| List of contributors |
|
xi | |
| Foreword |
|
xvii | |
|
|
| Acknowledgments |
|
xxi | |
| Driven heritage: introduction |
|
1 | (16) |
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| Part I Defining automotive heritage from other forms of heritage studies |
|
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 |
|
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 |
|
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 |
|
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 |
|
|
368 | (6) |
|
|
|
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| Afterword |
|
374 | (4) |
|
|
|
|
| Index |
|
378 | |
| 9781138591264 |
|
| Foreword |
|
xiii | |
| Acknowledgments |
|
xv | |
| About the Authors and the Editor |
|
xvii | |
| 1 Introduction |
|
1 | (12) |
|
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? |
|
|
8 | (1) |
|
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) |
|
What Does It Mean to Have to Bond a Film Project? |
|
|
10 | (1) |
|
I Have What I Think Is the World's Best Idea, Where Do I Start? |
|
|
11 | (2) |
| 2 The Animation Producer |
|
13 | (26) |
|
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 |
|
|
33 | (6) |
| 3 How to Identify and Sell Projects |
|
39 | (20) |
|
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|
40 | (4) |
|
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) |
|
Developing Pitch Material |
|
|
49 | (5) |
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50 | (1) |
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|
51 | (3) |
|
|
|
54 | (1) |
|
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|
55 | (4) |
| 4 The Core Team |
|
59 | (26) |
|
An Overview of the Core Team |
|
|
59 | (1) |
|
|
|
60 | (7) |
|
Director's Responsibilities |
|
|
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) |
|
Legal and Business Affairs |
|
|
73 | (9) |
|
|
|
82 | (3) |
| 5 The Development Process |
|
85 | (42) |
|
Development Process Overview |
|
|
85 | (1) |
|
The Role of the Producer During Development |
|
|
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) |
|
Premise (Series/Short Form) |
|
|
95 | (1) |
|
Outline and Beat Board (Long Form and Short Form) |
|
|
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) |
|
Automated Dialogue Replacement (ADR) Script |
|
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102 | (1) |
|
Final As-Aired/Released Script |
|
|
102 | (1) |
|
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102 | (1) |
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102 | (4) |
|
|
|
106 | (21) |
| 6 The Production Plan |
|
127 | (38) |
|
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127 | (1) |
|
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|
128 | (30) |
|
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|
129 | (1) |
|
Delivery Format and Platform |
|
|
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) |
|
Script Breakdown and Content Analysis |
|
|
143 | (3) |
|
Style/Art Direction and Design |
|
|
146 | (1) |
|
Average Number of Characters per Shot |
|
|
146 | (1) |
|
|
|
147 | (1) |
|
|
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147 | (1) |
|
|
|
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) |
|
Payment Schedule and Cash Flow |
|
|
151 | (1) |
|
|
|
152 | (1) |
|
Recruiting and Relocation |
|
|
153 | (1) |
|
Reference and Research Material |
|
|
153 | (1) |
|
|
|
153 | (1) |
|
|
|
154 | (1) |
|
Digital Security and Archiving |
|
|
154 | (1) |
|
|
|
155 | (3) |
|
|
|
158 | (7) |
|
|
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159 | (1) |
|
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|
159 | (1) |
|
|
|
160 | (1) |
|
|
|
160 | (5) |
| 7 The Production Team |
|
165 | (24) |
|
The Role of the Producer in Structuring the Production Team |
|
|
165 | (4) |
|
Artistic Department Supervisors/Leads |
|
|
169 | (4) |
|
The Production Management Crew |
|
|
173 | (7) |
|
|
|
173 | (3) |
|
|
|
176 | (1) |
|
Production Coordinator or APM/PDM |
|
|
177 | (2) |
|
|
|
179 | (1) |
|
Production Assistant (PA) |
|
|
179 | (1) |
|
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|
180 | (9) |
|
Identifying and Selecting a Sub-contractor |
|
|
181 | (2) |
|
|
|
183 | (2) |
|
|
|
185 | (1) |
|
Material Packages/Shipments |
|
|
186 | (1) |
|
|
|
187 | (1) |
|
Monitoring the Progress of Production |
|
|
187 | (1) |
|
Receiving Material from the Sub-contractor |
|
|
187 | (1) |
|
|
|
188 | (1) |
| 8 Pre-production |
|
189 | (40) |
|
The Role of the Producer During the Pre-production Phase |
|
|
189 | (3) |
|
|
|
192 | (6) |
|
|
|
194 | (1) |
|
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|
194 | (1) |
|
|
|
195 | (1) |
|
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|
196 | (1) |
|
|
|
196 | (1) |
|
Color Script and Lighting Keys |
|
|
196 | (1) |
|
|
|
196 | (2) |
|
|
|
198 | (1) |
|
|
|
198 | (4) |
|
|
|
199 | (2) |
|
|
|
199 | (1) |
|
|
|
199 | (1) |
|
|
|
200 | (1) |
|
Surfacing and Look Development |
|
|
200 | (1) |
|
|
|
201 | (1) |
|
|
|
201 | (1) |
|
|
|
201 | (1) |
|
|
|
202 | (1) |
|
|
|
202 | (1) |
|
|
|
202 | (9) |
|
|
|
202 | (3) |
|
|
|
205 | (1) |
|
|
|
206 | (1) |
|
|
|
207 | (4) |
|
|
|
211 | (5) |
|
|
|
211 | (2) |
|
The Three Stages of Storyboarding |
|
|
213 | (16) |
|
|
|
213 | (1) |
|
|
|
214 | (1) |
|
|
|
215 | (1) |
|
Building the Story Reel/Animatic |
|
|
216 | (4) |
|
|
|
220 | (1) |
|
|
|
221 | (1) |
|
|
|
222 | (2) |
|
Preparing a Shipment: Checking and Route Sheets |
|
|
224 | (1) |
|
|
|
224 | (2) |
|
|
|
226 | (1) |
|
|
|
227 | (2) |
| 9 Production |
|
229 | (36) |
|
The Role of the Producer During the Production Phase |
|
|
229 | (4) |
|
Buyer's Creative Checkpoints |
|
|
232 | (1) |
|
|
|
232 | (1) |
|
Production Processes and Procedures |
|
|
233 | (2) |
|
|
|
233 | (1) |
|
|
|
234 | (1) |
|
|
|
234 | (1) |
|
|
|
235 | (8) |
|
|
|
236 | (1) |
|
|
|
237 | (1) |
|
Character Finaling/Technical Animation |
|
|
238 | (1) |
|
|
|
238 | (1) |
|
Final Layout/Set Dressing |
|
|
238 | (1) |
|
|
|
239 | (1) |
|
|
|
239 | (1) |
|
|
|
240 | (1) |
|
|
|
240 | (3) |
|
2D Traditional Production |
|
|
243 | (7) |
|
|
|
244 | (1) |
|
|
|
244 | (1) |
|
|
|
245 | (1) |
|
|
|
245 | (2) |
|
|
|
247 | (1) |
|
|
|
247 | (1) |
|
|
|
247 | (1) |
|
|
|
248 | (1) |
|
|
|
249 | (1) |
|
Color Styling and Ink and Paint |
|
|
249 | (1) |
|
|
|
250 | (1) |
|
|
|
250 | (15) |
|
|
|
252 | (1) |
|
|
|
252 | (1) |
|
|
|
252 | (1) |
|
|
|
252 | (1) |
|
|
|
253 | (1) |
|
|
|
253 | (12) |
| 10 Post-production |
|
265 | (24) |
|
The Role of the Producer During the Post-production Phase |
|
|
265 | (4) |
|
Working with the Post-production Supervisor |
|
|
267 | (2) |
|
The Post-production Process |
|
|
269 | (4) |
|
Credits (Main/Opening and End) |
|
|
270 | (1) |
|
|
|
270 | (2) |
|
|
|
272 | (1) |
|
|
|
273 | (7) |
|
|
|
280 | (4) |
|
|
|
280 | (1) |
|
Sound Effects Design and Editing |
|
|
281 | (1) |
|
Dialogue Editing and Automated Dialogue Replacement (ADR) |
|
|
281 | (1) |
|
|
|
282 | (1) |
|
|
|
282 | (1) |
|
|
|
283 | (1) |
|
|
|
283 | (1) |
|
|
|
283 | (1) |
|
|
|
284 | (1) |
|
|
|
284 | (2) |
|
|
|
284 | (1) |
|
Color Grading/Color Timing |
|
|
284 | (1) |
|
|
|
285 | (1) |
|
|
|
286 | (1) |
|
|
|
286 | (1) |
|
Final Picture Deliverables |
|
|
286 | (1) |
|
|
|
287 | (2) |
|
|
|
287 | (1) |
|
|
|
288 | (1) |
| 11 Tracking Production |
|
289 | (18) |
|
The Importance of Tracking |
|
|
289 | (2) |
|
|
|
291 | (1) |
|
|
|
292 | (1) |
|
Tracking Software Development and Application |
|
|
292 | (1) |
|
|
|
293 | (10) |
|
|
|
293 | (2) |
|
|
|
295 | (8) |
|
|
|
298 | (3) |
|
|
|
301 | (2) |
|
|
|
303 | (1) |
|
Artwork for Ancillary Groups |
|
|
303 | (1) |
|
Archiving of Digital Content |
|
|
303 | (3) |
|
Talking Beyond the Tracking |
|
|
306 | (1) |
| 12 Building a Franchise: Distribution, Marketing, Licensing, and More |
|
307 | (36) |
|
|
|
308 | (1) |
|
|
|
309 | (6) |
|
|
|
315 | (1) |
|
|
|
316 | (5) |
|
|
|
316 | (1) |
|
|
|
317 | (1) |
|
|
|
318 | (1) |
|
Prints and Advertising (P&A) |
|
|
318 | (1) |
|
|
|
318 | (2) |
|
|
|
320 | (1) |
|
|
|
321 | (2) |
|
|
|
323 | (20) |
|
|
|
323 | (17) |
|
|
|
340 | (3) |
| Appendix: Animation Resources |
|
343 | (6) |
| Index |
|
349 | |
