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The technique of documentary film production

Author: W Hugh Baddeley
Publisher: New York : Communication Arts Books, 1973.
Series: The Library of communication techniques
Edition/Format:   Print book : English : 3d rev. edView all editions and formats
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Document Type: Book
All Authors / Contributors: W Hugh Baddeley
OCLC Number: 5183337
Description: 282 pages : illustrations ; 23 cm.
Contents: Preparation of the script : The film treatment --
Subject research --
The shooting script --
Script terminology --Scripting the unpredictable --
The breakdown script --
Budgeting a documentary film : Cost of materials --
Traveling expenses --
Music Royalties --
Hire of equipment and facilities --
Insurance --
Production time --
Overheads --
Margin of Profit --
Submitting the quotation --
Checking the cost --
A typical budget --
Planning a documentary : Lighting --
Mixed light --
Personnel --
Television Documentaries --
Obtaining outside services --
Background music --
Hiring actors --
Costume wigs, beards and moustaches --
Make-up --
Studios, sets, furniture and props --
Hiring commentators --
Library material --
The shooting schedule --
Choice of camera equipment and filmstock : 35mm. or 16mm --
Super-8 mm --
Choice of filmstock --
Negative or reversal? --
Choice of camera --
The continuous reflex camera --
Blimped cameras --
Choice of lenses --
Non-zoom lenses --
Aperture --
Selecting Filters --
Filters for black-and-white --
Polaroid filters --
Matte box --
Exposure meters --
Tripods --
The "spider" --
Camera dolly --
Unipods and shoulder pods --
Reflectors --
Other accessories --
Shooting : Rules and conventions of film assembly --
Division of subject-matter into separate shots --
Sequence of shots --
Planning camera angles --
Continuity between shots --
Condensing between shots --
Condensing time --
Directing people --
Liaison during production --
Conventions of movement --
Overlapping action --
The "cult-away" --
Breaking the rules --
Dope sheets --
Exposing the film --
Choice of lens --
Camera angle and viewpoint --
Use of the tripod --
Camera jams --
7. Shooting a documentary overseas : Production hazards to be considered --
Customs requirements --
Health consideration s --
Dispatching rushes --
Safeguards against tropical conditions --
Problems of extreme humidity --
Budgeting a film overseas --
Lighting o location : Types of lighting --
Overrun photographic lambs --
Arc lights --
The problems of mixed light --
Lighting contrast --
Diffusers --
Use of reflectors --
Filming with very limited light --
Working on remote locations --
Achieving color balance with artificial lighting --
Sound recording : Perforated magnetic film --
Problems of synchronizing magnetic tape --
Transferring sound from tape to film --
Single system cameras --
Wild recordings --
The problems of extraneous sounds --
Placing the Microphone for synchronous shooting --
Problems with acoustics on location --
Assessing acoustic qualities --
When acceptable results are impossible to obtain --
Choice of microphone --
Recording speech --
Recording music --
Single-Microphone and multi-microphone techniques --
Methods of synchronizing sound recorded at the same time as picture --
Recording synchronous sound with a independent recorder --
Artwork and animation : Titles --
Filming titles --
Superimposing titles --
Adding fades and dissolves --
Stop action and animation --
Simple animation --
Stop action --
Filming stills, drawings and paintings --
Camera movement as a substitute for animation --
Editing : Obtaining a work-print --
Edge numbers --
First assembly --
Screening rushes with synchronous sound --
Screening the rough assembly --
Editing picture and synchronous sound --
Riles of editing --
Making up the work print --
Making up for optical --
Master matching --
Preparing the master for optical --
A and b roll assembly --
Checkerboard printing --
Cueing for release printing --
Leaders --
Making for printing --
The Sound track : The commentary script --
Writing commentary to picture --
Basic rules of commentary writing --
Style in commentary writing --
Blending commentary with visuals --
Integrating the commentary and visuals --
Recording the commentary to picture --
Avoiding paper rustle --
Dealing with fluffs --
The commentator's style --
Need for rehearsal --
Handling the recorded commentary track --
Post-synchronous recording of dialogue to picture --
Recording to picture loops --
Laying the commentary --
Using the synchronizer with track reader --
Bringing the commentary and picture into precise synchronism --
Cutting in retakes --
Running double-headed --
The music track --Library music --
Laying magnetic music tracks --
Mixing music from discs --
Music royalties --
Effects --
The sound effects library --
Mixing the various sound tracks --
Sound loops --
Simpler methods of mixing --
Checking synchronism during mixing --
Producing the optical track --
Characteristics of optical tracks --
Cueing for printing --
Blooping joins in optical tracks --
Obtaining prints : Checking the grading --
Checking colour quality --
Joins in release prints --
Sound quality --
Obtaining from dupe negatives --
35mm. Colour release prints --
16 mm. Colour release prints --
Comparative costs of different methods --
Fragile emulsions --
Release prints on both 35mm. and 16 mm. --
Magnetic sound prints --
8 mm. Sound prints --
Video tape --
Spooling up --
Distribution : Cinema distribution --
Selling films to television --
The non-Theatrical market --
Distributing the sponsored film --
Setting up the sponsor's own library --
The sponsored film in education --
Conclusion.
Series Title: The Library of communication techniques
Responsibility: by W. Hugh Baddeley ; with a preface by Paul Rotha.

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