Escolar Documentos
Profissional Documentos
Cultura Documentos
Production Handbook
Fourth Edition
# 2010 Eve Light Honthaner. Published by Elsevier INC. All rights reserved.
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ISBN: 978-0-240-81150-5
10 11 12 13 14 5 4 3 2 1
Printed in the United States of America
This book is for my mom
Find editable versions of the forms from this book by visiting the companion website:
http://booksite.focalpress.com/companion/Honthaner/filmproduction/
iv
Contents
v
vi Contents
significantly more
Welcome to the fourth edition of whats now The the blank forms and the (forms on the) CD at the back
Complete Film Production Handbook. I know its been a of the book, as theyre now also available online.
long time coming, but it hasnt been for lack of trying. Several chapters have been updated and expanded, and
This latest incarnation has taken three years to complete topics such as Travel and Housing and Shipping, which
and the process has been full of starts and stops as work had previously been included as parts of other chapters,
and other aspects of my life have consumed big chunks have now become chapters in their own right. Youll find
of time. Its also become a much more daunting task to other new chapters covering television production, new
revise this book than it ever has been before. What innocu- media, independent and low budget filmmaking, the pro-
ously started as a production manual I created for a com- liferation of incentive programs throughout the U.S. and
pany I had been working for and kept expanding as the environmentally-responsible production practices. Theres
scope of my experience grew, has definitely taken on a life another chapter on working with animals and a new glos-
of its own. And the book that was first published in 1993 sary of terms at the back of the book. Ive also added a
is no longer (in any way, shape or form) based on the new feature called Tales From The Trenches, which high-
scope of my experience alone. The industry has changed lights relevant experiences my friends and I have had that
in countless ways during the past several years, and will hopefully make this material more real, relevant and
aspects of production and producing have become so interesting.
much more complex and specialized than ever before. Because this book isnt revised every year or two,
And although Ive always had help from friends and col- there are a number of areas where I dont get too specific
leagues with the expertise in areas I only had working especially when it comes to rates and regulations
knowledge of, this edition has literally taken an entire vil- technology, too. Take incentive programs for example.
lage of friends, colleagues and friends of friends and col- Its become a huge part of our industry, but the U.S. states
leagues to help educate me and fill in the huge gaps and the various countries offering incentives as well as the
where my sphere of experience and knowledge falls short. incentive programs themselves change constantly. So Ive
I couldnt have done it without their assistance, expertise, provided you with as much basic information on the dif-
stories, patience and generosity; so I owe all who have ferent types of incentives as possible, what you need to
helped me with his book a huge debt of gratitude. And consider before choosing a location because of its incen-
in recognition of their contributions, youll see their names tive program and where you can go to get the most
noted not only at the end of my introduction, but also updated information on whos offering what and where.
throughout the book. The same can be said for post production, which for years
Before I seriously started working on this latest edition, and years and years, was a lot less complicated. But now
Focal Press, as is their practice, sent out the third edition to with the profusion of new digital cameras and technolo-
a select group of both industry professionals and educators gies, the workflow following any picture through post
for review. These individuals were asked what they thought can vary in a multitude of ways and it keeps advancing.
should be added and/or revised in the fourth edition. And So without getting too explicit, the chapter is presented as
while Ive tried to cover as many of their suggestions as a basic overview and directs you to areas you need to learn
possible, Ive come to the conclusion that as uniquely com- more about as the technology continues to evolve.
plete as this book is, it can never be all things to all people. Its been pointed out, and I have to agree that there are
What is important, however, is that it cover the basics of a few sections in the book that make for pretty dry
feature film production and maintain its wide appeal to reading, and I apologize. But these segments provide
working professionals, new filmmakers and students alike material youll be glad you have when you need it, and
without being geared too much toward any one of those it wont matter that it hasnt been written in a more con-
markets. The fact that its used by both professionals and versational tone.
students is an aspect of the book Im most proud of. Its been nine years since the last edition of this book
Whats changed since the third edition? Well, to start came out. Since then, Ive worked on some more films
with, 24 chapters have been expanded to 32. There are (ranging from about $20 to $100 million); I line produced
some new forms, but fewer of them overall, as most union a reality show pilot (my one and only); my second book,
and guild forms are now accessible online. And gone are Hollywood Drive, was published in 2005; Ive consulted
xiv
Introduction xv
on a few projects; I got to work at my favorite company, Ive asked several friends and colleagues how theyve
DreamWorks (for a year); and I have started making head- experienced the most recent changes to our industry, and
way into above-the-line territory. My teaching has the following reflects a consensus of views the signs
expanded from the USC summer course I started ten years of our times, which are that. . .
ago to doing workshops and lecturing all over the country. The major studios are now part of larger conglomer-
I enjoy teaching more than ever and have been truly ates, and its clear that the corporate attitude toward costs
bowled-over by the passion, perseverance and talent of and risk has taken a big bite out of creativity. As the
several of my incredible students. Its been a thrill to be majors stick to the type of films they know they have
able to share in the excitement of their successes and to the audience for, the variety of product grows narrower.
become friends with many of them. Ive been fortunate The scandal and collapse of Enron in 2001 and the
enough to be able to travel a bit for work, and thats resulting changes in accounting practices has fundamen-
included a five-month location on the lovely island of tally altered the way we do business. Theres more over-
Kauai; a fabulous filmmakers tour of Toronto and all it sight, red tape, paperwork, auditing, legal involvement,
has to offer, compliments of the Ontario Film Commis- tax regulations and micro-managing than ever before. Fur-
sion; and a week-long dream trip to England sponsored thermore, the downturn in our economy has seen studios
by the UK Film Council. Most importantly Ive streamline their work force, reduce or freeze salaries
continued to make new friends and to learn which is, (above and below the line), eliminate many of their inde-
without a doubt, the best aspects of being in this business. pendent film arms and do away with several on-lot ame-
In the same length of time, changes in the industry nity/support departments.
have been staggering as technology has altered the entire When it comes to feature releases, there are a lot
landscape and continues to advance at breakneck speeds. of small independent films coming out, and similarly on
This may be old news by tomorrow, but as I write this, the other end of the spectrum gigantic blockbusters,
recent headlines have revealed that the sales record but there arent nearly as many mid-budget adult
(for any media platform) has been broken by Activisions dramas being produced as there once was. There are more
Call of Duty: Modern Warfare 2, a video game thats teen-oriented franchise films being made where action and
estimated to have made $550 million in its first five days. gross-out rules, as well as over-the-top, raunchy (toilet)
And while the buzz and excitement is currently raging for humor. Theres a growing importance of opening weekend
James Camerons remarkable blockbuster film Avatar, it on total box office; and film festivals such as Sundance
was just announced that 3-D televisions will be hitting and Toronto have become lead-ins to the Oscars. Big-
the market later this year. Who would have believed? name talent is no longer as necessary to open a movie,
When the last edition of this book came out, who could while bigger, better and more spectacular visual effects
have conceived of the multitude of tax incentive programs are becoming more crucial. Theres more niche marketing
now being offered throughout the U.S. that have of films on the Internet, and the summer movie season
changed the meaning of runaway production, created now starts on May 1st instead of in June.
a buyers market and made us wonder if Los Angeles On the TV-front, television seasons have gone from 36
really is still the film capital of the world. High-profile episodes to 22 and down to 13 and six in some instances.
corporate scandals have effected the way we do business; Shows are being shot in HD, and theres a new person on
Webisode and mobisode have become common terms; the crew called a DIT. Reality continues to be popular,
digital cinematography has become mainstream; the plentiful and cheaper to produce, and the interactivity
affordability of equipment has made it possible for between TV shows and viewers has hit new heights.
more people to shoot and edit their own films and many Drama series are getting better (Mad Men and The Good
independent filmmakers are marketing, selling and Wife both prime examples); sitcoms arent as plentiful;
distributing their own projects on the Internet. Since and we can watch shows weve missed or continuations
9/11 and the advent of the Department of Homeland of our favorite episodic storylines on the Web.
Security, travel and shipping regulations have become The digital revolution has created an explosion of for-
more complicated and theres more reason to be vigilant mats, systems and software; distribution and exhibition
about confidentiality. outlets; paperless, filmless, tapeless workflow; virtual pro-
When it comes to unions and guilds, theres a larger duction and casting offices as well as screening rooms;
variety of low-budget and new media agreements, but independent films that are being made at home and for rel-
basic union rates go up with each contract year. And as atively little money; instant, wireless communication;
unions and guilds continue to fight for improved benefits less-expensive high-end equipment; remote collaboration
for their members (especially in the area of new media), technology; digital cinema; more piracy; and the progres-
labor unrest gives rise to the unsettling possibility of sively more outrageous use of computer-generated effects
further devastating labor strikes. in both features and television.
xvi Introduction
While DVD sales are down, movies-on-demand are a back massage or just bringing me a cup of tea hes
more available and consumers are frequenting multi-plat- always there cheering me on, keeping me grounded and
form medias and social networking sites. A treasure trove reminding me that Im loved. How lucky am I?
of films, television shows, games and original online and To my family and friends who have lived through this
mobile content is abundantly accessible on and download- latest edition with me and have listened to me talk about it
able from sites such as YouTube, Hulu, Crackle, Jaman, incessantly thanks for putting up with my absences, my
Joost and Vudu. When you add in the interactivity of lack of attention, for your overwhelming support, and
thousands of websites, games and virtual worlds its a most of all for just being there for me.
wonder that some people ever make it out of their homes To my team at Focal Press Elinor Actipis, Chris
each day and actually step into the real world. Simpson, Jane Dashevsky, and Melinda Rankin you
Its a lot to take in, and I hope I can keep up with it all. guys are the best! For all my unintended delays this time
If not, Im going to need even more help when it comes around, for your understanding and for doing what you
time to start the fifth edition. needed to do to get the book out in time, I cant thank
Speaking of help, this seems to be a good place to start you enough.
my list of acknowledgments by recognizing the loyal read- To my Tuesday Team Suzanne Lyons, Alison Lea
ers and users of this book, all of you who have recom- Bingeman, Becky Smith and Mark Rosman I cant tell
mended it to others and the educators who make it you how much your coaching, advice, encouragement
required reading in your classes. Without you there would and support has meant to me.
be no subsequent editions. Many thanks to my interns, Carra ONeal and Kerry
I would also like to acknowledge my incredibly loving Wagoner, to Stephen Fromkin and Nicole Pommerehncke
and supportive husband Ron, who totally gets how chal- for their valuable reviews and to my friend Mark Hansson
lenging it is to have a life, to work and to write a book for the many hours he spent going through the previous
all at the same time and does everything he possibly can edition, chapter by chapter making copious notes on
to help me. Whether its taking on my chores, supplying how I could best improve the new one.
Acknowledgments
Its hard to express how much I appreciate the many peo- letting me interview them, proof-reading, giving me notes,
ple who have helped me by sharing their knowledge, making my work better and helping with specific chapters.
answering questions, checking my material for accuracy, Here are their names in alphabetical order:
My special thanks to: One last note and thats the announcement that with the
Peter L. Kaufman, Kaufman Entertainment Law Group help of some friends, Im finally entering the 21st century.
(www.ebizlegal.com), By the time this book comes out, my new website should
who so generously updated and improved all the be up. Check it out at: www.EveHonthaner.com.
agreements, deal memos and release forms in the book.
And to:
David Powell, President of The Music Bridge Best of luck with all your new projects. . . may they be
(www.themusicbridge.com) filled with challenges you can conquer, experiences
Ralph Ehrenpreis, The Law Offices of Ralph you can learn from and savor, new friends and some time
Ehrenpreis Immigration & Naturalization to have some fun! Eve
(www. ralphenrenpreis.com)
Travis Mann, Entertainment
(Attorney & Independent Producer)
and:
Marc J. Federman, Sr. Vice President of CMM
Entertainment
(www.cmmeiers.com)
xvii
The Forms in the Book
Those of you who have used previous editions will note ENTITY], [TITLE OF PICTURE], etc., that indicate what
that the forms are a bit different this time. Instead of the information is required where.
blank forms at the back of the book, theyre now all down- In the previous edition, all of the union and guild con-
loadable online. Some of the forms will be the same as tracts and report forms were found in the chapter on
those that were on the CD, where youll see the gray fields unions and guilds. But as most are now available on their
to fill-in-the-blanks. Youll find that other forms/releases/ respective websites, and all that remain are the SAG forms,
contracts will be original Word and Excel files that can be theyve been moved to Chapter 12 (Principal Talent).
altered. Being able to personalize some of these docu- Some of the new documents include a Competitive Bid
ments to make them more specific to your particular show Form, a Loss & Damage Report Form, a Confidentiality
is going to make a big difference. Agreement, a Deferral Agreement, a five-page generic
The forms youll find throughout the book as examples insurance application, a Parental Consent Form and a
are a mixed bag. Some are the same as those used in pre- Nudity Release. Several of the forms have been updated,
vious editions (why fix the ones that still work?). To illus- including the Call Sheet and Production Report.
trate how to fill them out, theyre filled out by hand with As with all previous editions, youll find a lot of stan-
an assortment of fictitious names and situations. The ficti- dard forms and a few that I created (like the Cast Informa-
tious name of our production company is XYZ Produc- tion Sheet) just to make my (and your) job(s) a little
tions, and the name of the show is Herbys Summer easier. Use them as they are or as templates to create your
Vacation. Note, however, that from one situation to own. The thing about forms that most people dont get is
another, Herbys Summer Vacation is either a feature film, that if youll take the time to fill out the ones you dont
a cable movie, a movie for television or a television series, have to, itll save you time in the long run in terms of
with the current episode being Boys Night Out. keeping more organized and being able to better manage
Some of the sample forms are pretty easy to under- the voluminous amount of details associated with each
stand as they are and have been left blank. Others (mostly production.
the releases and agreements) contain prompts throughout I hope you find them helpful!
the document, such as [NAME OF PRODUCTION
xviii