Unforgettable Character Introductions
By Hal Croasmun
Let's be blunt for a second: If your lead characters don't engage a reader, your script will be turned down. So it is very important that the top three characters have great introductions.
I can't tell you how many times a lead character is introduced in a bland way -- often through "talking-heads" scenes that do little to make the character memorable.
My advice: Make those character introductions as interesting as you can by putting your character into action right away.
To do that, we'll use a simple "action/insight" format on characters from five movies.

SCHINDLER'S LIST
In"Schindler's List," Oskar Schindler's introduction shows his ability to schmooze with SS officers. While that scene did a variety of  things, it also introduced Schindler through action that provided insight into his character.
ACTION: Schindler schmoozes SS officers.
INSIGHT: This man is a wheeler-dealer / war-time profiteer who has no fear of the SS.
The action is important because it provides something visual that is interesting to watch on the screen. But the insight is far more important -- we need to experience something deep about this character during our first meeting that will have us want to follow them throughout the story.
As you look at the examples below, think about your own character introductions and how you might improve them.
 
SLUMDOG MILLIONAIRE
They introduce Amir through two sets of actions simultaneously -- being on the show "Who Wants to be a Millionaire?" and being tortured at the police station because they believe he is cheating.
Both situations show him as a stubborn young man who will do anything to remain on this show. Later, we discover that it is not for the money. He wants to remain on the show as long as possible so the woman he loves might see him. They had been separated at a foster home.
ACTION: Refuses to give up being a contestant on TV game show while being tortured.
INSIGHT: We get the character's stubbornness, his absolute commitment to remaining on this show, which is a hook -- who would go through torture just to remain on a show when he could take the money and live a good life? That hook delivers a lot of character insight later on.
 
See "AS GOOD AS IT GETS", "NO COUNTRY FOR OLD MEN" , and "THE DARK KNIGHT" here!

http://www.screenwritingu.com/screenwriting-articles/36-general-articles/66-unforgettable-character-introductions

A place to check in

There will always be a Cast Member to help you check in and answer some basic questions about how the audition will run. This Cast Member will record your name and the time you arrived, and take your Headshot & Resume or give you an Audition Application form to fill out. Make sure to arrive early in order to give yourself time to check in and fill out the paperwork.

Keeping to the clock

We're a very time conscious bunch. We'll do our very best to keep the audition running on time, but we need your help in order to do that. It's very important that you arrive in plenty of time to complete your check-in and ready yourself for a great audition. Generally speaking, this means at least 15 minutes before your scheduled audition time.

If it's your first time to a particular audition location, please plan enough travel time to navigate an unfamiliar place.

The audition room

Walking into the main audition room can be intimidating... but stay cool and have fun with it. Remember that we're people too, and we're quite happy that you came to audition for us. Keep your confidence and come right on in!

Your audition will be run by a Disney Casting Director. As you enter the audition room we'll do our best to introduce ourselves, and give you a few instructions to help you through the audition.

The room setup will vary based on the type of audition you're attending. It may be a small rehearsal hall with just a few Casting Directors, or a large facility with several people for a group audition. Either way, be sure to listen to any instructions that are given, and do your best!

Closed auditions

All Disney auditions are closed auditions. This means that we don't allow anyone into the audition room who is not auditioning.

While we understand the important role the support of friends and family play in every performer's life, the audition is one place you must go on your own. If someone does accompany you to an audition, they will be asked to wait in the holding area of the audition venue.

Now let's talk a bit about what to have prepared for your audition »

Singers

Prepare two separate vocal selections of contrasting styles. Pick the best 16 bars of each. Remember that we're not just looking for good vocalists. We need singers who can really tell a story. Do your very best to know the story behind the words you're singing and convey that in your audition.

We'll provide an accompanist for all vocal auditions. Please bring sheet music in the correct key. We don't allow any pre-recorded accompaniment (tape, CD, etc...). In addition to your prepared pieces, we may ask you to learn additional music or a movement combination.

Actors

Prepare a one minute comedic monologue. Practice your timing. Be sure not to rush the moments in your piece, and remember that you're not just reading words... think about the emotion behind what you're saying and play the part.

In addition to your prepared piece, you may be asked to read, learn additional material, or participate in improvisational exercises.

Dancers

We have roles with a wide range of required ability. Be sure to read the audition listing carefully to know what is required.

Wear form fitting dance attire that allows a full range of movement. Bring ballet shoes, jazz shoes and/or character heels, and wear the appropriate footwear for each combination.

Please arrive early enough to stretch and warm up before the audition begins.

Musicians

Prepare three short selections that demonstrate your technical, lyrical, and improvisational skill. Remember that we need to see your showmanship in addition to your proficiency on your instrument. Let your personality shine through! Sight reading will be required. Some applicants may be asked to perform a simple marching maneuver.

Plan on bringing your own instrument unless otherwise noted in the audition listing.

Disney Character Performer & Look Alikes

We won't ask you to have any specific content prepared for a Character Audition, but you can prepare in other ways.

Remember that most roles in this category will require you to portray one of our world-famous Disney Characters with no words at all. You'll communicate through gestures and movement. The auditions are based primarily on movement, physical coordination and attitude.

Stunt Performers

We have a very wide range of roles for stunt performers. Please read the audition listings closely to decide if an audition is right for you.

Tumblers, acrobats, gymnasts and other stunt performers must have a gymnastic background. Aerial experience is a plus. Applicants may be asked to demonstrate proficiency on rings, rope, high bar, and trampoline. Some roles require climbing, swinging, aerial work, the ability to perform at heights, in, and around water as well as near fire and special effects.

Bands, Variety & Specialty Acts

Bands, variety acts, and other specialty acts are auditioned on an invitational basis. If you're interested in submitting your promo material to be considered for an audition, please click here.

Now let's cover some more good audition tips »

http://corporate.disney.go.com/auditions/experience/prepare.html

Audition Tips

http://corporate.disney.go.com/auditions/experience/tips.html

When you go to an audition you want to put your very best foot forward. Here are a few tips to help you along.

Be on time

Remember that your audition begins even before you arrive! Be sure to plan enough preparation and travel time for your audition. We can't stress enough how important it is to arrive on-time to your audition... and in most cases this means at least 15 minutes before your scheduled audition time. Being late, no matter the reason, can negatively affect your audition, or prevent you from being seen altogether.

Headshot & Resume

No matter what kind of role you're auditioning for, it's a good idea to have a Headshot and Resume on hand.

Good quality photos on standard letter size paper are best. Make sure the photo you use is representative of the way you look now. If you change your appearance in any way, be sure to update your headshot. As you choose a photo, remember that your headshot is the calling card you leave behind for the Disney Casting team to remember you. Make sure it's the best possible representation of who you are.

Keep your resume to one page and list your most recent experience and accomplishments. Don't worry if you have limited experience.

Affix your resume securely to the back of your headshot, or have it printed directly on the back. Also, remember that we'll need to keep the photo & resume.

http://corporate.disney.go.com/auditions/experience/tips.html

YouTube Copyright Rights

http://www.videomaker.com/article/14680/

If you watch the news at all, chances are you have seen a YouTube video as part of a news story. For those unaware, YouTube is a video sharing website owned by Google. Users can upload and share their videos. As it happens, "YouTube video" is somewhat of a misnomer, as YouTube does not create or own the videos on its site. YouTube is simply an online hosting site for a collection of user videos, recorded by thousands of people all over the world. But what happens when one such video gains national attention via TV news outlets? When such a video is on the news, there is usually a credit in the corner of the video acknowledging that the video was found on YouTube. This begs the question, however, "What about the video's creator? Doesn't he or she deserve credit?" The answer, according to YouTube, is a simple one: no.

In YouTube's terms of service, which every user must accept before uploading a video, the rules are stated very clearly. "By submitting User Submissions to YouTube, you hereby grant YouTube a worldwide, non-exclusive, royalty-free, sublicenseable and transferable license to use, reproduce, distribute, prepare derivative works of, display, and perform the User Submissions in connection with the YouTube Website." In layman's terms, by submitting content to YouTube, you are giving Google permission to use your content however it pleases.

It is important to remember that the majority of YouTube's profits come from advertising. Therefore, the more exposure YouTube gains, the more money Google will make. To put it in perspective, it currently costs $175,000 dollars a day to advertise on the front page of YouTube. This number can be expected to rise as YouTube becomes even more popular. You can now see why it is imperative that YouTube be able to distribute a user's content without specific permission by the owner. This necessity for promotion leads us to another interesting phrase in the YouTube terms of service. "You agree not to distribute in any medium any part of the Website, including but not limited to User Submissions (defined below), without YouTube's prior written authorization." This states that no one may use any content from YouTube without Google's permission. This prevents news agencies from using a video hosted on YouTube without obtaining written permission, therefore ensuring that Google always receives credit for YouTube videos.

Interestingly enough, YouTube takes care to state in its terms of service that the user who submits the content still "retains all ownership rights to the content." Legally, there is very little difference between a license owner and a content owner. Therefore, while YouTube does not technically own the user content, it has essentially the same legal rights to the content's distribution and reproduction as the owners do. However, by allowing the content creator to retain ownership rights, YouTube can avoid liability for the content. The terms of service state, "You shall be solely responsible for your own User Submissions and the consequences of posting or publishing them". This allows YouTube to reproduce and distribute the content as it sees fit while avoiding liability.

There is a fourth section of the terms of service that, while not expressly related to distribution rights, is interesting to note. "The above licenses granted by you in User Videos terminate within a commercially reasonable time after you remove or delete your User Videos from the YouTube website... YouTube may retain, but not display distribute or perform, server copies of User Submissions that have been removed or deleted." Essentially, YouTube has the right to keep copies of uploaded videos on its servers forever, even if the user "deletes" them and cancels his account. YouTube may also continue to use the video for a "commercially reasonable' amount of time. This could potentially lead to a user video being used in promotional material for YouTube, even after the creator has deleted it.

While some of these terms may seem overbearing, or even an invasion of privacy, they are far from unusual. Veoh and Vimeo, two other popular video sharing websites, recite almost identical terms of service. While one may be inclined to view this negatively, there are some positives as well. For example, in June 2009, rioting broke out in Iran over presidential elections. Iran has a state controlled media, and did not report the riots. However, due to the proliferation of video enabled cell phones and YouTube, news agencies all over the world were able to report on this story. It would have been almost impossible to obtain permission from these users before reporting on the story, and if these terms were not in place an important event would have gone un-noticed. YouTube and sites like it are becoming more and more a part of mainstream media. Regardless of your individual opinion of them, these terms are here to stay, and you should be aware of them before posting a video or even a comment on YouTube.

Nick Andreadis is a legal intern for Mark Levy. He is an Industrial and Systems Engineer at Binghamton University

OPERATION OF WIRELESS MICROPHONES IN THE 700 MHZ BAND IS PROHIBITED AFTER JUNE 12, 2010
follow link below for official rule
  http://www.fcc.gov/cgb/wirelessmicrophones/

The FCC's move to push television broadcasters to digital television is going to have a big impact on everyone using wireless microphones. The change will be dramatic and users need to be prepared.
In the process of reallocating broadcast frequency spectrum so that digital TV can be rolled out to the American viewing public, the Federal Communications Commission is making major changes in what part of the broadcast spectrum is going to be exclusively used for digital TV.

Lots of the UHF wireless mics in use today (and some still being manufactured) make use of the frequencies that fall in the range currently used by UHF television channels 62, 63, 68 and 69 (746-806 MHz).
 
In a major frequency change to accommodate the needs of digital broadcasters, the FCC is going to allow the frequency ranges used by these channels to now be used for emergency services. Get ready to mix an ambulance dispatcher into your concert or worship service!

Savvy sound persons know that they can monitor local radio frequency activity using their wireless mics or a scanner to determine which frequency ranges may have disruptive activity before they decide which frequencies to use for their frequency-agile mics during a show.

This will no longer be possible, as you won't be able to monitor for the short term broadcasts that emergency transmissions normally involve. What might have been a clear frequency all day during load in and rehearsals can quickly spring to life five minutes after your show starts-it could be triggered by something as simple as fender bender around the block.
 
Weak batteries will make you even more vulnerable.
The big wireless mic producers are offering frequency changes on their high end models, but it will be expensive. Each transmitter (handheld mic or belt pack), as well as every receiver must be changed. It will be a tough decision as to whether it is time to upgrade a trusted (and expensive) wireless unit or replace it with a newer model in a less crowded frequency range. Even lots of small-to-medium sized production companies own a dozen or more units that will essentially become obsolete.

If you need help with new mics Philadelphia Theatrical has got you covered.
Call or email us anytime, or visit our online store at www.PTSonline.biz

Scott Franco
Philadelphia Theatrical
215-627-1225
sales@philatheatrical.com

How to Get a Great Headshot – the Inside Story by  Top

New York Headshot Photographer – Joe Henson

Q. What are Actor's Headshots and how are they used?

A. Actor's headshots are images of actors which are used as an aid in casting by Casting Directors, Agents, Managers, Directors, Producers and anyone involved in auditioning talent for the various markets in the entertainment industry. From the earliest Hollywood "Pub Shots" i.e. Publicity Shots to current Electronic Submission Digital Images, headshots have been the currency that circulates through the industry representing actors in an effort to be seen for a role. An effective headshot is a mix of aesthetic value (it is pleasing to look at and makes the actor look good) and casting viability and clarity (it defines the elements of the actor's type that are important in defining the logical characters that actor can play).

Headshots are one of the most effective elements of an actor's arsenal in terms of "being seen for a role". A strong headshot can be an effective entrée into the offices of the people who hold the reigns of power in the entertainment industry. A great headshot can not tell someone how talented you are, but it can define your qualities as an actor that in turn define the types of roles you should be playing. We have all heard stories of actors whose headshots have "gotten them in the door" of a big shot agent and launched a successful career.

Headshots are used in two primary forms, the reliable 8X10 reproduction and the rapidly growing Electronic Submission. The 8X10 reproduction is exactly what it sounds like, a print of the actor's headshot reproduced on 8X10 inch paper and usually printed in large quantities. Reproduction Houses that specialize in making copies dot the landscape in most large cities that are centers for actors. Actors submit a "Master Image" either in the form of a Master Print or Master Digital File and the Reproduction House makes carefully controlled copies of that shot. These copies come in two basic forms, Photo Reproductions which use continuous tone photo paper and produce copies which are indistinguishable from the original, or Lithographs which are lower cost and lower quality reproductions of the image using a fine dot matrix process, much like the images in a newspaper. Budget and personal style determine which process an actor goes with and there is an ongoing debate concerning the best choice. Typically actors who use expensive photographers looking for high photographic quality will want to maintain the elements of that quality in their reproductions. Reproduction Houses have price points throughout the spectrum with Photo Reproduction Houses charging around $115 for 100 Photo Reproductions to Lithographic Houses charging $50 for 500 lithographs.

Electronic submissions involve emailing a low resolution JPEG to the appropriate party. It's important for every actor to learn how to resize their digital headshot file so that it will sail swiftly through cyberspace and land gently in the queue of the target's email. Currently there are no established standards for image size but most offices prefer that the image be sized under 1 Megabyte and be converted to 72 dpi. If that sounds like gibberish to you, you can learn to resize your photos fairly easily through many of the photo software programs out there. The software programs that are packaged with your digital camera will explain the process and allow you to resize your image "for the web".

Headshots are submitted to industry people who are involved in the casting process. Depending on the level of professionalism, this could mean sending them to an agent as a means of making contact or sending them as a response to an ad for a Student Film Casting in a local actor's newsletter or giving them to an uncle who knows someone who knows Steven Spielberg. They carry the hopes and dreams of many actors in getting discovered.

Q. What makes a great headshot?

A. A great headshot is the perfect balance of quality, individuality, and effectiveness. A great headshot works on two levels, first esthetically - it looks good to the eye, even upside down. It grabs the attention of the viewer and pulls him/her in. Agents receive thousands of headshots a month. Your headshot has to stand out from the group and grab that agent by the lapels and say, "Look at me!" Secondly, it has to place the actor within a context that makes it easy for the industry professional to mentally cast that actor. They should be able to picture the actor in specific types of roles. This actor would make a great Romantic Lead, that one would make a great Villain. The headshot should be specific enough to define elements of a "type" but not so specific that it limits the actor to only one note. No one headshot can represent all of the possible roles that a talented actor could play, but an effective headshot can represent qualities that logically give a perspective for casting that actor.

Q. How do I go about getting a great headshot?

A. The search begins by sifting through the maze of avenues available to get a photograph that can represent you as an actor. Yes, it's possible that your Uncle Charlie who works at the DMV could take your picture and it will be in focus and will look like you to a certain extent but in the competitive world of Acting, better headshots present the actor as a professional who takes pride in his/her presentation and understands that the first line of offense is "penetration ". A Casting Agent receives a headshot (with a resume attached to or printed on the back) and decides whether that actor is worth a look or whether that headshot goes into the circular file (we all know what that is). Take a look through the dumpster behind a Casting Agent's office and cry for the lost opportunities tossed in there.

If you decide that the best approach is find a professional photographer (obviously my choice) and not to rely on a lucky accident by a friend, then you are faced with the prospect of figuring out what your budget will be and who is the best qualified photographer you can find for that budget. Professional Headshot Photographers come at all price points from the $99 special to the $1500 Hot Shot. Is more expensive better? Can you get a great headshot for $99? The bottom line is that as in real life - quality usually costs something. It comes down to this: A professional who has pride in his/her work, makes a living doing that work, and has tons of experience is invested in the result that they create, and has a sense of the market and current styles. Lower prices depend on volume for profit and must then cut back on personal attention and care. Yes, it's theoretically possible to get a great shot for $99, but it's also theoretically possible to pay $99 seven times to come up with something that could have come the first time from a trained qualified professional who knows the value of their work and depends on positive word of mouth to stay in business.

It's a cutthroat world out there for Actors. There are a myriad of businesses specifically designed to separate an aspiring actor from their money. Modeling schools that make empty promises for hefty sums, Casting Agents who charge for meetings, Agents who receive kickbacks from unscrupulous photographers, Acting Teachers who put the moves on students or take advantage of naivety. You've definitely got to listen to your gut, but forewarned is for-armed and it's certainly a buyer beware situation. But all is not lost and actors do get their money's worth by finding the photographers who deliver great results for reasonable prices.

The first step is to put your ear to the ground. Find a network of actors who are happy with their headshots and the rate they were charged. I mention the rate they were charged because the trick is not to break the bank, but to pay a reasonable rate to get a satisfying product. What is the going rate? What is enough to spend? Logic dictates that people who do something well get compensated for it. That goes for Doctors, Lawyers and Headshot Photographers. So, if the $99 deal seems too good to be true, yes, it probably is. Most New York Headshot Photographers fall within a range from $350 to $850. Does paying $850 guarantee a great shot? No. And beware of the "flavor-of-the-month" photographer who makes a big splash but can't deliver consistent results over time. New York City is the land of hype and lemmings form a line at every cliff face along the Hudson River. Most photographers in the range from $350 to $850 would probably do a fairly competent job, but the best shots come from a collaboration between a great professional that you connect with personally and feel comfortable with, and an actor who accepts some responsibility in the process.

Q. What then is the actor's responsibility in the headshot process?

A. An actor should be clear on the markets he/she wants to work in first of all. Do you want to get TV commercials? Well, you need shots that target those markets and present your type in a strong clear way. Are you a Business Person, a Mom, a Dad, an All-American Boy/Girl Next Door, A Pop-Culture GAP/MTV Kid? That's what should be evident in your commercial shot, and you might be more than one type. You need to cover all of your types. You might have an 8X10 of your strongest type and then a postcard with a shot of you as a different type on it. How about Film or TV or Theater? That's called a Legit Shot. A Legit shot defines the qualities that an actor projects and that fall into broad categories in the acting world. Are you more on the intense, edgy side or the loose, light, comic side? Are you going to be hired as the love interest or the best friend? Are you strongest as a more specific type like a thug or a general type like a romantic lead? And within those categories, where do you fall. Are you Ross or Joey or Chandler? Are you Monica, Phoebe or Rachel? Actors need to define themselves so that others can see it. A great photographer has the perspective to help you project your type so that Casting People are goosed in the right direction for casting you. If they understand the roles you would be good for, and your shot accurately and powerfully defines those elements, you'll get called in for parts that you are right for, a big important step in getting a role.

Q. When I look at most Headshot Photographer's work, it all looks the same to me. What differentiates a great Headshot Photographer from a good one?

A. It's difficult if you don't know much about photography to differentiate levels of quality in photography. This is where in this interview I have to speak personally, based on my experience and what I do to make my work stand out. One aspect of portfolios that is fairly evident is whether the photographer has a limited formula, which is stamped out on each client. It's not too difficult over time to master the technical elements in portrait photography. With enough experimentation any photographer can hit on a combination of lighting and lens that makes a pretty picture. What separates the greats from the rest is a photographer who generates the style of the headshot from the style of the client, who has a deep bag of tricks and has mastered many forms of lighting and shooting so that the headshot tells about the actor and not what photographer took the photo. Many agents pride themselves on being able to pick out the photographer who took your headshot, and while there are just a limited amount of photographers out there, the goal should be to sell you, not the photographer and their style. It's helpful to look through magazines that profile actors. The best photographers in the world shoot the actors for those magazines and you can learn a lot about quality photography, taking in those images.

On the most basic human level a great headshot makes a connection with the viewer. The actor and the photographer work together to make that happen. You need to look through the lens and see the person behind the glass. Bring it to them; create an emotion, intensity, and a statement that is defined in your mind. I encourage my clients to feed me emotions or intent. Some have an easier time with that than others. For those that find it difficult, we play games to loosen the flow. I don't commit to shooting until something is happening. I look for the moments when I feel the connection and BAM - there is a headshot!

The sitter is creating the role and the photographer is directing the action, choosing angles, and lighting, backgrounds that enhance the overall statement of the headshot. There is powerful magic in a great headshot. It commands attention and makes the viewer want to meet that person. As human beings we are drawn to truth and beauty, and those are the elements that make an outstanding headshot. A great photographer is excited by the search for those elements in all of his/her clients.

©Joe Henson 2009, All Rights Reserved


Joe Henson Photography

236 West 27th Street
Suite 10RW
New York, NY 10001

212-463-0575
917-913-6711

joe@joehenson.com
http://www.joehenson.com
http://joehensonphotography.blogspot.com
Friend me at http://www.facebook.com/joehensonphotography
Follow me on Twitter at http://twitter.com/joehensonphotog

This is Brian
The Voice Over Entrance Exam is a FREE workbook about getting Started in
the Voice Over Industry. To get your Free Copy just go to
Peter K. O’Connell – The Voice Over Entrance Exam
http://www.audioconnell.com/clientuploads/pdf/The_Voice_Over_Entrance_Exam_by_Peter_K_OConnell_Copyright_2009.pdf
and Download your Free Copy. No need to sign in or Sign up

The info covered by this book is listed at the Bottom

The Voice Over Entrance Exam
by Peter K. O’Connell

Owner of Voice Over Workshop
President of audio’connell voice over talent

Web
www.audioconnell.com
www.voworkshop.com
www.internationalvoicetalents.com

Social Media
Twitter@audioconnell
LinkedIn peteroconnell
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Old School
+01 716 572 1800
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How will this e--book help me?

Failure Is An Option
Reality Check (You could truly have a lousy voice)
Puzzled
Listen │Practice │Train
Voice Over INCORPORATED (More business than performance)
Final ThoughtsFinal Thoughtsvoworkshop.

This is Brian

Marketing Techniques and other Helpful Info is a Free Booklet made up of Articles
written by various Voice Industry Experts Covering a Wide range (Listed Below)
of Important Voice Over Issues.

 To get your FREE download of this Valuable Booklet you have to go to

 Michelle Summers – Audition Marketing Techniques
http://www.4shared.com/file/94206902/33861939/Audition_Marketing_Techniques_E-Book.html

And sign up for a Free Account - Once you signup you can download your Free e-book

MARKETING TECHNIQUES
And other helpful info!

Written by professionals in the voice over industry.

Tips for Voiceover Wannabees! Advice for Surviving and Thriving!

Getting Found and Cast

THE SECRET TO BREAKING INTO VOICE-OVERS AND SUCCEEDING

Finding the Natural Rhythm in Voiceover Copy

THE SECRET TO BREAKING INTO VOICE-OVERS AND SUCCEEDING

SHEDDING LIGHT ON THE “DARK SIDE” OF THE VOICE OVER BUSINESS:

LEGAL AND BUSINESS ISSUES IN THE VOICE OVER INDUSTRY

     I) To Incorporate or Not

     II) Potential Liability Issues Specific to the Voice Over Industry

          A) Celebrity Impersonating

          B) Product Endorsements

          C) Libel and Slander and Interfering with a Business Relationship

     III) Industry Contractual Issues and Considerations Relating to the Voice-Over
 

   IV) Intellectual Property Issues: Copyrights and Trademarks
          a) Infringement of Copyrights

          b) Protection of your work through Copyrights

           c) Trademarks and Service Marks

     V)  A Few Words On Business Insurance; Is it Really Necessary?
 
      VI) Tax Tips and Considerations

When Good Productions Go Bad: The Money Squeeze

When production finances get squeezed, it’s easy to consider shooting the same show for less.  Instead of, say, three pages a day, you start planning to cram in six or seven or ten.  Of course it can be done; you can work harder, shoot smarter….

http://reelgrok.com/producerscut/