Corporate Media Production

2. New Auflage 2003
ISBN: 978-0-240-80514-6
Verlag: Taylor & Francis Ltd

Buch, Englisch, 278 Seiten, Format (B × H): 215 mm x 278 mm, Gewicht: 790 g

With the advent of affordable equipment, there are more opportunities than ever in the field of corporate media production. This book examines all aspects of this creative field, from concept development to the final stages of postproduction. The book also clarifies the roles of the writer, producer, director and client while focusing on the dynamics among these key players. This in-depth book captures all the technical and creative elements used in the creation of media in the corporate world. The new edition has been updated to reflect the most current media production, editing, delivery formats and processes, with an emphasis on DV. There is material on the new digital video cameras and non-linear editing systems, as well as an expanded discussion of audio sweetening. A new chapter on evaluation demystifies this critical process, and there is a new discussion of multimedia.

Zielgruppe

Students in corporate media courses; media professionals

Autoren/Hrsg.

DiZazzo, Ray (DiZazzo Media, USA)

DiZazzo, Ray

Fachgebiete

• Wirtschaftswissenschaften Wirtschaftssektoren & Branchen Medien-, Informations und Kommunikationswirtschaft Informationstechnik, IT-Industrie

Inhaltsverzeichnis

Part One: The Corporate Media Evolution1 The Changing Role of Corporate Media Uses of Media in the Corporate World Distribution and Delivery Systems Videocassettes Corporate Broadcasts Distance Learning CD-ROM, DVD, Streaming Video/Audio Interactivity-A Key The World Wide Web Local Area Networks and Intranets Creative Changes?2 The Key Players The Corporate Media Producer Staff and Freelance Producers Producer "Musts" The Reward The Director A Definition The Director as an Artist Not for the Fainthearted The Reward The Scriptwriter The Real Differences The Working Environment The Research Factor Staff and Freelance Writers Clients Client Profiles Busybodies Instant Decision Makers Yessirees Committee Heads Plain Old Perfect Clients A Dynamic Relationship3 Media Groups in the Corporate World Large In-house Media Groups Advantages and Disadvantages Small In-house Media Groups Advantages and Disadvantages Outside Production Companies Advantages and Disadvantages Prosumers Advantages and Disadvantages Freelancers Advantages and Disadvantages4 A Production Overview Writing Program Design Scriptwriting Preproduction Budgeting Talent Auditions and Bookings Crew Bookings Equipment Reservations or Rentals Location and Set Arrangements Blocking, Storyboards, and Diagrams Rehearsals and Meetings Production Scheduling Production Location Production Studio Production Graphic Arts Production Audio Production Postproduction The Traditional Offline Edit The Traditional Online Edit Nonlinear Editing Audio "Sweetening" The Traditional Laydown and Layback Nonlinear Audio Sweetening Duplication/Distribution5 Production People The Line Producer The Production Manager The Assistant Director (AD) The Production Assistant (PA) The Director of Photography (DP) or Videographer The Camera Operator The Gaffer The Grip The Sound Recordist/Mixer The Audio Boom Operator The Floor Manager or Stage Manager Technical Director (TD) Videotape Operator (Tape Op) Video Control Engineer (VC) Engineer in Charge (EIC) Teleprompter Operator The Makeup Artist Graphic Artist The Offline Editor The Online Editor The Audio Sweetening EngineerPart Two: The Script6 The Program Needs Analysis The Scenario of the Unneeded Media Program Program Design The Problem or Need Objectives Instructional Objectives Motivational Objectives Mixing Objectives Audience Analysis Audience Size/Discipline Audience Demographics Audience Attitudes Audience Needs/Interest Audience Knowledge Level Multiple Audiences Utilization Interactive Design Design Summary A Complete Program Needs Analysis Commentary The Decision 7 The Content Outline Acquiring Content Information Interview Techniques and Research Sources Use a Tape Recorder If Possible Use Open-ended Questions Guide the Discussion Insist on Simplicity Listen Other Sources Organizing Content Information Content Outline Formats Informal Formal Other Structures A Formal Content Outline Commentary8 The Creative Concept Print Versus Visual (Showing Versus Telling) Telling (Print-Oriented Writing) Showing (Visual Writing) The Creative Visual Concept Types of Concepts Concept Thinking Concept Examples Host on Camera with Slides Transferred to Tape Music Video Documentary Children Interviewed on Clean Air Concept Summary9 The Treatment A Definition Treatment Summary A Complete Program Treatment Commentary10 The Script Formats The Two-Column Format The Screenplay Format Interactive Scripts Storyboard Narration Script11 Script Terminology Editing Terms Camera Terms Scene Heading Terms Sound Terms Master Scenes Versus Detailed Descriptions12 Dialogue and Narration Dialogue Credibility Natural Speech Patterns Believable Character Motivation Use of Contractions and Colloquialisms The Dialogue Test Narration Effective Narration Qualities Conversational Tone Content Focus Simplicity13 Structure and Transitions Types of Structures Structure Versus Storyline Corporate Structures The Tell 'em Structure Tell 'em Examples Benefits Bookends Contrasting Actions Creative Use of Structure14 A Screenplay Format Script CommentaryPart Three: Preproduction: The Plan for Success15 Preproduction Detail-the Key The Players The Client The Producer The Director The Assistant Director The Production Assistant Crew Costs Run 'n' Gun Shoots Preproduction Tasks Budgeting Reviewing and Breaking Down the Script Creating The Master File Obtaining Props and Wardrobe Scouting and Confirming Locations and Obtaining Permits and Releases Auditioning and Selecting Talent, Professional and Otherwise Developing and Writing the Shooting Schedule Hiring the Crew Designing Sets Renting or Reserving Production Equipment and Vehicles Equipment Lists Designing and Creating Artwork, Animation, and Character-generated Titles Reviewing and Selecting Stock Footage Reviewing and Selecting Music Blocking the Script Rehearsing Conducting Preproduction Meetings Preparing Equipment for the ShootPart Four: Production16 Production Formats, Equipment, and Shooting Styles Glamour or Grind? The Videotape and Film Recording Processes Film Recording Video Analog and Digital Recording Formats One-Inch Reel-to-Reel Three-Quarter-Inch U-Matic Half-Inch Camcorders D (Digital) Formats DV (Digital Video) Equipment Cameras Videotape Recorders (VTRs) Microphones Mixers Monitors Lights Lighting Accessories Other Equipment Production Styles Location Shooting Single-Camera Style Studio Shooting Multicamera Style "Virtual" Production17 A Day on Location and a Day in the Studio Location Production Setup Rehearsal Take One The Strike Small Location Shoots Studio Production Rehearsal Switching Live-on-Tape Nondramatic Studio Shoots Smaller Studio Shoots18 Audio Production Audio Recording in the Studio The Production Audio Room The Recording Session The Audio Script Transfer to Videotape Audio Recording on Location Sync Source Field or Studio? The Importance of SoundPart Five: The Director19 The Director's Role Illusionism: The Director's Art Script Aesthetics Informational Clarity A Rule of Thumb Character Profiles Host Roles Dramatic or Humorous Roles Plot and Structure Structure and Transitions Tone and Pace Summary20 Human Aesthetics Image and Performance-The Critical Ingredients Casting Auditions Appearance ("Look") Performance Capability Ability to Take Direction Personality Audition Review Rehearsal Before the Shoot Script Discussions Readings Blocking Call at Home Mail or Fax Rehearsal on the Set Give an Initial Scene Overview Be Specific Give Specific Changes Now Provide Encouragement Break for Discussion if Needed Be Decisive Execution Distractions Directing Nonprofessional Talent Use Employees to Demonstrate Do Not Cast Employees In Character Roles Do Not Give Employees Scripted Information Lines Do Employ the News-style Interview Meet with Employees Before Taping Interviews Play Down the "Hollywood" Image Be an Involved Listener Prepare Interview Questions in Advance Be Patient21 Audiovisual Aesthetics Pictures and Sound Script Analysis and Visualization Visual Elements Camera Placement and Movement Standard Coverage Editing Coverage Nonstandard Camera Placement and Movement Movement Frame Size Short Focal Lengths Mid-range Focal Lengths Long Focal Lengths Prime Lenses Zoom Lenses Shot Descriptions Wide Shot (WS) Medium Shot (MS) Medium Closeup (MCU) Closeup (CU) Extreme Closeup (ECU) Insert Avoiding "Jump Cuts" Change Focal Lengths Change Camera Positions Plan Edits Carefully Frame Composition Balance Depth Mood and Lighting Sound Sound Quality Microphone Choices Types of Sounds Summary22 Technical Aesthetics Avoiding Technical Inaccuracies Props Makeup Wardrobe Continuity Problems Physical Continuity Performance Continuity Screen Direction "Sneaking" Across the Line Summary23 General Aesthetics A Definition Tone Corporate Tone Considerations Pace Shot Content Shot Length Editing for Pace Transitions Use of the Cut Use of Dissolves Use of Wipes Use of Digital Video Effects (DVE) Summary24 People Skills The Director as Consultant The Director as Manager Planning Organizing Confirming Preproduction Meetings The Director as Supervisor Communicate Be Accessible Be Decisive Be Reasonable Recognize Good Work Have Fun Say Thanks The Director as Coach Communicating with Actors Articulating Allowing Flexibility Clarifying Motivation Recognizing the "Real World" Encouraging Actors Demanding Excellence Recognizing Effort Knowing When to Let Up Gaining Respect Coaching Employee Talent Summary25 Judgment Skills Sensitivity to the People and the World Around Us Sensitivity to Audience Tastes Sensitivity to the Client's and Producer's Tastes Other Judgment Calls Judgment Under Pressure Visual Versus Content Content Versus Visual SummaryPart Six: Postproduction26 A Postproduction Overview Traditional Versus Nonlinear Traditional Editing Overview Duplication The Master Script Package The Editing Process and Time Code Time Code and Control Track27 The Traditional Offline and Online Edit The Offline Edit The Editor The Offline The Editing Process The Rough-Cut Screening Additional Notes The Online Edit Auto Assemble Special Effects and Titles28 Nonlinear Editing A Nonlinear Analogy The Nonlinear Editing Process Logging and Digitization Editing Titles and Artwork Client and Producer Review Output The Future of Nonlinear Editing Summary29 Audio Sweetening The Sweetening Room-Traditional Audio Sweetening The Laydown, Mix, and Layback Nonlinear Audio Sweetening30 Why Evaluate The Evaluation PaybackFeedback and The Need To ImproveDocumentation: Ammunition Against Executive AttackWhich Evaluation? Administering the EvaluationWhat Next?Indices EvaluationsConsiderationsA Final Note on Evaluations31 The Future of Corporate Media Network Media Delivery Interactivity Going Global Distance Learning Sales and Information Programming on the Nets A Challenging TomorrowGlossary

Über Autor(innen)

Ray DiZazzo is an award-winning writer, producer, and director with many years of experience in the corporate venue. He is President of DiZazzo Communications, an independent media company that has created programs for large corporations such as J.D. Power and Associates, GTE, and the United Way. In addition to his corporate media work, he writes on the subject and teaches.