Hurbis-Cherrier - Voice and Vision

This book is dedicated to Frank Beaver, Michelle Citron, and Dana Hodgdonexceptional professors, mentors, and friends whose teachings have remained with me and whose voices echo throughout the pages of this book.

Focal Press is an imprint of Elsevier
30 Corporate Drive, Suite 400, Burlington, MA 01803, USA
The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK

2012 Elsevier Inc. All rights reserved.

No part of this publication may be reproduced or transmitted in any form or by any means, electronicor mechanical, including photocopying, recording, or any information storage and retrieval system,without permission in writing from the publisher. Details on how to seek permission, furtherinformation about the Publisher's permissions policies and our arrangements with organizationssuch as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at ourwebsite: www.elsevier.com/permissions.

This book and the individual contributions contained in it are protected under copyright by thePublisher (other than as may be noted herein).

Notices
Knowledge and best practice in this field are constantly changing. As new research and experiencebroaden our understanding, changes in research methods, professional practices, or medicaltreatment may become necessary.

Practitioners and researchers must always rely on their own experience and knowledge in evaluatingand using any information, methods, compounds, or experiments described herein. In using suchinformation or methods they should be mindful of their own safety and the safety of others, includingparties for whom they have a professional responsibility.

To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assumeany liability for any injury and/or damage to persons or property as a matter of products liability,negligence or otherwise, or from any use or operation of any methods, products, instructions, orideas contained in the material herein.

Library of Congress Cataloging-in-Publication Data
Application submitted

British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library

ISBN 13: 978-0-240-81158-1 (pbk)

For information on all Focal Press publications visit our website at www.elsevierdirect.com

11 12 13 14 15 5 4 3 2 1

Printed in Canada

When you see this hand pointer icon in the pages of this book, it indicates that material related to that section is available on-line at www.voiceandvisionbook.com

This section contains all of the supplementary web materials in the book, listed by chapter and in the order they occur in each chapter. This includes:

Short film examples.

High resolution and color figures.

Video figures.

Interactive figures.

Forms, logs and tables for preproduction, production and postproduction.

This section contains links to stream the example short films discussed in the book. The films are:

The Black Hole. Directed by The Diamond Dogs Phil & Olly (3 min.).

Plastic Bag. Directed by Ramin Bahrani (18 min.).

Waking Dreams. Directed by John Daschbach (24 min.).

When I Was Young. Directed by Huixia Lu (15 min.).

Vive le 14 Juillet. Directed by Didier Rouget (4 min.).

Before the Making of Sleep Dealer. Directed by Alex Rivera (12 min.).

Kiarra's Escape (scene excerpt) (2 min.).

This section contains downloadable forms, logs and tables for preproduction, production and postproduction. These forms include:

Storyboard forms.

Location scouting report.

Budget forms.

Production call sheet.

Script breakdown sheet.

Camera and sound reports.

Depth of field tables for the 16mm format.

Film can labels for exposed film.

Sound cue spotting sheet.

This section contains links to all of the film related websites listed in the web resources appendix and will be updated regularly to include additional web resources.

This section includes download links for raw video footage to be used for editing exercises.

This section includes miscellaneous materials from throughout the book and new material added to the website after publication. This includes:

Sample paperwork for film excerpt

Sample location contract and talent release.

The CSATF and Ontario production safety guideline publications.

Screenplay formatting specifications.

Video format tables.

Instructions for calibrating monitors to color bars.

Material deleted from the 1st edition of Voice & Vision.

New materials added to the website after publication date.

A book of this scope and size could not have been accomplished without the kind help, contributions, and counsel of many reviewers, assistants, and colleaguesfriends one and all. Warmest thanks to the team at Focal Press: Becky Golden-Harrell, Dawnmarie Simpson, and Robin Weston, and to the inimitable Elinor Actipis, whom I cannot possibly thank enough.

I was especially fortunate to have a lineup of excellent reviewersJacqueline B. Frost, Michael Kowalski, and Catherine Sellarswhose careful, thoughtful, and detailed comments quite simply made this book better.

I would like to thank my colleagues at Hunter College of the City University of New York for their support, advice, encouragement, and patience, especially President Jennifer Raab, Jay Roman, Joel Zuker, Andrew Lund, Ivone Margulies, Joe McElhaney, Shanti Thakur, Kelly Anderson, Michael Gitlin, Renato Tonelli, and Peter A. Jackson. And I thank my dear friend Michael Griffel for his wisdom, kindness, and guidance.

During the writing of this book I was especially touched by the way Hunter film students rallied to my aid. To all of those who gave so willingly of their energy, enthusiasm, and talent, I am grateful: Katherine Allen, Brian Ferrari, Randi Harris, Yae Mitomi, Alana Kakoyianis, Lucas Pruchnik, Mika Mori, Rosa Navarra, Brian Safuto, Zita Vasilisinova, Michael Gibbs, David Pavlosky, Matt Henderson, Jayan Cherian, Emogene Shadwick, and all those who let us onto their film sets to take photographs. But an extra special thank you is in order for the hard, dedicated, and superb work put in by Jessica Webb, Alessandra Kast, Josh Hill, Timothy Trotman, Claudia Didomenico, Gresham Gregory, and George Racz.

I'd also like to thank all the kind people who helped with the technical research and illustrations, including Pete Abel at Abel CineTech, Will Sweeney at Color Lab Film Corp., Jan Crittenden at Panasonic, Dave Waddell at Fujinon, Lisa Muldowney at Kodak, Charles Darby at DuArt Film & Video, Joe Hannigan at Weston Sound, Frieder Hochheim at Kino Flo, Inc., and John C. Clisham at Mole Richardson Co.

I would be remiss in not acknowledging some of the many other friends whose tangible and inspirational support is woven throughout the pages of this text, especially Abbas Kiarostami, Seifollah Samadian, Peter Scarlet, Raymond Cauchetier, Thelma Schoonmaker, Ellen Kuras, Freida Orange, Edin Velez, Dave Monahan, Pam Katz, Kim Doan, Paul Cronin, Timothy Corrigan, Catherine Riggs-Bergesen, Lynne Sachs, Laurent Tirard, and Wes Simpkins. Ken Dancyger deserves credit and special appreciation for prompting me to write a book in the first place and for remaining an encouraging and remarkably perspicacious mentor throughout the process.