A GUIDE TO ENVIRONMENTALLY SOUND FILM & VIDEO PRODUCTION
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section 1
THE GUIDE

INTRODUCTION
THE SCRIPT
THE PRODUCTION OFFICE
THE DIRECTOR
LOCATION
TRANSPORTATION
CASTING
THE ACTOR
CATERING
CRAFT SERVICE
ART DEPARTMENT
WARDROBE
MAKEUP AND HAIR
CAMERA DEPARTMENT
GRIP AND ELECTRIC
SOUND DEPARTMENT
STILL PHOTOGRAPHER
FILM SUPPLIERS AND THE ENVIRONMENT
WORKING WITH ANIMALS
POST-PRODUCTION
PROMOTIONAL MATERIALS
A TEN POINT SUMMARY

section 2
APPLICATION

MAKING "NO TELLING"

section 3
APPENDIXES

WHAT'S WRONG WITH....?
13 X-RATED COMPANIES LIST
BIBLIOGRAPHY / FURTHER READING
NOTES

section 4
INDEXES

SOURCE GUIDE BY PRODUCT
SOURCE GUIDE A-Z
INDEX
CREDITS

RUNNINGOUTOFROAD.COM

WORKING WITH ANIMALS

Using animals in film is the subject of interesting debate. If you use animals in your film, you should contact the American Humane Society before your shoot. They will ask to see the script pages with animal scenes and decide if they need to be on set. I recommend at least taking these measures. There is also an organization called PAWS (Performing Animal Welfare Society) which takes a slightly more hard-line approach and monitors the treatment of animals in all forms of entertainment. You might want to call them and discuss your project. Make these connections before your shoot, not after.

THE ANIMAL BIGHTS PERSPECTIVE as expressed informally by People for the Ethical Treatment of Animals (PETA) in Washington D.C. is that animals should not be used in film at all. Try puppets. This will not go over well with most producers, but it is worth a moment's thought: film sets are a highly stressful environment and the animals become frightened by all the activity and the number of strangers surrounding them. They become confused by the constant repetition of actions demanded of them by subsequent takes. At the same time, there are trainers and pet owners who insist their animal is a natural performer and loves to do it. The answer lies in the middle, no doubt: the more exotic animals are going to be very anxious, while certain "well-adjusted" domestic animals may enjoy the attention.

WORKING WITH PETS: My own recommendation is to use a pet who lives near the shoot. The animal will be accompanied by its owner and will not be fatigued by a long journey from a pen somewhere. You will be fairly confident about how the animal is treated at home and so, in humane terms, this is a safe bet. Also, you might find that a regular pet has more personality than a groomed performing animal.

ANIMAL AGENCIES: If you need a trained animal to perform special scenes you may resort to an' agency. There are a number of animal agencies listed in the Producer's Source Book. It is imperative that you check them out before you employ them. Remember that. a humanely treated animal is going to perform .better and look better than a stress-out one.

EXOTIC ANIMALS: If you are looking for an unusual animal, you might get advice from an organization that protects them. Nowadays, unfortunately, there are organizations for most every type of animal, from chimps to beavers, bats and elephants.

SPECIAL EFFECTS AND PUPPETS:
Animal stunts and deaths are for puppets. There are two puppet makers I know of who make very successful fake animal: Bob Flanagan and his partners of Denn Design Studios (bicoastal) and the Animal Makers in California. Their work is convincing and humane.

SOURCE GUIDE: PUPPET MAKERS ORGANIZATIONS: PETA | PAWS | HUMANE ASSOCIATION

 

A GUIDE TO ENVIRONMENTALLY SOUND FILM & VIDEO PRODUCTION