GUIDE BOOK For Guerrilla Filmmakers

GUIDE BOOK For Guerrilla Filmmakers


0.0 INTRODUCTION
1.0 MOTION PICTURE BASICS
2.0 VIDEO BASICS
3.0 COMMON BASICS
4.0 PRE PRODUCTION
5.0 PRODUCTION
6.0 POST PRODUCTION
7.0 AFTERMATH

The Original...
GUIDE BOOK For Guerrilla Filmmakers
...Celebrating Its 13th Year!


This book is dedicated to five individuals who went out of their way to help this book succeed:
My father, Alec
Marco Barla
Clint Eastwood
Steven Spielberg
Chris Stevens



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0.0 INTRODUCTION

The intent behind this book was to share some very hard fought and won knowledge and experience with struggling filmmakers to shorten the long, hard road to making it as a professional filmmaker; not all of us have access to someone with a lifetime vested in this industry like my father Alec or some of the other great men I've been fortunate enough to learn from. My writing may not always be grammatically correct (I deliberately end sentences in prepositions with such frequency, I'm going to writer's hell for sure!) because this is designed to be a concise guide book - not a work of literature. I've tried to communicate complex aspects of filmmaking into the simplest form possible with varying degrees of success. The simply designed HTML pages are without pop-ups or other time wasting annoyances so you can find what you're looking for as quickly as possible. The HTML format is also translatable into many languages using Babelfish or any other browser based translation utility. More than 350,000 readers later, this remains the only comprehensive filmmaking book to make it to the Web in its entirety.


About the author At any rate, within these pages you will find a collection of several lifetimes of motion picture production savvy distilled into sections I've collected over the years as notes to myself. When someone really knowledgable in this business took their time to give me advice, I listened, took it to heart - and I took notes. This book is my collection of notes.






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1.0 MOTION PICTURE BASICS

1.1 MOTION PICTURE FILM

1.1.1 FRAMES PER SECOND
1.1.2 FILM LAYOUT
1.1.3 UNEXPOSED FILM
1.1.4 EXPOSED FILM
1.1.5 PROCESSED FILM
1.1.6 DOUBLE PERF FILM
1.1.7 SINGLE PERF FILM
1.1.8 FORMATS

1.1.8.1 AMATEUR
1.1.8.2 LOW END PROFESSIONAL
1.1.8.3 HIGH END PROFESSIONAL

1.1.9 FILM STOCKS

1.1.9.1 NEGATIVE FILMS
1.1.9.2 REVERSAL FILMS

1.1.10 RATINGS

1.1.10.1 DAYLIGHT
1.1.10.2 TUNGSTEN
1.1.10.3 ASA (ISO)
1.1.10.4 LATITUDE

1.1.11 PACKAGING

1.1.11.1 CORES
1.1.11.2 DAYLIGHT SPOOLS
1.1.11.3 B-WINDING
1.1.11.4 A-WINDING

1.1.12 TIME CODE ON FILM

1.1.12.1 GENERATED
1.1.12.2 PRE-MARKED

1.2 CAMERAS

1.2.1 CONFIGURATION
1.2.2 CAMERA OPERATION
1.2.3 VIEWING SYSTEMS

1.2.3.1 RANGE FINDING
1.2.3.2 REFLEX
1.2.3.3 CCD VIDEO ASSIST

1.2.4 DRIVE SYSTEMS

1.2.4.1 SPRING-WOUND
1.2.4.2 ELECTRIC
1.2.4.3 CRYSTAL SYNC
1.2.4.4 HIGH SPEED
1.2.4.5 SINGLE FRAME

1.2.5 DREAM MACHINES

1.2.5.1 PANAVISION PLATINUM
1.2.5.2 ARRIFLEX 535

1.3 EDITING

1.3.1 VIEWING
1.3.2 SPLICING

1.3.2.1 CEMENT SPLICE
1.3.2.2 TAPE SPLICE

1.3.3 DAILIES
1.3.4 WORK PRINT
1.3.5 SYNCING AUDIO

1.3.5.1 MAG-TRACK
1.3.5.2 SYNCHRONIZER
1.3.5.3 EDITING MAG-TRACK TO PICTURE
1.3.5.4 MULTI-TRACK AUDIO

1.3.6 OPTICAL AUDIO TRACK
1.3.7 NEGATIVE CUTTING

1.3.7.1 FRAME MATCHING
1.3.7.2 SPLICE RELIEF

1.3.8 A & B ROLLING
1.3.9 OPTICAL PRINTING

1.4 ANIMATION

1.4.1 ANIMATOR'S MANTRA - 24 FPS
1.4.2 OPERATION

1.4.2.1 STOP-MOTION
1.4.2.2 CLAY ANIMATION
1.4.2.3 ARMATURES
1.4.2.4 MINIATURES

1.4.3 FLAT ART (2D)

1.4.3.1 REFLECTIVE
1.4.3.2 BACK-LIT

1.4.4 ANIMATED OPTICAL EFFECTS

1.4.4.1 TITLES
1.4.4.2 MATTES
1.4.4.3 ROTOSCOPE
1.4.4.4 BLUE SCREEN
1.4.4.5 MOTION CONTROL

1.4.5 ANIMATION STANDS AND CAMERAS



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2.0 VIDEO BASICS


2.1 MAGNETIC RECORDING

2.1.1 VIDEO MEDIUMS
2.1.2 STANDARDIZED SIGNALS
2.1.3 FRAMES
2.1.4 ANALOG
2.1.5 DIGITAL
2.1.6 FORMATS

2.1.6.1 LOW-END ANALOG
2.1.6.2 HIGH-END ANALOG
2.1.6.3 LOW END DIGITAL
2.1.6.4 HIGH END DIGITAL

2.2 CAMERAS

2.2.1 STUDIO
2.2.2 CAMCORDERS
2.2.3 DOCKABLE UNITS

2.3 EDITING

2.3.1 CONTROL TRACK
2.3.2 TIME CODE
2.3.3 TIME BASE CORRECTION
2.3.4 ASSEMBLY EDITING
2.3.5 INSERT EDITING
2.3.6 IN/OUT POINTS
2.3.7 A/B ROLLING
2.3.8 ON-LINE EDITING
2.3.9 OFF-LINE EDITING

2.4 ON-LINE DEVICES

2.4.1 SWITCHER
2.4.2 KEYER
2.4.3 CHARACTER GENERATOR

2.5 DESK TOP EDITING
2.6 HIGH DEFINITITION VIDEO
2.7 WWW.BROADBAND.NOW
2.8 COMPUTER GRAPHICS

2.8.1 PLATFORMS

2.8.1.1 MACINTOSH (MAC)
2.8.1.2 WINTEL (PC)

2.8.2 ANIMATION SOFTWARE

2.8.2.1 PRIMARY PACKAGES
2.8.2.2 SUPPLIMENTAL PACKAGES
2.8.2.3 COMPOSITING SOFTWARE



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3.0 COMMON BASICS

3.1 PHOTOGRAPHY

3.1.1 FRAMING
3.1.2 FOCUS
3.1.3 DEPTH-OF-FIELD
3.1.4 MOVEMENT
3.1.5 CONTROLLING EXPOSURE

3.1.5.1 LIGHT METERS
3.1.5.2 EXPOSURE
3.1.5.3 WHITE BALANCE
3.1.5.4 HAZARDS

3.1.6 COLOR

3.1.6.1 PRIMARY COLORS
3.1.6.2 COMPLIMENTARY COLORS
3.1.6.3 PRIMARY AND COMPLIMENTARY INTERACTION
3.1.6.4 COMMUNICATING CONCEPTS WITH COLOR

3.2 LENSES

3.2.1 APERTURES

3.2.1.1 F/STOPS
3.2.1.2 T/STOPS

3.2.2 ZOOM LENSES
3.2.3 FIXED FOCAL LENGTH (PRIME) LENSES
3.2.4 ANAMORPHIC LENSES
3.2.5 MACRO LENSES
3.2.6 AUTO-FOCUS LENSES
3.2.7 AUTO-EXPOSURE LENSES

3.3 CAMERA MOUNTS

3.3.1 TRIPOD
3.3.2 HIGH-HAT
3.3.3 DOLLY
3.3.4 CRANE
3.3.5 VEHICLE MOUNTS
3.3.6 STABILIZERS
3.3.7 HANDHELD

3.4 AUDIO

3.4.1 ANALOG AND DIGITAL RECORDING
3.4.2 M.O.S.
3.4.3 MICROPHONES

3.4.3.1 ON-CAMERA MICROPHONE
3.4.3.2 LAVALIERE MICROPHONE
3.4.3.3 CARDIOID MICROPHONE
3.4.3.4 SHOTGUN MICROPHONE
3.4.3.5 BOOM MICROPHONE
3.4.3.6 MULTIPLE MICROPHONES

3.4.4 AUDIO TRACKS

3.4.4.1 MUSIC
3.4.4.2 AMBIENCE
3.4.4.3 SOUND EFFECTS
3.4.4.4 VOICE

3.4.5 MIXING AUDIO




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4.0 PRE-PRODUCTION

4.1 GUARANTEE SUCCESS

4.2 MARKETING

4.2.1 AUDIENCE
4.2.2 DISTRIBUTION
4.2.3 MARKETING CASH-FLOW

4.3 DETERMINATIONS

4.3.1 BUDGET
4.3.2 SCAM ADVISORY
4.3.3 VISUAL MEDIUM
4.3.4 PRODUCTION CASH-FLOW
4.3.5 SHOOTING RATIOS
4.3.6 RUNNING TIME

4.4 STORIES

4.4.1 SUBJECTS
4.4.2 EXISTING MATERIAL
4.4.3 ORIGINAL MATERIAL
4.4.4 US COPYRIGHT

4.4.4.1 SCREENPLAY COPYRIGHT
4.4.4.2 MOTION PICTURE COPYRIGHT
4.4.4.3 GRAPHIC ARTS & GAMES COPYRIGHT
4.4.4.4 SERIAL COMICS & MAGAZINE COPYRIGHT
4.4.4.5 MUSIC & AUDIO WORKS COPYRIGHT

4.5 PLANNING

4.5.1 COMPUTER SKILLS
4.5.2 SHOOTING SCRIPT
4.5.3 STORYBOARD
4.5.4 CHECKLISTS
4.5.5 SET-UP GUIDE
4.5.6 SHOOTING SCHEDULE
4.5.7 MASTER WORKBOOK
4.5.8 JOB TITLES

4.6 THE FILM MARKET



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5.0 PRODUCTION

5.1 DIRECTING

5.1.1 MAKING THE TRANSITION FROM COUCH POTATO TO DIRECTOR

5.1.1.1 DETERMINING YOUR TALENT AS A DIRECTOR
5.1.1.2 LEARNING TO DEVELOP YOUR DIRECTING TALENT

5.1.2 AESTHETICS

5.1.2.1 DIALOGUE ALONE WON'T TELL THE STORY
5.1.2.2 SETTING THE STORY'S PACE
5.1.2.3 METAPHORS

5.1.3 CAMERA WORK

5.1.3.1 COMPOSITION
5.1.3.2 FRAMING AND OFFSETTING
5.1.3.3 COMMUNICATING WITH COLOR

5.1.4 MAKING CHARACTERS WORK

5.1.4.1 REHEARSING ACTORS
5.1.4.2 DIRECTING ACTORS
5.1.4.3 THE ACTOR-DIRECTOR RELATIONSHIP

5.1.5 KEY STORY TELLING CONSIDERATIONS

5.1.5.1 THE STRENGTH OF THE MEDIUM
5.1.5.2 WHAT MAKES A MOVIE "GOOD?"

5.1.6 DIRECTOR'S OVERVIEW

5.1.7 LEADERSHIP

5.1.7.1 TAKE RESPONSIBILITY FOR YOUR ACTIONS AND THE ACTIONS OF YOUR CREW.
5.1.7.2 KNOW YOURSELF AND SEEK SELF-IMPROVEMENT.
5.1.7.3 SET THE EXAMPLE.
5.1.7.4 DEVELOP YOUR CREW.
5.1.7.5 ENSURE THAT A JOB IS UNDERSTOOD, THEN SUPERVISE IT AND CARRY IT THROUGH TO COMPLETION.
5.1.7.6 KNOW YOUR CREW AND LOOK AFTER THEIR WELFARE.
5.1.7.7 EVERYONE SHOULD BE KEPT INFORMED.
5.1.7.8 SET GOALS YOU CAN REACH.
5.1.7.9 MAKE SOUND AND TIMELY DECISIONS.
5.1.7.10 KNOW YOUR JOB.
5.1.7.11 TEAMWORK.

5.1.8 RESPONSIBILITIES

5.1.8.1 THE DIRECTOR'S PROFESSIONAL RESPONSIBILITY
5.1.8.2 THE DIRECTOR'S PERSONAL RESPONSIBILITY

5.1.9 SCREEN VALUES
5.1.10 SET ETIQUETTE
5.1.11 INGENUITY
5.1.12 BRAINSTORMING
5.1.13 STRESS

5.2 LIGHTING

5.2.1 KEY LIGHT
5.2.2 FILL LIGHT
5.2.3 EDGE/RIM LIGHT
5.2.4 BACKGROUND LIGHT
5.2.5 ACCENT LIGHT
5.2.6 LIGHT SOURCES

5.2.6.1 NATURAL LIGHT
5.2.6.2 ARTIFICIAL LIGHT
5.2.6.3 MIXED LIGHTING

5.2.7 CONSISTENCY
5.2.8 PRE-LIGHTING
5.2.9 ELECTRICITY

5.3 CHARACTERS

5.3.1 MAKE-UP
5.3.2 HAIR
5.3.3 COSTUME

5.4 LOCATIONS

5.4.1 EXTERIORS
5.4.2 STAGES
5.4.3 SET CONSTRUCTION

5.5 PROPERTIES

5.5.1 MAJOR PROPS
5.5.2 HAND PROPS
5.5.3 MOCK-UPS
5.5.4 EFFECTS MAKE-UP

5.6 OPERATIONS

5.6.1 SAFETY
5.6.2 REHEARSING
5.6.3 BRIEFINGS
5.6.4 SLATING
5.6.5 SHOOTING
5.6.6 VIDEO BACK-UP
5.6.7 TOOLS
5.6.8 DAILY ASSESSMENT

5.7 COVERAGE

5.7.1 EDITOR'S NEEDS
5.7.2 INSERT SHOTS
5.7.3 BRACKETING EXPOSURES

5.8 SCRIPT SUPERVISION

5.8.1 SHOOTING LOG
5.8.2 CONTINUITY
5.8.3 RECEIPTS

5.9 PRODUCTION CREW

5.9.1 SIZE
5.9.2 STRUCTURE
5.9.3 DISCIPLINE

5.10 PRODUCERS

5.10.1 STRATEGIC PRODUCERS
5.10.2 TACTICAL PRODUCERS



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6.0 POST PRODUCTION

6.1 PUTTING IT ALL TOGETHER

6.2 FILM TO TAPE TRANSFERS

6.3 IMAGE MANIPULATION
6.3.1 PUSHING AND PULLING
6.3.2 EXPOSURE ENHANCEMENT
6.3.3 COLOR CORRECTION
6.3.4 FIXING SCRATCHES
6.3.5 KILLING CONTRAST ON FILM
6.3.6 MAKING VIDEO LOOK MORE LIKE FILM

6.4 POST-PRODUCTION FLOW

6.4.1 POSTING TAPE ON TAPE
6.4.2 POSTING FILM ON TAPE
6.4.3 POSTING FILM ON FILM
6.4.4 POSTING FILM ON FILM (using off-line video editing)

6.5 TRANSITIONS

6.5.1 CUTS
6.5.2 FADES
6.5.3 DISSOLVES
6.5.4 WIPES

6.6 BLOW-UPS FROM 16 TO 35 MILLIMETER FILM

6.7 VIDEO TRANSFERS TO 35 MILLIMETER FILM

6.8 DIGITAL POST PRODUCTION

6.8.1 DIGITAL POST HARDWARE

6.8.1.1 DV CAMERA
6.8.1.2 DV DATA PORT
6.8.1.3 DV COMPUTER

6.8.2 DIGITAL POST SOFTWARE

6.9 DIGITAL THEATRICAL PROJECTION



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7.0 AFTERMATH


7.1 THE FINISHED PRODUCT

7.2 PROMOTING YOUR WORK

7.3 COMMITMENT
7.4 SHORTS AND FEATURE FILMS

7.5 THE ODDS

7.6 INGENUITY, GUTS AND COFFEE



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"The profession of film director can and should be such a high and precious one that no man aspiring to it can disregard any knowledge that will make him a better film director or human being."

- Sergei Eisenstein


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