- Cover
- Title Page
- Copyright Page
- Dedication
- Table of Contents
- Introduction
- Acknowledgments
- Forms in the book
- Chapter 1: The Production Team and Who Does What
- Chapter 2: The Production Office
- Introduction
- Office Space
- Setting Up
- The Traveling Production Kit
- Answering the Phone
- Confidentiality
- Production Assistants
- Interns
- Ain’t Technology Great?
- Employees Driving Their Own Vehicles for Business Purposes
- Staff Scheduling and Assignment of Duties
- Staff Meetings
- Office Lunches
- Time Management
- Office Inventories, Logs, and Sign-Out Sheets
- The Files
- Forms in This Chapter
- Chapter 3: Basic Accounting
- Chapter 4: From Script to Schedule
- Chapter 5: Incentives
- Chapter 6: Pre-Production
- What Is Pre-Production?
- Establishing Company Policies
- Stages
- Meetings, Meetings, and More Meetings
- Communications
- Previsualization
- Plan Ahead
- Sample Pre-Production Schedule
- Daily Prep Schedules
- More on Logs and Sign-Out Sheets
- Distribution
- Collecting Information and Making Lists
- Better Safe than Sorry
- Pre-Production Checklist
- Creating Your Own Production Manual
- For Your Own Good
- Forms in This Chapter
- Chapter 7: Insurance Requirements
- Introduction
- General Insurance Guidelines
- Errors and Omissions (E&O)
- Comprehensive General Liability
- Certificates of Insurance
- Hired, Loaned, Donated or Nonowned Auto Liability
- Hired, Loaned or Donated Auto Physical Damage
- Workers’ Compensation and Employer’s Liability
- Guild/Union Accident Coverage
- Production Package (Portfolio Policy)
- Cast Insurance
- Essential Elements
- Bereavement Coverage
- Production Media (Film, Digital Elements or Other Medium)/Direct Physical Loss
- Faulty Stock, Camera and Processing
- Props, Sets and Scenery; Costumes and Wardrobe; Miscellaneous Rented Equipment; Office Contents
- Extra Expense
- Third-Party Property Damage
- Supplemental (or Optional) Coverages
- Completion Bonds
- Claims Reporting Procedures
- Forms in This Chapter
- Chapter 8: During the Shoot
- Chapter 9: Building Strong Industry Relationships: Making Good Deals and Navigating the Politics
- Chapter 10: Deal Memos
- Chapter 11: Unions and Guilds
- Introduction
- An Overview of Industry Unions and Guilds
- Union versus Nonunion Shows
- Becoming a Union Member
- Becoming a Union Signatory
- More Specifically
- The Alliance of Motion Picture and Television Producers (AMPTP)
- Contract Services Administration Trust Fund
- SAG, DGA and WGA: Forms and Reports
- Union and Guild Contact Information
- Chapter 12: Principal Talent
- Introduction
- With a Little Help from Technology
- Follow-Through After an Actor’s Been Cast
- Work Calls
- Performer Categories
- Stunt Performer Categories
- Interviews
- Workweek
- Rest Periods
- Consecutive Employment
- Transportation and Location Expenses
- Looping
- Dubbing (Theatrical Motion Pictures Only)
- The Employment of Minors
- Taft/Hartley
- Nudity
- Work in Smoke
- SAG Background Actors
- Additionally
- Forms in This Chapter
- Screen Actors Guild Offices
- Chapter 13: Background Talent
- Chapter 14: There’s An Animal In My Film
- Chapter 15: Clearances and Releases
- Chapter 16: A Guide to Music Clearance
- What Is Music Clearance?
- Why Does a Producer Have to Secure Licenses for “Music Rights”?
- How Does Your Errors and Omission Insurance Policy Relate to Music Clearance?
- What Was the U.S. Supreme Court’s Rear Window Decision and How Does It Affect Music Licensing?
- What Rights Are Needed in Order to Make Sure that the Musical Material Used in a Production Is Properly Cleared?
- From Whom Are These Music Rights Obtained?
- What Is a Music Cue Sheet and Why Is It So Important?
- To Where Should Music Cue Sheets Be Sent?
- Can a Copyright Owner Prevent Music from Being Used?
- What Happens If a Song Is Used Without Clearance?
- What About Old Songs? Aren’t These Songs in the Public Domain, and Free to Be Used
- Without Restrictions?
- How Long Can Music Be Protected by Copyright?
- May I Use Eight Bars of a Song Without Paying for It?
- What Is “Fair Use”?
- May the Title of a Song Be Used as the Title of a Program?
- Must a License Be Secured if Song Lyrics Are Spoken in Dialogue?
- May Lyrics to an Existing Song Be Changed Without Permission?
- If a Song Is Cleared for One Episode of a Television Series, May It Be Used in Other Episodes Without Additional Permission?
- Is It Necessary to Clear Music That’s to Be Used in Commercials?
- May Records or Compact Discs Be Used on a Television Show?
- If a License Is Obtained to Use a Film Clip from a Television Program or Feature Film, Will that License Include the Right to Use the Music Contained on the Clip?
- If a Record Company Issues a License to Use a Music Video Clip, Will Further Clearances Be Required?
- Is a Synchronization License Required for the First U.S. Network Broadcast of an riginal Live or Taped Television Program?
- What Rights Are Required to Release a Program for Sale in the Home Video DVD Marketplace?
- What Do Music Copyright Owners Charge for Home Video DVD Rights?
- How Are Feature Films Licensed?
- How Is Music Licensed in Religious Programs?
- How Much Will It Cost to Clear a Song for Use in My Television or Film Project?
- What Is a Needle Drop?
- What Happens When Licenses Expire?
- Chapter 17: Safety
- Safety Programs
- Safety Meetings
- Safety Training
- Designated Areas of Responsibility
- Safety Bulletins
- General Safety Guidelines for Production
- General Rules
- Lifting and Moving
- Common Fall Risks (Catwalks, Runways, Floor Openings, Guard Rails, Scaffolds and Stairwells)
- Hazardous Materials
- Hand Tools and Related Equipment
- Filming Equipment (Booms, Camera and Insert Cars, Cranes, Dollies, etc.)
- Filming Vehicles (Aircraft, Helicopters, Cars, Trains, etc.)
- Electrical Safety
- Water Hazards
- Stunts and Special Effects
- Smoke
- Firearms
- Animals
- Environmental Concerns
- Preparing for an Emergency
- Screen Actors Guild - Safety Regulations
- Working Under Hazardous Conditions
- Advice from an Expert
- Sexual Harassment
- “On Location” - Personal Safety Considerations and Suggestions
- Forms in This Chapter
- Chapter 18: Locations
- Chapter 19: Distant Location
- Chapter 20: Foreign Locations
- Chapter 21: Travel and Housing
- Chapter 22: Shipping
- Introduction
- Shipping Companies
- Shipping Coordination
- General Shipping Guidelines
- Dangerours Goods
- Domestic Shipping
- International Shipping
- General Customs and Shipping Guidelines
- Temporary versus Definite
- Brokers and Freight Forwarders
- Methods of Importing Goods on a Temporary Basis
- Transporting Goods Across the Border
- Fees
- Packing and Labeling International Shipments
- Providing Information to Vendors
- Returns
- Film and Dailies on a Foreign Location
- U.S. Sales Tax Exemptions
- Final Notes
- Forms in This Chapter
- Chapter 23: Effects
- Chapter 24: Specifically Television
- Chapter 25: Independent Filmmaking
- Chapter 26: Practical Low-Budget Filmmaking
- Chapter 27: New Media
- Chapter 28: Commercial Production
- Chapter 29: Wrap
- Chapter 30: Post Production Overview
- Introduction
- Shooting on Film
- Shooting Digitally
- Editing
- The Director’s Cut
- Dailies
- Post Production Sound
- Schedules and Workflow
- Screen Credits
- Standard Delivery Requirements
- Post Production Terminology
- Chapter 31: Greener Filmmaking
- Chapter 32: Industry Survival Tips
- Introduction
- Key Ingredients to a Successful Career
- #1: Passion! Passion! And More Passion!
- #2: Being Prepared
- #3: It’s Who You Know and Who Knows You
- #4: It’s Also What You Know About the Industry
- #5: Understanding the Power of Networking
- #6: Having a Plan, and Committing to Your Success
- #7: Standing Out from the Crowd
- #8: Developing a Thick Skin
- #9: Perfecting Your Craft
- #10: Having Good Interview Skills
- #11: Being Able to Ask for What You Want
- #12: A Winning Attitude
- #13: A Willingness and an Ability to Play the Game
- #14: Being Well Liked and Having a Good Reputation
- #15: A Game Plan for Getting Through the Rough Times
- #16: The Seven Ps
- More on Getting Through the Tough Times
- Getting Work
- Developing Good Work Habits and Necessary People Skills
- A Lesson in Paying Dues
- It’s the Attitude, Dummy
- How to Keep Learning
- Easier Said than Done
- Remembering Why You Got into This Business to Begin With
- Recipe for Success
- Glossary
- Index
Acknowledgments
It’s hard to express how much I appreciate the many people who have helped me by sharing their knowledge, answering questions, checking my material for accuracy, letting me interview them, proof-reading, giving me notes, making my work better and helping with specific chapters. Here are their names – in alphabetical order:
| Nick Abdo | Terry Edinger | Eric Mofford | Phil Smoot |
| Stuart Altman | Christine Evey | Steve Molen | Susan Spohr |
| Scott E. Anderson | Sheri Galloway | Sahar Moridani | Ty Strickler |
| Cindy Baer | Peggy Geary | Elizabeth Moseley | Susan Sullivan |
| Robert Bahar | Dave Hamamura | Missy Moyer | Jerram Swartz |
| Brian Bell | Julia Haneke | Carolyn Napp | Bryan Sweet |
| Thea Bernstein | Susan Hirshberg | Boone Narr | Robbie Szelei |
| Matt Birch | Tom Houghton | Mike Neale | Todd Taylor |
| Jone Bouman | MaryAnn Hughes | Deanna Chavez Nocero | Tim Tennant |
| Jenifer Box | Mark Indig | April Novak | Kiku Terasaki |
| Mary Jo Braun | Elizabeth Jones | David Orr | Randall Thropp |
| Krysten A. Brennan | Hal “Corky” Kessler | Michael Owens | Jim Turner |
| Ali Brown | Stephen Koncelik | Mike Papadaki | Tom Udell |
| Chris Burket | Matt Kutcher | Daniel Pensiero, III | Suzy Vaughan |
| Ralph Burris | Andrew Lewis | Cindy Quan | Deedra Walts |
| Milan Chakraborty | Mark Litwak | Lou Race | Ty Warren |
| Harriet Cheng | Yolanda Lopez | Keith Raskin | Richard Wells |
| Joe Chianese | Ron Lynch | Celina Reising | Daniel Wheatcroft |
| Ron Cogan | Guy Magar | Carol Reush | Byron Wong |
| Matt Cooper | Stephen Marinaccio | Milton Reyes | Alex Worman |
| Michael Coscia | Al Marrewa | Jay Roewe | Alan Wu |
| Danielle Daly | Gary Massey | Vail Romeyn | Phil Wylly |
| Bill Dance | Cory McCrum-Abdo | Ned Shapiro | |
| Bob Del Valle | Kathy MCCURDY | Gail Sheridan | |
| Maureen Dooling | Mimi McCurdy | Ira Shuman | |
| Jim Economos | Eric McLeod | Kris Smith |
My special thanks to:
Peter L. Kaufman, Kaufman Entertainment Law Group (www.ebizlegal.com), who so generously updated and improved all the agreements, deal memos and release forms in the book.
And to:
David Powell, President of The Music Bridge (www.themusicbridge.com) Ralph Ehrenpreis, The Law Offices of Ralph Ehrenpreis Immigration & Naturalization (www. ralphenrenpreis.com) Travis Mann, Entertainment (Attorney & Independent Producer)
and:
Marc J. Federman, Sr. Vice President of CMM Entertainment (www.cmmeiers.com)
One last note – and that’s the announcement that with the help of some friends, I’m finally entering the 21st century. By the time this book comes out, my new website should be up. Check it out at: www.EveHonthaner.com.
Best of luck with all your new projects… may they be filled with challenges you can conquer, experiences you can learn from and savor, new friends and some time to have some fun! 
Eve
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