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 video Production
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Mighty Media has years of experience in corporate video
production. As a service to site visitors we offer the following guide designed
to help potential clients understand and get the most from commissioning a corporate
video production company.
Brief
The most important part of any programme. The brief is constructed by asking
questions based on a clear list of objectives. Why do we need a video? Who
will see it? Where will they see it. For example, will it be incorporated
into a training or briefing session? Will it be stand-alone with accompanying
literature? Will it be a sales tool sent directly to a targeted group? Will
it be used for recruitment or induction? Questions like these - relevant
to the video's topic - are very important because they help everybody involved
to understand the essential question: What do we want it to achieve?
Video audiences are also television audiences, so their expectations of
a quality programme are based on high standards. If the audience is bored,
the techniques dull or the style dated, they will probably learn nothing
- in which case it has been a waste of time and money.
Cost
How much is a video programme? This is a fine example of the length of string
question. Some of the basic things which will effect cost:
Where will the video be shot? I.e. Barbados usually costs more than Bloomsbury.
How long will it take? Video shoots are measured in days. One day is the
minimum. The more there are the more it costs. Once shooting is finished
the programme is edited. This should take between a week and month depending
upon the complexity, approvals or graphics sequences.
What about actors? A selection is usually assembled by a specialist casting
director. They arrive at evenly spaced intervals for a casting session which
is videotaped. The director will take them through their paces and choose
those who he/she thinks is best. Those people are then edited onto a tape
which is discussed with the client for approval. Actors are paid a daily
rate. For non-broadcast programmes the rates are very reasonable. If they
are to be shown on air then actors will expect a fee for each showing. These
are called repeat fees or residuals.
Is it to be shot on location or in a studio? Set building and studio time
is costly. It requires the services of a designer and construction team
plus lots of materials and props - essential if a suitable location doesn't
exist or if a particular mood or period is required. Locations, even though
they generally have to be paid for, tend to be considerably cheaper. (Even
in Barbados.)
Will there be special effects? Explosions, car chases, collapsing buildings,
dinosaurs etc. etc. can cost a fortune. They invariably form a part of many
feature films. Feature films tend to cost from +£10m up.
Music? Generally considered vital for setting mood and emphasising action.
It can be either specially written or selected from one of the thousands
of discs from many different libraries. Libraries allow the team to listen
to a wide selection of music before choosing the final score. Specially
written music is usually more expensive and has a certain "hit or miss"
element to it. Once it's recorded it will be very expensive to rewrite and
re-record if it is not liked.
What else? Variations on the above really. Ideally, a budget amount should
be allocated which is then disclosed to the production company. They will
then prepare a production costing showing exactly what can be achieved for
the money.
Research and Script
This is where the brief comes in. The writer is someone who spends time
getting to understand the brief, meeting the client and other people involved
and learning about the topic. He/she concentrates on the objectives, considers
the opportunities and comes up with an idea which is attainable within the
available budget.
Writers can have different specialist skills. Some might be particularly
experienced in engineering topics. Others are strong on medicine, marketing,
sales promotion or recruitment. And so on. Most writers become short time
experts on many different subjects but their skills as writers for business
television and video enables them to convert the brief into an outline which
describes how the final video will look.
The outline will form the basis of discussion between everybody involved.
Script
The script is a result of discussions about the outline. Any comments or
amendments are incorporated and written into the script. Once this is approved
the production process can start. However, flexibility is important. Even
though sequences and shots may have been described in intricate detail it
is pointless to follow a script slavishly if better opportunities occur
on the day. Good creative decisions at the shoot can embellish even the
best ideas.
The producer is the person who liaises with the client, prepares and controls
the budget and brings the production team together.
The director is often also the writer. Responsibilities include
casting, preparing a shooting script, (an exact list of the shots to be
filmed, where and with whom), directing the cast, cameraman and crew and
supervising the editor.
The director's knowledge and training makes sure the various set-ups and
sequences will eventually edit together to form a cohesive story. No nasty
jumps. No zooms, pans, tilts, wide angles, long focus shots or whatever
unless they add to the finished product.
The cameraman is first and foremost a photographer whose skills have
been adapted to the moving image. The same photographic principles of composition
and form apply. Usually, the only difference between shooting film and video
tape is the lack of an exposure meter.
The sound recordist's work is as important as the other members'
of the team. Sound effects, interviews, ambient sound, - all are vital to
the overall colour and dimension of the finished programme and should not
be underrated when it comes to an audience's appreciation of the programme
message.
Other team members may include production manager, production assistant,
make-up artiste, hair dresser, art director, property buyer, electricians,
special effects experts, drivers and so on.
However many people are involved, the process is dependent upon everybody
working together as a team towards the same objectives. That includes the
clients.
Editing & Post-production
When the material has been shot and the tapes logged with every shot noted
and described, the editor can begin the creative process of constructing
the programme. This happens in two stages.
The Off-line
The first is the 'Off-line'. This is where each of the master broadcast
quality tapes is transferred to another medium. It could be linear VHS or
indeed non-linear digital hard disc. Whatever the medium the process is
the same. Each separate image or frame is identified by a number called
time-code. These are vital to the editing process and sometimes appear in
a black box superimposed over the lower third of the frame.
When the editor looks for the first time at the 'rushes' he or she will
be with the director who will have made notes in the script about preferred
'takes' etc. Together they will select the best shots and agree the order
in which they should be assembled. This is the stage when the pictures and
sound are combined in a 'guide' form. Although a guide, it is very accurate.
The only difference may be the lack of visual effects such as mixes, fades,
titles, graphics etc., and the sound track will be in its basic form. Commentary
and music will be added later. When the off-line is completed, it is viewed
by the client and, if necessary, any amendments are made.
The On-line
Then comes the 'On-line'. This is the final stage after all approved amendments.
By now, caption content, visual effects such as transitions or fades, special
colourising or any other process which enhances the finished programme will
have been discussed. Before the 'On-line' is committed, all changes or amendments
will have been approved. Once the programme is 'On-lined' any further changes
can cost substantial amounts of money.
Recording of commentary, dubbing music and sound effects can happen either
before the 'On-line' to the final approved 'Off-line', or after to the 'On-line'
When the 'On-line' is delivered, any further language versions can be produced
and further copies for distribution ordered.
How to be proud of your video
• Understand and list the objectives and the available budget
• Make sure the brief is clear and explicit
• Assign a person to liaise with the production unit at all times
• Thoroughly pre-produce the project and make sure all client facilities
are pre-booked and their use fully understood. The liaison person should
be available to accompany the production unit when they are on client premises
• Make sure the video is broadcast quality
• Use professional people with a reputation for delivering on time,
on brief and on budget
Copyright © 2003 Mighty Media
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