Film Budgeting: Or How Much Will It Cost to Shoot Your Movie? |  | Author: Ralph S. Singleton
Publisher: Lone Eagle
Category: Book
List Price: $22.95
Buy New: $20.00
as of 9/7/2010 08:18 CDT details
You Save: $2.95 (13%)
New (7) Used (17) from $7.69
Seller: courtneydavids
Rating:  4 reviews
Sales Rank: 377,153
Media: Paperback
Pages: 330
Number Of Items: 1
Shipping Weight (lbs): 1.4
Dimensions (in): 8.9 x 5.8 x 1.1
ISBN: 0943728657
Dewey Decimal Number: 384.830973
EAN: 9780943728650
ASIN: 0943728657
Publication Date: January 25, 1996
Availability: Usually ships in 1-2 business days
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| Editorial Reviews:
Product Description
The most complete, reliable and comprehensive trade book about budgeting motion pictures.
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| Customer Reviews:
 An excellent guide for new and experienced producers. February 22, 1999
KKHB@aol.com (San Francisco, Ca.)
9 out of 9 found this review helpful
I used this book in the recent shooting of a feature film, and found it and the separately-available workbooks very helpful. The workbooks use examples from an actual film budget ("The Conversation"); the text is clear, compelling, accurate and up-to-date. Best of the "how to" film production books I have seen and used.
WRITTEN BY A PRO December 8, 1999
12 out of 14 found this review helpful
Author Ralph Singleton knows his stuff. He is not a "wannabe" producer (check out his credits on the IMDb!). Do what I did--take the complete 'do-it-yourself course' with the Scheduling book, Workbook and Forms book. Computer budgeting software is great -- but this book actually teaches you HOW to budget -- not just put numbers in columns.
THE industry standard for budgeting... June 18, 2007
David Park (Austin, TX)
2 out of 2 found this review helpful
This book has been around for a long time, but it is still the definitive work on film budgeting. Whether you're working on a $50,000 indie or a $20,000,000 feature, this book lays out in detailed yet readable form the proper steps to accurately forecasting the budget of your feature. One of the most powerful aspects of this budgeting system, which makes it the industry standard, is that a full line budget gives you an individual line code for every single expense. This makes tracking your expenditures significantly less complicated.
You should be aware that this book is part two of a pair. The first part, 'Film Scheduling' shows you how to break down your script to get a shooting board, daily call sheets and the all important "actors' day out of days" - you need these calculations to feed into the budget.
 Terribly Outdated and Poorly Edited June 28, 2005
Danielle Turchiano (Van Nuys, CA United States)
12 out of 12 found this review helpful
If you're looking to produce a very low-budget, extremely independent movie this book is not for you. If you are a completely green producer, this book is helpful in the sense that it gives you the page design of all the important budget forms at a much cheaper price than purchasing Movie Magic. However, the primary example in this book is a Coppola film, "The Conversation," which had a budget much higher than one could afford just with personal investments. Thus, a lot of adjusting math figures is necessary for you to get what you need out of it. What's more, this book is in desperate need of a new edition: this was printed in 1996, and a lot has changed in terms of technology and film "norms." For example, this book says the average mileage reimbursement is 28 cents per mile, which I'm sure was true in 96, but now, nine years later, the average acceptable payment is 40 cents per mile from a studio and 32 from an individual (ie low budget indie). Cell phones are not even mentioned once in this book. It's also a hard read because it's hard to get past the sophomoric spelling mistakes and typographical errors. These are small, insignificant details that just appalled me: I can't take advice from someone who doesn't know the proper use of "your" or "you're." Overall this book is just frustrating. I'm sure he is a fantastic force in the film industry, but the execution of this book made it seem like he just doesn't care; it feels like an afterthought.
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