The Steps in creating a video production
This booklet is a primer for those who have not yet had the opportunity to become involved in a top-quality video production, and a good refresher for those who have.
CONTENTS
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STEP 1 |
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¨ Target Audience |
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¨ Objective |
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¨ Synopsis |
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¨ Production Plan |
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STEP 2 |
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STEP 3 |
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STEP 4 |
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STEP 5 |
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EXTRA |
Creating an appealing and effective video production is a blend of talent and creativity plus planning and organization. In fact, almost half of this booklet addresses the Pre-Production planning phase.
Once the needs are assessed and budget parameters are determined, a Project Treatment is drafted. This is a one or two-page summary of the objectives, concept and production plan. The elements include:
¨ TARGET AUDIENCE: a profile of the primary and secondary target viewer and the typical viewing circumstance
¨ OBJECTIVE: the concisely stated goals of the completed program
¨ SYNOPSIS: a narrative outline of the principal components of the script, storyline flow, and the achievement of the stated objectives
¨ PRODUCTION PLAN SUMMARY: an overview of the shooting schedule, locations, interviews, set design, graphics, and other relevant elements
Upon approval of the Treatment, the Budget is finalized and approved. TPT’s Producer tracks the budget throughout each phase of the production process, and our client is never presented with any unexpected charges in the final invoice. If the option comes up for additional expenses (such as additional shooting or script changes desired by the client), this is discussed and approved by our client prior to commencing.
There are many approaches to the concept and style of an effective production, and the Writer must take many things into consideration, specifically the objectives set forth in the Treatment and the Budget parameters.
The spoken word is different than the written word. Many people can do a wonderful job of writing for print: marketing pieces, internal communiqués, and training manuals; but this does not necessarily translate well into conversational narrative. An experienced writer for the spoken word can take even mundane and technical information and craft it into a compelling communiqué.
The final approved script is “blocked” by the Director. Blocking is the creative craft of separating, in great detail, each scene change per the narrative and visual requirements.
The Location, Shot Schedule and other needs are entered for each scene. This is done on an Excel spreadsheet. Since the practicality of shooting the script in its original order is rarely realistic, the spreadsheet is then re-sorted into Shooting Schedule Script.
In some cases a Storyboard is prepared. This is an artist’s depiction of the script, scene-by-scene, to help the client and production staff envision the story.
Whenever practical, it is desirable to conduct preliminary Site Surveys at key locations in order to determine the most effective production scheduling. The main elements to consider in selecting and scheduling locations are:
Ø The look and feel of the scene: will it properly flow with the other scenes, does it match the artistic style of the production, and does it contribute to the objectives of the program?
Ø Lighting needs, exterior: where is the sun and shadows? Can this be shot on an overcast day? Are reflectors, fill lights, or a generator needed?
Ø Lighting needs, interior: are there windows, can blinds be closed, are there other reflective surfaces? How many amps of power on dedicated circuits are available, and how can extension cords be routed? Is a direct tie-in to the electrical box possible, or a generator needed?
Ø Audio needs: if principal sound needs to be recorded (narration, interviews), are there any interfering factors (air conditioning, PA systems, general noise)? For exteriors, do we have a contact with building management who can call off the yard-blower guys?
Ø Other factors: people going about their business who are not part of the production, scheduling restrictions, permissions, access to areas with our equipment, and other unexpected things that an experienced eye and ear will discern during the Site Survey.
Professional voiceover narration is the most common method for delivering a script, and it is the most cost-effective. Using an on-camera narrator is preferred in many productions:
¨ to add a friendliness and credibility to the production
¨ when there is a good deal of narrative to communicate for which there is minimal visual material available
¨ when a known celebrity or authority is desired
Over the years, TPT has worked with many professional actors / narrators and talent agencies, and we know who the best candidates are for the type and style of production.
Frequently, a production calls for the on-camera participation of our clients’ staff or associates. Whether it is a message from a corporate executive, testimony from a client, or observations from employees or other professionals, TPT is fully experienced in making things comfortable for those who do not work “under the lights” on a regular basis.
Depending on the scope of the day’s shooting needs, the production team can range from two people (for simple setups) to ten or more. Typically, a shoot will consist of a Producer, Director/Cameraman, Audio Tech, Lighting Director, and a Production Assistant / Grip.
Thorough pre-production planning and onsite flexibility result in a creative and efficient shoot. The Producer works onsite with the client (or other representative) to ensure that all the production needs are in place, reviewing the action and details for content and accuracy.
The Director is in charge of the rest of the crew, and responsible for bring the script to life, envisioning how the current scene flows with adjacent scenes, and making the final decisions on camera movement, lighting, and on-camera action.
Larger productions require additional personnel and equipment, such as: teleprompter / operator, make-up artist, lighting assistants, camera dolly or jib / operator, multi-camera setups and staff, set design / construction, studio rental, additional grips, and other items.
¨ VIDEO: all the raw footage must be viewed and logged. The Director then selects one or more clips for each scene in the script. This selected footage (along with the elements listed below) is then "captured", scene by scene, into the dedicated editing computer.
¨ STUDIO: typically, additional shooting is required to capture documents, table-top work, props, artwork, products and other objects.
¨ AUDIO: the appropriate music is selected from one or more production music libraries, and licensed for use in the production. CD music must be converted to a format suitable for digital editing. Frequently, we pre-edit the music for timing and flow. Also during this stage, voiceover narration is recorded.
¨ GRAPHICS: Logo treatments, titles, animations, cross-sections and still graphics are created and processed at this time.
¨ EDITING SCRIPT: the Director finalizes the Editing Script, which determines the elements, timing, effects and transitions for each scene, and the Editing Plan, which maps out what is to be done in what order.
This is the final phase of the video production. Here, all the previously prepared elements are seamlessly blended, per the Director’s plan. Today, most productions are edited digitally on a dedicated computer editing system, allowing for great flexibility and creativity.
The Editing Script is re-sorted in the order that the selected scenes appear in the sequence of the camera footage tapes, along with the original scene numbers and descriptions. These scenes are then captured into the editing computer.
Next, the Editor assembles the scenes in the proper order into the editing software’s Timeline. The Director works with the Editor to fine-tune the in and out points of each scene, adding transitions, graphics and layering as needed. The audio track is added, blending the voices, music and natural sounds.
Utilizing the flexibility of the digital editing system (also known as “non-linear editing”), scene sequences can easily be changed, and different “take” options can be reviewed.
Different versions can easily be produced, and additional language translations can be added.
Now that the production is complete, how are people going to see it? Today, there a many formats for distribution, and the Master Tape can be replicated in any desired media.
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DVD:
This is by far the superior distribution format, since DVD players are
ubiquitous. A DVD contains one or
more Titles, which appear on the on-screen menu for the viewer to select.
Within a Title, seamless Chapter points can be inserted, which allows the
viewer to skip ahead to the pre-designated area (typically with the >>|
button on the remote). Setting Chapters is performed as the last element in
the editing process. Other advanced
menu / navigation features are also available.
Once the program is completed, the digital video information goes
through the DVD Authoring / Compression process, then the Mastering /
Multiplexing to create a DVD Master, from which copies can be made.
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CD
(a.k.a.: VCD, Video CD, CD-ROM Video): This
media had a brief lifespan before DVD’s became cost-effective to duplicate at
smaller quantities, and before DVD players became the norm.
Since the quality / resolution is far inferior to DVD, the CD is most useful
for audio and data.
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DTV (Digital
Television) / HDTV (High Definition
Television). There are currently 18
different standards options in DTV, and HDTV represents most of them.
Compared to the current Standard Definition format that the US has been
using for 50 years, true HDTV practically doubles the resolution of the current
television standard, and expands the aspect ratio to match that of movies (16:9,
as opposed to 4:3). Many networks have been offering certain programs in HDTV
(available to those who have this type of television).
Originally the FCC mandated that all broadcasters phase out
Standard Definition in favor of DTV by 2006, but the marketplace has been slow
to embrace this change, and competitive manufacturers. The new deadline is
February, 2009!
In conclusion: any video produced by TPT can be processed / converted into any desired format.
Earlier, we discussed the roles of the Producer and Director. Here’s some other key positions, typical on larger productions.
DIRECTOR OF PHOTOGRAPHY: Depending on the size and budget of the production, the DP may also be the Cameraperson (or Cinematographer), which is usually the case on TV and video projects. The D.P. must have an impeccable feel for the style and texture of the production. Most scenes can be shot in a variety of different ways, and subjectively, they may all be correct. But for the footage to blend into a seamless finished piece, the composition, movement and lighting of each shot must be carefully considered.
LIGHTING DIRECTOR: The Lighting Director works under the direction of the Director and/or the DP. On all but smaller productions, the LD will have a Grip Truck loaded with a variety of stands, flags and other lighting accessories
GAFFER: The Gaffer, being the chief electrician on the set, works for the LD to provide the necessary power and equipment to supply the scene's lighting needs. Even on moderately sized productions, it is not unusual to require 100 amps. Thus, the Gaffer must either "tie-in" to the buildings main power, or provide external generators.
BEST BOY: The Assistant to the Gaffer. Sometimes credited as Best Boy Electric or Best Boy Grip.
KEY GRIP: The Head Grip-- the foreman in charge of all the other grips. A "Grip" is a manual laborer on the set.
DOLLY GRIP: The grip in charge of smoothly moving the camera dolly during a scene. A camera dolly is a wheeled platform that rolls along either a smooth surface or on dolly track to provide the smooth movement of the camera as it follows or creates the action.
SECOND UNIT: Many movie productions employ a Second Unit (Director, Camera, Crew) to concurrently shoot establishing scenes and other setups that do not require critical acting.
CONTINUITY DIRECTOR or SCRIPT SUPERVISOR: This person is responsible for keeping track of each scene in the script, the dialogue, and exactly what the action is in the previous and subsequent scenes. This role is of particular importance on productions that are shot out of sequence and over periods of time.
CRAFT SERVICES: Provides lunch, snacks and beverages on location or in the studio for the crew.
FOLEY ARTIST: The sound-effects specialist who adds a re-creation of the sounds that were impractical to properly record while filming, and may enhance and intensify sounds to increase the effect.
LOCATION
MANAGER: Responsible
for finding suitable filming locations and negotiating permission for their use.
Coordinates necessary permits, police assistance, parking, and other
location details.
PRODUCTION
ASSISTANT:
P.A.’s are on the set to run errands and execute various management
tasks for the department heads.
PRODUCTION
DESIGNER / ART DIRECTOR: In
charge of the design of the sets and props, working with the SET
DESIGNER and set construction crew.
PROPERTY MASTER:
The person in charge of obtaining or building props, making sure
they are in place on the set when needed, and arranging for secure storage.
PUBLICIST:
Coordinates
all media requests, interviews, set visits and publicity.
WRANGLER: Procures and maintains control and direction of the on-camera animals.
Copyright 2004 Texas Production Team