Introduction to Television Production PDF - Casting Film, Production Phases

ACM 2103 INTRODUCTION TO PUBLISHING INTRODUCTION TO TELEVISION PRODUCTION TV PRODUCTION vs VIDEO PRODUCTION  For all practical purposes: TV and video are identical media.  Both productions involve the same skills, equipment and techniques.  TV usually transmits programs direct to the gener...

ACM 2103 INTRODUCTION TO PUBLISHING INTRODUCTION TO TELEVISION PRODUCTION TV PRODUCTION vs VIDEO PRODUCTION  For all practical purposes: TV and video are identical media.  Both productions involve the same skills, equipment and techniques.  TV usually transmits programs direct to the general public (via broadcast transmitters, cable, or satellite).  Video is invariably concerned with non-broadcast or closed- circuit material. TELEVISION  Propagated by broadcast transmitters-satellite-cable For Public broadcasts Newscasts Weather Sport Interviews Drama Documentary Music Science Films Comedy Adventure Hobbies Wildlife Talks Dance Children Game shows Demonstrations Talk shows etc. VIDEO  Propagated by VCR cassettes – DVD –Blue Rays – Satellite – Cable For Individual, carrel or group viewing… in home, study center, workplace, training center, library, seminar, sales point, exhibition, etc. THE SCALE OF OPERATIONS  TV and video programs today are made by production units ranging from a single person with a camcorder, to a large group of specialists with a multi-camera team.  While some organizations have their own fully fitted studios and go-anywhere mobile units for remote/outside broadcasts, other hire equipment as needed from facility houses.  Program makers work mainly on location (exterior or indoor.)  Programs are produced by broadcast organizations (in-house) or from freelance production houses. LIVE or TAPED  Live Production  audience sees the actual events as they are happening.  They feel that they are watching through the camera’s eye and there is always the thrill of the unexpected.  This can add to the tension, and excitement of the occasion, especially in a sporting event, where the results are not known.  Recording  Videotaping gives the director an extra productional dimension.  There is a greater flexibility, a freedom to correct and modify, to produce a more polished eye-catching product.  The production process itself is simplified in many ways.  The product can be marketed, or retained as archive material for inserts into future programs.  An unrecorded live production is lost forever. THE PRODUCTION PHASES  The phases include a variety of chores that need to be done BEFORE the production, DURING the actual production activities and AFTER the production.  This phases or in production language, it calls: 1. Preproduction 2. Production 3. Postproduction  PRE-PRODUCTION  Conceptualization- you jot down every thought that occurs to you— regardless of if you find value or relevance in it  Research  Scripting  Storyboarding  Casting- Casting is a pre- production process that involves choosing actors to fill the roles in a particular TV show, movie, commercial, or play. Directors and producers will hire a casting director to oversee the casting process, which includes auditioning, screen tests, and callbacks.  Crew selection Why casting is important?  Casting is one of the most crucial parts of the filmmaking process because performance can significantly impact how audiences and critics receive a film.  Choosing the right actor can enhance your project, while a miscast role can diminish a particular character’s believability, which can be detrimental to a film or TV show.  Even if the character is unlikeable or an antihero, the audience must believe the actor’s performance to remain invested. Finding the right talent for a role can be challenging because it requires a mix of critical analysis, instinct, and good timing.  How to Cast a Film 1. Break down the script. To break down a script, casting directors will read through a screenplay and create character descriptions for each speaking role. They compile these descriptions into a casting breakdown that contains information about all the different roles, including the age range of the characters, appearance, character notes, and any relevant backstory that can help the actor further embody the role. 2. Send out the breakdown. Some casting directors will set up an open call for auditions online or send the casting breakdown directly to talent agents. To hold an open casting call, post the breakdown online to relevant casting sites or forums to find lesser-known actors who may be right for the part. If you’re sending the breakdown to a talent agency, they will use it to determine which talent on their current roster can fulfill the role and recommend actors they think are the right choice. 3. Provide sides. There are two types of auditions: in-person and self-tape (the talent records their audition and sends it to casting). Whether you’re calling in an actor for an in-person audition or requesting a self-tape, you’ll need to provide them with sides, a small sample of relevant dialogue, and actions for the talent to perform. Sides can help the casting director envision a particular actor as the character, or rule them out altogether. 4. Send a callback. When casting, it’s essential to see as many performers as possible to broaden the selection of talent you can choose from.You may need to call back some actors multiple times to perform different scenes to see if they’re the right fit for the role.You should also compare their performances to other potential actors to help you make the best possible casting decision. Callbacks help the casting department narrow down their search for the perfect performer, allowing the team to take another look at a viable choice. 5. Screen test. A screen test is a filmed audition where an actor performs sides on-camera. The casting department uses screen tests to analyze performance, wardrobe, makeup, and the on-screen chemistry between actors. If your project has multiple leads, you’ll need to ensure they work well together and have good chemistry. Screen tests let you see how an actor performs for the camera, their on- screen chemistry with their co-stars, and whether they have the right presence for the role. 6. Make the selections. While the casting company is responsible for wrangling the talent, the director and producers ultimately decide which actors to book for the role. Choose the actor that best suits the role and your budget.  Production  Actual production process begins with shooting.  Now we are in the studio or in the location.  Before shooting starts, lighting technicians adjust light for better visual quality.  Shooting is done using single camera or many cameras.  Production stage of film and television are almost same.  More discussion on production stage is given in film production in the next module.  Post-Production After the shoot is over, the rushes (the raw visuals) are assembled and they are viewed to ensure visual clarity or missing. During this stage, animations are produced, music is composed or selected, titles and graphics are prepared to be included during the time of editing visuals. Editing stage is to assemble the visuals which captured from different locations and time. Editing is to organize the visuals according the original script along with digital manipulation techniques such as animation, visual effects, sound mixing etc. There are two types of editing - Linear and non-linear. Non-linear editing is possible, if use digital equipment. Nowadays, we use computers with special software for editing. Adobe Premier Pro and Apple’s Final Cut Pro are such soft wares. TV PRODUCTION  To start the production, is often a carefully balanced compromise between artistic aspiration and hard practicalities.  The way you present ideas will influence how your audience receives and interpret them.  The production model is a road map for how to streamline the various production phases necessary for a variety of productions. 1.1 PRODUCTION MODEL EFFECT TO CAUSE PRODUCTION MODEL  The effect-to-cause production model jumps A B from the initial idea and idea Defined process message story angle directly to the desired effect—the process message. C Production E Feedback  It then backs up to the Medium requirement- medium requirements that Content - People - Equipment suggest the production D Actual process message elements and processes necessary to produce the defined process message.  DEFINED PROCESS MESSAGE  The production message is depended on the desired effect on the target audience.  So, it also moves to the medium requirements, which includes content, people and equipment necessary for the three production phases.  To further streamline the production process, also depended on a useful angle.  Angle is a specific story focus, a point of view from which to look at and describe an event.  The closer the defined messages match, the more successful the program.  A proper process message and a specific angle will lead to the choice of equipments, crews and the location.  THE PRODUCTION TEAM  The production team is divided into categories, such as:  The production staff  Technical crews  Engineers  Administrative personnel.  The production personnel also are know as:  Nontechnical personnel  Technical personnel  NONTECHNICAL PRODUCTION PERSONNEL  Generally involved in translating a script or an event into effective television images.  They are also called above-the-line personnel because they fall under a different budget category from the technical crew, who are called below-the-line personnel.  However, for smaller television operations one person might carry out several different functions. (Normally in Malaysian scenario practice this).  For example, the producer may also write and direct the show, and the floor manager may take on the responsibilities of the line producer.  A floor manager or floor director = is a member of the crew of a television show. The floor manager is responsible for giving information from the director in the control room, to the crew on the studio floor, and then back to the director.  Line producers are at the heart of a production, hiring the crew, allocating the money and making sure the filming is done safely, creatively, on budget and on time.... At the end of the shoot, they oversee the wrap, or winding down, of the production and hand over to the post-production supervisor.  NONTECHNICAL PRODUCTION PERSONNEL PERSONNEL FUNCTION Executive producer In charge of one several large productions or programme series. Manage budget and coordinates with client, station management, advertising agencies, financial supporters and talent and writer’s agents. Producer In charge of an individual production. Responsible for all personnel working on the production and for coordinating technical and nontechnical production elements. Often serves as writer and occasionally as director. Assistant Producer Assist producer in all production matters. Often does the actual coordinating jobs, such as telephoning talent and confirming schedules. Production Manager Schedules equipment and personnel for all studio and field productions.  NONTECHNICAL PRODUCTION PERSONNEL PERSONNEL FUNCTION Production Assistant Assist producer and director during actual production. During rehearsal takes notes of producers and/or directors suggestions for show improvement. Director In charge of directing and technical operations. Is ultimately responsible from transforming a script into effective video and audio messages. At small stations may often be the producer as well. Assistant Director Assist director during actual production. Floor Manager In charge of all activities on the studio floor. Coordinates talent, relays director’s cue to talent, and to talent, and supervises floor personnel. But for large operations, is responsible for setting up scenery and dressing the set. Also called floor director and stage manager.  NONTECHNICAL PRODUCTION PERSONNEL PERSONNEL FUNCTION Writer At smaller stations and in corporate television, the script are often written by the director or producer. Art Director In charge of the creative design aspects of show (set design, location, and/or graphics). Graphic Artist Prepares computer graphics, titles, charts and electronic background. Makeup Artist Does the makeup for all talent. Usually hired on a freelance basis. Costume Designer Designs and sometimes even constructs various costumes for dramas, dance numbers, and children’s shows. Usually hired on a freelance basis. Property Manager Maintains and manages use of various set and hand properties. Found in large operations only. Otherwise, props are managed by the floor manager. Sound Designer Constructs the complete sound track (dialogue and sound effects) in postproduction.  TECHNICAL PERSONNEL Engineering Staff PERSONNEL FUNCTION Chief Engineer In charge of all technical personnel, budgets and equipment. Design system, including transmission facilities, and oversees installations and day-to day operations. Assistant Chief Engineer Assist Chief engineer in all technical matters and operations. Also called engineering supervisor. Studio or remote engineer-in- Oversees all technical operations. Usually called EIC. charge Maintenance Engineer Maintains all technical equipment and troubleshoots during productions. **These people are actual engineers who are responsible for the purchase, installation, proper functioning, and maintenance of all technical equipment. NONENGINEERING TECHNICAL PERSONNEL PERSONNEL FUNCTION ** Although skilled in technical aspects, the following technical personnel do not have to be engineers but usually consists of technically trained production people. Technical Producer Does the switching and usually acts as technical crew chief. Camera Operators (videographer) Operate the cameras; often do the lighting for simple shows. When working primarily in field productions (ENG/EFP), they are sometimes called videographer. Director of Photography (DOP) In film productions, in charge of lighting. In EFP, operates EFP camera. Lighting Director In charge of lighting; normally found mostly in large productions. Audio technician (audio man) In charge of all audio productions. Works audio console during the show. Also called audio engineer. Video editor Operates postproduction editing equipment. Often makes or assists in creative editing decisions. Character generator (C.G.) Types and/or recalls from the computer the names and other Operator graphic material to be integrated with the video image. Technical Production Systems Basic Television System  The television system consist of equipment and people who operate that equipment for the production of specific programs.  The television camera converts whatever it “sees” (optical images) into electrical signals that can be temporarily stored or directly reconverted by TV set into visible screen images.  The microphone converts whatever it “hears” (actual sounds) into electrical signals that can be temporarily stored or directly reconverted into sounds by the loudspeaker.  In general, the basic television system converts one state of energy (optical image, actual sound) into another (electric energy). Picture above (please refer picture in the text book page 13) shows the picture signals are called video signals, and the sound signals are called audio signals. The basic television system converts light and sound into electrical video and audio signals that are transmitted and reconverted by the TV receiver and loudspeaker into TV pictures and sound. Technical Production Systems Expanded Television System  The expanded system includes more equipment in a variety of configurations.  Productions such as news, interviews, game shows and soap operas use the multi-camera studio system.  The multi-camera studio system in its most elementary stage includes two or more cameras, camera control units (CCUs), preview monitors, a switcher, a line monitor, one or more video recorder and/or the transmission device.  The audio portion of the expanded system consists of one or more microphones, an audio mixer or console, an audio monitor (speaker), and a line-out that transports the sound signal to the video recorder and/or transmitter. Technical Production Systems Expanded Television System  Picture: Multicamera Studio System (text book page 14)  The multicamera studio system contains quality controls (CCU and audio console), selection controls (switcher and audio console), and monitors for previewing pictures and sound.  FIELD PRODUCTION SYSTEMS Technical Production Systems Electronic News Gathering (ENG) System The ENG system consists of a cam-coder and a microphone. The cam-coder includes all video and audio quality controls as well as video- and audio-recording capabilities. A portable transmitter is necessary to send a live field pickup to the studio.  FIELD PRODUCTION SYSTEMS Technical Production Systems Electronic Field Production (EFP) System The EFP system is similar to that for ENG, but it may use more than one camera to feed the output to separate video recorders.  PREPRODUCTION  Preproduction includes planning how to move from idea to the script.  Important preproduction items are the program proposal, the treatment, the budget, and the script.  There are some typical factors that influence production methods, which normally presented in TV Production Proposal.  The proposal is a written document that stipulates what you intend to do.  It briefly explains the program objective and the major aspects of the presentation.  TV PRODUCTION PROPOSAL  There is no standard format for a proposal.  The way a producer or the production team presents a proposal as a subject and organize the facilities can depend on the program subject and the audience: a. The nature of the subject  Some program topics require considerable preparation, e.g. research, specialist knowledge, finding suitable illustrations, etc.  Even a straightforward presentation may involve extensive organization – re-copyright, insurance, technical problems.  Some subjects pose inherent problems, e.g. children, animals, materials that quickly deteriorate. b. Program title  Keep the title short but memorable.  TV PRODUCTION PROPOSAL c. Program objective  What do you hope to achieve? E.g To celebrate Women’s Month.  To amuse and entertain your audience?  To inform them (e.g. provide data, instruct, guide)?  To teach (e.g. language course)?  To persuade them to buy or use a product (sales, advertising)? d. Target audience  Who are you targeting?  Have a specific target eg, Now Generation, Nation Builders etc.  No TV programme appeals to everybody, so have a primary target in mind. e. The program format  Some presentations follow established routines (e.g. interviews); and an entirely different approach may prove unacceptable or distracting.  TV PRODUCTION PROPOSAL f. Show Treatment  A brief narrative description of the program.  Storyboard may be included.  Style of show - some subjects require special facilities or preparation (e.g. models, computer graphics).  Some types of production (e.g. dance, moving vehicles) need a lot of space to be presented effectively.  Keep the treatment brief and concise – an executive summary of what you intend to do.  TV PRODUCTION PROPOSAL g. Production method  The duration of the presentation will affect how many topics/themes you can cover, how far you can develop ideas.  Is it a single a single complete presentation, or one of a series? Are part self-contained, or related to (developed from) others?  Is the programme being presented ‘live’, ‘live on tape’, or edited?  Are there opportunities for retakes to correct and improve?  Will editing involve basic compilation, of full post-production treatment?  Will the programme be studio-based or on location (i.e. self-dependent)?  Single-camera or multi-camera approach?  Is it to be unrehearsed, or partially or fully rehearsed?  Will it be recorded straight through, or in sections? g. Tentative budget  Up-to-date with market price for rental, services and wages.  Divide the expenses into preproduction, production and postproduction.  Prepare a realistic budget – not too cheap and expensive.  Make sure to add at least 15-20 percent from the budget for the contigency.  CONCLUSION  Videotape recording requires careful preparation and meticulous attention to detail in the preproduction, production and postproduction phases.  The phases include a variety of chores that need to be done BEFORE the production, DURING the actual production activities and AFTER the production.  It is advisable to through a checklist before you start the recording.  Such checklists are helpful when doing field productions (does not matter it is a tape-recording or tapeless-recording).  The ‘before’ checklist  The ‘during’ checklist  The ‘after’ checklist  CONCLUSION  The coordination tasks in preproduction are establishing communication among all personnel involved, filing a facilities request, creating a realistic production schedule, securing permits and clearances and taking care of publicity and promotion. Shooting schedule (breakdown)