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More than a "How to Make Movies", Filmmaker in a Box is an unprecedented case study on the process
of making a low budget film. An in-depth and intensive examination, Filmmaker in a Box offers the most comprehensive
look at the ins-and-outs of making a feature film ever publicly released.
Filmmaker in a Box uses specific, in some cases,
minute details to explore how a film production with extremely limited funding and resources is shot in
and around Los Angeles during the Writer’s Guild Strike of 2008. Offering up behind the scenes footage,
extensive interviews and conversations with filmmakers, the entire production staff and uncensored candor
about every pitfall, conflict and negotiation required to complete the feature film.
Filmmaker in a Box is a must-own for anyone
contemplating filmmaking, from new filmmakers to experienced film producers looking for a competitive edge.
Filmmaker in a Box is beyond anything you can learn from film schools or filmmaking tips in a book. This is as close
to the experience of actually making an independent film as you can get – without actually doing it.
Inside Filmmaker in a Box you’ll find detailed interviews with the: Director, producers, writer, editor, assistant director,
cinematographers, production sound mixer, post production sound supervisor, actors and more.
Plus discussions on: casting, funding, contracts, schedule, budget, every day of production, technology,
editing, writing, sound, music and more. See actual samples of all contracts, call sheets, schedules,
script drafts – all in their entirety – including every line of the actual budget.
Filmmaker in a Box will take you, step-by-step, through the exact process this team
took to mount an independent feature film from the ground up. Featuring uncensored access to all key creative personnel,
Filmmaker in a Box shines a light on every potential misstep and lucky break that can fall into a first-time
(or second or third) filmmaker’s lap. If you’ve never made a film before, after going through the ten discs of this box set,
you’ll feel as though you have.
Through candid, first-hand anecdotes, hard earned by actual independent filmmakers, Filmmaker in a Box will prepare you for
what to expect before you ever step foot on set. Whether you’re prepping your first film, or you’re simply curious what goes
into making an independent film, Filmmaker in a Box is an essential tool of every aspiring moviemaker.
The complete movie making experience all in one package. Over 17 hours, 108 individual video modules on 8 DVDs covering:
Development
Funding
Contracts
Casting
Rehearsals
Locations
Lighting
Sound
Cameras
Production Diary
Editing
Score
Music
Post Production Sound
Plus a CD-Rom of all the documents including:
Full Budget
Schedule
Screenplay
Call Sheets
Casting Notes
Contracts
Also includes the rough cut of the film as well as the final retail DVD version of the feature film, 2 Million Stupid Women.
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DISC ONE: PRE-PRODUCTION (DEVELOPMENT & GEARING UP)
Introduction to Filmmaker in a Box (02:00)
The Script (18:00)
Interview with the Writer (1:00:00)
Why this film, why this style? (10:00)
Budget (13:00)
The Deal / The Money (25:00)
Creating the Contracts (03:00)
The WGA Strike (06:00)
The Schedule (20:00)
DISC TWO: PRE-PRODUCTION (CASTING)
Non-Union (08:00)
Hiring a Casting Director (07:00)
The Casting Process (12:00)
Casting Melissa (07:00)
Sarah Hall’s First Audition (10:00)
Casting Anna (08:00)
Katy Stoll’s First Audition (04:00)
Melissa / Anna Chemistry (05:00)
Sarah Hall / Katy Stoll’s Chemistry Callback (09:00)
Casting Todd (08:00)
Mark Gerson’s First Audition (09:00)
Todd Chemistry Callback (03:00)
Mark Gerson’s Chemistry Callback (06:00)
Casting Josh Morrow (09:00)
Josh Morrow’s Audition (03:00)
Casting Additional Roles (17:00)
DISC THREE: PRE-PRODUCTION (TABLE READ & REHEARSALS)
The Complete Table Read (1:44:00)
Introduction to the Rehearsals / Scene Study (16:00)
The First Improv Exercise (11:00)
The Second Improv Exercise (10:00)
DISC FOUR: PRE-PRODUCTION (PLANNING AND LOGISTICS)
PRE-PRODUCTION MEETING
Pre-Pro Meeting Introduction (04:00)
DAY 1 PRODUCTION: Company Moves (03:00)
DAY 1 PRODUCTION: Creating a Part Scene (04:00)
DAY 1 PRODUCTION: Walk-Aways (01:00)
DAY 1 SOUND: Doorways (03:00)
DAY 1 SOUND: Convenience store (05:00)
DAY 2 PRODUCTION: Call-times / Makeup (02:00)
DAY 2 CAMERA/PROD: DIT workspace (02:00)
DAY 3 PRODUCTION: Meal before call (05:00)
DAY 3 PRODUCTION: Starting times (02:00)
DAY 4 SOUND: On the Shotmaker (07:00)
DAY 4 CAMERA: Driving & Ambient Light (03:00)
DAY 5 PRODUCTION: Guerrilla Style (02:00)
DAY 7 PRODUCTION: Planning the Club (03:00)
DAY 7 PRODUCTION: Creature Comforts (02:00)
DAY 10 SOUND: Small Spaces (02:00)
DAY 11 PRODUCTION: Puke & Wardrobe (02:00)
DAY 11 PRODUCTION: Planning the Party (04:00)
MISC PRODUCTION: Cash vs Checks (02:00)
PHOTOGRAPHY
Visual Style (13:00)
Dual DPs (07:00)
Using Two Cameras (05:00)
The Panasonic AJ-HPX3000 (08:00)
ENG Lenses (04:00)
Production Sound (20:00)
Scripty (04:00)
Wardrobe (08:00)
Finding Locations (05:00)
Permits (03:00)
DISC FIVE: PRODUCTION PART I
DAY 1
Day 1 – Location (05:00)
Day 1 – Lighting (03:00)
Day 1 – Sound (05:00)
Day 1 – Production Diary (15:00)
DAY 2
Day 2 – Location (05:00)
Day 2 – Lighting (09:00)
Day 2 – Sound (05:00)
Day 2 – Production Diary (12:00)
DAY 3
Day 3 – Location (03:00)
Day 3 – Lighting (02:00)
Day 3 – Sound (02:00)
Day 3 – Production Diary (06:00)
DAYS 4 & 5
Days 4 & 5 – Lighting (08:00)
Days 4 & 5 – Sound (07:00)
Days 4 & 5 – Production Diary Part I – Production (18:00)
Days 4 & 5 – Production Diary Part II – Camera (10:00)
Day 5 – Production Diary (17:00)
DISC SIX: PRODUCTION PART II
DAY 6
Day 6 – Location (05:00)
Day 6 – Problems with eyelines (03:00)
Day 6 – Sound (05:00)
Day 6 – Production Diary (15:00)
DAYS 7, 8, 9 & 10
Days 7, 8, 9 & 10 – Location (07:00)
Days 7, 8, 9 & 10 – Lighting (03:00)
Days 7, 8, 9 & 10 – Sound (05:00)
Days 7, 8, 9 & 10 – Production Diary (25:00)
DAY 11
Day 11 – Location (02:00)
Day 11 – Lighting (03:00)
Day 11 – Sound (03:00)
Day 11 – Production Diary (16:00)
DISC SEVEN: POST-PRODUCTION SOUND
MUSIC
Finding Music (08:00)
Scouring MySpace (04:00)
Approaching the Artists (12:00)
Music Rights & Contracts (05:00)
POST SOUND
Post Sound on a Limited Budget (05:00)
Sound Editing (08:00)
Dialogue Editing (04:00)
Music Editing (11:00)
ADR (08:00)
Foley (10:00)
Pre-Mix (16:00)
Final Mix (17:00)
DISC EIGHT: POST-PRODUCTION (EDITING)
Credit Sequences (12:00)
Finding an Editor (06:00)
Meredith Young’s Audition Scene (05:00)
The Editing Process (10:00)
Organization (05:00)
The Rough Cut (06:00)
The Complete First Cut (Pasadena Test Screening) (1:33:00)
Additional Shooting (06:00)
DISC NINE: THE DOCUMENTS
01. The Shooting Script
02. Final Shooting Script (with revisions)
03. Original Budget
04. 100k Budget
05. Extras Breakdown
06. Original Pitch Packet
07. Production Services Agreement
08. Writer’s Agreement
09. Lead Actor Pay or Play Contract
10. Crew Deal Memo
11. Original Schedule
12. Shooting Schedule
13. Final One Line schedule
14. Day Out of Days
15. Casting Breakdown
16. Audition Session
17. Script Supervisor’s Notes
18. Filming Permit
19. Location Agreement: Location Breakdown
20. DV HPX-3000 Review
21. Call Sheet Day 1: Production Sides Day 1
22. Call Sheet Day 2: Production Sides Day 2
23. Call Sheet Day 3: Production Sides Day 3
24. Call Sheet Day 4 & 5: Production Sides Days 4 & 5
25. Call Sheet Day 6: Production Sides Day 6
26. Call Sheets Days 7-10: Production Sides Days 7-10
27. Call Sheet Day 11: Production Sides Day 11
28. Director’s Plans Karma
29. Music Contract
30. Music Master Cue Sheet
31. Music Contract with Step-Deal
32. DV Blog on Eyelines
33. Daily Sound Reports
34. Extra Release with Pay
35. Opening Credits Storyboard
36. Complete Blogs from DV
37. Director’s Agreement
38. Test Screening Comment Cards
DISC TEN:
The finished feature film TWO MILLION STUPID WOMEN
"Filmmaker in a Box is the most comprehensive case study I've ever seen taking
you through the entire Production process of an independent film. If you want to know every detail
of how to get from Pre-Production, through Production and Post on any film you're trying to get off the ground,
I strongly recommend you pick up a copy of this incredibly thorough resource."
-- Stacey Parks, FilmSpecific.com
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