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![Filmmaking for Teens: Pulling Off Your Shorts](http://img.images-bn.com/static/redesign/srcs/images/grey-box.png?v11.8.5)
![Filmmaking for Teens: Pulling Off Your Shorts](http://img.images-bn.com/static/redesign/srcs/images/grey-box.png?v11.8.5)
Hardcover(2nd ed.)
$35.95
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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: | 9781615932016 |
---|---|
Publisher: | Wiese, Michael Productions |
Publication date: | 04/01/2014 |
Series: | Filmmaking for Teens: Pulling Off Your Shorts |
Edition description: | 2nd ed. |
Pages: | 224 |
Product dimensions: | 6.20(w) x 9.10(h) x 0.80(d) |
Age Range: | 14 - 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 |
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