I’m often asked for book recommendations and other resources that cover various techniques someone desires to learn. My answer is typically non-specific, as I’ve learned most of my information from pros in the industry. However, I do take time to read books and magazines written by friends and other industry leaders who are known for specific information.

For instance, I’ve had a couple opportunities to work with Dr. Linda Segar who has great insights concerning character development, hero based story structure, and translating a book to the screen. Each of her books has a handful of nuggets that have stayed with me over the years. She also consults for those who like to pick the brains of brilliant people. I believe her biggest selling book is Making A Good Script Great.

Several books from my library on story and screenwriting that have become dog-eared from certain chapters being reread include:

The Coffee Break Screenwriter by Pilar Alesandra
The Story Solution by Eric Edson
Screenwriting 434 by Lew Hunter
Story by Robert McKee

There are a lot of other great books published by Lone Eagle, Focal Press, Michael Wiese Productions and Penguin Books, to name just a few.

For those working with smaller crews, I recommend Craig D. Forrest’s book: Commando Tactics for Digital Filmmakers.

My latest reads and rereads include:

Professional Storyboarding by Sergio Paez & Anson Jew (Note: Excellent book!!!)
On Directing Film by David Mamet
The Film Director Prepares by Myrl A. Schreibman
Directing Film Techniques and Aesthetics by Michael Rabiger

I mix up my reading between books on business, story, creativity, screenwriting, directing, filmmaking, biographies and fiction. I made a commitment to read a minimum of 12 books a year since I joined the entertainment industry. However, that number changed once I learned that a person can become an expert in a few short years by reading every book and article they can find on a given subject. I now read the equivalent of two books a month on average, taking into consideration interview transcripts and trade articles covering industry pros.

Of course, there is one new book coming out in July that is a must read…

Notes from the Napkin: A Director’s Cut on Filmmaking by CJ Powers

Okay, so a little self-promotion isn’t too bad, right?

My new book includes some of the most read articles from CJ’s Corner and other chapters based on questions new and independent filmmakers have asked me or that I’ve asked of the Hollywood pros. Since a lot of my most used knowledge came from 2-5 minutes spent with people like Ron Howard, Christopher Nolan, Wally Pfister and Ken Burns, I thought passing on my notes from the “napkins” I’ve collected over the years would be of help to the reader.

There are film techniques still done the same way as it’s been done since the early 1900’s and other techniques that are developed every year. To stay on top of this information there are numerous trade publications and websites available for gleaning this information. The lists below are just a smattering of what is available.

Screenwriting
Hollywoodlitsales.com
Donedealpro.com
Scriptpipeline.com
Writerstore.com
Script-o-rama.com
Scriptologist.com
Inktip.com
Wordplayer.com
Moviebytes.com

Filmmaking
Filmmaking.com
Filmmakers.com
Filmfestivals.com
Wihtoutabox.com
Insidefilm.com
Zap2it.com
Projectgreenlight.com

Filmmaking Terminology
Filmland.com/glossary/Dictionary.html

Film Buffs
Imdb.com
Moviejuice.com
Aint-it-cool-news.com
Rottentomatoes.com
Filmthreat.com
Filmsite.org

Screenwriting and Filmmaking Magazines
Creative Screenwriting
Screenwriter
Script Magazine
Imsdb
Fade In
Hollywood Scriptwriter
Moviemaker
Screentalk
Film Journal
Filmmaker Magazine

Industry Publications
Hollywood Reporter
Variety
Daily Variety
Back Stage
Premiere
The Independent: Film & Video Monthly
Written By (Writers Guild of America, West)
DGA Quarterly

Determining the camera set-ups for the day and its relevant shot list, is extremely important to make sure everything is captured and the team moves in the most logical and speedy order. Unfortunately, most independent filmmakers fly by the seat of their pants instead of preplanning. This causes them to loose numerous hours in shooting time over the duration of a feature film.

Camera set-ups can be drawn on a 3X5 card, or created in an iPad app – I‘ve done both. If the scene requires a lot of movement, I prefer the iPad app so I can demonstrate the camera movement and actor blocking through animation.

The set-up cards are always an aerial view and display camera position and any dolly tracks. It also includes characters, extras and the floor plan – And sometimes action props. All elements include starting and ending positions. Depending on the software app or the amount of room on the paper, the lighting set-up could be added as well.

Arrows and lines are typically used to show camera and actor movement. The shape of the camera movement line reveals if it uses a track or handheld/steadicam shot. Track is always straight or precisely curved, while handheld/steadicam lines move in any shape or follow any contour.

Every camera must be labeled in some fashion that carries over to the shot list. When I use the iPad app, I export the camera information to an excel spreadsheet in the form of a shot list, which takes less than 5 seconds. When I use 3X5 cards, I typically put the shot list on the back of the card or on a second card.

The shot list includes the camera name, the shot type, the lens, camera equipment like dollies or cranes, and any movement, focus or zooming instructions. My experience allows me to rough out the list prior to meeting with the director of photography. Since his expertise is invaluable, I review and update the information as I present my logic for the emotional imagery I need for the scene.

No matter how much I prep during development or preproduction, there are always changes the morning of the shoot, not to mention during creative moments with the actors as we explore variations of the scene. The best way to keep these changes organized is to number every known shot in advance using a numbering system that readily accepts updates and changes.

The numbering system I use gives the DP, editor, script supervisor and me an immediate visual understanding of what scene its from, its shot type and what character it includes. This makes searches quick both manually and online. It also helps the editing team prep the clips for the editor.

By prepping the camera set-ups in advance, the director can save the team a tremendous amount of time during the shoot. It also gives a great foundation for those creative changes that happen on the fly. This allows a more organized freedom that helps the editorial team, rather than the wild creative activities that force the editorial team to suffer through extremely long days.

Copyright © 2013 by CJ Powers

The number one consideration for all stunts is safety. Second is realism. But to achieve these two factors it takes a lot of experience, calculations and rehearsal. The stunt coordinator acts as the casting director for stunt performers and stunt doubles. They are also responsible for overseeing the stunt performance, which is carefully designed and coordinated with the director.

The last stunt team I hired was for a western. The show had a typical corral shoot out with falls, squibs and horse stunts. The team rehearsed in tumbling apparel for hours and then donned their western gear over top the layers of pads they wore. Every fall was perfectly choreographed so the stunt person falling off the roof had more fun than any sense of danger. Everything was captured in one take.

A specialist that verified and counted every blank bullet load handled the guns. He was a licensed expert and made sure each bullet was properly packed. Each actor had to check out their pistols and rifles, being given a quick reminder of the proper way to handle firearms. The entire process was down to a science to avoid injury.

The insurance on the show jumped up significantly. I was surprised at how much the day cost. I hired a stunt coordinator, five stuntmen and the team’s production assistants. The professionalism of the team and their vast experience made for a wonderful day and great cinematic results.

The cinematographer was able to understand the needed placement of cameras to cover every punch and gunshot thanks to the elaborate rehearsal. By positioning the cameras accordingly, the stuntmen could pull their punches, as film is 2D or flat and depth perception is non-existent. The predetermined camera positions added to the realism of the punches.

My role was to make sure the stunt coordinator understood my vision for the action and the look and level of danger I needed to appear on the screen. The stunt coordinator then determined the best way to choreograph the stunts to make sure everyone was safe.

The first stunt team I ever hired was back in the days when I produced and directed shows for the Wisconsin Television Network. We made an undercover cop show that was filled with chase scenes and gunshots. Detectives would jump over cars, fire escapes, rooftops and other fast moving or nerve rackingly high obstacles.

However, due to the safety factor and film being flat, we were able to fake much of the stunts optically. So when it looked like a man ran across a roof and leaped off onto a nearby fire escape, it was actually faked. The rooftop was at ground level. The leap across the alley and into a fire escape wasn’t a 45-foot high location, but rather a 10-foot location with three stories of building optically matted in below it. This was before CGI and moving digital elements.

The stunt coordinator works with the department heads to determine what can be done physically versus digitally. The more physical stunts the more realistic the image appears in the final film. The stunt coordinator works with makeup to ensure the stunt person looks like the character. The production designer, art director and the set dresser help disguise the safety equipment. And, the director of photography or cinematographer helps position the camera for the most realistic look.

Many of the top stunt performers belong to the International Stunt Association, which is made up of stunt coordinators, stunt performers and 2nd unit directors that specialize in stunts. However, the stunt performers are contracted under the SAG-AFTRA agreement.

Copyright © 2013 by CJ Powers