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Producing for TV and New Media, 2nd Edition

Name: Producing for TV and New Media, 2nd Edition
Author: Cathrine Kellison
ISBN: 9781136069253

by Cathrine Kellison

September 2012

Beginner

344 pages

13h 13m

English

Focal Press

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Front Cover
Half Title
Title Page
Copyright
CONTENTS
Preface
About the Author
Introduction
CHAPTER 1 • What Does a TV Producer Really Do?
I. The Producer’s DomainII. Defining a TV and New Media ProducerWho and What Makes a Good Producer?III. The Many Roles of a ProducerThe Five Stages of Production: From Idea to WrapStage One: The Idea (Project Development)Stage Two: The Plan (Preproduction)Stage Three: The Shoot (Production)Stage Four: The Final Product (Postproduction)Stage Five: Next Steps (Wrap Up and Distribution)Why Become a Producer?Creativity, Clout, and ControlIV. Producers’ Titles and Job DescriptionsProducers’ TitlesV. The Need for People SkillsOn a Human Level…Summary
CHAPTER 2 • Television: Its Past, Present, and Future
I. Television Is a Unique MediumII. How Television WorksIII. The Impact of Human Vision on TelevisionLines and PixelsNTSC, PAL, or SECAM?Aspect Ratios: 4:3 versus 16:9IV. The Creators of TelevisionThe Battle over Television’s PaternityV. Television’s EvolutionEarly Television and CommerceVI. Television’s Transitions: From the 1920s to the PresentTelevision’s Early Systems: Mechanical versus Electronic Television (the 1920s)Television’s Experimental Steps (the 1930s)Television in the Trenches (the 1940s)Television’s Golden Age (the 1950s)The First Television Society (the 1960s)TV Boldly Reaches OutTelevision in Transition (the 1970s)Television Merges with Electronics (the 1980s)Television Moves toward Digital Technology (the 1990s)The Potential of High Definition TelevisionThe Transformation of Television in the Twenty-First Century (the 2000s)VII. Television Merges with New MediaThe Transformative Trends in TelevisionCan It Make Money?On a Human Level …Summary

CHAPTER 3 • The Big Idea: Script and Project Development
I. Think ItThe Global Demand for ContentThe Harsh Reality of the MarketplaceNew Media’s New FrontiersIdeas for Programming are EverywhereII. Write ItThe Writer/ProducerWriting for TV versus FilmTelevision and New Media Programming GenresFrom Idea to ScriptSitcomsFormatting Your ScriptScript ComponentsThe Spec ScriptWorking with Other WritersIII. Develop ItProtect and Control Your IdeaIf It Is Someone Else’s Idea, Buy or Option ItFind the Best Market for Your IdeaGetting a Pitch MeetingThe Role of a TV PilotThe Impact of Budget on an IdeaBasic Budget CategoriesOn a Human Level …Summary
CHAPTER 4 • Connecting the Dots: Breakdowns, Budgets, and Finances
I. Break Down the IdeaUnderstand the Big Picture of ProductionCreate a Production BookBreak Down Your ScriptThe BreakdownStoryboardingShooting ScheduleCross-BoardingII. Budget the IdeaBudgeting Costs: Two-Part versusThree-Part FormatsCosts: Estimated versus ActualResearching Budgets CostsCreating a Working BudgetBudget TemplatesHiring Union versus Non-Union TalentIII. Find the FinancingPossible Sources for Funding Your ProjectOptions for Self-FundingBartering, Clever Negotiation, and Tips to Save MoneyStudent Budgets and ResourcesOn a Human Level …Summary
CHAPTER 5 • Welcome to Reality: Legalities and Rights
I. Own ItThe Entertainment LawyerIntellectual Property LawFair Use DefensePublic DomainWriters Guild of America RegistrationII. If You Don’t Own It, Get Permission to Use ItLicensingLiterary Rights and ClearancesMusic Rights and ClearancesStock FootageNetwork Footage ClearancesIII. Protect ItBoth Sides of Plagiarism ProtectionFirst the Pitch, Then the ProtectionMost Common ContractsContracts for Television and New Media versus FilmFees and CompensationThe Three-Phase DealThe Step DealFees and Funding, Rights and TerritoriesMost Favored NationInsurance Coverage and PoliciesIV. Double-Check ItFind the Right AttorneyReview Releases, Clearances, and PermissionsCheck All Production ContractsLocation AgreementsAgreements with UnionsOn-Screen CreditsAncillary RevenuesMaking the Deal: A Final Check ListOn a Human Level …Summary
CHAPTER 6 • Pitching and Selling the Project
I. Pitching and Selling: The Big PictureIt’s All about BusinessKnow the MarketII. Research Your PitchPitch to the Right PlaceGet Your Pitch in the DoorPotential MarketsUnderstand the International MarketplaceIII. Create the PitchThe Cover LetterWriting the Cover LetterThe Written PitchThe Title Page as First ImpressionThe Synopsis as StorytellerThe Presentation of InformationThe Video PitchNext Steps with Your PitchIV. Pitch the PitchThe Verbal PitchPrepare Your Elevator PitchEnergize the PitchWork with a PartnerThe Follow-UpV. Keep PitchingThe Demo ReelNetworking and ConnectionsOn a Human Level …Summary
CHAPTER 7 • The Plan: Preproduction
I. The ScriptScript BreakdownsProduction BookEquipment ListThe Look and Sound of Your ProjectStoryboarding and Floor PlansShot ListProduction MeetingsII. The TalentCasting TalentHiring Talent: Union or Non-Union?RehearsalsIII. The CrewThe Key Production Department HeadsKey Players, Key Teams: The Script, and the Visual, Aural, and Support TeamsIV. Scheduling the ShootShooting FormatSets, Sound Stages, and StudiosLocationsActors and TalentThe Timing of the ShootCall SheetProduction ReportOn a Human Level …Summary
CHAPTER 8 • The Shoot: Production
I. The Producer’s RoleThe Producer’s TeamProduction Protocol and PoliticsII. On Set and On LocationVirtual LocationsIII. The CameraShooting with Digital VideoDigital StorageShooting High-Definition VideoHDTV SystemsShooting in 24p VideoChoosing Your CameraTime CodeCapturing the ImageIV. The LightingHard versus SoftThree-PointHigh-Key versus Low-Key LightingHot and Cold LightingInterior and Exterior LightingV. The AudioSound DesignThe Four Major Elements in AudioRecording Production SoundSome Sound AdviceVI. The Actual ShootArrival of Cast and CrewBlocking for the CameraRehearsing the ActorsLights. Camera. Action!The Equipment Breakdown and Location WrapOn a Human Level …Summary
CHAPTER 9 • The Final Product: Postproduction
I. The Producer’s RoleThe Postproduction SupervisorPostproduction GuidelinesII. The Editor’s RoleWorking with an EditorWorking with Editing TechnologyThe Steps in EditingEditing High Definition TV—In Five StepsStyles of EditingTechniques in EditingEditing Pace and RhythmEditing to Manipulate TimeEditing TransitionsGraphics, Animation, and Plug-InsIII. The Sound Designer’s RoleWorking with the Sound DesignerThe Technology of Audio MixingThe Creative Components in Sound DesignStylistic Uses of SoundThe Steps in Mixing AudioThe Final Cut and Locked-in AudioIV. Delivering the Final ProductThe Client DeliverablesOn a Human Level …Summary
CHAPTER 10 • It’s a Wrap! Now, the Next Steps
I. It’s a Wrap!II. Professional Next StepsCreate a ResumeBuild a Demo ReelMake a ShortNetwork and Make ContactsFind a MentorTake on InternshipsGet ExperienceTake a CourseStay CurrentGet a JobIII. FestivalsPackage Your Project: Press KitsSubmissions to FestivalsAcceptance to a FestivalA Producer’s RepresentativeNetworking in the Festival CircuitIV. GrantsGuidelines from Funders and Grant-MakersPreparing and Writing a Grant in Five StepsV. PublicityA Sample Press ReleasePress Release FormattingSome Other Thoughts on Generating BuzzVI. Starting Your Own Production CompanyThe Realistic Components of Being Your Own BossAn Independent Production Company ChecklistKeep It All LegalDealing with ClientsOn a Human Level …Summary
CHAPTER 11 • Conversations with the Pros: Producing in the Real World
Glossary
Resources by Chapter
Student Recommendations: Books and References
Index

Content preview from Producing for TV and New Media, 2nd Edition

INDEX

Above-the-line, 70–71, 277

AC, see Assistant camera operator

Account, 73, 277

Acoustics, 161, 277

Actual budget cost, 72, 277

AD, see Assistant director

ADR, see Automatic dialogue replacement

AEA, 277

AFTRA, 78, 102, 277

Agent, 57, 277

AGVA, 277

Ambient sound, 277

Ancillary revenue, 103

Angle, 278

Animation, 188

Antonio, Sheril, 216–221

AP, see Associate producer

Archival footage, 175

Art director, 135, 165

Aspect ratio, 21

Assistant camera operator (AC), 136

Assistant director (AD), 135, 278

Associate producer (AP), 11, 278

Attached, 278

Audio

elements in recording acoustics, 161audio perspective, 162microphone, 160–161recording formats, 161–162

mixingfinal mix, 193–194steps, 193technology, 190–191

music, see Music

pickups, 169

recording ...

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Publisher Resources

ISBN: 9780240810874

Cloud Computing

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Data Science

AI & ML

Programming Languages

Software Architecture

IT/Ops

Security

Design

Business

Soft Skills

Producing for TV and New Media, 2nd Edition

by Cathrine Kellison

INDEX

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