Enhanced descriptions from Syndetics:

Two books in one, this is a complete insider's guide to the business of film or television production.

Table of contents provided by Syndetics

• Introduction (p. xvii)
• I. Project Development
• Chapter 1 Getting Hired (p. 3)
• You As the Production Manager (p. 3)
• You As the Production Coordinator (p. 9)
• About the Production Manager & the Production Coordinator (p. 12)
• Chapter 2 Before Official Prep (p. 15)
• From Development to Preproduction (p. 15)
• Chapter 3 Budgeting & Breakdowns (p. 23)
• Overall Budgeting Issues (p. 23)
• The First Read or Preparing for the First Pass (p. 26)
• More Specific Budgeting Issues (p. 30)
• Series & Co-Production Budgets (p. 36)
• A Few More Overall Budgeting Issues (p. 37)
• Chapter 4 Your Kit & the Web (p. 41)
• Your Reference Books (p. 41)
• Your Start-Up Supplies (p. 43)
• Your Office & Computer Equipment (p. 44)
• Identify & Insure Your Kit (p. 51)
• II. Preproduction
• Chapter 5 Setting Up the Production Office (p. 55)
• The Coordinator Sets Up the Physical Production Office (p. 55)
• Office Furniture & Equipment (p. 56)
• The Manager Sets Up the Financial Backbone to the Office (p. 66)
• When Information Is Confidential (p. 67)
• Chapter 6 Hiring Crew (p. 71)
• Who Hires Whom (p. 71)
• Regarding Resumes & Cover Letters (p. 71)
• Regarding Crew Interviews (p. 74)
• Regarding Office Staff & Craft Service (p. 76)
• Union & Non-Union Crews (p. 83)
• Firing Staff (p. 85)
• Chapter 7 Crew Departments (p. 89)
• Office People (p. 89)
• Cast & Casting People (p. 91)
• Set People - Assistant Directors (p. 92)
• Other Set People (p. 93)
• Design, Building & Decorating People (p. 95)
• Technical People (p. 96)
• Hair, Makeup & Wardrobe People (p. 98)
• Special Departments People (p. 99)
• Postproduction People (p. 100)
• Publicity People (p. 102)
• Chapter 8 Workspace Organization (p. 105)
• The PM's Workspace (p. 105)
• The PC's Workspace (p. 106)
• Your Relationship to Paper (p. 111)
• Chapter 9 Telephone Etiquette (p. 113)
• Choosing a Telephone System (p. 113)
• Reception: The Job (p. 113)
• Chapter 10 Setting Up a Filing System (p. 119)
• The Production Coordinator's Files (p. 119)
• The Production Manager's Files (p. 121)
• Chapter 11 Forms, Memos, Logs, Checklists (p. 125)
• Forms & Memos to All Concerned (p. 125)
• The Distribution Table & Other Places to Put Paper (p. 136)
• Chapter 12 Countdown to Production (p. 139)
• Three Weeks or More before Production (p. 139)
• Two Weeks before Production (p. 147)
• One Week before Production (p. 150)
• III. Production
• Chapter 13 The Shoot Day & Call Sheets (p. 155)
• The Shoot-Day Format (p. 155)
• Early Morning (p. 156)
• Morning (p. 159)
• Morning and/or Afternoon (p. 159)
• Lunchtime (p. 162)
• Afternoon (including Call Sheets & Location Maps) (p. 162)
• Late Afternoon (p. 164)
• At Wrap (p. 165)
• Chapter 14 Daily Production Reports (p. 169)
• What Is a Daily Production Report? (p. 169)
• Who Generates the DPR? (p. 169)
• Who Else Reads the DPR? (p. 170)
• How to Read a DPR (p. 170)
• Publishing the DPR (p. 173)
• The Second-Unit DPR (p. 173)
• Chapter 15 Countdown Through Production (p. 177)
• First Day of Principal Photography (p. 177)
• First Week of Principal Photography (p. 178)
• During Production (p. 180)
• Toward the End of Principal Photography (p. 182)
• IV. More Money & Management Issues
• Chapter 16 Location Management (p. 189)
• Location Scout vs. Location Manager (p. 189)
• Where to Find Locations (p. 190)
• What to Look for in a Location (p. 190)
• Crew Meetings about Locations (p. 194)
• Location Surveys (p. 194)
• Preparing for the Shoot (p. 195)
• Location Management during the Shoot (p. 196)
• Burned Locations (p. 196)
• Chapter 17 Production Insurance (p. 199)
• Buying Production Insurance (p. 199)
• Comprehensive General Liability & Workers' Compensation (p. 199)
• The Entertainment Package (p. 199)
• E&O Insurance (Errors & Omission Insurance) (p. 202)
• Corporate Policies (p. 204)
• Additional Insureds (p. 204)
• Insuring Micro-Low-Budget Shoots (p. 204)
• Insurance Claims (p. 205)
• Chapter 18 Completion Bonds (p. 209)
• When You Need (or Might Not Need) a Bond (p. 209)
• Who Deals with or Reads a Bond (p. 210)
• How Much Paper Makes Up a Bond? (p. 210)
• What Is the Strike Price? (p. 212)
• Rebate Bonds vs. Regular Bonds (p. 212)
• What Happens When the Bond Is Called In (p. 212)
• The PM's Relationship with the Bond (p. 213)
• Alternatives to a Bond (p. 214)
• Chapter 19 Petty Cash & Purchase Orders (p. 217)
• Petty Cash (p. 217)
• Checks (p. 218)
• Direct Checks (p. 219)
• Purchase Orders (p. 219)
• Check Requisitions (p. 221)
• A Word about Credit Cards (p. 222)
• Chapter 20 Cash Flows (p. 225)
• Creating a Cash Flow (p. 225)
• Co-Production Cash Flows (p. 227)
• Amortization & Pattern Budget Cash Flows (p. 227)
• Micro-Budget Cash Flows (p. 228)
• Chapter 21 Interim Financing (p. 231)
• Who Are Interim Lenders? (p. 231)
• How Banks Finance Your Production (p. 231)
• How an Interim Loan Works or How Much Can I Borrow? (p. 231)
• What Paperwork Makes Up an Interim Loan (p. 233)
• Interparty Agreement (p. 235)
• Add the Bank to the Bond (p. 235)
• Minimizing the Amount of the Interim Loan (p. 235)
• Chapter 22 Official & PM-Only Cost Reports (p. 239)
• The Official Cost Report (p. 239)
• Preparing the Cost Report (p. 241)
• Co-Production Cost Reports (p. 243)
• Series (Amort & Pattern) Cost Reports (p. 243)
• The PM-Only Cost Report (p. 244)
• Managing Cash Flow through Production (p. 249)
• Dealing with Overages & Savings (p. 249)
• About Specific Cost Reports (p. 252)
• V. More Contracting Issues
• Chapter 23 Deal Memos & Long Forms (p. 257)
• Crew Deal Memos (p. 257)
• The Start Pack (p. 257)
• Corporations vs. Employees (p. 258)
• Long Form Agreements (p. 259)
• Handling Signed Deal Memos (p. 260)
• Chapter 24 Cast Contracts & Immigration (p. 265)
• Auditions (p. 265)
• Cast Contracts (p. 266)
• Immigration & Traveling Stars (p. 268)
• ADR Sessions & Contracts (p. 271)
• Chapter 25 Supplier Agreements (p. 275)
• Supplier Letters of Agreement (p. 275)
• Chapter 26 The Special Departments (p. 279)
• Prep & Research (p. 279)
• SPFX - Special Effects (p. 280)
• CGI - Computer-Animated Effects (p. 281)
• Motion Control (p. 281)
• Blue Screen or Green Screen (p. 282)
• Working with Animals (p. 283)
• Stunts (p. 284)
• Working with Children (p. 284)
• Other Special Departments (p. 285)
• VI. More Production & Coordination Issues
• Chapter 27 Script Format & Revisions (p. 289)
• The Production Manager & Script Revisions (p. 289)
• The Production Coordinator & Script Revisions (p. 289)
• Typing the Early Drafts (p. 289)
• Title Pages (p. 292)
• Feature Film Script Format (p. 293)
• Comedy Script Format (p. 295)
• Script Revisions (p. 296)
• Chapter 28 Production Scheduling (p. 301)
• Preproduction Schedule (p. 301)
• Production Schedule (p. 301)
• Production Board (Strip Board or the Board) (p. 302)
• Reading the Schedule (p. 303)
• A.D. Breakdown Pages (p. 306)
• One-Line Schedule (p. 306)
• Shooting Schedule (p. 306)
• Second Unit (p. 307)
• Scheduling for Low-Budget Productions (p. 307)
• Specialty Breakdown Memos (p. 307)
• Chapter 29 Credits (p. 311)
• Screen-Credit Design (p. 311)
• The Preview Drafts (p. 311)
• The Early Drafts (p. 313)
• The Final Drafts (p. 315)
• Chapter 30 Paperwork Distribution (p. 317)
• Tracking System (p. 317)
• Starter Distribution Lists (p. 318)
• The Joy of Paperwork Distribution Lists (p. 320)
• The Production Report & All Its Backup Paperwork (p. 324)
• VII. Ongoing Special Issues
• Chapter 31 Courier & Customs (p. 329)
• Couriers (Local & International) (p. 329)
• The Customs Broker (p. 330)
• Videotapes (Or Exposed Film) Crossing Borders (p. 331)
• Wardrobe Crossing Borders (p. 332)
• Film Equipment Crossing Borders (p. 335)
• Film Stock Crossing Borders (p. 336)
• Other Items Crossing Borders (p. 336)
• Hand-Carrying Items across Borders (p. 336)
• Chapter 32 Legal Clearances (p. 339)
• The Script Clearance Report (p. 339)
• E&O Insurance (p. 339)
• How Script Clearance Reports Work (p. 340)
• Using Actual Names (p. 342)
• Music Clearances (p. 342)
• Photographic Clearances (p. 345)
• Other Clearances (p. 346)
• Title Searches (p. 346)
• Product Placement (p. 346)
• VIII. Postproduction
• Chapter 33 Wrap & Wrap Party (p. 351)
• The Production Manager Wraps (p. 351)
• The Production Coordinator Wraps (p. 354)
• The Wrap Party (p. 358)
• Chapter 34 Postproduction (p. 363)
• The Uniqueness of Postproduction (p. 363)
• The Stages of Postproduction (p. 363)
• The Postproduction Process (p. 364)
• Vaults & Storage (p. 376)
• Delivery (p. 376)
• Air Dates & Release Dates & Festivals (p. 377)
• Chapter 35 Audit (p. 379)
• Must You Always Audit? (p. 379)
• The Various Reviews of an Audit (p. 379)
• The Paperwork Needed for an Audit (p. 380)
• Other Paperwork That May Be Needed (p. 382)
• Closing Notes (p. 383)
• IX. Appendix
• Sample Forms (p. 385)
• Development to Production Budget Sample (p. 387)
• Development to Production Budget Sample #2 (p. 388)
• Blank Budget Top Sheet (p. 389)
• Blank Budget Top Sheet #2 (p. 390)
• Blank Budget Top Sheet #3 (p. 391)
• Budget Breakdown Sample #1 "The Lists" (p. 392)
• Budget Breakdown Sample #2 "The Spreadsheet" (p. 393)
• Detail Page of Budget (p. 394)
• Checklist of Questions/Notes for Budget Creation (2 pages) (p. 395)
• Time Sheet (p. 397)
• Accident Report Form (p. 398)
• Walkie-Talkie Sign-Out Form (p. 399)
• Key Sign-Out Form (p. 400)
• Equipment Rental Log (p. 401)
• Courier Log (p. 402)
• Long Distance Log (p. 403)
• Polaroid Film Sign-Out Form (p. 404)
• Copier Paper Count Form (p. 405)
• Development Cost Report (p. 406)
• Crew List (2 pages) (p. 407)
• Cast List (p. 409)
• Contact List (2 pages) (p. 410)
• Call Sheet Sample (p. 412)
• Call Sheet Sample #2 (2 pages) (p. 414)
• Production Report Sample (p. 416)
• Production Report Sample #2 (blank) (2 pages) (p. 417)
• Location Release (p. 419)
• Location Letter (p. 420)
• Petty Cash Report (p. 421)
• Purchase Order (P.O.) (p. 422)
• Purchase Order (blank) (p. 423)
• P.O. Log (p. 424)
• Check Requisition (p. 425)
• Cash Flow Sample (Detail) (p. 426)
• Cash Flow Sample (Summary Top Sheet - with interim financing calculation) (p. 427)
• Cost Report Sample (Top Sheet and Detail) (p. 428)
• PM-Only Cost Report - Spreadsheet From Accounting (p. 429)
• PM-Only Cost Report - Spreadsheet Made by PM (p. 430)
• PM-Only Cost Report - Budget Form (p. 431)
• PM-Only Cost Report - Pencil Copy (p. 432)
• Non-Union Crew Deal Memo (p. 433)
• Extras Release Form (p. 434)
• Change of Date Form (p. 435)
• Catering Deal Letter (p. 436)
• Feature Film Title Page (p. 437)
• TV Series Title Page (p. 438)
• Drama Script Pages (2 pages) (p. 439)
• Comedy Script Page (p. 441)
• Strip Board (p. 442)
• A.D. Breakdown Page (p. 443)
• A.D. Breakdown Page (Blank) (p. 444)
• One-Line Schedule (p. 445)
• Shooting Schedule (p. 446)
• Credit Style (p. 447)
• Credit Style #2 (3 pages) (p. 451)
• Paper Binder Distribution Tracking Form (p. 454)
• Wall Envelopes Distribution Tracking Form (p. 455)
• Wrap Party Checklist & Budget Form (3 pages) (p. 456)
• About Deborah S. Patz (p. 459)