Find peaks and valleys, 137
First aid, 162
First assistant director (1st AD), 49, 145–146
described, 49
first concept meeting, 49–51
interaction with director, 62
organizing shoot with, 49
responsibilities/duties/functions, 49–51
on shooting, 57–61
shooting schedule creation, 51–57. See also Boarding
synergy with director, 50–51
First cut, 82
First draft, 66–67
First job. See Job experiences (first)
1st AD. See First assistant director (1st AD)
1st assistant camera, 157
First team, 58
Fish-eye lens, 99
Fixed (prime) lens, 99–100. See also Lenses
Floor plan, 90, 107f
Flyaways, 188
Foley, 220
Foley, Jack, 220
Foreground (fg), 88
Foreground (fg) wipe, 188
Foreman, 163
Foreshadowing, 10
Frame the joke, 80–81
Frankenheimer, John, 23
Freelance director, synergy with director, 51. See also Director(s)
From the top, 188–189
Full figures, shot, 87, 89f
Full mag, 186
G
Gaffe, 57
Gaffer, 158
Gag, 168
big, shooting, 175
Gazetas, Michael, 122–123
Genny (generator) operator, 158
Get it on its feet, 182
Getting the scissors in, 208
Girlfriends, 24, 217
Give yourself somewhere to go, 136
Gladiator, 141–142
Glatter, Lesli Linka
first job experience, 251
Glee, 21, 169–170, 177–178, 208–209
Goddard-Smythe, Suzanne, 33
Goldthwait, Jim, 192–193
Gone With the Wind, 101
Grace period, 187
Graphic designer, 161
Green room, 118
Greens, 161
head, 161
Green screen, 159–160
Grey’s Anatomy, 5, 26, 72
Grip department, 158
best boy, 158
dolly grip, 158
grips, 158
key grip, 158
rigging crew, 158
Grips, 158
Guest star, 9, 25
H
Hackford, Taylor, 234
Hackshaw, Tirsa, 211–213
Hagen, Stephanie, 223
Hagen, Uta, 132
Hair artist, 160
Hair designers, 37–38, 45
Hair in the gate, 184–185
Half-speed, 173
Hammers, 158
Handheld, 98
Hanging a lamp on it, 11
Hanke, Christopher J., 174f
Hard drive, 199–200
Hayes, Reginald C., 24
HD. See High-definition (HD) camera
Head, 204
crafts service, 162
greens, 161
Health, 238
Hero’s house, 84–87
High and wide shot, 89–90
High-definition (HD) camera, 97
High-hat, 101–102
High Noon, 210
Hoffman, Dustin, 5
Holahan, Paul
first job experience, 250–251
Holding area, 118
Homecoming scene, variations in, 82–87, 84f, 85f, 86f
Homicide, 203
Honeywagons, 117
Hopkins, Anthony, 142–144
I
Iconic image, 18
Imagery, 17–18
IMDB.com, 65
Impact, in production design, 41
Inciting action, 4
Incomplete bin, 199–200
Innercity Filmmakers, 15
Inner sense, of directors, 230–231
Inserts, 82–83, 88
Instincts, 243
Integrated insert, 88
Intention, 19
Internet, 222
In the moment, 138
Intimate scenes, directing, 171
Intuitive scheduling, boarding and, 55–56
J
Jackson, Peter, 176–177
Job experiences (first), 247
Jones, Jill Marie, 24
Jump cut, 202
Juno, 241–242
K
Kazan, Elia, 129–130
Keene, Elodie
first job experience, 253
Key grip, 158
Kids
physical protection, 170
working with, 167–170
Kill the funny, 140
Knightley, Keira, 131
Kramer, Stanley, 210
L
Label, 17
Lamp operator, 158
Land, 173
Last looks, 184
Lateral dolly shots, 101
counter, 101
Law & Order, 5–7
Layback, 221
after, 221–222
Leadership qualities, of directors, 232–233
Leadman
paint, 161
set decoration, 161
Learning
by fantasy casting, 30
by watching, 30
Lenney, Dinah, 129
Lenses, 98–99
fixed (prime) lens, 99–100
long, 98–99, 100f
wide, 98–99, 100f
zoom lens, 99–100
Lester, Adrian, 24
Levine, Jerry
first job experience, 249–250
License fee, 67–68
Lifted scenes, 207–208
Lighting, 182
Lighting design, colors in, 40
Line, 146, 146f, 147, 147f, 152
cross the line, 146, 150f, 151f
Line producer, 67–69
Line reading, 134
Lip-sync, 208–209
Loader, 157
Location, 115, 161–162
assistants, 162
availability, boarding and, 52
basic requirement, 118
manager, 115, 161
practical, 115–116
selection, 116–119
shooting, 42–43, 121
standing set, 115–116
Locked-down camera, 176
Locked Up: A Mother’s Rage, 31
Logline, 4
Long lenses, 98–99, 100f
Looks, 149–152
Loop groups, 209
Looping, 218–219
Lord of the Rings, 159–160, 176–177
Lovemaking scene, nakedness in, 171
M
Mackenzie, Will, 248
Major Dad, 190
Make a cross, 80
Make a deal, 29–30
Make the day, 54
Makeup and hair designers, 37–38, 45
Makeup artist, 160
Manager, locations, 161
Marshall, Garry, 245
Martini shot, 190
Mason, Joe, 94
Massage the cut, 204
Master shot, 87
Match, 87
Matta, Ricardo Mendez, 62–63
first job experience, 255
McAvoy, James, 131
McEwan, Ian, 131
Meal penalty, 187
Meat of the day, 55
Meetings, 71–73
Memory card, 199–200
Mini-master shot, 87
Mislead/turn, 140
Mix, 220
Mixed Blessings, 72
Mixer, 158
Modern Family, 41, 42
Moleskin, 171
Monk, 10–11, 25–26, 72
Montage, 82–83
Morgan, Dylan, 10–11
Motion-capture, 176–177
Motivated movement, 80
Movie Magic, 51–52
Moving on, 189–190
Mull, Martin, 248
Murder She Wrote, 219
Music
addition of, 208–210
Mythbusters, 172
My Trip to the Dark Side, 24
N
Nakedness, kinds of, 170–171
Networks, for broadcasting, 221–222, 233–234
Neukum, Nila, 164–165
New information, 9–10
Nichols, Mike, 98
NLE. See Nonlinear editing methods (NLE)
Nonlinear editing methods (NLE), 199–200
Notes, 67
NYPD Blue, 203
O
Objective shots, 94–96, 97f
Obstacle, 20
Offer only, 27
Offline sound, 218–220
Offline video, 216–218
O’Hara, Terrence
first job experience, 257
One-liner shooting schedule, 56, 57
One more for fun, 189
One-offs, 43
Oner, 103–104
On set dresser, 161
On the day, 172
On the nose, 11
Operative word, 140
Organic movement, 80
OS. See Over-the-shoulder (OS) O track, 218
Out of Africa, 39–40
Overlap, 84–87
Over the cut, 204
Over-the-shoulder (OS), 87, 88f, 147–148
camera placement for, 152–153, 153f
P
Pace, 138–139, 204–205
Pace, Jason, 24
Pack a suitcase, 141
Paint, 161
coordinator, 161
leadman, 161
scenic, 161
Paltrow, Bruce, 181, 247–248
Pan, 87–88, 101–102
Parent Trap, 176
PAs. See Production assistants (PAs)
Passion, 239
Pattern budget, 67–68
Pattinson, Robert, 17
The Patty Duke Show, 176
Pay cable channels, 222
Payoff, 140
Payroll accountant, 162
Pennella, Joe, 91–92
first job experience, 253–254
Performance
code words triggering, 137–139
shaping of, 132–136
Permit, 117
Pickup, 188–189
Picture up, 184
“pieces of time”, 63
Pilot, 24
Pino, Danny, 7
Pipe, 20
Pirzadeh, Tony, 179
Pitch, 70
Plate, 175–176
Playback operator, 158
Playing the end at the beginning, 136
Point of view (for actor), 129
Point of view (POV), 83, 84f
Pollack, Sydney, 3, 7
Post, 197
defined, 197
for video editing, 216
Postproduction processes
dub, assembling, 221
after layback, 221–222
offline sound, 218–220
offline video, 216–218
Post supervisor, working with, 215
closed-captioning, 221
delivery, 221–222
dubbing, 221–222
POV. See Point of view (POV)
Practical location, 115–116
finding, 116
Prelapping, 204–205
Prep (preparation), 1
Preread, 27
Primary Colors, Hustle, 24
Principal, 173
Print, 104
Print and move on, 70
Print it, 184–185
Private Practice, 26
Private rehearsal, 182
Problem solving ability, 240–242
steps to, 241–242
Procedural drama, 5–6
Producer
visual effects, 159–160
Producer assistants, 162
Producer session, 27
Production assistants (PAs), 59–61, 162
Production design, 36
decision making for, 71
defined, 35
departments, 37–38, 45–48
key elements to, 39–42
Production designer, 36, 39, 160
Production draft, 67
Production office, 162
accountant, 162
assistant, 162
clerks and assistants, 162
coordinator, 162
payroll accountant, 162
producer assistants, 162
production assistants (PAs), 162
Production report, 59–61
Production value, 67–68
Properties, 161
assistants, 161
buyer, 161
prop master, 161
Prop master, 18, 44, 161
Props
decision making for, 72
selection of, 43–44
Proscenium, 188
Protagonist, 9
Pulling up, 204–205
Pull out, 82–83
Pull the plug, 103
Punch, 205
Punched, 140
Punch line, 140
Push in, 82–83
Q
Quote, 25
R
Raise the stakes, 137
Reaction shots, 141
Reading, 4, 5–6
Read through, 182
Reagan, Ronald, 232
Recurring characters, 24
Reitman, Jason, 241–242
Remembrance, 18
Renner, Jeremy, 138
Respect for Acting, 132
Reverse mini-master shots, 87
Reverse shot, 93–94
Rhythm, of scene, 201–202
Rig, 172
Rigging crew
electrical department, 158
grip department, 158
Rising action, 4
Robinson, Phil Alden, 241
Rock into coverage, 203–204
Rolling, 184
Roll the carts, 53–54
Room tone, 209
Rooney, Bethany, 24, 31, 40, 183f, 229, 233–234
cheat sheet, 7, 8f
first job experience, 247–248
Running the tape, 188
Running time, 207
Runs, 140
S
SAG. See Screen Actors Guild (SAG)
The Sandlot, 219
Sanford, Arlene
first job experience, 251–252
Scenic, paint, 161
Scott, Ridley, 141–142
Scout, 116
Screen Actors Guild (SAG), 25
Screen direction, 152
director of photography, 152–154
Script
breaking down for character, 15
breaking down for story, 3
checking of, 80
television, 8–9, 79
Script coordinator, 65
Script day, 56
Script fixes, 69–71
Script supervisor. See also Supervisor
function of, 146
script page, 105, 105f, 106, 106f
Script supervisor’s notes, 199–200
Seamstress/tailor, 160
Second meal, 187
2nd AD. See also First assistant director (1st AD)
functions, 59–61
2nd assistant camera, 157
2nd 2nd AD. See also First assistant director (1st AD)
functions, 61
Second team, 58
Serial, 7
Series regular, 9
Set, 42–43
availability, boarding and, 52
decorating, 43–44
decorator, 43–44
running, 181
Set background, 61
Set dec buyer, 161
Set decoration, 161
decorator, 161
dressers, 161
leadman, 161
set dec buyer, 161
on set dresser, 161
Set decorator, 43–44
Set designer, 160
Set pieces, 57
Setups, 54–55
Sex in the City, 5
Shalhoub, Tony, 25–26
Shared card, 25
Sharp, Keesha, 24
Shoot/shooting
beginning of, 182–184
defined, 127
director’s role during, 127
on location/set/soundstage, 42–43, 121
preparation for, 238
Shooting day, length of, 52–56
Shooting schedule, 51. See also Boarding
creation, by 1st AD, 51–57
Shoot out, 169–170
Short listing, 93
Shot
elements, 98
movement, 101–103
types of, 87–91, 88f, 89f, 90f
Shot list, 78–79, 108f
Shot listing, 77
blocking and, 78–79
Showrunner, 9–10, 66–67
Sides, 182
Siegal, Josh, 10–11
Signs and Symbols, 40
Single card credit, 25
Single shot, 87–88
Slate, 157
Smallville, 24
Smith, John, 113, 183f
Snap-zoom, 102
The Social Network, 202–203
Social workers, 163
The Sopranos, 30
Sound department, 158–159
boom operator, 158
cable operator, 158
mixer, 158
playback operator, 158
Soundstage, 220
shooting on, 42–43
Special effects (SPFX), 159
adding, 208–210
supervisor, 159
working with, 172
Special needs chart, 56
Speeding, 184
SPFX. See Special effects (SPFX)
Spoke, Suanne, 143
St. Elsewhere, 181, 190, 247–248
Stage directions, 16
Staging area, 118
Stakebeds, 53–54
Stand-in, 176
Standing (already existing) set, 54–55, 115–116
Stanislavski, Konstantin, 129–130
Start and stop, 220
Starting point, 80
Steadicam, 97
Steel, Danielle, 18
Still rolling … reset, 186
Sting, 220
Stop-and-go rehearsal, 184
Storyboard, 78–79, 94, 95f
Story(ies)
building, one scene at a time, 7–9
climax, 4, 9–10
cutting for, 206–207
dénouement, 4, 10–12
identification, 6–7
Story point, 82–83
Straight cut in, 205
Streep, Meryl, 131
Stress, dealing with, 238–240
Stromberg, Robert, 41
Studio teacher, 169–170
Stunt casting, 25–26
Stunt department, 159
coordinator, 159
Stunt double, 173
Stunts, 172–175
Style, in production design, 39
Subjective shots, 94–96, 97f
Subplot(s), 7
Subtext, 11, 133–134
Success, tips for, 242–244
Supervisor
costumes/wardrobe, 160
special effects, 159
visual effects, 159–160
Sweetening, 221
Swingle, 87–88
Swing sets, 52
Synced, 184
T
Tag, 88
Tail, 204
Take a pass, 66–67
Directors Tell the Story Page 35