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The first and so far only book on Film Markets. A Film Market is the best place a filmmaker can go to get traditional, non-DIY Distribution. The first edition of this book was used as a text at more than ten film schools in the US, and the book has an endorsement from the host of the #1 Filmmaking podcast on iTunes, and advice from 8 distributors.
This is the most up-to-date and complete book you will find on producing. It covers the new CUE process from BMI and ASCAP for getting paid for soundtrack music. It includes a buyer’s guide for covering Netflix Approved cameras. It covers the essentials and introduces you to the process. It can take a person who knows nothing about film & video production, leading them from story, to script, to budgeting, casting, finding actors, directors, camera people, composers, and distributors. -It will also show you how to do ALL of that yourself, on almost any budget. -You’ll learn about the gear you need like cameras, tripods, lighting, editing software, editing computer. -Story & Script, the logline, a spec pitch that went to pilot, Joseph Campbell and the Hero's Journey, John Truby and the Anatomy of Story, the writing concepts of Syd Field, Christopher Vogler, Michael Hague, plus outlines, the screenplay, free and demo screenwriting software sources, adapting a book into a movie, music synchronization licenses. -Finding actors and crew members. Free casting tools. Paid casting services. -A look at cameras, including f/stop, t/stops, depth of field, focal lengths, distortions, filter, matte boxes, global and rolling shutters, and lens mounts. -How to budget and plan a production economically. -Business types for setting up your production company. How to protect your assets and a discussion of liabilities and taxes. -Copyrights and licensing information. -Making a storyboard and using it for shooting, editing, and composing. -The shoot itself, framing shots, the master shot, the close shots, reverse angles, the 180 rule, lighting a set with sample diagrams, night for day shots, day for night shots, doing coverage of a scene, the role of the script supervisor. -Special Effects, blue, green, and yellow screen, examples. -Editing 16 and 35mm movie film, analog videotape using an edit controller, digital file types, editing software, the timeline, dialog editing, background, music, and room tone tracks. -A primer for Composing Music, learning how to count to make chords and patterns, major chords, minor chords, sevenths, major sevenths, diminished, perfect seconds, including a template for a key wheel to help you change keys and know what notes makeup what chords. Concepts that the video person who is all thumbs can use to make their own basic backgrounds scores if they can’t find a composer. -The new ASCAP and BMI Cue Sheets so you can get paid for any music when your productions air on broadcast or network television. Also covers the Harry Fox Agency for the licensing of your song, your music or to obtain permission to use someone else’s tunes. -The history of imaging, optics, the photographic process, projectors, sound recording, tube electronics, television, audio recording, the how and why of film speeds, how color movie film works, how color television works, the differences between American and European film and video, the digital age, SD, HD, 4k and 8k. A look at the mystical color spaces of YUV and YIQ. -Distribution concepts for your films. -Los Angeles Union Scale Rates for the cast and crew so you can budget your scripts. -A Bibliography of reference sources for further reading. The author has been doing film, photography, and audio recording for fifty-five years working on productions that have aired on television, been screened theatrically and on YouTube. The author has been writing on the topics of film, video, and audio for magazine since 1980, including contributions for Mix Magazine, Music Connection, Pro Sound News, Technical Photography, Moving Image, etc. The author was schooled in television electronics by engineers at Admiral in Chicago, and in film/theater production at Valley College in Los Angeles, under Dr. Milton Timmons, Dr. Stern, Peter Parkin MFA from Pasadena Playhouse, Elliot Bliss at CBS Television Studios (now Todd-AO).
This book is a work of conscience. It is the product of a long-standing feeling of obligation on my part to write something useful for a special group of people to which you probably belong-individuals who seek grants. In my years as Director of the New York library of The Foundation Center, * each and every day I encountered numbers of individuals look ing for grant money. Although I tried to be as supportive as possible, in the face of the particular problems shared by this group of library users, my own reaction was one of relative helplessness. Simply stated, most of the fund-raising guides, printed directories, and computer files purport edly created to serve the fund-raising public are of little or no use to individuals who seek funding on their own. These resources are directed *The Foundation Center is the independent, nonprofit organization established by foun dations to provide information for the grant-seeking public. vii viii I PREFACE toward the nonprofit, tax-exempt agency, which is the most common recipient of foundation, corporate, and government largess. They are not designed to respond to the special requirements of the individual grant seeker. In the applicant eligibility index, the Catalog of Federal Domestic Assistance defines individuals as "homeowners, students, farmers, artists, scientists, consumers, small-business persons, minors, refugees, aliens, veterans, senior citizens, low-income persons, health and educational professionals, builders, contractors, developers, handicapped persons, the physically afflicted." In short, practically everyone qualifies.
John W. Cones has updated his now classic 43 Ways toFinance Your Feature Film: A Comprehensive Analysis of Film Finance with a substantially reorganized and expanded third edition. An essential reference guide for film professionals on every side of film financing, 43 Ways answers the question that every filmmaker and producer ultimately faces, the issue that can make or break any venture into the film industry: How do I finance my feature film? The third edition includes updated information and coverage of new options for financing. In his clear and concise style and with expertise amassed over his nearly twenty years of experience in the film finance industry, Cones breaks financing options down into six main areas: gifts and grants, investor financing, domestic government subsidies and tax incentive programs, lender financing, international finance options, and studio or industry financing. Beginning with the forms of financing most likely to be accessible to independent feature film producers, Cones proceeds to other forms that become increasingly available as the producer’s career matures. As an objective adviser, Cones provides specific, concise information regarding the many possible financing strategies and lists the distinct pros and cons of each strategy. This guide covers the options for film financing in rich detail so that even first-time producers and filmmakers will be able to make educated and informed decisions about the best approaches to financing their films. An extensive bibliography contains additional information about each form of film finance. Cones also counters much of the bad advice being provided by pseudoprofessional film finance consultants and points out scams that may separate unwary film producers from their money. Although the book focuses on financing feature films, much of its information is relevant to the financing of other kinds of projects, such as short films, documentaries, videos, and multimedia and theatrical endeavors. Anyone considering making or investing in a feature film will be well served by this practical and helpful guide.
Film Production Management will tell you in step-by-step detail how to produce a screenplay and get it onto the big screen. Whether you are an aspiring or seasoned film professional, this book will be an indispensable resource for you on a day-to-day basis. This updated edition remains true to the practical, hands-on approach that has made previous editions so successful, and has been updated with revised forms, permits, and budgets applicable to all productions; contains important information on standards and typical processes and practices; includes the latest information available on technological advances such as digital FX; and discusses the impact of the Internet on filmmaking. Film production professionals at all levels of experience will benefit from the information in this handbook to film production management.
This book is an analysis of the specificities of public film funding on an international scale. It shows how public funding schemes add value to film-making and other audio-visual productions and provides a comprehensive analysis of today’s global challenges in the film industry such as industry change, digital transformation, and shifting audience tastes. Based on insights from fields such as cultural economics, media economics, media management and media governance studies, the authors illustrate how public spending shapes the financial fitness of national and international film industries. This highly informative book will help both scholars and practitioners in the film industry to understand the complexity of issues and the requirements necessary to preserve the social benefits of film as an important cultural good.
Producing and Directing the Short Film and Video is the definitive book on the subject for beginning filmmakers and students. The book clearly illustrates all of the steps involved in preproduction, production, postproduction, and distribution. Its unique two-fold approach looks at filmmaking from the perspectives of both producer and director, and explains how their separate energies must combine to create a successful short film or video, from script to final product. This guide offers extensive examples from award-winning shorts and includes insightful quotes from the filmmakers themselves describing the problems they encountered and how they solved them. The companion website contains useful forms and information on grants and financing sources, distributors, film and video festivals, film schools, internet sources for short works, and professional associations.