000 | 06126cam a2200397 i 4500 | ||
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005 | 20230526151125.0 | ||
008 | 100620s2010 nyua b 001 0 eng d | ||
010 | _a 2008026092 | ||
011 | _aBIB MATCHES WORLDCAT | ||
020 | _a0195374436 | ||
020 | _a9780195374438 | ||
035 | _a(ATU)b11712144 | ||
035 | _a(OCoLC)231834546 | ||
040 |
_aDLC _beng _erda _cDLC _dBTCTA _dCDX _dYDXCP _dC#P _dBWX _dSOI _dCHVBK _dATU |
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050 | 0 | 0 |
_aPN1995.9.D6 _bH49 2010 |
082 | 0 | 0 |
_a070.18 _222 |
100 | 1 |
_aHewitt, John, _d1943- _eauthor. _9449081 |
|
245 | 1 | 0 |
_aDocumentary filmmaking : _ba contemporary field guide / _cJohn Hewitt, Gustavo Vazquez. |
264 | 1 |
_aNew York : _bOxford University Press, _c[2010] |
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264 | 4 | _c©2010 | |
300 |
_axii, 243 pages : _billustrations ; _c24 cm |
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336 |
_atext _btxt _2rdacontent |
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337 |
_aunmediated _bn _2rdamedia |
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338 |
_avolume _bnc _2rdacarrier |
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504 | _aIncludes bibliographical references and index. | ||
505 | 0 | 0 |
_tGetting Started -- _g1. _tDeveloping Your Idea and Doing the Research -- _tThe Role of the Producer -- _tTesting the Waters -- _tNarrative Structures -- _tDoing the Research -- _tGaining Access to Sources -- _tThe Long-term Project and You -- _g2. _tBuilding Characters and the Visual Story -- _tThe Interplay of Characters and Sequences -- _tSubjects as Personalities -- _tCapturing Visual Sequences -- _tVisual Style Decisions -- _tEthics and Visuals -- _g3. _tPreparing for Collaboration -- _tFriendly Collaboration -- _tParticipants -- _tOutside Collaborators -- _tChoosing Collaborators -- _tContracts -- _g4. _tProposals, Budgets, and Fundraising -- _tPreparing for Fundraising -- _tSources of Money -- _tGrants -- _tCo-productions and Pre-sales -- _tProposals and Budgets -- _tSample Treatment -- _tPreproduction -- _g5. _tPreparation for the Long Haul -- _tOffice Needs -- _tAccess Problems -- _tShooting Abroad -- _tScripting in Advance -- _tLegal Issues -- _tEquipment and Crews -- _tProduction -- _g6. _tPlanning for Interviews -- _tPriorities -- _tThe Art of Conversational Inquiry -- _tPlanning a Visual Style -- _tAt the Interview Location -- _tDuring the Interview -- _g7. _tSound Considerations -- _tThe Value of Good Audio -- _tThe Sound Recordist -- _tThe Types of Location Sound -- _tThe Cinematographer Alone -- _tAudio Basics -- _tLegal Issues -- _g8. _tNatural or Portable Lighting -- _tLight and Cameras -- _tUsing Natural Light -- _tLight Basics -- _tPortable Lights -- _tSafety Issues -- _g9. _tProduction: Shooting the Documentary -- _tThe Art of Cinematography -- _tThe Director and the Cinematographer -- _tProduction Crews -- _tVisual Grammar -- _tFraming Shots with Intention -- _tSchedules and Preparation -- _tSelecting Additional Equipment -- _g10. _tInternet and Small Screen Video -- _tThe Internet'sPromise -- _tTrailers and Web Buzz -- _tUser Generated Sites -- _tAesthetics of the Small Screen -- _tCopyrights and Pirating -- _tPostproduction -- _g11. _tUsing Music in Your Documentary -- _tChoosing the Music -- _tPre-recorded Music and Licenses -- _tOriginal Music -- _g12. _tThe Producer's Search for Structure -- _tOverall Organizing Strategies -- _tFinding the Story in the Edit Room -- _tStructural Models -- _tPaper Edit -- _tScripts -- _tWriting for the Ear -- _g13. _tPracticing the Editor's Art -- _tThe Relationship of the Producer and Editor -- _tFinding Structure -- _tPreparation for the Edit Process -- _tBeginning Post -- _tWith and Without Scripts -- _tThe Timeline of Editing -- _g14. _tExposure, Publicity, Distribution, and Festivals -- _tPublicity Exposure and Deals -- _tDeliverables, Screeners, and Press Kits -- _tWebsite Types -- _tRights -- _tFilm Festivals and Film markets -- _tBroadcast and Educational Markets -- _tScreenings and Local Display -- _gAppendix 1. _tDocumentaries to See. |
520 | _a"Documentary Filmmaking: A Contemporary Field Guide is a skills-oriented, step-by-step portable guide to creating documentary films, from the initial idea phase to postproduction processes and distribution. An indispensable resource on site or in the studio, this compact handbook offers something for all types of students: documentary recommendations (for the film buff); illustrations and examples from working documentary makers, producers, editors, and distributors (for the more grounded, visual learner); the latest trends in Internet video and other forms of new media (for the more "techie" documentarian); and even practical financial tips, fundraising ideas, and legal considerations (for the more idealistic--and not always realistic--visionary). Organized by the chronological structure of documentary film creation, the book opens with ideas, motives, access, and preproduction questions. It then moves on to research, crew considerations, legal issues, production planning, film shoots, and interviewing issues, before wrapping up with postproduction organization, publicity, distribution, and festivals. Offering a strong focus on practical advice and ethics, Documentary Filmmaking is an ideal text for undergraduate- and graduate-level documentary film courses. FEATURES Step-by-step information for producing documentaries, including many useful checklists Detailed hands-on advice and class-tested instructional organization backed by the authors' combined forty years of teaching experience--and by their combined sixty years of independent documentary work An up-to-date and careful look at the latest distribution market structure and innovative media for distribution Brief structure and compact size that encourages portability Unique chapters covering Internet video, the use of music, and publicity and distribution"--Publisher description. | ||
588 | _aMachine converted from AACR2 source record. | ||
650 | 0 |
_aDocumentary films _xProduction and direction _9321142 |
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700 | 1 |
_aVazquez, Gustavo _eauthor. _91078974 |
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856 | 4 | 2 |
_3Contributor biographical information _uhttp://www.loc.gov/catdir/enhancements/fy0907/2008026092-b.html |
907 |
_a.b11712144 _b10-06-19 _c27-10-15 |
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