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In the back are all the forms you will need and a comprehensive listing of service providers. Read through this guide and you will know everything you will need to know before you set out to shoot in the Las Vegas area.  \nREMEMBER  \nAlthough you are a student filmmaker, you should conduct yourself as a professional. Always keep in mind that you represent not only the UNLV Film Department but also your fellow students – current and future. Any time these organizations have a bad experience with a student, it reflects poorly on all of us. Should you have any conflicts or difficulties with any production entity, inside or outside the university, it is imperative that you inform the Production Supervisor immediately, so that he may work to deal with the situation.  \nSCRIPT PREPARATION  \nCOMPLETING A FINAL SCRIPT  \nThe crucial task is to complete your script before you move deep into pre-production. Only after you have locked down your plot and characters (but not necessarily dialogue) will you be able to plan accordingly.  \nREGISTERING THE SCRIPT  \nAfter a script is complete you will want to register it with the Writer’s Guild of America. You can do this by contacting the Writer’s Guild of America – West at:  \nWGA-West  \n7000 West Third Street Los Angeles, CA 90048 Ph.323.782.4500  \n[www.wgawregistry.org](www.wgawregistry.org)  \nYou will also want to copyright your screenplay by contacting the Library of Congress at:  \nLibrary of Congress Copyright Office  \n101 Independence Avenue, SE Washington, DC 20559-6000 Ph.202.707.5959 [www.copyright.gov](www.copyright.gov)  \nGETTING AN OPTION AGREEMENT  \nIf you need to option underlying material (book, article, film, etc.) for your script, make sure you negotiate an option with the writer(s) of that material. It is usually easiest and cheapest to contact the writer directly for the rights to use their material. You will (in most cases) be asking for rights to create a short film out of the material so you will not have much or any money for the rights. By avoiding the manager or agent, you can often get an easier “yes”and a more affordable deal for the rights if you can deal with the writer solely. If you cannot get to the writer directly or if they ask you to negotiate with their agent, then contact that person and ask for the short film rights. You can find an example of an option agreement that you can customize however you’d like for your particular needs at the back of guide. Often the literary agent will have their own document or deal memo for you to sign. If that is the case, make sure you contact a lawyer before signing anything.  \nASSEMBLING A SHOOTING SCRIPT  \nAfter you've completed your script, you can now put together the scenes that will be shot in one location, and reassemble the script so that scenes are grouped according to location. This is the version of the script that should be copied for key crew members.  \nDOING A SCRIPT BREAKDOWN  \nThe script breakdown takes the script apart and allows you to determine exactly what you’ll need for each and every scene: cast, extras, props, vehicles, wardrobe and makeup, special effects, stunts, sound effects and special equipment. If you have a large enough crew, each department head (Set Designer/Art Director, Wardrobe, etc.) may do their own. Only by doing your own breakdown will you be sure that you haven’t forgotten anything. You can create your own breakdown sheet, or use the one at the back of this guide.  \nDRAWING UP A SHOT LIST  \nThe director is responsible for drawing up a list of shots, from master shots to extreme closeups, to assure that you get the coverage you need. Do this first by taking your script and outlining (in vertical lines along the side) what types of camera positions you want to cover each piece of dialogue and action. At this stage, seek the advice of y","cbCaiusMQGUKp6nF","https://ap.wps.com/l/cbCaiusMQGUKp6nF","pdf",261677,"English","# Introduction\n## Remember\n# Script Preparation\n## Completing a Final Script\n## Registering the Script\n## Getting an Option Agreement\n## Assembling a Shooting Script\n## Doing a Script Breakdown\n# Planning the Shoot\n## Drawing Up a Shot List\n## Creating Floor Plans / Storyboards\n## Budgeting\n## Creating an Estimated Budget","[{\"question\":\"What does the guide emphasize about student professionalism during production?\",\"answer\":\"It advises student filmmakers to behave professionally because they represent the UNLV Film Department and their fellow students. 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