Ebook #12 : Acting For Film

ebook contents :

PART ONE: THE ACTOR

• CHAPTER 1 : RELAXATION AND THE ART OF THE FACE
  (Mental Relaxation ; Gibberish ; The Inner Monologue)
  

• CHAPTER 2 : CONCENTRATION
  (Observation ; The Observation Exercise ; Sense Memory ; The Process of Relaxation, Concentration, and Sense Memory)
  

• CHAPTER 3 : THE VOICE AND THE BREATH
  (Choosing the Right Practice Material ; The First Steps to Giving the Character Your Voice ; Getting Stuck in Your Head ; The Preconceived Idea ; The Journal as Inner Voice ; The Trained Voice)
  

• CHAPTER 4 : LISTENING
  (Watching Movie Scenes for Listening ; Listening in Life ; Setting Up a Sensory Structure ; Listening to the Other Actor ; Journal Writings as Inner Monologue ; Casablanca ; Apocalypse Now)
  

• CHAPTER 5 : THE SKIN AND THE OVERALL
  (The Overall ; Other Overall Examples ; Scenarios That Invade Your Concentration ; Does It Really Work?)
  

• CHAPTER 6 : SUBSTITUTION : THE CAMERA AS PARTNER
  (Substitution for a Person ; Substitution and Filmmaking ; The First Steps to the Substitution Technique: Choosing the Right ; Substitute ; Finding the Key to Your Substitute ; Monologue with Substitution ; Speaking to the Lens)
  

• CHAPTER 7 : CREATING THE SPACE
  (Place as a Sense Memory ; Creating an Imaginary Place ; Being the Character in the Room ; Place as Inner Emotional State ; The Fourth Wall ; On Self-Indulgence)

PART TWO: THE SCRIPT AND CHARACTER DEVELOPMENT

• CHAPTER 8 : THE AUDITION
  (The Typical Movie Audition ; The Breakdown Services ; Types ; Doing the Videotaped Audition ; Different Types of Auditions ; Do It As Often As You Can)
  

• CHAPTER 9 : READING THE SCRIPT
  (Important Elements of Screenplay Format for the Actor ; Approaching the Text ; On the Set ; Following the Blueprint)
  

• CHAPTER 10 : CREATING THE CHARACTER
  (Location, Location, Location ; Character’s Log ; Observations, Thoughts, and Journal Notes ; Time Line: Continuity ; Entrances ; Place ; The Sensual Character ; Creating Relationship ; Needs and Actions)
  

• CHAPTER 11 : REHEARSALS
  (The Reading ; Script Development through Rehearsal and Improvisation ; Things to Do on Your Own)

PART THREE: THE SHOOT

• CHAPTER 12 : BIG-BUDGET VERSUS LOW- BUDGET FILMS
  (Understanding Filmmaking ; Using the Word “Film” ; All Films Are the Same ; Student Films ; No/Low-Budget Films ; The Big-Budget Movie)
  

• CHAPTER 13 : THE FIRST DAY ON THE SET
  (Be Prepared ; The Call Sheet ; The Actor and the Call Sheet ; The Makeup Department ; The Costume Department ; The Actor and the Crew)
  

• CHAPTER 14 : HOT SET : THE CLASSIC CAMERA SETUPS
  (Coverage ; The First Rehearsal ; Shooting the Master ; Shooting the Rest of the Scene ; SC. 48 – INT. JOE’S BAR – DAY ; What to Do with the Wrong Preparation)
  

• CHAPTER 15 : THE RUSHES AND THE FINISHED FILM
  (The Rushes ; The Actor and the Rushes ; Assessing Your Work in the Rushes ; Your Acting Preparation and Performance ; The Finished Film)

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Ebook #11 : The Filmmaker's Guide To Production Design

ebook contents :

• 1 / WHAT IS PRODUCTION DESIGN?
  (A Brief Historical Perspective on Production Design in Motion Pictures ; Production Design Is)
  

• 2 / VISUALIZATION OF A SCREENPLAY
  (The Trinity ; Writing for the Screen ; Writing the Screenplay with Design in Mind ; Production Design as a Narrative Tool ; The Vision Thing ; A Production Designer’s Credo ; Communication ; Breaking Down the Screenplay ; Set Decoration ; Props ; Special Effects ; Finding the Look of a Film ;Exercises to Develop Visualization Skills)
  

• 3 / DESIGN METAPHORS
  (The Psychological Nature of Production Design ; Atmospheric Qualities of Production Design ; Translating the Narrative into Visual Ideas ; Interpreting the Characters Visually ; Establishing an Environment for Cinematic Storytelling ; Visualization Exercises)
  

• 4 / RESEARCH
  (Design Files ; Paintings ; Photographs ; Magazines ; Literature ; Video ; Oral History ; The Internet ; Clearance and Permissions ; Product Placement ; Guidelines for Conducting Research)
  

• 5 / THE ART DEPARTMENT
  (The Design Team ; Art Director ; Set Designer ; Set Decorator ; Lead Man ; Swing Gang ; Hair and Makeup ; Construction Coordinator ; Construction Crew ; Property Master ; Location Scout ; Location Manager ; Greensman ; Buyer ; Scenic Artist ; Costume Designer ; Production Illustrator ; Draftsman ; Set Dresser ; The Production Designer’s Responsibility to the Art Department ; Understanding the Role of the Art Department During ; the Early Stages of Pre-production)
  

• 6 / PRE-PRODUCTION
  (Concept Drawings ; Approval ; Storyboards ; Drafting ; Sample Exercises ; Drafting Requirements and Standards ; Plans ; Location Scouting ; Organizing the Property Department ; Final Steps of Pre-production ; Deadlines ; Keeping Ahead of the Company ; Cover Sets ; Pre-production Advice)
  

• 7 / COLOR
  (The Color Palette ; A Concise Lesson in the Nature of Color ; Color Theory ; Black-and-White Filmmaking ; Color Correction ; Developing a Color Sense ; Discovering Color)
  

• 8 / TEXTURE (Aging Wood ; Aging Stone ; The Role and Purpose of Aging in Production Design ; Learning About Texture)
  

• 9 / ARCHITECTURE
  (The Development of Shot Design and Sequential Storytelling ; Through Production Design ; The Development of Applying Design Aesthetic to Cinematic Storytelling ; The Modernist School of Design Makes an Impact on the Look of Films ; The Architect as Production Designer ; Construction ; Use of Space ; Post-modern Film Design ; Learning More About Architecture)
  

• 10 / PERIOD FILMS
  (Time ; Time and Place)
  

• 11 / GENRES
  (Research ; Genre Is Storytelling ; Genre Exercises)
  

• 12 / BUDGET AND SCHEDULING
  (Budgeting ; Projecting the Production Design Budget ; Scheduling ; Budgeting Tips)
  

• 13 / WORKING IN THE STUDIO
  (Advantages of Shooting in the Studio ; Safety Procedures ; The Grid ; Workshops and Tools of the Art Department ; Flats; Materials and Use ; Painting ; Three-Dimensional Weight-Bearing Construction ; Bracing the Set ; Methods for Anchoring Objects to Flats ; Openings ; Cycloramas ; Ceilings ; Floors and Ground Areas ; Procedures for Building and Erecting Sets in a Studio ; Camera Blocking in the Studio ; Rehearsals ; Striking the Set ; Storage ; Transportation of the Set ; Getting Familiar with Working in the Studio)
  

• 14 / WORKING ON LOCATION
  (Scouting Locations ; Transforming a Location ; Shooting at One Location for Another ; Matching a Location and Studio Work ; Putting It All Together ; Tips for Working on Location)
  

• 15 / LOW-BUDGET PRODUCTIONS
  (Keeping the Production Design Budget Down)
  

• 16 / GUERRILLA FILMMAKING

• 17 / DIGITAL PRODUCTION DESIGN
  (Pre-CAD Effects ; CAD Production Design ; Virtual Production Design ; CGI in Contemporary Film Production ; Successfully Merging CGI Technology with Production Design ; Computer Animation ; The Future of Digital Moviemaking)
  

• 18 / HOW TO FIND A PRODUCTION DESIGNER

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Ebook #10 : Film Production Management

ebook contents :

• Chapter 1. The Production Manager
  -The Production Manager’s Job ; The Process of Production Management ; Practical Tips-
  

• Chapter 2. The Business of Film
  -Development ; Preproduction ; Production (Principal Photography) ; Postproduction-
  

• Chapter 3. Preparing for Production
  -Script Breakdown ; Shooting Schedule-
  

• Chapter4. Special Tips for Low-Budget Productions
  -What Makes a Movie Expensive? ; Making Deals-
  

• Chapter 5. Locations
  -Location Survey ; Film Commissions ; Permits ; Foreign Shoots-
  

• Chapter 6. Unions
  -Screen Actors Guild and Screen Extras Guild ; Directors Guild of America ; The Union/Nonunion Debate-
  

• Chapter 7. Cast and Crew
  -Hiring Procedures ; Crew Duties ; Actors and Agents-
  

• Chapter 8. Contracts, Agreements, and Working Permits
  -Staff, Crew, and Actor Agreements ; Other Agreements ; Immigration Laws and Working Permits-
  

• Chapter 9. The Budget and Production Budget Forms
  -The Production Budget Process ; Production Budget Forms-
  

• Chapter10. Insurance
  -Types of Insurance ; Guild- and Union-Required Insurance Benefits-
  

• Chapter11. Completion Bonds
  -Completion Bond Contract-
  

• Chapter12. Film Festivals and Markets

• Chapter13. Film Schools

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