Corporate media production / Ray DiZazzo.

Format:

Book

Author/Creator:

DiZazzo, Raymond, author.

Language:

English

Subjects (All):

Video recordings--Production and direction.

Video recordings.

Industrial television.

Industrial television--Authorship.

Physical Description:

1 online resource (203 pages)

Edition:

Third edition.

Place of Publication:

New York, NY : Routledge, 2021.

Summary:

"This book offers an in-depth exploration of the exciting field of corporate media production from concept development through to the final stages of postproduction and considers all the technical, interpersonal and creative elements needed for success. This third edition has been updated to reflect both traditional and social media production perspectives, including all phases of research and script development/presentation; essential preproduction activities and production styles; equipment; editing; distribution and evaluation methods; and the role of social media as distribution platforms. Special emphasis is placed on the director's role, client education, and handling. Organized to follow the standard production sequence, Corporate Media Production will lead students through the entire process in a clear, logical, step-by-step manner. Topics include: Program Needs Analysis, Client Interaction, Critical Judgment and People Skills, The Director's role, Script essentials, Dialogue and Narration, Audio Production, Editing Social Media, Production and Distribution. Written in an engaging and easy to follow format, this book is a perfect introduction for students wanting to learn the ins and outs of corporate media production"-- Provided by publisher.

Contents:

Cover

Half Title

Title Page

Copyright Page

Table of Contents

Preface and Acknowledgments

I: The Corporate Media Evolution

1. Change in Motion

Two Forms, One Foundation

2. The Value and Purpose of Corporate Media

Large In-House Media Groups

Advantages and Disadvantages

Small In-House Media Groups

Outside Production Companies

Freelancers

3. The Key Players

The Corporate Media Producer

Staff and Freelance Producers

Producer "Musts"

The Rewards

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

Plain Old Perfect Clients

Busybodies

Instant Decision Makers

Committee Heads

A Dynamic Relationship

4. Production People

Line Producer

Production Manager

Assistant Director (AD)

Production Assistant (PA)

Director of Videography (DV)

Camera Operator

Gaffer

Grip

Sound Recordist and Mixer

Audio Boom Operator

Floor Manager or Stage Manager

Technical Director (TD)

Video Control Engineer (VC)

Engineer In Charge (EIC)

Teleprompter Operator

Makeup Artist

Graphic Artist

Editor

Audio Sweetening Engineer

Finally

5. 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.

Social Media-Style Production

Postproduction

Editing

Audio "Sweetening"

Summary

II: The Script

6. The Program Needs Analysis (PNA)

The Problem or Need

Objectives

Instructional, Motivational and Informational Objectives

Motivational Objectives

Mixing Objectives

Audience Analysis

Audience Size/Discipline

Audience Demographics

Audience Attitudes

Audience Needs/Interest

Audience Knowledge Level

Important Audience Factors

Multiple Audiences

Utilization

Interactive Design

Design Summary

A Complete PNA

The Decision

7. The Content Outline

Acquiring Content Information

Who?

What?

When?

Where?

Why?

How?

Benefits/Drawbacks?

Interview Techniques and Research Sources

Use a Recorder Whenever Possible

Use Open-Ended Questions

Guide the Discussion

Keep it Simple

Listen

Other Sources

Organizing Content Information

Content Outline Formats

Social Media-Style

Formal

A Formal Content Outline

Commentary

8. 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 Still Images

Music Video

Documentary

Children Interviewed on Clean Air

Concept Summary

9. The Treatment

Treatment Summary

A Complete Program Treatment

10. The Script

Formats

The Two-Column Format

The Screenplay Format

Interactive Scripts

Storyboard

Narration Script

11. Script Terminology

Editing Terms

Fade In/Fade Out

Dissolve

Cut

Wipe

Effect

Camera Terms

Wide Shot (WS)

Establishing Shot

Long Shot (LS)

Medium Shot (MS)

Medium Closeup (MCU)

Closeup (CU).

Extreme Closeup (ECU)/Insert

Two Shot

Over The Shoulder (OTS)

Point of View (POV)

Reverse Angle

Rack Focus

F.G./B.G.

Low Angle

High Angle

Pan/Tilt

Dolly/Truck

Scene Heading Terms

Int./Ext./Day/Night

Sound Terms

Sound Effects (SFX)

Music Up/Under/In/Out/Sting

Master Scenes Versus Detailed ­Descriptions

12. 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

Simplicity

13. 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 Structure

14. A Screenplay-Format Script

III: Preproduction: The Plan for Success

15. Preproduction

Detail: The Key

The Players

The Client

The Producer

The Assistant Director

The Production Assistant

Social Media-Style Shoots

Preproduction Tasks

Creating the Master File

Needs Analysis, Content Outline, Treatment and Shooting Script

The Budget

Agreements, Deal Memos and Contracts

Writers' and Directors' Contracts

Crew and Non-union Talent Deal Memos

SAG Contracts

Non-union Contracts

Rental Agreements

Releases

Image or Photographic Releases

Other

Master Script(s)

Shooting Schedule

Shot List

Production Logs

Expense Logs and Receipts

Reviewing and Breaking Down the Script

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 Shoot

IV: Production

16. Production Recording ­Formats, Equipment, Systems and ­Shooting Styles

Digital Recording Basics

Camera Recording

Audio Recording

Graphic Systems Recording

Production Equipment

Cameras

Microphones

Mixers

Lights

Lighting Accessories

Other Equipment

Sliders, Cranes and Jibs

Cables

Batteries/Power

"C" Stands

Apple Boxes

Gaffer's Tape

Production Styles

Location Shooting

Single-Camera Style

Studio Shooting

Multi-camera Style

Live Streaming

17. A Day on Location and a Day in the Studio

Setup

Rehearsal

Take 1

The Strike

Social Media-Style Location Shoots

Location Production Summary

Switching Live

Smaller Social Media-Style Studio Shoots

18. Audio Production

Audio Recording in the Studio

The Voice-Over Booth

The Recording Session

The Audio Script

Audio Recording on Location

Field or Studio?

The Importance of Sound

The Bottom Line on Sound

V: The Director

19. 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

Structure and Transitions

Tone and Pace

20. Human Aesthetics

Image and Performance: The Critical Ingredients

Casting

Auditions

Appearance (Look).

Performance Capability

Ability to Take Direction

Personality

Audition Review

Before the Shoot

Script Discussions

Readings

Blocking

Call at Home

Email or Snail Mail

Rehearsal on the Set

Give an Initial Scene Overview

Be Specific

Give Changes Immediately

Provide Encouragement

Break for Discussion if Needed

Be Decisive

Execution

Distractions

Directing Nonprofessional Talent

Use Employees Only 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 Patient

21. Audiovisual Aesthetics

Pictures and Sound

Script Analysis and Visualization

Visual Elements

Camera Placement and Movement

Standard Coverage

Editing Coverage

Nonstandard Camera Placement

Movement

Frame Size

Short Focal Lengths

Mid-range Focal Lengths

Long Focal Lengths

Prime Lenses

Zoom Lenses

Shot Descriptions

Wide Shot

Medium Shot

Medium Closeup

Closeup

Extreme Closeup

Insert

Avoiding "Jump Cuts"

Change Focal Lengths

Change Camera Positions

Plan Edits Carefully

Frame Composition

Balance

Depth

Lighting and Mood

Achieving the Proper Video Levels and Values

Creating Mood, Tone and Textures

Sound

Sound Quality

Microphone Choices

Types of Sounds

22. Technical Aesthetics

Avoiding Technical Inaccuracies

Props

Makeup

Wardrobe

Continuity

Physical Continuity

Performance Continuity

Screen Direction

"Sneaking" Across the Line

23. General Aesthetics

Tone

Corporate Tone Considerations

Pace

Shot Content.

Shot Length.

Notes:

Includes index.

Description based on print version record.

ISBN:

1-00-301467-4

1-000-07677-6

1-000-07675-X

1-003-01467-4

9781003014676

OCLC:

1156435699