Index
A & B rolls, 181, 181n16, 184
“above the line,” 19 AC, 42
Academy Directory, The, 49-50
acting
your knowledge of, 52-54
acting schools, 50
actor(s)
budgets and, 19
capability of, 130-131
changes in readings with, 101
conveying meaning, 206
dialogue of, 12
directing, 34
finding your, 49
getting sick, 128
method, 12
needs of, 53
non, 47-48
pacing with, 132-133
rehearsals and, 98-105
setups and, 123-124
unions for, 99
using “real” people as, 47
visualizing the, 49
aesthetics, vii, viii agents, 5, 49
budgets and, 19
Allen, Woody, 46, 48, 95, 168
Altman, Robert, xv, 46, 66
amateurs, viii
gap between professional and, ix
American Federation of Television and Radio
Artists (AFTRA), 99
American Short Story, The, 35
analog, 156
animation, storyboard for, 72
answer prints, 182, 200
what to look for in, 183
A-roll, 192
art decorators
definition of, 30
art director(s) (A.D.), 27, 202
definition of, 30
responsibilities of, 90-91
sets and, 91-92
assistant cameraman (A.C.)
definition of, 29
assistant director(s) (A.D. or first A.D.)
establishing relationships with directors, 40
definition of, 27-28,
third and fourth, 28
associate producers
definition of, 26
audiences
reality and, 9
audio problems, 140
auteur, xv, 211-212
AVID, 141, 155, 159, 160, 171, 172, 175, 181-182, 212
background noise, 143
backlight, 76
Backstage, 50, 52
beat, 54, 212 “below the line,” 19
Beresford, Bruce, 59-60, 107
Bergman, Ingmar, xv, 46, 60, 76, 77, 85, 86
Bertolucci, Bernardo, 77
best boy, 25
definition of, 29
Best in Show, 18
“bible,” 26
boom operators, definition of, 29, 37
bounce light, 212
box office, 48
Boys from Company C, The, 48
Brando, Marlon, 48
Breaker Morant, 59
B-roll, 192
budget(s), vii, 18-19, 193
basic notion of, 19
cover note for, 19-20
sample, 21-23
for 16mm film drama, 19
Buena Vista Social Club, 157
buyers, 161
call sheet, 138
calls, 28
camera angle, 212
camera operators, definition of, 28-29
camera(s), vii, 43, 123, 199
BetaSP, 157
choosing lenses for, 73-75
digital, 153-159
fluid, 65
handheld, 71-72, 146
mini-DV, 153
prosumer, 156
rehearsal, 132
rules of movement and, 67-69
setups for, 123
single, xiii, 31
carrying, 65
Cassavetes, John, 17, 124
casting, vii, 19, 47-58
budgets and, 19
decisions, 55-58
different styles of, 48
European, 47
by producer, 33
steps to, 49-58
by yourself, 52
casting agent. See casting consultant casting calls, 50-51
casting consultants two types of, 51
Chaplin, Charlie, xv character(s). See also actors
characteristics of, 49
cutting of, 8
dialogue and, 5-6
establishment of, 4
growth of, 5
inner life of, 6
molding of script to, 102
visualizing the, 49
Cine 100, 160
cinematographer. See director of photography cinematography, 43
clapstick, 212
closed-circuit, 201
close-up, 63, 68, 70, 81, 212
color, 139
changes, 183
of scratches, 184
Color Reversal Internegative (CRI), 184
comedy, 82
pacing in, 133
commercials, 43, 46, 51, 72
computer(s)
editing digitally on, 159
special effects and props for, 105-106
conceptualization, vii conflict, 54
Conformist, The, 77
Conspiracy: The Trial of the Chicago 7, 48
contacts, 201, 203
continuity, 40, 44
continuity person, 102
definition of, 29
contrast ratio, 44
Coppola, Francis Ford, xv, 46, 84, 204
costume designers, 96
definition of, 30
costumes, 19, 20, 76, 96-97, 123
cover set, 128
coverage, 114, 114n13, 212
crane, 213
creative freedom, 34
creativity
technical knowledge and, 153-161
crews. See also teams
salary of production, 21n5
Crystal, Billy, 48
cut over, 170
cutaways, 191-194, 213
cut(s),69, 213
digital, 182
fine, 164
right moment to, 175
rough, 164, 166
cutting in the camera, 109
dailies, 37, 139, 165, 179, 180, 213
De Sica, Vittorio, 47
decorum, 149-150
depth-of-field,213
dialogue, 69, 87-88, 132, 167, 208
components of good/bad, 5-6
reading aloud of, 5
real, 12
vs. image, 207
dialogue coach, 31
digital
disks, 182
projection, 182
digital recording, 141
digital videotape
generations of, 184-185
directing, viii
craft vs. budget of, xii
definition of, xi
effort in, 35
partnerships and, 24
researching and, 8-9
time and, 124-125
director of photography (D.P.), xv, 20, 25, 36-37, 202
definition of, 28
director(s), ix, vii
as artists, xvi
on becoming a, 197-204
budgets and, 18-19
casting and editing decisions by, 33-34, 50
choices of, xii-xiii
digital, 153-161
documentary scripts and, 191
egos of, xii
establishing relationships with art directors, 90
establishing relationships with assistant
directors, 40
establishing relationships with DPs, 36-37, 90
establishing relationships with editors by, 164
establishing relationships with mixers, 37-39
establishing relationships with producers, 36
establishing relationships with production
managers, 39-40, 90
first-time, 2
“genius,” xviii
helpful knowledge and, 44-45
job functions of team and, 42-45
as king, 34
lack of control by, 16-17
lighting and, 44
multiple, 33
mystique of, xv
> not as kings, 31-32
organized, 129-130
partnerships with, 24
philosophical nature of, 205-209
politeness of, 32
as producers, 46
reality and, 9
relationships with crew, 34-42
research by, 8-9
rights and responsibilities of, 32-34
salary of, 21n5
as Superking, 46
taking acting classes, 53
three rules for, 32
tradeoffs of, 34
understanding the script, 207
using storyboards by, 72-73
vs. producers, 33
what is a, 208-209
women, xvn1, xvii
writing to become a, 201
Directors Guild of America (DGA), xvn1, xvi, xvii, 20, 51, 213
on documentaries, 187
rules and regulations for, 32-33
rules to joining, 201, 202-203
women/minorities in, xvii dissolve, 213-214
documentaries, vii, 24, 187-195
additional shots in, 191
cutaways in, 191-194
difference between drama and, 188-189
digital cameras and, 155, 158
independent, 188
leeway of shots in, 191
objective/nonobjective, 188
scriptwriting of, 188-191
before television, 187-188
video editing of, 173-174
dolly, 71, 117, 118, 125-125, 146, 179, 199, 214
dolly tracks, 71
double system, 214
double time, 21n6, 125
drafts, 3
Dreyer, Carl, xv
dubbing, 30, 47, 143, 166-167, 200, 214
digital, 54
edge numbers, 180-181, 214
edit list (EDL), 171, 181
editing, 61, 179
comparison between film and video, 172-174
digital, 159-161
equipment, vii-viii, 159-160
film, 164-168, 171, 174
music and, 168
numerous opportunities in, 175-176
rooms, 142
skill needed for, 160
surprises in, 174
wrong negative, 182
editor(s)
objectivity of, 165
relationships with, 164
technical vs. intellectual mastery by, 176-177
ego, xii
Eisenstein, Sergei, xv electricians, 202
electronic Newsgathering (ENG) equipment, 155, 156
emotion, 84-88
endings, satisfying, 4
equalization, 214
establishing shot, 214
Everybody Loves Raymond, 48
executive producers, 31, 34, 36
definition of, 26
experimentation, vii, viii mini-DV camera for, 158
exposure, 180
extras, 128, 140
extreme close-up (ECU), 108, 214
fade In, 1, 215
featuring, 69
Fellini, Federico, 47, 84
Figgis, Mike, 84, 157
fill, 76
fill light, 215
“fill-in,” 76
film editors, 41
definition of, 30
film schools, 203-204
film stock, vii-viii, 43, 179
film technology
changes in, vii
narrowing of gap through, viii
filmmaking
financial side of, 18-19
first day of, 135-137
gap in history of, viii
low-budget, 125
in 35mm, 28
unexpected problems and 127-133
film(s), vii, 41
budgets and, 18-19
camera work, xiii
commercial success of, 3-4, 48,
costumes in, 97
difference between video and, 19-20n4
digitally produced, 157
editing of, 61
editing surprises with, 174-175
European, 47
Hollywood, 48
image vs. sound in, 38
inexpensive, viii
locations and, 94-96
look of, 59-63
makeup and hair design in, 97-98
movement without purpose in, 62-63
negative, 180
neorealist, 47
outdoor/indoor, 179-180
point of, 88
point-of-view in, 80-82
postproduction of, 163-164
processing of, 180
questions before making a, 1-2
school, 42
shots in, 107-112
special effects and props in, 105-106
speeds of, 179-180
style and mood of, 82-84
tricks for improving, 175-176
undergraduate majors in, 204, 204n17
video vs, 140-141
filters, 179-180
Final Cuts, 159
Final Cuts Pro, 159
finances, 39, 95
fine cut, 215
Firewire, 160
fishpole, 37
Flaherty, Robert, 187
flat rate, 21n6
fluid, 65, 67
focus, 146-148
follow focus, 148
Ford, John, xv, 137
Forman, Milos, 95, 96
frames, 60-61, 63, 215
Friends, 48
f-stop, 215
gaffers, 25, 44
definition of, 29
gaffer’s tape, 215-216
Gance, Abel, xv genre, 216
golden time, 125
grammar, 112-113, 216
Great Escape, The, 46
greensmen, 30
Griffith, D.W., xv grips, 40, 41
definition of, 29
Guest, Christopher, 18
Gunfight at the O.K. Corral, 46
gyroscopic devices, 216
hair design, 97-98
Halogen Mercury Incandescent (HMI), 77, 127, 128, 144, 180, 183, 216
Hamlet, 206
handheld rules, 71-72
Hawks, Howard, xv
high-definition digital television (HDTV), 156
Hitchcock, Alfred, xi, xv, 66
Hollywood, viii, xvii
“look” important in, 48
rehearsals for, 98
Hollywood Reporter, 50, 52
Hope and Gloria, 48
hyphenates, 46
image
vs. dialogue, 207
vs. sound, 38
improvisation, 17-18, 124
in the can, 137
independent, 216
industrial, 216
inkie, 44, 216
International Alliance of Television & Stage
Electricians (IATSE),21n6
International Alliance of Theatrical Stage
Employees (IATSE), 202
Internet
digital films on, 157
films on, 161
research on, 9
Ivens, Joris, 187
Jarmusch, Jim, 84
juicers, 25, 29, 144
jump cut, 112, 112n12, 216-217
Keach, James, 60
Keach, Stacy, 60
Kelvin, 179, 180
key light, 217
Kodak camera, ix, viii
Kubrick, Stanley, xv
Kurosawa, Akira, xv, 62
laboratory technicians, 30
labs, 179-180
negative editing at, 181
Land’s polaroid, viii Lassie, 25, 31
Lee, Spike, xv, 84
Lembeck, Michael, 48
lenses, vii, 29, 43, 71
choosing, 73-75
effects caused by changing, 145-149
focus with, 146-148
light and color with, 148
movement with, 148-149
prime, 145
racked, 75
wide, 148
zoom, 145, 146
ligh
ting, vii, 42, 75-80, 217
changes, 132
directors and, 43-44
problems/opportunities with, 144-145
on sets, 93
light(s), 123, 199
differences in, 183
setups for, 123
tungsten or quartz, 179
location scout, 95
location shooting, 27
location(s), 36, 94-96
building sets vs. shooting on, 92-93
time getting to, 125
logging, 172
Long Riders, The, 60
long shot, 217
look, 139
two final notes about, 80-82
loop, 169
Lorentz, Pare, 187
Lucas, George, xi, 46, 204
lunch time, 125
Macintosh, 160
Mad About You, 48
makeup and hairdressers, 19, 76, 97-98
definition of, 29
Mastroianni, Marcello, 47
matching, 217-218
Media 100, 141
Messiah, 38
microphones, 143, 158, 159
mini-DV camera, 153, 156-157
aspects of, 157-158
downside of, 158-159
mise-en-scène, 63-67, 118, 206, 218
definition of, 65
mismatching, 113-118
mix, the, 168-170, 179, 182, 200, 218
what to look for in, 170
mixers, 25, 30, 38, 133, 169-170, 200
definition of, 29
monitor, 218
monologue(s), 6
montage, 63-67, 218
mood, vii, 75, 82-84
MOS, 218
motion pictures
as craft, viii
motivation, 67
movement
of camera and people, 71
dialogue and, 69
dolly, 71
in films, 62-63
handheld camera, 71
match, 70
practical notes on, 69-71
rules of, 67-69
movie-of-the-week, 34, 41
rehearsals for, 98
Murphy’s Law, 218
music, 168, 200
Nagra, 155
narration
in documentaries, 189-191
National Association of Broadcast Engineers
and Technicians (NABET), 21n6, 202
negative(s), 180
answer prints and, 182, 183
defects in, 183-184
editing, 181
wrong editing of, 182
noises, 143
nonunions, 201-204
rehearsals and, 99
nuance, 143-144
NYPD, 206
one-light print, 218
one-liner, 3, 5
opticals, 218-219
out of sequence, 132
outtake, 219
overlap, 113
overtime (OT), 21n6, 125
Directing for Film and Television Page 25