List of contributors |
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xi | |
Foreword |
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xvii | |
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Acknowledgments |
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xxi | |
Driven heritage: introduction |
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1 | (16) |
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Part I Defining automotive heritage from other forms of heritage studies |
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17 | (40) |
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1 Preservation education and automotive heritage: a holistic approach |
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19 | (16) |
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2 The treatment of historic automobiles and buildings: conservation charters and impacts on practice |
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35 | (12) |
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3 Archaeology and the automobile |
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47 | (10) |
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Part II Conservation and preservation of historic vehicles and associated built environments |
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57 | (92) |
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4 The "original car": conservation, preservation, and the dilemma of mass production |
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59 | (11) |
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5 Customized vehicles as material culture: a tale of two hot rods |
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70 | (16) |
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6 Thinking before restoration: case studies from France's National Automobile Museum's Schlumpf Collection |
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86 | (13) |
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7 Restoring the "unrestored": new challenges in the preservation of historic vehicles |
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99 | (13) |
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8 Made in England: how the British set the world standard in preserving motorcycle history and historic motorcycles |
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112 | (16) |
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9 Adaptive reuse: parking, zoning, and shopping malls |
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128 | (21) |
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Part III The future of the automotive museum |
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149 | (54) |
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10 Motor museums in Germany, Austria, and Switzerland |
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151 | (13) |
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11 Do you wear white gloves when changing a tire? The role of museums in historic vehicle preservation |
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164 | (11) |
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12 Rolling sculpture: fine cars as fine art ... it's about time |
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175 | (16) |
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13 A shared heritage of modernity: telling inclusive motoring stories in the National Motor Museum of Australia |
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191 | (12) |
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Part IV The significance of experiencing intangible automotive heritage |
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203 | (78) |
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14 Sociologizing automotive heritage: traditions of automobile folklore and the challenges of risk society |
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205 | (10) |
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15 What moves us: differences in cultural attitudes toward automotive preservation and use between Scandinavia and the United States |
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215 | (18) |
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16 Pebble Beach and Barrett-Jackson: the nexus of automobile heritage and tourism |
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233 | (12) |
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17 Golden boy in a brave new world: Mike Hawthorn and motorsports heritage in a cultural landscape |
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245 | (10) |
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18 Car(acter)s in cinematic culture |
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255 | (13) |
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19 Driving in the dark: automobilities in film noir landscapes |
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268 | (13) |
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Part V Car design and heritage identity making |
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281 | (50) |
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20 Branding an American icon: cultural heritage and the Corvette community |
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283 | (15) |
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21 Casting values: molding the Israeli national car |
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298 | (7) |
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22 Driving patriotism: the shaping of British nationalism and nostalgia in Motor Sport magazine |
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305 | (15) |
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23 From hobby to high end via heritage: becoming "Bentley" |
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320 | (11) |
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Part VI Sustainable futures for personal mobility |
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331 | (43) |
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24 What will remain of automobilism and car culture? Current issues of global and local automotive heritage |
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333 | (8) |
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25 It's the end of the car as we know it: the transformational impact of autonomous cars |
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341 | (11) |
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26 In search of the greenest car: automobility and sustainability |
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352 | (16) |
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27 Heritage driven: conclusion |
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368 | (6) |
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Afterword |
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374 | (4) |
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Index |
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378 | |
9781138591264 |
|
Foreword |
|
xiii | |
Acknowledgments |
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xv | |
About the Authors and the Editor |
|
xvii | |
1 Introduction |
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1 | (12) |
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Commonly Asked Questions About Producing Animation |
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4 | (9) |
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Are All Artists Called "Animators"? What Exactly Is an Animator? |
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4 | (1) |
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What Are Different Ways to Enter the Animation Industry? |
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5 | (2) |
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5 | (1) |
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6 | (1) |
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6 | (1) |
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What Are the Main Similarities and Differences Between Producing a Game Versus a Series? |
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7 | (1) |
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What Is Unique About the Process to Produce Online Educational Content? |
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8 | (1) |
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What Are the Differences When Producing for Streaming Platforms Versus Traditional Broadcasters? |
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8 | (1) |
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I Have a Project. Should I Set Up My Own Animation Studio or Find a Studio for Hire? |
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8 | (1) |
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What Are the Unions or Guilds That Are Commonly Used on Productions That Are Either Fully or Partially Based in the US? |
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9 | (1) |
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To SAG or Not to SAG: Should My Voice Track Be Union or Non-union? |
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10 | (1) |
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What Does It Mean to Have to Bond a Film Project? |
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10 | (1) |
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I Have What I Think Is the World's Best Idea, Where Do I Start? |
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11 | (2) |
2 The Animation Producer |
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13 | (26) |
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What Is an Animation Producer? |
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13 | (6) |
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16 | (1) |
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17 | (1) |
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Line Producer or Co-Producer |
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17 | (1) |
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18 | (1) |
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Lead Producer's Responsibilities |
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19 | (4) |
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The Makings of the Ideal Producer |
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23 | (10) |
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23 | (1) |
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23 | (1) |
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24 | (1) |
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24 | (1) |
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24 | (1) |
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25 | (1) |
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25 | (1) |
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25 | (8) |
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The Producer's Thinking Map |
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33 | (6) |
3 How to Identify and Sell Projects |
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39 | (20) |
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40 | (4) |
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Defining the Format and Target Audience |
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44 | (1) |
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45 | (4) |
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47 | (1) |
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48 | (1) |
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Developing Pitch Material |
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49 | (5) |
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50 | (1) |
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51 | (3) |
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54 | (1) |
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55 | (4) |
4 The Core Team |
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59 | (26) |
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An Overview of the Core Team |
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59 | (1) |
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60 | (7) |
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Director's Responsibilities |
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62 | (5) |
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67 | (1) |
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67 | (18) |
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68 | (2) |
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70 | (2) |
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71 | (1) |
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71 | (1) |
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72 | (1) |
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Legal and Business Affairs |
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73 | (9) |
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82 | (3) |
5 The Development Process |
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85 | (42) |
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Development Process Overview |
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85 | (1) |
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The Role of the Producer During Development |
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86 | (6) |
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92 | (10) |
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92 | (1) |
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93 | (1) |
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93 | (8) |
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Premise (Series/Short Form) |
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95 | (1) |
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Outline and Beat Board (Long Form and Short Form) |
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95 | (1) |
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95 | (1) |
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95 | (5) |
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100 | (1) |
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101 | (1) |
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101 | (1) |
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101 | (1) |
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102 | (1) |
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Automated Dialogue Replacement (ADR) Script |
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102 | (1) |
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Final As-Aired/Released Script |
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102 | (1) |
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102 | (1) |
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102 | (4) |
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106 | (21) |
6 The Production Plan |
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127 | (38) |
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127 | (1) |
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128 | (30) |
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129 | (1) |
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Delivery Format and Platform |
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129 | (1) |
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129 | (11) |
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130 | (1) |
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130 | (10) |
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140 | (3) |
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140 | (3) |
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143 | (1) |
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143 | (4) |
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Script Breakdown and Content Analysis |
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143 | (3) |
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Style/Art Direction and Design |
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146 | (1) |
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Average Number of Characters per Shot |
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146 | (1) |
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147 | (1) |
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147 | (1) |
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147 | (4) |
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149 | (1) |
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149 | (2) |
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151 | (1) |
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151 | (1) |
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Payment Schedule and Cash Flow |
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151 | (1) |
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152 | (1) |
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Recruiting and Relocation |
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153 | (1) |
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Reference and Research Material |
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153 | (1) |
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153 | (1) |
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154 | (1) |
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Digital Security and Archiving |
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154 | (1) |
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155 | (3) |
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158 | (7) |
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159 | (1) |
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159 | (1) |
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160 | (1) |
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160 | (5) |
7 The Production Team |
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165 | (24) |
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The Role of the Producer in Structuring the Production Team |
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165 | (4) |
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Artistic Department Supervisors/Leads |
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169 | (4) |
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The Production Management Crew |
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173 | (7) |
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173 | (3) |
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176 | (1) |
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Production Coordinator or APM/PDM |
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177 | (2) |
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179 | (1) |
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Production Assistant (PA) |
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179 | (1) |
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180 | (9) |
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Identifying and Selecting a Sub-contractor |
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181 | (2) |
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183 | (2) |
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185 | (1) |
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Material Packages/Shipments |
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186 | (1) |
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187 | (1) |
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Monitoring the Progress of Production |
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187 | (1) |
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Receiving Material from the Sub-contractor |
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187 | (1) |
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188 | (1) |
8 Pre-production |
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189 | (40) |
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The Role of the Producer During the Pre-production Phase |
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189 | (3) |
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192 | (6) |
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194 | (1) |
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194 | (1) |
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195 | (1) |
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196 | (1) |
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196 | (1) |
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Color Script and Lighting Keys |
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196 | (1) |
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196 | (2) |
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198 | (1) |
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198 | (4) |
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199 | (2) |
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199 | (1) |
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199 | (1) |
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200 | (1) |
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Surfacing and Look Development |
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200 | (1) |
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201 | (1) |
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201 | (1) |
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201 | (1) |
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202 | (1) |
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202 | (1) |
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202 | (9) |
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202 | (3) |
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205 | (1) |
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206 | (1) |
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207 | (4) |
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211 | (5) |
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211 | (2) |
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The Three Stages of Storyboarding |
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213 | (16) |
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213 | (1) |
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214 | (1) |
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215 | (1) |
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Building the Story Reel/Animatic |
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216 | (4) |
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220 | (1) |
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221 | (1) |
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222 | (2) |
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Preparing a Shipment: Checking and Route Sheets |
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224 | (1) |
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224 | (2) |
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226 | (1) |
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227 | (2) |
9 Production |
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229 | (36) |
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The Role of the Producer During the Production Phase |
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229 | (4) |
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Buyer's Creative Checkpoints |
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232 | (1) |
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232 | (1) |
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Production Processes and Procedures |
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233 | (2) |
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233 | (1) |
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234 | (1) |
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234 | (1) |
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235 | (8) |
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236 | (1) |
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237 | (1) |
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Character Finaling/Technical Animation |
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238 | (1) |
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238 | (1) |
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Final Layout/Set Dressing |
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238 | (1) |
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239 | (1) |
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239 | (1) |
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240 | (1) |
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240 | (3) |
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2D Traditional Production |
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|
243 | (7) |
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244 | (1) |
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244 | (1) |
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245 | (1) |
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|
245 | (2) |
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247 | (1) |
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247 | (1) |
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247 | (1) |
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248 | (1) |
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249 | (1) |
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Color Styling and Ink and Paint |
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249 | (1) |
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250 | (1) |
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250 | (15) |
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252 | (1) |
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252 | (1) |
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252 | (1) |
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252 | (1) |
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253 | (1) |
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253 | (12) |
10 Post-production |
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265 | (24) |
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The Role of the Producer During the Post-production Phase |
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265 | (4) |
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Working with the Post-production Supervisor |
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267 | (2) |
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The Post-production Process |
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269 | (4) |
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Credits (Main/Opening and End) |
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270 | (1) |
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270 | (2) |
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272 | (1) |
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273 | (7) |
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280 | (4) |
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280 | (1) |
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Sound Effects Design and Editing |
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281 | (1) |
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Dialogue Editing and Automated Dialogue Replacement (ADR) |
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281 | (1) |
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282 | (1) |
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282 | (1) |
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283 | (1) |
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283 | (1) |
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283 | (1) |
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284 | (1) |
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284 | (2) |
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284 | (1) |
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Color Grading/Color Timing |
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284 | (1) |
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285 | (1) |
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286 | (1) |
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286 | (1) |
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Final Picture Deliverables |
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286 | (1) |
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287 | (2) |
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287 | (1) |
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|
288 | (1) |
11 Tracking Production |
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289 | (18) |
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The Importance of Tracking |
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|
289 | (2) |
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291 | (1) |
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292 | (1) |
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Tracking Software Development and Application |
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292 | (1) |
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293 | (10) |
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293 | (2) |
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295 | (8) |
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298 | (3) |
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301 | (2) |
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303 | (1) |
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Artwork for Ancillary Groups |
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303 | (1) |
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Archiving of Digital Content |
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303 | (3) |
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Talking Beyond the Tracking |
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306 | (1) |
12 Building a Franchise: Distribution, Marketing, Licensing, and More |
|
307 | (36) |
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308 | (1) |
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309 | (6) |
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315 | (1) |
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316 | (5) |
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316 | (1) |
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317 | (1) |
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318 | (1) |
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Prints and Advertising (P&A) |
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318 | (1) |
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318 | (2) |
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320 | (1) |
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321 | (2) |
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323 | (20) |
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323 | (17) |
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|
340 | (3) |
Appendix: Animation Resources |
|
343 | (6) |
Index |
|
349 | |