Filmmaking for Teens: Pulling Off Your Shorts / Edition 2

by Troy Lanier, Clay Nichols

Overview

With over 20 hours of video being uploaded to YouTube every minute, how can a young filmmaker possibly stand out? By reading and applying the tools of Filmmaking for Teens

Product Details

ISBN-13:	9781932907681
Publisher:	Wiese, Michael Productions
Publication date:	02/01/2010
Series:	Filmmaking for Teens: Pulling Off Your Shorts Series
Edition description:	Second Edition
Pages:	200
Sales rank:	463,352
Product dimensions:	5.90(w) x 8.90(h) x 0.60(d)
Age Range:	13 - 17 Years

About the Author

Since publishing the first edition, Lanier and Nichols have gone on to become pioneers in the lnline video indsutry. Producers of the acclaimed seires DadLabs.

Table of Contents

	(Fast) Foreword	xix
	Introduction	xxi
	Roll Credits	xxi
Chapter 1	The Keychain	1
Key 1	Five-minute Rule	1
Key 2	Scripted in Advance	2
Key 3	Slash and Burn	2
Key 4	Go Digital	4
Key 5	The Three-Day Shoot	4
Key 6	Cut Off for Cutting	5
	Reshoot	6
Chapter 2	Honey, I Shrunk the Concept	7
	Picking a Subject for Your Film: Shelving Godfather IV	7
	Brainshowers	8
	Subject Yourself	9
	The Real World	11
	Be Adaptable	12
	Culling the Herd	13
	Get Into Treatment	14
	Put It to Bed	15
	Reshoot	16
Chapter 3	Screenplay-The Every Other Daily Grind	17
	Why You Script	17
	But Before You Start...	18
	Screenplay Format	19
	A Note on Screenwriting Software	19
	Stage Directions	20
	Slug Lines	20
	Dialogue	21
	The Story, A Couple Ideas	23
	Start Late	23
	Staying Ahead of the Crowd: Reversals	24
	The Writing Process: Three Weeks Later	25
	Your Writing Calendar	26
	Schedule a Reading	27
	Screenwriting Unplugged	27
	Don't Interrogate the Draft	28
	Readings: Getting Something for Nothing Listen Carefully	29
	Quiz Show	30
	Do Over	31
	Revision: Hello Old Friend	31
	Overtime	32
	Reshoot	33
Chapter 4	The Producers	35
	You're Not a Cheeseball	35
	Your Peeps	36
	The Superfriends	36
	Raise Your Hand	37
	Superfriends: Personality Profiles and Job Descriptions	38
	Really Good But Not Quite Super Friends	40
	How to Ask a Really Big Favor	41
	Screen Test	42
	The Audition	43
	The Audition Room	44
	Casting	46
	Locations: Scout Then Schedule	47
	When Pulling Off Your Shorts, Remember Your PANTs	47
	Shooting on Private Property-The Fine Art of the Mooch	48
	Props/Costumes-Finding Continuity	49
	Giving Everyone Their Props	49
	Rags	50
	Ask First, Spend Later	51
	The Rehearsal	51
	Reshoot	53
Chapter 5	Time and Money-The Schedule and the (Non-Equipment) Budget	55
	Timetable	56
	Six Easy Pieces	57
	Call Sheets	58
	Moolah	60
	Food/Drink	60
	Other Expenses	62
	The Bill: What's the Damage?	62
	Asking for Money	63
	Reshoot	64
Chapter 6	Director's Preparation	65
	Font to Film-A Shotboard Approach	65
	Watch and Learn	66
	Three Exercises	67
	Creating the Shotboard	69
	Reshoot	72
Chapter 7	Ringmaster - The Eye on the Monitor	73
	It's All About You	73
	The Director on the Set	73
	The AP and AD	74
	The Huddle	76
	Action!	76
	Shooting Shouting	77
	How You Know You've Got It	77
	Getting the Performance - Coaching Actors	78
	Go Small Yet Again	79
	Don't Do It Like I Do	79
	Squash the Improv Bug	80
	Moving Violations	80
	Check the Gate	80
	Collateral Damage	81
	Personal Damage	82
	Worst-Case Scenarios	82
	That's a Wrap	84
	Reshoot	84
Chapter 8	Equipment	85
	The Camera	86
	What Kind of Camera to Get	87
	How to Buy a Camera	89
	How to Borrow a Camera	90
	How to Rent a Camera	91
	The Tripod: Rock, Rock, Steady, Steady	91
	Microphone	92
	Mic Hunting	92
	Hey Mike, Can I Borrow a Mic?	93
	XLR Cables	94
	XLR Adapter	94
	Boom Pole	94
	Wind Eliminator	95
	Headphones	95
	Clear UV Filter	95
	Digital Videotape	95
	Batteries	96
	Reflectors	96
	Lights	96
	Black Foil	98
	Electrical Cord	98
	Surge Protector	98
	Gloves	98
	White Balance Card	98
	Monitor	99
	Gaffer Tape	99
	Diffusion	99
	Stabilizer	99
	Dolly	100
	Sandbags	100
	Stands	100
	Extra Lenses	100
	Digital Still Cameras	101
	Jib Arm	101
	The Lists	101
	Low Budget List
	Big Budget List
	Reshoot	102
Chapter 9	Getting Pretty Pictures	103
	U-G-L-Y, Do You Have an Alibi?	103
Part 1	Lighting	104
	Before You Plug in the Lights, or What To Do If You Don't Plug in the Lights	104
	Monitors	105
	The Dark Side	106
	The Lighter Side of Things	107
	Healthy Avoidance	107
	From Automatic to Five Speed	109
	First Gear: Zebra Bars	109
	Second Gear: Shutter Speed	109
	Third Gear: Aperture, F-Stop, Iris	110
	Fourth Gear: White Balance	111
	Fifth Gear: Progressive Scan	113
	Plugging in the Lights	113
	Start with Your Action	114
	Throw Your Light Around	114
	Diffusion	115
	Use Light to Create Depth: Three-Point Lighting	116
	Setting the Mood	117
	Get Creative	117
Part 2	Framing	118
	Framing Uglies	118
	No Shaky Shaky	118
	No Zoom Zoom	119
	Just Say No to Autofocus	119
	A Conversation about Conversations	120
	Framing: The Art	122
	Camera Angles	122
	Moving Shots	122
	Tripod Head Movement	123
	The Dolly	123
	Handheld	124
	The Jib Arm	125
	Some Final Hints	125
	Reshoot	126
Chapter 10	Getting Good Sound	127
	Wanted: Sound Engineer	127
	Shotguns and Grips	128
	Location Wrap, Almost	130
	Do the Right Thing	131
	Reshoot	131
Chapter 11	Editing	133
	Ready	133
	Aim	133
	Edit	133
	The Editing Studio	134
	The Computer	136
	Mac vs. PC	136
	The Software	136
	Downloading Your Footage	137
	The Concept of Editing - Nonlinear and Non-Destructive Editing	138
	Nonlinear	138
	Non-Destructive	139
	The Downside: Editing Zombies	140
	The Craft	140
	Cuts	141
	Dissolves	142
	Fades	142
	Be Precise	142
	Telling the Story	143
	Be Cruel, Be Kind	144
	Sound	145
	Audio Fades	147
	Audio as Transition	147
	Soundtracks	147
	Final Soundtrack	149
	Putting It in the Can	149
	Reshoot	150
Chapter 12	Getting Noticed	151
	Wow! You've Finished	151
	One Festival, For Now	151
	Then Go Local	152
	Location	152
	Big, Dark, and Loud: AV	153
	The Hook Up	153
	Promotion	154
	Posters and Postcards	154
	Tickets	156
	Website	157
	Press	157
	The Big Night	161
	What to Say	161
	Festivals	162
	Beyond Festivals	164
	The Web	164
	Television	164
	The Digital Bake Sale: A Way to Fund Your Next Film	166
	Production and Reproduction	167
	Reshoot	168
	Conclusion - Final Credits	169
	About the Authors	171
	Index	172