PRODUCTION BOOK GUIDE AND TEMPLATE By Jinane Bahlawan

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1 PRODUCTION BOOK GUIDE AND TEMPLATE By Jinane Bahlawan While working on my production book, I realized that I wasn t really sure on what to do or how I should format my stuff. Looking at other production books, people were using all kinds of weird fonts or everything was just lacking in information. Since film students hate logistics and paperwork, here s a guide with a quick template on what your production book should look like. This guide is specific to Digital Frame and Sequence, but could serve as a production book for all later films. Your teacher might have different requirements or even less requirements than what s here, but this will help you develop one that is thorough, consistent, and concise. MATERIALS: - 3 ring binder (preferable) or folder with prongs - Section/page dividers (plastic, no pockets) Title each divider tab as follows: 1. Story Synopsis 2. Script (Dialogue, or V.O.) 3. Character Sketch 4. Storyboard(s) 5. Inspiration/Infleunces/References 6. Production Design 7. Camera Work 8. Production Schedule/Shooting Schedule 9. Camera Log 10. Sound Design/Music 11. Production Contact List (optional, but suggested) 12. Evaluation Now, we re going to break down these tabs into another 11 pages, where each page will contain guiding questions, tables, and all sorts of other stuff to help you get your project organized more quickly! If you re unsure about what your production book should still look like after this guide and template, check out the separate document titled PRODUCTION BOOK SAMPLE. It ll be the production book I used for my first F&S experimental. Happy filmmaking!

2 TITLE: BY LENGTH: CLASS: INSTRUCTOR: DATE: This information should be either the first page in your production book or on the cover of it.

3 SYNOPSIS LOG LINE: This is a 1-line description of your film. PLOT: This is a paragraph description of your film s plot. Start by identifying the protagonist, problem/conflict, and setting. Then go into the major plot points/conflicts/turns, but don t give away too many details. Avoid unnecessary description. Bring up other characters in the order they appear. Remember this is a summary, not an essay or a novel hook. Be sure to end it by describing how the major conflicts are resolved. (I recommend 1.5 spacing for this so that it s not too cluttered.) THEMES: Those big concepts that your literature teachers bugged you about; heroism, fear, brotherhood, community, stuff like that.

4 2. SCRIPT If you haven t taken Storytelling Strategies yet and if you haven t written a film script before, you should use a free scriptwriting program like CELTX. Otherwise, you probably know how to format a script by name. You re smart; you can figure out what to do here. If your project doesn t need a script, that s one less thing for you to do! Yay!

5 3. CHARACTER SKETCH I m assuming this is a sketch design of your character(s), but he didn t say we needed it so I d hold off on this for now. 4. STORYBOARD On the next page, you ll see the template for the Storyboard. It is visually preferable if your storyboard is in horizontal format, but vertical is fine too. You don t have to be an artist to fill in the storyboard (it s a plus if you are); scribbles are fine as long as you can understand them.

6 SCENE PAGE

7 INSPIRATION AND INFLUENCES This is where you can get creative. You can put anything you want on this page. Images, quotes, poems, websites, color palettes, song lyrics anything that inspired/influenced this project for you. You should name and explain each influence that you place here. Don t just put a picture of Zooey Deschanel and be surprised when people ask why you chose Katy Perry. You should really take the time to discuss what about each reference is contributing to your project. A listed form might keep your thoughts more organized. I would keep your influences/inspirations page(s) to a maximum of 2.

8 PRODUCTION DESIGN LOCATION(S): This is where you are shooting, NOT THE SETTING OF THE STORY. Talk about your location and why you chose it. Put a picture of your location if you can. If you have multiple locations, make a list. Make a note of any restrictions/requirements (i.e. the landlord needs to leave by 8pm). SETTING(S): Now, describe the setting of the plot and how/if the location needs to be modified to fit it.

9 CAMERA WORK This page is supposed to be where you talk about your camera work, which means you describe the style, lighting, and/or look you re going for. Bonus if you put a color palette because that ll probably be a lot easier.

10 8. SHOOTING SCHEDULE 9. LOG SHEET OneClass won t allow tables to work in a word document and PDFs won t allow the tables to be in the same file, so I ll be uploading these two separately! Look for PRODUCTION BOOK TEMPLATE SHOOTING SCHEDULE and PRODUCTION BOOK TEMPLATE LOG SHEET.

11 10. SOUND DESIGN / MUSIC This is much like the camera work section where you re just talking about the style and references that you re planning on using.

12 PRODUCTION CONTACT LIST This is the credits page, pretty much. You just list some additional information like phone number and and stuff. Simple enough. TITLE: NAME: TELEPHONE: (and repeat as necessary, of course)

13 EVALUATION When you do finish your film: This is a summary of what worked and what didn t. Take some time to talk about each aspect of the production: story, crew members, lighting, camera, editing, direction, locations, etc. Share some horror stories and issues during all stages of production; how could you avoid/handle these issues in the future?

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