58 | (1) |
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58 | (1) |
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58 | (1) |
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58 | (2) |
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60 | (1) |
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60 | (1) |
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60 | (1) |
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60 | (1) |
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60 | (1) |
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Screen Direction In Dialog Scenes |
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61 | (3) |
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62 | (1) |
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62 | (1) |
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62 | (1) |
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63 | (1) |
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Faking it with Redressing |
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63 | (1) |
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64 | (1) |
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64 | (1) |
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64 | (1) |
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64 | (1) |
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64 | (1) |
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65 | (14) |
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66 | (1) |
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66 | (1) |
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66 | (1) |
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67 | (1) |
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67 | (1) |
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67 | (1) |
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67 | (1) |
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67 | (1) |
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Director's Pre-Production |
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68 | (1) |
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68 | (1) |
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68 | (1) |
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68 | (1) |
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69 | (2) |
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69 | (1) |
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69 | (1) |
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69 | (1) |
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70 | (1) |
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70 | (1) |
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71 | (1) |
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Action, Attitude, Activity |
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71 | (1) |
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72 | (1) |
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72 | (1) |
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Block, Light, Rehearse, Shoot |
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73 | (1) |
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74 | (1) |
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74 | (5) |
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74 | (1) |
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Overlapping or Triple-Take Method |
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75 | (1) |
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76 | (1) |
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76 | (1) |
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76 | (1) |
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76 | (2) |
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78 | (1) |
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78 | (1) |
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79 | (22) |
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80 | (1) |
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80 | (1) |
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80 | (1) |
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80 | (1) |
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80 | (1) |
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80 | (1) |
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80 | (1) |
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80 | (1) |
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80 | (1) |
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81 | (1) |
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81 | (1) |
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81 | (1) |
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81 | (1) |
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82 | (1) |
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The personality of a lens |
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82 | (1) |
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82 | (2) |
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83 | (1) |
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83 | (1) |
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84 | (1) |
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Don't Blow Out the Highlights, Don't Get Into Noise |
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84 | (1) |
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84 | (1) |
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84 | (1) |
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85 | (1) |
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86 | (1) |
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87 | (1) |
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The Shots: Building Blocks of a Scene |
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88 | (3) |
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89 | (2) |
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91 | (1) |
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92 | (1) |
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93 | (1) |
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94 | (1) |
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95 | (1) |
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96 | (1) |
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97 | (1) |
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97 | (1) |
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98 | (1) |
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Marking During Blocking Rehearsal |
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98 | (1) |
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99 | (1) |
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99 | (1) |
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100 | (1) |
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100 | (1) |
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100 | (1) |
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Tracking Marks Are Important |
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100 | (1) |
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101 | (12) |
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102 | (1) |
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The Most Important Thing About Lighting |
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102 | (1) |
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102 | (1) |
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103 | (1) |
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103 | (1) |
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103 | (1) |
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103 | (1) |
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103 | (1) |
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103 | (1) |
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104 | (1) |
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104 | (1) |
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104 | (1) |
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Lighting Terms and Concepts |
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105 | (1) |
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106 | (1) |
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Let The Set and the Scene Motivate Your Lighting |
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106 | (1) |
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106 | (1) |
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106 | (1) |
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106 | (2) |
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108 | (1) |
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109 | (1) |
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109 | (1) |
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109 | (1) |
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110 | (1) |
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110 | (2) |
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112 | (1) |
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113 | (8) |
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114 | (2) |
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114 | (1) |
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114 | (1) |
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Set Construction, Scenic Artists |
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114 | (1) |
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115 | (1) |
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115 | (1) |
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116 | (1) |
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Finding the Look of a Film |
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116 | (4) |
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117 | (1) |
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117 | (1) |
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118 | (1) |
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119 | (1) |
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120 | (1) |
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121 | (10) |
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122 | (1) |
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122 | (1) |
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123 | (1) |
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124 | (1) |
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125 | (1) |
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126 | (1) |
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127 | (1) |
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Slate Numbers For Coverage |
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127 | (1) |
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128 | (3) |
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128 | (1) |
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129 | (1) |
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130 | (1) |
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130 | (1) |
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130 | (1) |
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131 | (10) |
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Double System vs. Single System Sound |
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132 | (1) |
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132 | (1) |
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133 | (1) |
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134 | (1) |
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134 | (2) |
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134 | (1) |
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134 | (1) |
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134 | (1) |
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135 | (1) |
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135 | (1) |
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135 | (1) |
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135 | (1) |
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136 | (2) |
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137 | (1) |
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137 | (1) |
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138 | (3) |
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138 | (3) |
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141 | (8) |
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142 | (1) |
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142 | (1) |
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The Director/Editor Collaboration |
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142 | (1) |
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142 | (1) |
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142 | (1) |
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142 | (1) |
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142 | (1) |
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143 | (1) |
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143 | (1) |
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143 | (1) |
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143 | (1) |
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143 | (1) |
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143 | (1) |
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Seven Elements of Editing |
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144 | (2) |
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145 | (1) |
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Establishing The Geography |
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146 | (1) |
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146 | (1) |
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146 | (1) |
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146 | (1) |
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146 | (1) |
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Walter Murch's Rule of Six |
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147 | (2) |
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147 | (1) |
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147 | (1) |
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147 | (1) |
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147 | (1) |
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Two-Dimensional Place On Screen |
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147 | (1) |
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147 | (1) |
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Ellipsis and Cross-Cutting |
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148 | (1) |
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149 | (2) |
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150 | (1) |
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Getting Started In The Business |
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151 | (2) |
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152 | (1) |
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152 | (1) |
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152 | (1) |
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Make a Short Film, or Even A Whole Movie |
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152 | (1) |
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152 | (1) |
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153 | (8) |
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161 | (8) |
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162 | (2) |
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162 | (1) |
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162 | (1) |
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162 | (1) |
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162 | (1) |
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163 | (1) |
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163 | (1) |
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163 | (1) |
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164 | (1) |
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164 | (1) |
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Movies About Movie Making |
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164 | (1) |
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Great Movies Made on Absurdly Small Budgets |
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164 | (1) |
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164 | (1) |
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Movies To Watch To Learn About Filmmaking |
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165 | (1) |
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166 | (2) |
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167 | (1) |
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Online Classes in Filmmaking |
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167 | (1) |
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168 | (1) |
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168 | (1) |
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168 | (1) |
Index |
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169 | |