Understanding design in film production : using art, light & locations to tell your story /
Great visual storytelling is possible on a minimal budget, but you have to spend a lot of energy thinking and planning. In Understanding Design in Film Production, author Barbara Freedman Doyle demonstrates how to use production design, cinematography, lighting, and locations to create an effective...
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| Main Author: | |
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| Format: | Electronic eBook |
| Language: | English |
| Published: |
London ; New York, NY :
Routledge,
2019.
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| Subjects: | |
| Online Access: | EBSCOhost ProQuest Ebook Central Taylor & Francis VLeBooks VLeBooks |
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| 100 | 1 | |a Doyle, Barbara Freedman, |e author. |9 1887 | |
| 245 | 1 | 0 | |a Understanding design in film production : |b using art, light & locations to tell your story / |c Barbara Freedman Doyle. |
| 264 | 1 | |a London ; |a New York, NY : |b Routledge, |c 2019. | |
| 264 | 4 | |c ©2019 | |
| 300 | |a 1 online resource (x, 244 pages) : |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 501 | |a P.B | ||
| 501 | |a P.B | ||
| 505 | 0 | |a Cover; Half Title; Title Page; Copyright Page; Table of Contents; Acknowledgments; Photo Credits; Introduction; Note; SECTION 1: Understanding Design in Film; Chapter 1: What Is Your Movie About . . .?; Point of View; Tone; What Does All This Have to Do with You?; Chapter 2: Some Components of Visual Design; Color; Texture; Size; Forced Perspective; Line and Repetition; Another Use of Line; Weight; Chapter 3: The Vision-and Collaboration; SECTION 2: The Collaborators; Chapter 4: Designing, Building, Painting; The Production Designer; The Business Side; The Art Director; The Set Designer | |
| 505 | 8 | |a Art Department CoordinatorConcept Illustrator; Storyboard Artist; Researcher; Construction; The Construction Coordinator; Greens; Lead Scenic; Chapter 5: The Decorator; The Crew; Chapter 6: Locations; Second Unit; Places "Playing" Other Places; Chapter 7: Lighting and Picture; Chapter 8: Costumes and Props; Costumes; Props; Chapter 9: Visual Effects and Animation; Effects; Visual Effects and Animation; Chapter 10: Why All This Talk about Authenticity?; Cheating Reality; The Responsibility of a Production Designer; The Budget; SECTION 3: Your Low Budget Film or TV Project | |
| 505 | 8 | |a Chapter 11: Putting All This TogetherHow It Can Work; Saying Yes; Chapter 12: Planning Your Project: Building It, Finding It, or Both?; Breaking Down a Script; Researching the Subject of the Script; Deciding about Locations; Business Basics and Design; Budgets and the Producer and Screenwriter (and Sometimes the Director); Now Back to Our Rom-Com; More Factors in the Choice of Practical vs. Build; Chapter 13: Shooting Your Film on Distant Location; The Cost; The Logistics; The Good News and the Bad News; The Takeaway for Producers, Directors, and Those Who Suggest Finding the Locations "Away." | |
| 505 | 8 | |a Tax IncentivesChapter 14: Your Process; Action; What Does the Director Want to See?; Stages; Chapter 15: Practical Matters: Location Agreements, Permits, Insurance; The Location Agreement; Permits; Insurance; Ways to Get Help: Film Commissions; Other Ways to Get Help: People; Chapter 16: How to Be Your Own Location Manager; Back to Basics: Research; What Do You Really Need to Tell Your Story?; The Approach; Money; The Tech Scout; During Production; The Walk Through; Finishing Up; Last Words about Dealing with Location Logistics | |
| 505 | 8 | |a Chapter 17: What You Need to Do What You Want: Demystifying the BudgetPeople; Art and Construction; Locations; Set Dressing; A Hypothetical Location Budget; Art Department Budget; Chapter 18: Learning the Craft: Starting Out; Chapter 19: Doing What You Want with What You Have: Student Films; Chapter 20: Visual Storytelling in Making the Sale; Chapter 21: Entering the Profession; Chapter 22: Suggested Viewing; Index | |
| 520 | |a Great visual storytelling is possible on a minimal budget, but you have to spend a lot of energy thinking and planning. In Understanding Design in Film Production, author Barbara Freedman Doyle demonstrates how to use production design, cinematography, lighting, and locations to create an effective and compelling visual story, even on the tightest of budgets. Featuring in-depth interviews with production designers, set decorators, construction coordinators, cinematographers, costumers, and location managers talking about the techniques of their craft, it provides you with a feel for what everyone on the visual team does, how they think and plan, and how best to utilize the knowledge and skills they offer. This book guides you through how to find, secure, and manage the best locations, how to create and dress a set, and how to make old look new and new look old--all on a tight budget. With insights from experts at the top of their field, sharing how they plan for the real-world application of large-scale ideas, you'll be able to see ways to apply their techniques to your own smaller-scale productions. Understanding Design in Film Production is a practical, hands-on guide for any aspiring filmmaker who wants to understand the basic principles of visual design in order to create exceptional looking films. | ||
| 545 | 0 | |a Barbara Freedman Doyle began her film career as the assistant to the Senior VP of Worldwide Production at Tri-Star Pictures. She continued to work her way up the freelance production ladder as a production coordinator and production supervisor on projects for CBS, NBC, Disney, TNT, Showtime, Hearst Entertainment, Hallmark, 20th Century Fox, Morgan Creek Productions, and Alcon Entertainment. She is the current Professor of Producing and heads the College to Career Program at Chapman University's Dodge College of Film and Media, and is a former Associate Dean of Production at the American Film Institute. She continues to consult on production for narrative and documentary film projects. | |
| 588 | 0 | |a Print version record. | |
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| 650 | 0 | |a Motion pictures |x Setting and scenery |x Vocational guidance. |9 1889 | |
| 650 | 6 | |a Cinéma |x Direction artistique |x Orientation professionnelle. |9 1890 | |
| 650 | 6 | |a Cinéma |x Décors |x Orientation professionnelle. |9 1891 | |
| 650 | 7 | |a PERFORMING ARTS |x Reference. |2 bisacsh |9 428 | |
| 650 | 7 | |a PERFORMING ARTS |x Film & Video |x Direction & Production. |2 bisacsh |9 1892 | |
| 650 | 7 | |a Motion pictures |x Art direction |x Vocational guidance. |2 fast |0 (OCoLC)fst01027295 |9 1888 | |
| 650 | 7 | |a Motion pictures |x Art direction. |2 fast |0 (OCoLC)fst01027293 |9 1893 | |
| 650 | 7 | |a Motion pictures |x Setting and scenery. |2 fast |0 (OCoLC)fst01027381 |9 1270 | |
| 655 | 0 | |a Electronic books. | |
| 655 | 4 | |a Electronic books. | |
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