Independent Feature Film Production: A Complete Guide from Concept through Distribution / Edition 4 by Gregory Goodell | 9780312181178 | Paperback | Barnes & Noble
Independent Feature Film Production: A Complete Guide from Concept through Distribution / Edition 4

Independent Feature Film Production: A Complete Guide from Concept through Distribution / Edition 4

by Gregory Goodell
     
 

ISBN-10: 0312181175

ISBN-13: 9780312181178

Pub. Date: 05/15/1998

Publisher: St. Martin's Press

Independent Feature Film Production is an essential guidebook for filmmakers. Gregory Goodell addresses the making of independent films, taking the reader through the process of the independent film's development phase: the script, commitment from the director and actors, and the legal structure necessary to raise money to make the picture. Whether

Overview

Independent Feature Film Production is an essential guidebook for filmmakers. Gregory Goodell addresses the making of independent films, taking the reader through the process of the independent film's development phase: the script, commitment from the director and actors, and the legal structure necessary to raise money to make the picture. Whether interested in learning to make a movie on a shoestring budget or on a larger scale, this book guides the reader through the entire proces of developing an independent film.

This new edition has been completely updated to reflect changes in every aspect of the moviemaking process. Chapters are divided into five sections: Legal Structuring and Financing, The Preproduction Package, The Production Package, Postproduction, and Distribution and Marketing.

Product Details

ISBN-13:
9780312181178
Publisher:
St. Martin's Press
Publication date:
05/15/1998
Edition description:
Fully Revised and Updated
Pages:
512
Sales rank:
720,541
Product dimensions:
5.50(w) x 8.50(h) x 1.14(d)

Table of Contents

ACKNOWLEDGMENTS xv(2)
PREFACE TO THE NEW EDITION xvii
PART ONE Legal Structuring and Financing 3(72)
CHAPTER 1 An Overview of Independent Financing
3(40)
The Studios
4(10)
Independent Production Companies with Studio Deals
14(1)
The Specialists
15(1)
Bank Loans
16(5)
Completion Bond (Completion Guarantee)
21(4)
Foreign Equity Investment
25(3)
Foreign Presales
28(3)
Grants for Independent Feature Production
31(3)
Other Sources
34(1)
Creative Financing and Self-Financing
35(2)
Private Domestic Investment
37(2)
The Limited Partnership
39(4)
CHAPTER 2 Selling the Investment
43(16)
The Investment Memorandum
43(16)
CHAPTER 3 Starting from Scratch
59(5)
Step One: Defining the Concept
59(2)
Step Two: Researching the Market
61(2)
Step Three: Determining the Budget
63(1)
CHAPTER 4 Selling the Investor
64(3)
CHAPTER 5 Variations on the Escrow Account
67(3)
CHAPTER 6 The Development Company
70(5)
PART TWO Preproduction 75(146)
INTRODUCTION 75(2)
CHAPTER 7 The Screenplay
77(23)
What to Look for in a Screenplay
83(1)
The Writers Guild
84(4)
Screenwriting Software
88(1)
Acquiring an Existing Screenplay
89(2)
Acquiring a Published Work
91(1)
Acquiring the Rights to a True Story
92(1)
Selecting a Writer
93(3)
Working with the Writer (Script versus Budget)
96(1)
Script Timing
97(3)
CHAPTER 8 Selecting the Director, the Unit Production Manager, and the First Assistant Director
100(6)
The Guild Question
100(1)
The Director
101(2)
The Unit Production Manager and the First Assistant Director
103(3)
CHAPTER 9 The Budget
106(20)
The Ideal Budget
109(2)
The Standard Budget
111(3)
The Low-Budget Budget
114(1)
The Ultra-Low-Budget Budget
115(2)
Motion Picture Insurance
117(9)
CHAPTER 10 The Shooting Schedule and Continuity Breakdown
126(9)
The Production Board
126(6)
Continuity Breakdown
132(3)
CHAPTER 11 Casting
135(19)
The Casting Director
136(2)
Academy Players Directory
138(1)
Breakdown Services, Ltd.
139(6)
The Casting Process
145(7)
What's in a Name?
152(2)
CHAPTER 12 The Production Team
154(27)
Producing Unit
154(2)
Directing Unit
156(1)
Production Management
157(1)
Cinematography
157(1)
Costume Department
158(1)
Electrical Department
159(1)
Grip Department
159(1)
Locations
159(1)
Makeup Department
160(1)
Production Design (Art Department)
160(2)
Prop Department
162(1)
Publicity
162(1)
Script
163(1)
Set Construction
163(1)
Sound Department
164(1)
Special Effects
164(1)
Stunts
165(1)
Transportation
165(1)
Animal Specialists
165(1)
Additional Personnel
166(1)
Selecting the Crew
166(1)
Union versus Non-Union
167(6)
Selecting a Director of Photography
173(2)
Production Design
175(1)
Film Commissioners
176(5)
CHAPTER 13 Electronic Media
181(14)
Analog and Digital Information
182(2)
Bits and Bytes
184(1)
Sampling
184(1)
Linear and Nonlinear Editing
185(1)
Video Editing
186(1)
Digital Editing
187(3)
Compression
190(1)
Synchronization and Time Code
190(4)
MIDI
194(1)
CHAPTER 14 Equipment, Facilities, and Services
195(15)
Camera and Lighting Equipment
195(2)
Sound Equipment
197(2)
Laboratories
199(1)
Sound Facilities
200(1)
Sound Stages versus Practical Locations
200(2)
Film Stock
202(8)
CHAPTER 15 The Final Step
210(11)
Prepping the Cast
210(3)
Prepping the Crew
213(1)
The Production Meeting
214(1)
The Tech Scout
215(2)
Storyboarding
217(4)
PART THREE Production 221(28)
CHAPTER 16 Directing
221(6)
Interpretation and Style
221(2)
Organization and Communication
223(4)
CHAPTER 17 The Production Process
227(22)
Priorities: Taking Care of Your People
227(1)
The First Assistant Director
228(1)
The Call Sheet
229(2)
Production Reports
231(1)
Script Changes During Production
231(2)
The Actors in Makeup
233(1)
The First Take
233(2)
Slates
235(1)
Pickups
236(2)
Production Sound
238(1)
The Dailies (Also Called "Rushes")
239(6)
Sound Decisions
245(4)
PART FOUR Postproduction 249(84)
INTRODUCTION 249(2)
CHAPTER 18 Picture Editing
251(21)
The Picture Editor
251(1)
The Assistant Editor
252(2)
Union vs. Non-Union
254(2)
Equipment and Facilities
256(1)
The Director's Role
256(1)
From Dailies to Fine-Cut
257(4)
Titles and Credits
261(1)
Optical, Digital, and Special Photographic Effects
261(8)
Stock Shots
269(1)
Reel Breaks
269(2)
Working Copies
271(1)
CHAPTER 19 Postproduction Sound
272(31)
The Director's Role
272(1)
The Dialogue Editor
273(3)
ADR (Looping)
276(2)
The Sound Effects Editor
278(8)
Foley Sound Effects
286(2)
Music
288(4)
American Federation of Musicians
292(1)
Preparation for Music Scoring
293(1)
Free Timing and Click Track Recording
294(1)
The Music Editor
295(3)
Temp Music
298(1)
Playback Recording
299(1)
Songs
300(1)
Music Clearance
300(1)
Music Rights and Sound Track Albums
301(1)
Scheduling Postproduction Sound
301(2)
CHAPTER 20 The Sound Mix (or Final Dub)
303(16)
Selecting a Mixing Facility
304(4)
Booking the Facility
308(1)
Cue Sheets
309(1)
Multichannel Mixing
309(4)
Temps and Trials
313(1)
The Procedure
313(3)
Premixes (Also Called "Predubs")
316(3)
CHAPTER 21 The First Print
319(14)
Negative Cutting (Also Called "Conforming")
319(1)
Analog Optical Sound Track
320(2)
Dolby Noise Reduction
322(1)
Digital Sound Tracks
322(2)
THX Sound
324(1)
The First Trial Composite Answer Print
325(3)
Sneak Previews
328(1)
Copyright
329(4)
PART FIVE Distribution and Marketing 333(56)
CHAPTER 22 Distribution Strategy
333(14)
When to Screen for Distributors
339(3)
Film Festivals and Markets
342(4)
Independent Spirit Awards
346(1)
CHAPTER 23 Domestic Distribution
347(18)
The Majors
349(3)
The Independents
352(2)
How to Choose
354(1)
The Independent Feature Project
355(1)
The Distribution Deal
356(1)
The Worst Deal
357(1)
The Best Deal
358(1)
Money Coming Back
358(2)
Four-Wall Distribution
360(2)
Rent-a-system
362(1)
Prints and Advertising (P & A) Funds
362(1)
Release Prints
363(2)
CHAPTER 24 Foreign Distribution
365(6)
CHAPTER 25 Additional Markets
371(8)
Home Video
371(3)
Digital Video Discs
374(1)
Cable and Other Television Sales
375(2)
Nontheatrical Distribution Rights
377(1)
Ancillary Rights
378(1)
Merchandising Rights
378(1)
CHAPTER 26 Marketing
379(10)
The Importance of the Campaign
379(4)
MPAA Ratings
383(2)
The Elements of the Campaign
385(2)
The Promotional Concept
387(2)
CONCLUSION 389(2)
Appendix A Sample Limited Partnership Agreement 391(15)
Appendix B Sample Budget for a $500,000 Film 406(6)
Appendix C Sample Budget for a $4.6 Million Film 412(29)
Appendix D Relative Values of Domestic and International Markets 441(2)
Appendix E References and Sources for Additional Information 443(19)
Appendix F Sample Domestic Distribution Delivery Requirements 462(9)
Index 471

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