Lorene M. Wales - The Complete Guide to Film and Digital Production

This expanded, updated, and revised third edition of Lorene M. Waless The Complete Guide to Film and Digital Production offers a comprehensive introduction to the positions/roles, procedures, and logistics of the film and digital video production process, from development and pre-production all the way to marketing and distribution. Lorene M. Wales offers a hands-on approach suitable for projects of any budget and scale, explaining every stage and key role/position in the life of a film and providing a wealth of sample checklists, schedules, accounting paperwork, and downloadable forms and templates for practical use. Other topics include a description of the latest mobile apps used in production, tax incentives, the DIT, set safety, and an expanded chapter on copyright, fair use, and other legal matters.

A companion website includes video tutorials, a personnel hierarchy, a guide to mobile apps useful during production, PowerPoints for instructor use, and a complete set of sample production forms and templates for download, including schedules, accounting paperwork, releases, and production checklists.

Dr. Lorene M. Wales started her career out west in Los Angeles, California as a Production Assistant in low-budget independent feature films and worked her way up to 1st Assistant Director, Unit Production Manager and Producer on low and higher budget features. After leaving L.A. she began a teaching career on the east coast and continues to work in production, most recently as Executive Producer for In-Lawfully Yours (Netflix). She is currently an Associate Professor in Cinematic Arts at Liberty University.

Third Edition

Third edition published 2017

by Routledge

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and by Routledge

2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an Informa business

2017 Taylor & Francis

The right of Lorene M. Wales to be identified as the author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

First edition published in 2005 by Pearson Education, Inc.

Second edition published in 2011 by Routledge

Library of Congress Cataloging-in-Publication Data

Names: Wales, Lorene M. author.
Title: The complete guide to film and digital production : the people and the process /
Lorene Wales.
Description: Third edition. | New York, NY : Routledge, 2017. | Includes bibliographical
references and index.
Identifiers: LCCN 2016040789 (print) | LCCN 2016057339 (ebook) | ISBN 9781138239814
(harback) | ISBN 9781138239821 (pbk.) | ISBN 9781315294896 (e-book) | ISBN 9781315294896
(e-Book)
Subjects: LCSH: Motion picturesProduction and direction.
Classification: LCC PN1995.9.P7 W344 2017 (print) | LCC PN1995.9.P7 (ebook) |
DDC 791.4302/32dc23

ISBN: 978-1-138-23981-4 (hbk)

ISBN: 978-1-138-23982-1 (pbk)

ISBN: 978-1-315-29489-6 (ebk)

Typeset in Warnock Pro

by Apex CoVantage, LLC

Visit the Companion Website: www.routledge.com/cw/wales

For those in my life who have given me great amounts of love and support: Darin, Jing, Zane, Xin, Mom, and Bentley.

This new edition still approaches the production process from the angle that the budget level can affect how you make your movie. The structure of this edition also remains pretty true to the first and second editions. Each chapter (with the exception of ) examines each department on a production and covers what you can expect at the different budget levels. This is still best described as a reference book that shows you how to put a production together, but this time it expands to cover the development process on the front end and talks about marketing and distribution at the end. I also include an expanded chapter on important legal issues such as copyright, intellectual property, and fair use.

Heres a list of whats new:

• The Development ProcessCovers the process of getting a film off the ground including acquiring a script, preparing a script agreement, and production agreement.
• The Executive ProducerA more detailed description of this position in various formats.
• Tax IncentivesIncentives were not touched on in previous editions. In this edition I explain what tax incentives are, defining the different kinds, who has them, and how they can work for you.
• Production PaperworkAdditions, including the weekly and daily deal memo.
• Working with SAG-AFTRAAnyone whos ever done a SAG-AFTRA show knows the process can be confusing. In this edition I lay all that out for you in a step-by-step process.
• The Digital Imaging Technician (DIT)A detailed description of this position and how DITs work in prep, production, and post.
• Post-ProductionRevised and updated with a look at the digital workflow.
• Set SafetyA new chapter on this important issue for filmmakers, which covers the role of the safety manager, safety checks, and numerous safety issues.
• Theres an App for That!For most departments, I outline what kind of apps crew are using to support their work. Since apps change every day, I do not discuss specific apps; rather, I discuss functionality.

I have to thank a few people who always inspire me, and also gave me the time to finish this new edition. My family, of course, and the best boss Ive ever had, Stephan Schultze. Thanks also to Natalie, my incredible assistant, who helped me by checking the details. Speaking of details, thanks to Simon, who made this an awesome process.

I also want to thank the reviewers who looked at my proposed update and gave their support. Finally, a note of thanks to the people who shared their experiences and gave me time for interviews: James Walz, Doug Miller, Jonathan Hout, and the best dean ever, Dr. Norman Mintle.

Well, I think like anything [producing], its just storytelling. I think at the end of the day what I love most about producing is helping hold the vision for the story and making sure the right people creatively are associated with the project to create that vision.

Stephan Schultze, Producer, Executive Director of Cinematic Arts, Liberty University

The producer of any media is, or should be, a leader. She is the one person on a project who is responsible for everythingthe process, the budget, the people, and ultimately the final productwhether it be feature film, documentary, mobile content, or live events. Notice I dont say the producer