The Importance of Pre-Production in Television Program Production
p
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P
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The
process
of
producing
a
television
program
is
generally
divided
into
three
stages.
T
h
e
f
i
r
s
t
s
t
a
g
e
,
P
R
E
-
P
R
O
D
U
C
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I
O
N
,
i
n
c
l
u
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e
s
b
u
t
i
s
n
o
t
l
i
m
i
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e
d
t
o
:
S
e
t
t
i
n
g
g
o
a
l
s
,
w
r
i
t
i
n
g
p
r
o
g
r
a
m
p
r
o
p
o
s
a
l
s
,
c
o
n
d
u
c
t
i
n
g
p
r
o
g
r
a
m
c
o
n
f
e
r
e
n
c
e
s
a
n
d
c
r
e
w
m
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e
t
i
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g
s
,
s
t
o
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y
-
b
o
a
r
d
i
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a
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d
s
c
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i
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i
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g
,
l
o
c
a
t
i
o
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s
c
o
u
t
i
n
g
,
g
a
t
h
e
r
i
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g
a
l
l
e
q
u
i
p
m
e
n
t
a
n
d
s
u
p
p
l
i
e
s
n
e
e
d
e
d
,
e
t
c
.
T
h
e
s
e
c
o
n
d
s
t
a
g
e
,
P
R
O
D
U
C
T
I
O
N
,
r
e
f
e
r
s
t
o
t
h
e
s
h
o
o
t
i
t
s
e
l
f
,
a
n
d
i
n
c
l
u
d
e
s
a
l
l
a
s
p
e
c
t
s
o
f
c
l
e
a
n
i
n
g
u
p
a
f
t
e
r
w
a
r
d
s
a
n
d
c
r
e
w
d
e
b
r
i
e
f
i
n
g
.
T
h
e
f
i
n
a
l
s
t
a
g
e
,
P
O
S
T
-
P
R
O
D
U
C
T
I
O
N
,
r
e
f
e
r
s
t
o
e
d
i
t
i
n
g
t
h
e
m
a
t
e
r
i
a
l
s
h
o
t
d
u
r
i
n
g
p
r
o
d
u
c
t
i
o
n
,
a
n
d
s
h
o
u
l
d
a
l
s
o
i
n
c
l
u
d
e
d
i
s
t
r
i
b
u
t
i
n
g
t
h
e
p
r
o
g
r
a
m
a
n
d
p
r
o
m
o
t
i
n
g
i
t
t
o
y
o
u
r
t
a
r
g
e
t
a
u
d
i
e
n
c
e
.
All
of
the stages
are
important;
but
pre-production
is especially
important
because
it
makes
the
other stages proceed that
much more
easily
and
smoothly.
T
h
e
I
m
p
o
r
t
a
n
c
e
o
f
P
l
a
n
n
i
n
g
(
P
r
e
-
P
r
o
d
u
c
t
i
o
n
)
Let’s
be
honest:
Access
producers
have
lives
outside
of
television,
and
they’re
frequently
looking
for
shortcuts.
Many
producers
think
that
they
can save
time
and energy by
skipping pre-production
and moving right
into
production.
This
is
not
true.
You
cannot
avoid
pre-production;
you
can
only
postpone
it.
P
r
e
-
p
r
o
d
u
c
t
i
o
n
i
s
i
n
m
a
n
y
r
e
s
p
e
c
t
s
a
n
o
t
h
e
r
w
o
r
d
f
o
r
d
e
c
i
s
i
o
n
-
m
a
k
i
n
g
.
A
n
d
y
o
u
c
a
n
n
o
t
a
v
o
i
d
m
a
k
i
n
g
d
e
c
i
s
i
o
n
s
,
o
n
l
y
p
o
s
t
p
o
n
e
t
h
e
i
n
e
v
i
t
a
b
l
e
.
A
n
d
w
h
e
n
y
o
u
p
o
s
t
p
o
n
e
m
a
k
i
n
g
i
m
p
o
r
t
a
n
t
d
e
c
i
s
i
o
n
s
u
n
t
i
l
t
h
e
l
a
s
t
p
o
s
s
i
b
l
e
m
i
n
u
t
e
(
i
.
e
.
u
n
t
i
l
y
o
u
’
r
e
j
u
s
t
a
b
o
u
t
t
o
s
h
o
o
t
o
r
e
d
i
t
)
,
y
o
u
’
r
e
p
u
t
t
i
n
g
e
x
t
r
a
p
r
e
s
s
u
r
e
o
n
y
o
u
r
s
e
l
f
a
t
t
h
e
t
i
m
e
w
h
e
n
y
o
u
a
r
e
a
l
r
e
a
d
y
u
n
d
e
r
t
h
e
p
r
e
s
s
u
r
e
o
f
t
h
e
c
l
o
c
k
t
o
g
e
t
s
o
m
e
t
h
i
n
g
s
h
o
t
o
r
e
d
i
t
e
d
.
D
o
n
’
t
m
a
k
e
t
h
i
s
m
i
s
t
a
k
e
.
Planning offers
many
advantages:
*
Planning
saves
time
(your
precious
time,
the
crews’ and
talents’ time,
and the
costly
equipment
time)
*
Planning
makes
the
shoot
go
more
smoothly
*
Planning
makes
for
a
more
focused,
better
executed
program
*
Planning
keeps
you
sane,
because
it
allows
for
you
to
anticipate,
plan
for, and
deal
with
the
problems
that
inevitably
come up.
So what
kind
of
planning
do
you
need
to
do?
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
2
M
a
k
e
F
u
n
d
a
m
e
n
t
a
l
D
e
c
i
s
i
o
n
s
:
S
e
t
Y
o
u
r
G
o
a
l
s
Before
you
begin
to
produce
a
program,
you
must
answer
a
number
of
fundamental questions
regarding...
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
3
•
AUDIENCE:
Who
am I
trying
to
reach?
What
is
the
best
way
to
reach
this
audience?
Why
am
I
making
this production?
What
is
the
purpose
of
the
production?
What
do
I
want
my
audience
to
think,
feel,
or
do
as a
result
of
seeing
it?
Is
video
the
right
tool
for
the
job?
•
GO
A
L
S
:
As
an
Access
producer,
you
have
almost
complete
freedom
to
do
whatever
kind
of
show
you
want,
about
whatever
topic
you
want,
in
any
manner
that
you
want
(subject
to
city,
state,
and
federal
law,
of
course).
This
means
you
don’t
have
to
mimic
conventional
commercial
television.
Be
innovative.
Be
creative.
Be
funky.
Be
whatever.
But
if
you
can
do
anything,
how
do
you
decide
what
to
do?
Start
with
a
very
clear
understanding
of
your
audience
and
your
goals.
If
you
figure
those
things
out,
figuring
out
the
format
and
content
becomes
a
whole
lot
easier.
And it
makes
you
much more likely
to create a
program
that
succeeds
in
the
way
you
hoped
it
would.
P
l
a
n
Y
o
u
r
C
o
n
t
e
n
t
To
figure
what
information
to
communicate
through
your
program,
you
should
do
two
things:
•
Research
the
topic.
Know
your
material.
•
List
the
most
important
points
to
get
across.
-
Prioritize
them.
-
Don’t
try
to
squeeze
too
much
information
into
the
program.
Less
is
sometimes
more.
D
e
c
i
d
e
o
n
F
o
r
m
a
t
Knowing
what
audience
you’re
trying
to
reach
and
what
information
you’re
trying to
communicate
makes
it
easier
to
figure
out
how
to
communicate
that
information.
Ask
yourself:
•
What
kind
of
form
will
the
program
take
(documentary,
talk
show,
news,
theatrical,
feature,
live,
interactive,
etc…)?
•
What
should
it
look
and
feel
like?
Think
visually
and
aurally.
•
If there are other
shows that it should resemble,
how
are
those
programs structured?
•
What
should
happen
first,
second,
third,
…,
last?
P
u
t
Y
o
u
r
V
i
s
i
o
n
o
n
P
a
p
e
r
W
r
i
t
e
a
T
r
e
a
t
m
e
n
t
In the
classic
days
of
Hollywood,
when
an
executive
first
learned
of
a
possible
production,
it
was
presented
in
the
form
of
a
treatment.
The
purpose of the
treatment was
to show the
executive
how the story
would
be
treated
-
hence
the
term
treatment
.
The
person
who
wrote
it
would,
of
course,
tailor it
to be as
attractive
as
possible
for that
executive.
Hence,
the
treatment
is
not
the
original
story
itself,
but
a
description
of
how
it
will
look
as a
moving
picture.
A
treatment should serve
as a very brief
summary
of
who
your audience
is, what
you
want
them to get
from watching
your
program,
and how you
propose
to
accomplish
that
goal
.
Here’s
an
example:
I
plan
to
do
a
3-minute
program
showing
the
general
public
how to
get
to
CCTV’s
Central
Square
facility
using
public
transportation.
The
camera
will
be
the
eye
of
the
public
and
the
purpose
of
the
program
is
to
visually
show
and
tell
how
easy
it
is
to
get
to
CCTV.
W
r
i
t
e
a
S
c
r
i
p
t
While
the
treatment
is
necessarily
brief,
the
script
can
be
any
length,
depending
upon
its
purpose
and
the
amount
of
detail
you
include.
Scripts
can
serve
any
number
of
several important
purposes:
•
Making
sure
that
the
program
keeps
to
its
intended
purposes
•
Giving
the
director
and/or
camera
person
a
clear
roadmap
as to
the
producer’s intentions
•
Making
sure
that
the
rest
of
the
production
team,
including
the
talent,
knows exactly
what
to
do
and
when.
Scripts
can take
any
number
of
forms,
including:
•
A
list
of
points
to
be
made,
questions
to
be
asked,
and/or
specific
images
to
capture
•
Side-by-side
columns
describing
the
audio
and
video
that
will
be
recorded
during
every
minute
of
the
program.
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
4
•
A
v
i
s
u
a
l
S
T
O
R
Y
B
O
A
R
D
w
h
i
c
h
c
a
p
t
u
r
e
s
i
n
q
u
i
c
k
s
k
e
t
c
h
e
s
t
h
e
s
e
q
u
e
n
c
e
s
o
f
i
m
a
g
e
s
t
o
b
e
s
h
o
t
,
w
i
t
h
t
h
e
c
o
r
r
e
s
p
o
n
d
i
n
g
a
u
d
i
o
w
r
i
t
t
e
n
i
n
c
a
p
t
i
o
n
s
u
n
d
e
r
n
e
a
t
h
.
D
o
n
’
t
b
e
p
u
t
o
f
f
b
y
t
h
i
n
k
i
n
g
t
h
a
t
o
n
l
y
a
r
t
i
s
t
i
c
t
y
p
e
s
s
h
o
u
l
d
d
o
s
t
o
r
y
b
o
a
r
d
s
.
S
t
o
r
y
b
o
a
r
d
s
a
r
e
n
’
t
u
s
e
d
t
o
s
h
o
w
c
a
s
e
a
r
t
i
s
t
i
c
t
a
l
e
n
t
,
b
u
t
t
o
h
e
l
p
y
o
u
p
r
e
-
v
i
s
u
a
l
i
z
e
y
o
u
r
s
h
o
t
s
a
n
d
i
d
e
n
t
i
f
y
e
f
f
e
c
t
i
v
e
,
a
p
p
r
o
p
r
i
a
t
e
s
h
o
t
s
e
q
u
e
n
c
e
s
.
T
h
e
v
i
d
e
o
p
o
r
t
i
o
n
o
f
t
h
e
s
c
r
i
p
t
w
i
l
l
h
e
l
p
c
o
m
p
r
i
s
e
y
o
u
r
l
i
s
t
o
f
w
h
a
t
t
o
s
h
o
o
t
,
y
o
u
r
S
h
o
t
S
h
e
e
t
.
Here
are
some
tips
about
writing
scripts,
from
the
Somerville
Com-
munity
Access
Handbook
,
by
Carol
Yourman
and
Abigail
Norman:
•
Know
your
audience,
and
keep
your
objectives in
mind.
•
Write
to
your
audience;
keep
your
representative
viewer
in
mind.
•
Think
visually
and
aurally.
•
Keep
simple,
direct,
and
to
the
point.
•
Be
conversational.
Avoid
a
formal,
term-paper
style.
Avoid
long,
complex
sentences.
•
If your
script
has
spoken
lines,
speak
them
aloud
before
committing
to
paper.
•
Use
a
word
processor
if
you
can,
and
don’t
be
afraid to
revise.
•
Communicate
frequently
with
your
director,
producer,
talent,
and
other
colleagues.
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
5
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
6
M
a
k
e
A
S
h
o
t
S
h
e
e
t
Nothing
will
teach
you
more
about
good
camerawork
than
your
first
session
editing
footage
that
you've
shot.
Still,
here’s
some
good
advice
for
anyone
starting
out.
Good
planning
and
scripting is
one key to
successful shooting.
Your
editing job will
be much, much
easier
and
go much
faster if
you figure out
exactly
what
shots
you
need
to
get
before
you
ever
start
shooting.
That’s
what
scripts
and
storyboards
are
for!
But
even
if
you
skip
those
things,
don’t
leave
home
without
a
Shot
Sheet.
The
shot
sheet
will
remind
you
of
all
the
footage
you
need
to
capture
during
the
production,
so
that
you
come
back
to
the
edit
suite
with
everything
needed
to
finish
your
program.
And
when
making
up
your
shot
sheet,
don’t
forget
to
include
all
of
the
“cut-
aways,”
“cut-ins,”
and
“reaction
shots”
you’ll
want
to
capture.
(See
Chapter
4,
Fundamentals
of
Camerawork
and
Shot
Composition,
for
more
information
about
these
kinds
of
shots.)
Also
be
sure
to
include
audio
segments
in
your
shot
sheet.
Will
you
need
extra
ambient
sounds
to
fill
in
those
silent
parts
of
your
tape,
special
sound
effects,
or
music?
D
e
c
i
d
e
S
h
o
o
t
i
n
g
L
o
c
a
t
i
o
n
s
Your
planning
and
scripting
will
probably
call
for
you
to
shoot
your
program
in
specific
locations.
On
the
other
hand,
some
access
producers
find
that
they
end
up
making
some
decisions
for
reasons
that
have
little
to
do
with
what
the
program
calls
for
and
much
more
to
do
with
the
realities
of
their
limited
resources
of
people,
time,
and
energy.
For
this
reason,
it
may
help
to
review
the
nature
of
working
in
the
Field
vs.
working
in
the
Studio;
these
two
environments
are
very
different
from
each
other
and
offer
particular
advantages
and
disadvantages. Your
decision
on
where to
shoot
may
depend,
in
some
instances,
on
these
differences.
Keep
in
mind,
however,
that
many
programs
combine
elements
shot
in
both
locations,
capitalizing
on
each
environment’s
advantages.
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
7
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
8
K
e
e
p
i
n
m
i
n
d
t
h
a
t
w
h
i
l
e
t
h
e
e
n
v
i
r
o
n
m
e
n
t
o
f
a
S
T
U
D
I
O
S
H
O
O
T
i
s
g
e
n
e
r
a
l
l
y
c
o
n
s
t
a
n
t
a
n
d
p
r
e
d
i
c
t
a
b
l
e
,
t
h
e
e
n
v
i
r
o
n
m
e
n
t
o
f
t
h
e
F
I
E
L
D
S
H
O
O
T
i
s
a
l
w
a
y
s
v
a
r
i
a
b
l
e
.
T
h
e
s
t
u
d
i
o
p
r
o
v
i
d
e
s
w
a
r
m
t
h
i
n
w
i
n
t
e
r
,
a
i
r
c
o
n
d
i
t
i
o
n
i
n
g
i
n
s
u
m
m
e
r
,
e
a
s
i
l
y
c
o
n
t
r
o
l
l
e
d
l
i
g
h
t
i
n
g
a
n
d
a
u
d
i
o
a
s
w
e
l
l
a
s
m
a
n
y
o
t
h
e
r
a
s
p
e
c
t
s
t
h
a
t
t
h
e
p
r
o
d
u
c
e
r
a
n
d
d
i
r
e
c
t
o
r
c
a
n
a
l
w
a
y
s
c
o
u
n
t
o
n
.
When
one
enters
the
ever-changing
environment
of
the
field,
however,
one
should
always
expect
the
worst
and
hope
for
the
best.
On
the
minus side
in
the
field,
expect:
Audio
problems:
Video
problems:
Traffic
noises,
phones
ringing,
conversations
Glaring
sunlight,
backlighting,
color
temperature
conflicts
Too few
A/C outlets, blown
fuses,
dead batteries
Wind,
rain,
sleet,
snow,
icebergs
(just
the
tip
of)
Gesturing
pedestrians, uncooperative security
Flat tires,
forgotten
equipment
Power problems:
Weather problems:
People problems:
Logistics
problems:
On the
plus
side,
you
can
shoot
all
those
things
you
could
never
shoot
in
the
studio:
Cars,
planes,
trains,
the
ocean,
a
skyscraper,
birds,
parades,
concerts,
fires,
to name
just
a
few.
In
addition,
you can
present
your
subject,
both
aurally
and
visually,
in
a
far
more
naturalistic
and
compelling
way
than
you
could
ever
do
in
the
studio.
C
r
e
w
&
T
i
m
e
R
e
q
u
i
r
e
m
e
n
t
s
:
The
most
critical
constraint
you
will
face
as
an
Access
producer
is
probably
time
-
your
time,
your
crew’s
time,
and
your
talent’s
time.
Whereas a
Studio
shoot
typically
requires
a
technical
crew
of
at
least
six
people,
most
single-camera
productions
in
the
field
require
only
one
or
two
technical
people:
A
cameraperson
and
audio
engineer.
On
the
other
hand,
while
a
single
3-hour
shooting
session
in
the
Studio
may
be
all
that’s
needed
for
completing
a
one-hour
program,
many
single-camera
productions
in
the
field
require
you
to
spend
many
hours
in
the
edit
suite.
Professionals allot
up to one
hour
of
editing
time
per one minute
of
finished
program;
Public
Access
producers
often
invest
much
less
time,
perhaps
one
hour
of
editing
time
for
every
five
minutes
of
finished
show.
So
your
choice
of
shooting
location
may
depend,
sometimes
anyway,
on
whether
your
own
time
is
limited
or
not,
and
whether
or
not
you’ll
be
able
to get
a
whole
bunch
of
people
together
for
a
few
hours.
If
you
think
you’ll
be
producing
a
Studio
shoot
in
the
future,
you
should
use
every
chance
now
(including
taking
classes
and
volunteering
on
other
people’s
shoots)
to get
to
know
as
many
people
as
you
can
who
might
be
able
to
help
you
out
later
on.
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
9
P
u
t
Y
o
u
r
P
l
a
n
s
o
n
P
a
p
e
r
There’s
a
lot
to
do,
and
most
people
prefer
not
to
try
and
keep
it
all
in
their
head.
Make
a
list
of
everything
you
need
to
do.
Create
a
timetable:
What
are
you
going
to
do
this
week,
next
week,
the
week
after?
If
something
has
to
happen
by
the
third
week,
what
do
you
have to
do
before
then?
Remember
that
you
have
many
other
responsibilities
in
your
life,
so
be
realistic.
M
a
k
e
A
l
l
t
h
e
A
r
r
a
n
g
e
m
e
n
t
s
D
o
i
n
i
t
i
a
l
p
a
p
e
r
w
o
r
k
a)
Submit
a
Program
Production
Contract
to
CCTV
at
least
one
week
prior
to
reserving
equipment.
b)
Get
signed
Premises
Taping
Release
(if
not
shooting
in
the
Studio).
Accessibility
is
always
an
issue
in
the
field.
Before
videotaping
at
a
location
in
the
field
(at
the
Mall,
for
example),
you
must
obtain
written
permission
from
the
property owner
or
manager.
When videotaping
on
public
property,
it
is
often
a
good
idea
to
get
the
permission
of
the
local
government
and
police
authorities.
C
o
m
m
u
n
i
c
a
t
e
c
l
o
s
e
l
y
w
i
t
h
e
v
e
n
t
c
o
o
r
d
i
n
a
t
o
r
s
a)
If
shooting
an
event,
obtain
a
script
of
the
program.
Plan
shots
and
transitions between
shots.
b)
If
you
want
to
have
input
into
the
staging,
lighting,
audio,
and
program
outline
decisions,
insert
yourself
into
the
decision-making
process
as
early
as
possible.
Don’t
wait
til
the
day
of
the
shoot,
when
the
plans
have
already
been
made,
and
the
group
you’re
shooting
for
will
be
least
likely
to
be
accomodating.
A
r
r
a
n
g
e
f
o
r
t
a
l
e
n
t
a)
Prepare
them
for
what
will happen
during
shoot.
b)
Ask
them
if
they
have photos, music, objects
that
would enhance
the
production.
c)
Tell
them
how
to
dress
for
television,
and
what
clothes
to
avoid.
(See
Chapter
7,
Fundamentals
of
Being
Talent,
for
more
information.)
d)
Make
sure
they
know
how to
get to
the
shoot
and
when
to
arrive.
A
r
r
a
n
g
e
f
o
r
c
r
e
w
a)
Make
sure
they’re
certified
to use
the
equipment.
b)
Prepare
them
for
what
will happen
during
shoot.
c)
Make
sure
they
know
how to get to the
shoot
and
when
to
arrive (early
to
help
you
set
up,
right?).
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
10
S
c
o
u
t
t
h
e
L
o
c
a
t
i
o
n
A
site
survey
conducted
in
advance
of
your
shoot
helps
you
anticipate
all
of
the
problems
that
may
occur
and
prepare
accordingly.
Ideally,
you
would
conduct
the
survey at the
same
time
of day as the shoot so that you’re not
surprised
by a
church
bell
ringing,
reflected
sun,
locked
door,
etc.
P
o
w
e
r
:
a)
Where
are
the
outlets
located?
b)
Are
the
sockets
grounded
(three-prong)
or
not
(two-prong)?
c)
How
many
extension
cords
do
you
need?
d)
Where is
the
circuit
breaker
box
located?
L
i
g
h
t
i
n
g
:
a)
What
are
the
lighting
sources in
the
environment?
b)
Can
you
take
advantage
of
indirect
lighting
by
bouncing
light
off
walls?
c)
Will
you need to
bring additional lighting?
Will
they
allow
you to?
If
you do,
will
it
blow
the
fuses?
Do
you
have
the
room
to
set
them
up?
Will
you
need
sandbags
to
keep
the
light
stands
from
being
knocked
over?
Will
your
talent
be
uncomfortable?
d)
How
are
you
going
match
the
color
temperature
of
all
the
lights?
e)
Are
you
going
to
have
back-lighting
or
reflection
problems?
f)
Do
you
have
enough
AC
power
for
the
lights
and
the
other
equipment?
(Here’s
how
you
can
tell:
Amps
x
volts
=
watts.
Most
places
run
on
120
volts,
so
if
the
circuit you’re
on
is
rated at 15 amps, then
you
may
plug
in
up
to
15
x
120
=
1800
watts
of
gear
on
that
circuit.)
A
u
d
i
o
:
a)
What ambient noises
(such as phones
ringing, air conditioners,
refrigerators,
traffic
or
construction
noise,
conversations
in
another
room)
will
you
have
to
contend
with?
b)
Will it
be
noisy
and
difficult
to
mic?
Do
you
need
a
windscreen?
c)
Is
there
a
public
address
or
sound
system
from
which
you
can
take
a
feed?
Does
it
give
a
line-
or
mic-level
feed?
What
kind
of
connectors
does
it
have?
How
far
is it
to
your
recording
device?
d)
If
using
wireless
mics
or
intercoms,
have
you
tested
them
in
that
environment
to
insure
there
will
be
no
interference?
S
e
t
:
a)
What
environment
will
you
be
shooting
in?
b)
Do
you
need
to
re-arrange
furniture
for
any
reason?
c)
What
will
be
in
the
background,
and
what
can
you put
in
the
background
that
would
be
more
appropriate?
d)
What
props
do you
need
to
bring with
you?
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
11
C
a
m
e
r
a
s
:
a)
Where can
you
put
the
cameras
for
the
best
shots
and
still
not
interfere
with
the
audience?
b)
What
types
of
shots
and
angles
can
you
get
from
these
positions?
c)
How
far
is
it
from
these
positions
to
the
power
and
audio
sources?
P
e
o
p
l
e
:
a)
Who
are
the
people
you
need
to
know
(people
in
charge,
people
with
keys,
secretaries,
janitors,
security)?
L
o
g
i
s
t
i
c
s
:
a)
What
time can
you
gain
access
to
the
location?
b)
Will
you
have
enough
time
to
set
up?
c)
Where
can
you
park
for
unloading
and
loading?
d)
How long
will it
take you
to
get
there?
e)
Where can
you
run
all
your
cables
so
that
they
won’t
be
walked
on
or
tripped
over?
Do
you
need
to
tape
down
the
cables
with
gaffer’s tape?
f)
Do
you need to
take
crowd
control measures
- such as
installing
“no
parking”
signs,
roping
off
areas,
locking
doors,
or
hiring
off-duty
police?
g)
Where
is
the
nearest
telephone
you
may
use
to
call
CCTV,
your
talent,
your
crew?
h)
If
doing
a
live
shoot,
where
are
the
cable
drops
for
sending
the
signal
upstream
and
watching
the
return
signal?
M
a
k
e
a
n
E
q
u
i
p
m
e
n
t
L
i
s
t
Make
a
list
of
all
the
equipment
you’ll
need.
You’ll
use
this
list
when
reserving
CCTV’s
facilities,
and
later
on
before
heading
off
to
the
shoot.
Don’t
forget
things
like
set
supplies,
raw
videotape,
any
pre-edited
(roll-in)
footage
you
plan
to
use,
duct
tape,
pen
and
paper,
tweeker,
etc.
D
o
t
h
e
F
o
l
l
o
w
-
u
p
P
a
p
e
r
W
o
r
k
a)
Reserve
CCTV’s
facilities
and
equipment.
You’ll
need
an
approved
production
contract
number,
which
you
should
receive
within
five
business
days
of
submitting
a
Production
Contract.
b)
Get
signed
talent
releases
from
all
performers
and
participants.
If
minors,
get
signatures
from
their
parents
or
guardians.
R
e
c
o
n
f
i
r
m
A
l
l
Y
o
u
r
A
r
r
a
n
g
e
m
e
n
t
s
.
It’s
not
enough
to
recruit
crew and
talent,
you have to
get
them
to show
up, too!
Many
producers
have
learned
from
experience
to
give
their
crew
members
and
talent
a
reminder
call
a
day
or
two
before
the
shoot.
It’s
also
a
good
idea
to
reconfirm
your
equipment
request
with
CCTV.
G
e
t
a
G
o
o
d
N
i
g
h
t
’
s
R
e
s
t
.
H
a
v
e
a
G
o
o
d
S
h
o
o
t
!
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
12
F
o
r
m
s
:
P
r
e
-
P
r
o
d
u
c
t
i
o
n
C
h
e
c
k
-
l
i
s
t
M
a
k
e
F
u
n
d
a
m
e
n
t
a
l
D
e
c
i
s
i
o
n
s
Define
Your
Audience.
Define
Your
Goals.
Research
the
Topic.
List
the
Most
Important
Points
to
Get
Across.
Prioritize
Them.
Decide
on
Program
Format.
P
u
t
Y
o
u
r
V
i
s
i
o
n
o
n
P
a
p
e
r
Write
a
Treatment.
Write
a
Script and/or
Storyboard.
Make
a
Video
and
Audio
Shot
Sheet.
D
e
c
i
d
e
S
h
o
o
t
i
n
g
L
o
c
a
t
i
o
n
P
u
t
Y
o
u
r
P
l
a
n
s
o
n
P
a
p
e
r
Make a
List
of
Everything
That
You
Need
to
Do,
and
A
Timeline.
M
a
k
e
A
l
l
t
h
e
A
r
r
a
n
g
e
m
e
n
t
s
Do
the
Initial
Paperwork:
Submit
Production
Contract,
Get
Signed
Premises
Taping
Release
for
Owner
and/or
Police
and
government.
Communicate
Closely with
Event
Coordinators.
Arrange
for
Talent.
Arrange
for
Crew.
S
c
o
u
t
t
h
e
L
o
c
a
t
i
o
n
Do
a
Site
Survey.
Take
a
List
of
Everything
to
Check
Out.
M
a
k
e
a
n
E
q
u
i
p
m
e
n
t
L
i
s
t
.
Make
a
List
of
All
the
Equipment
You’ll Need.
D
o
t
h
e
F
o
l
l
o
w
-
U
p
P
a
p
e
r
W
o
r
k
Reserve
CCTV’s
Facilities
and
Equipment.
Get
Signed
Talent
Releases from
All Performers (or
guardians).
R
e
c
o
n
f
i
r
m
A
l
l
Y
o
u
r
A
r
r
a
n
g
e
m
e
n
t
s
Give
Reminder
Calls
to
Your
Crew
and
Talent.
Reconfirm
Your
Arrangements
with
CCTV
and
Event
Coordinators.
G
e
t
A
G
o
o
d
N
i
g
h
t
’
s
R
e
s
t
F
o
r
m
s
:
L
o
c
a
t
i
o
n
S
u
r
v
e
y
Location:
Address:
Floor:
Room
Number:
Contact
Person:
(name)
(phone)
Name
of
Janitor/Maintenance:
Phone:
Location:
What
time
will
space
be
accessible
for
set-up?
E
l
e
c
t
r
i
c
i
t
y
#
of
AC
Outlets:
3
or
2
prong?
(indicate
location
of
outlets
on
diagram
below)
#
of
Extension
Cords:
#
of
Power
Strips:
#
of
Amps:
Breakers
or
Fuses?
Location
of
Fuse/Circuit
Breaker
Box:
A
u
d
i
o
Is
there
a
public address
or
sound
system?
Does
it
have
mic
or
line
feed?
What
type of
connectors are
needed
to
take
a
feed
from
the
sound
system?
_
Any
ambient
noises?
If
using
wireless
mics
or
intercom,
did
you
test
them?
L
i
g
h
t
i
n
g
Will
you
have
enough available light?
What
type
of
light
is it?
Is
portable
lighting
needed?
How
many
lights?
S
e
t
What will
be
in
the
background?
Do
you
need
to
rearrange
furniture?
What
props
do
you
need
to
bring?
Do
you need
to
limit
access
to
any
doors
or
areas?
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
13
D
i
a
g
r
a
m
o
f
s
p
a
c
e
,
i
n
c
l
u
d
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g
w
i
n
d
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l
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o
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l
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t
i
o
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s
:
L
o
g
i
s
t
i
c
s
How
long
will it
take you
to
get
there?
Where
can
you
park?
Loading
Dock?
Elevator
or
stairs?
Ceiling
height:
Width
of
Hallways:
Width
of
Doors:
Sprinkler
System?
Type
of
Flooring:
Permits
and
clearances
needed:
Location
of
nearest
phone
you
can
use?
Receive
calls?
Phone
number:
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
14
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
15
F
o
r
m
s
:
E
q
u
i
p
m
e
n
t
I
n
v
e
n
t
o
r
y
Program:
Date
of
Shoot:
Crew
Call
Time:
Location:
T
r
a
n
s
p
o
r
t
a
t
i
o
n
Vehicle:
Permits:
Parking/gas
money:
P
a
p
e
r
w
o
r
k
Premises
Taping
Release:
Talent
Release
Forms:
Script
&
Shot
Sheets:
Labels
for
Tapes:
C
a
m
e
r
a
E
q
u
i
p
m
e
n
t
Camera/Camcorder/AC
Adaptor:
Fully
Charged
Batteries:
VCR/Cables/AC
Adaptor:
Monitor/Cables:
Tripod:
Cases/Bags:
Videotape:
A
u
d
i
o
G
e
a
r
Microphones/Windscreens:
Audio
Mixer:
Fully
Charged
Batteries:
Headphones:
Cables:
Adaptors:
Gaffe
r
’
s
T
ape:
L
i
g
h
t
i
n
g
Light
Kit
and
Stands:
Extra
Lamps:
Reflective
Cards:
Corrective
Colored
Gels:
Diffusion:
A
C
P
o
w
e
r
Extension
Cords:
Power
Strips:
3-2
Prong
Adaptors:
F
o
r
m
s
:
T
a
l
e
n
t
R
e
l
e
a
s
e
Name:
P
r
og
r
am
T
i
t
l
e
:
A
u
t
h
o
r
i
z
a
t
i
o
n
a
n
d
R
e
l
e
a
s
e
In
return
for
the
opportunity
to
appear
in
the
above
named
program,
I
hereby
grant
to
,
cable
access
producer,
permission
to
transmit
live
and/or
to
record
for
later
transmission
my
likeness
and/or
voice
as
a
part
of
the
above-named
cable
television
access
program,
for
any
lawful
purpose,
at
any
time.
I
also
authorize
the
use
of
my
name
and
any
excerpts
of
said
program
for
the
purpose
of
promoting
and
publicizing
that
program.
I
waive
any
right
that
I
may
have
to
inspect
or
approve
the
finished
product
or
the
written
copy
that
might
be
used
in
conjunction
therewith,
or
the
use
to
which
it
may
be
applied.
I
agree
to
hold
the
producer,
Cambridge
Community
Television,
MediaOne
of
Cambridge,
and
any
cable
company
which transmits
the
program harmless
for any
liability
to
others arising
from
anything
I
may say
or
do
during
the
program,
except
as
set
forth
in
a
written
script
provided
to
me
by
the
program
producer.
I
have
read
this
agreement
before
signing
and
fully
understand
its
contents.
Signature:
P
r
i
nt
N
a
m
e:
Address:
Signature
of
Parent
or
Guardian
if
above-named
person
is
not
of
legal
age
F
o
r
m
s
:
S
t
o
r
y
b
o
a
r
d
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
16
D
ate
Rev.
01/10/2000
Cambridge
Community
TV
Green
Book:
Fundamentals
Page
2
-
17
The process of producing a television program is divided into three stages: Pre-Production, Production, and Post-Production. Pre-Production is vital as it involves setting goals, planning, and decision-making, which ultimately lead to smoother production and editing processes. Planning saves time, ensures a focused program, and helps in anticipating and resolving problems. Fundamental decisions, audience analysis, goal-setting, content planning, and format selection are crucial aspects of effective pre-production.
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pre pro post pre pro post- -production production
Chapter 2: Pre-Production The Three Stages of Production The process of producing a television program is generally divided into three stages. The first stage, PRE-PRODUCTION, includes but is not limited to: Setting goals, writing program proposals, conducting program conferences and crew meetings, story-boarding and scripting, location scouting, gathering all equipment and supplies needed, etc. The second stage, PRODUCTION, refers to the shoot itself, and includes all aspects of cleaning up afterwards and crew debriefing. The final stage, POST-PRODUCTION, refers to editing the material shot during production, and should also include distributing the program and promoting it to your target audience. All of the stages are important; but pre-production is especially important because it makes the other stages proceed that much more easily and smoothly. The Importance of Planning (Pre-Production) Let s be honest: Access producers have lives outside of television, and they re frequently looking for shortcuts. Many producers think that they can save time and energy by skipping pre-production and moving right into production. This is not true. You cannot avoid pre-production; you can only postpone it. Pre-production is in many respects another word for decision- making. And you cannot avoid making decisions, only postpone the inevitable. And when you postpone making important decisions until the last possible minute (i.e. until you re just about to shoot or edit), you re putting extra pressure on yourself at the time when you are already under the pressure of the clock to get something shot or edited. Don t make this mistake. Planning offers many advantages: * Planning saves time (your precious time, the crews and talents time, and the costly equipment time) * Planning makes the shoot go more smoothly * Planning makes for a more focused, better executed program * Planning keeps you sane, because it allows for you to anticipate, plan for, and deal with the problems that inevitably come up. So what kind of planningdo you need to do?
Make Fundamental Decisions: Set Your Goals Before you begin to produce a program, you must answer a number of fundamental questions regarding... Who am I trying to reach? What is the best way to reach this audience? Why am I making this production? What is the purpose of the production? What do I want my audience to think, feel, or do as a result of seeing it? Is video the right tool for the job? AUDIENCE: GOALS: As an Access producer, you have almost complete freedom to do whatever kind of show you want, about whatever topic you want, in any manner that you want (subject to city, state, and federal law, of course). This means you don t have to mimic conventional commercial television. Be innovative. Be creative. Be funky. Be whatever. But if you can do anything, how do you decide what to do? Start with a very clear understanding of your audience and your goals. If you figure those things out, figuring out the format and content becomes a whole lot easier. And it makes you much more likely to create a program that succeeds in the way you hoped it would. Plan Your Content To figure what information to communicate through your program, you should do two things: Research the topic. Know your material. List the most important points to get across. - Prioritize them. - Don t try to squeeze too much information into the program. Less is sometimes more. Decide on Format Knowing what audience you re trying to reach and what information you re trying to communicate makes it easier to figure out how to communicate that information. Ask yourself: What kind of form will the program take (documentary, talk show, news, theatrical, feature, live, interactive, etc )? What should it look and feel like? Think visually and aurally. If there are other shows that it should resemble, how are those programs structured? What should happenfirst, second, third, , last?
Put Your Vision on Paper Write a Treatment In the classic days of Hollywood, when an executive first learned of a possible production, it was presented in the form of a treatment. The purpose of the treatment was to show the executive how the story would be treated - hence the term treatment. The person who wrote it would, of course, tailor it to be as attractive as possible for that executive. Hence, the treatment is not the original story itself, but a description of how it will look as a moving picture. A treatment should serve as a very brief summary of who your audience is, what you want them to get from watching your program, and how you propose to accomplish that goal. Here s an example: I plan to do a 3-minute program showing the general public how to get to CCTV s Central Square facility using public transportation. The camera will be the eye of the public and the purpose of the program is to visually show and tell how easy it is to get to CCTV. Write a Script While the treatment is necessarily brief, the script can be any length, depending upon its purpose and the amount of detail you include. Scripts can serve any number of several important purposes: Making sure that the program keeps to its intended purposes Giving the director and/or camera person a clear roadmap as to the producer s intentions Making sure that the rest of the production team, including the talent, knows exactly what to do and when. Scripts can take any number of forms, including: A list of points to be made, questions to be asked, and/or specific images to capture Side-by-side columns describing the audio and video that will be recorded during every minute of the program.
A visual STORYBOARD which captures in quick sketches the sequences of images to be shot, with the corresponding audio written in captions underneath. Don t be put off by thinking that only artistic types should do storyboards. Storyboards aren t used to showcase artistic talent, but to help you pre-visualize your shots and identify effective, appropriate shot sequences. The video portion of the script will help comprise your list of what to shoot, your Shot Sheet. Here are some tips about writing scripts, from the Somerville Com- munity Access Handbook, by Carol Yourman and Abigail Norman: Know your audience, and keep your objectives in mind. Write to your audience; keep your representative viewer in mind. Think visually and aurally. Keep simple, direct, and to the point. Be conversational. Avoid a formal, term-paper style. Avoid long, complex sentences. If your script has spoken lines, speak them aloud before committing to paper. Use a word processor if you can, and don t be afraid to revise. Communicate frequently with your director, producer, talent, and other colleagues.
Make A Shot Sheet Nothing will teach you more about good camerawork than your first session editing footage that you've shot. Still, here s some good advice for anyone starting out. Good planning and scripting is one key to successful shooting. Your editing job will be much, much easier and go much faster if you figure out exactly what shots you need to get before you ever start shooting. That s what scripts and storyboards are for! But even if you skip those things, don t leave home without a Shot Sheet. The shot sheet will remind you of all the footage you need to capture during the production, so that you come back to the edit suite with everything needed to finish your program. And when making up your shot sheet, don t forget to include all of the cut- aways, cut-ins, and reaction shots you ll want to capture. (See Chapter 4, Fundamentals of Camerawork and Shot Composition, for more information about these kinds of shots.) Also be sure to include audio segments in your shot sheet. Will you need extra ambient sounds to fill in those silent parts of your tape, special sound effects, or music? Decide Shooting Locations Your planning and scripting will probably call for you to shoot your program in specific locations. On the other hand, some access producers find that they end up making some decisions for reasons that have little to do with what the program calls for and much more to do with the realities of their limited resources of people, time, and energy. For this reason, it may help to review the nature of working in the Field vs. working in the Studio; these two environments are very different from each other and offer particular advantages and disadvantages. Your decision on where to shoot may depend, in some instances, on these differences. Keep in mind, however, that many programs combine elements shot in both locations, capitalizing on each environment s advantages.
Advantages Disadvantages Studio Convenience & Control: Staging: Plenty of power, lighting, audio gear Little likelihood of interruption TV stage looks artificial and may not relate to program content Don t have to deal with picking up and moving lots of equipment Functionality: Functionality: Studio is a confined space 3-camera set-up enables you to shoot from multiple angles in one take What you shoot, whether live or live-on-tape, is what you get Can be live and interactive Creative options with chroma People: key Need large crew, typically at least six, some of whom must have advanced certifications Time: Little or no editing time is needed for programs shot live-on-tape Support: CCTV Staff are on hand to deal with technical issues Staging: Field Convenience & Control: Field footage is often more compelling, naturalistic, and related to the program content Not as controlled a setting as the Studio in terms of lighting, audio, staging, and power More likelihood of interruption Have to deal with picking up and moving lots of equipment Functionality: You can shoot anywhere you want. Functionality: Pre-recorded nature of the program allows you to edit it as desired Live and/or interactive telecasts not usually possible Cannot do chroma key or other special effects available with studio equipment People: Generally need only a small crew Time: Your program usually requires editing after shooting Support:
Keep in mind that while the environment of a STUDIO SHOOT is generally constant and predictable, the environment of the FIELD SHOOT is always variable. The studio provides warmth in winter, air conditioning in summer, easily controlled lighting and audio as well as many other aspects that the producer and director can always count on. When one enters the ever-changing environment of the field, however, one should always expect the worst and hope for the best. On the minus side in the field, expect: Audio problems: Video problems: Traffic noises, phones ringing, conversations Glaring sunlight, backlighting, color temperature conflicts Too few A/C outlets, blown fuses, dead batteries Wind, rain, sleet, snow, icebergs (just the tip of) Gesturing pedestrians, uncooperative security Flat tires, forgotten equipment Power problems: Weather problems: People problems: Logistics problems: On the plus side, you can shoot all those things you could never shoot in the studio: Cars, planes, trains, the ocean, a skyscraper, birds, parades, concerts, fires, to name just a few. In addition, you can present your subject, both aurally and visually, in a far more naturalistic and compelling way than you could ever do in the studio. Crew & Time Requirements: The most critical constraint you will face as an Access producer is probably time - your time, your crew s time, and your talent s time. Whereas a Studio shoot typically requires a technical crew of at least six people, most single-camera productions in the field require only one or two technical people: A cameraperson and audio engineer. On the other hand, while a single 3-hour shooting session in the Studio may be all that s needed for completing a one-hour program, many single-camera productions in the field require you to spend many hours in the edit suite. Professionals allot up to one hour of editing time per one minute of finished program; Public Access producers often invest much less time, perhaps one hour of editing time for every five minutes of finished show. So your choice of shooting location may depend, sometimes anyway, on whether your own time is limited or not, and whether or not you ll be able to get a whole bunch of people together for a few hours. If you think you ll be producing a Studio shoot in the future, you should use every chance now (including taking classes and volunteering on other people s shoots) to get to know as many people as you can who might be able to help you out later on.
Put Your Plans on Paper There s a lot to do, and most people prefer not to try and keep it all in their head. Make a list of everything you need to do. Create a timetable: What are you going to do this week, next week, the week after? has to happen by the third week, what do you have to do before then? Remember that you have many other responsibilities in your life, so be realistic. If something Make All the Arrangements Do initial paperwork a) Submit a Program Production Contract to CCTV at least one week prior to reserving equipment. b) Get signed Premises Taping Release (if not shooting in the Studio). Accessibility is always an issue in the field. Before videotapingat a location in the field (at the Mall, for example), you must obtain written permission from the property owner or manager. When videotaping on public property, it is often a good idea to get the permission of the local government and police authorities. Communicate closely with event coordinators a) If shooting an event, obtain a script of the program. Plan shots and transitions between shots. b) If you want to have input into the staging, lighting, audio, and program outline decisions, insert yourself into the decision-making process as early as possible. Don t wait til the day of the shoot, when the plans have already been made, and the group you re shooting for will be least likely to be accomodating. Arrange for talent a) Prepare them for what will happen during shoot. b) Ask them if they have photos, music, objects that would enhance the production. c) Tell them how to dress for television, and what clothes to avoid. (See Chapter 7, Fundamentals of Being Talent, for more information.) d) Make sure they know how to get to the shoot and when to arrive. Arrange for crew a) Make sure they re certified to use the equipment. b) Prepare them for what will happen during shoot. c) Make sure they know how to get to the shoot and when to arrive (early to help you set up, right?).
Scout the Location A site survey conducted in advance of your shoot helps you anticipate all of the problems that may occur and prepare accordingly. Ideally, you would conduct the survey at the same time of day as the shoot so that you re not surprised by a church bell ringing, reflected sun, locked door, etc. Power: a) Where are the outlets located? b) Are the sockets grounded(three-prong) or not (two-prong)? c) How many extension cords do you need? d) Where is the circuit breaker box located? Lighting: a) What are the lighting sources in the environment? b) Can you take advantage of indirect lighting by bouncing light off walls? c) Will you need to bring additional lighting? Will they allow you to? If you do, will it blow the fuses? Do you have the room to set them up? Will you need sandbags to keep the light stands from being knocked over? Will your talent be uncomfortable? d) How are you going match the color temperature of all the lights? e) Are you going to have back-lighting or reflection problems? f) Do you have enough AC power for the lights and the other equipment? (Here s how you can tell: Amps x volts = watts. Most places run on 120 volts, so if the circuit you re on is rated at 15 amps, then you may plug in up to 15 x 120 = 1800 watts of gear on that circuit.) Audio: a) What ambient noises (such as phones ringing, air conditioners, refrigerators, traffic or construction noise, conversations in another room) will you have to contend with? b) Will it be noisy and difficult to mic? Do you need a windscreen? c) Is there a public address or sound system from which you can take a feed? Does it give a line- or mic-level feed? What kind of connectors does it have? How far is it to your recording device? d) If using wireless mics or intercoms, have you tested them in that environment to insure there will be no interference? Set: a) What environment will you be shooting in? b) Do you need to re-arrangefurniture for any reason? c) What will be in the background, and what can you put in the background that would be more appropriate? d) What props do you need to bring with you?
Cameras: a) Where can you put the cameras for the best shots and still not interfere with the audience? b) What types of shots and angles can you get from these positions? c) How far is it from these positions to the power and audio sources? People: a) Who are the people you need to know (people in charge, people with keys, secretaries, janitors, security)? Logistics: a) What time can you gain access to the location? b) Will you have enough time to set up? c) Where can you park for unloading and loading? d) How long will it take you to get there? e) Where can you run all your cables so that they won t be walked on or tripped over? Do you need to tape down the cables with gaffer s tape? f) Do you need to take crowd control measures - such as installing no parking signs, roping off areas, locking doors, or hiring off-duty police? g) Where is the nearest telephone you may use to call CCTV, your talent, your crew? h) If doing a live shoot, where are the cable drops for sending the signal upstream and watching the return signal? Make an Equipment List Make a list of all the equipment you ll need. You ll use this list when reserving CCTV s facilities, and later on before heading off to the shoot. Don t forget things like set supplies, raw videotape, any pre-edited (roll-in) footage you plan to use, duct tape, pen and paper, tweeker, etc. Do the Follow-up Paper Work a) Reserve CCTV s facilities and equipment. You ll need an approved production contract number, which you should receive within five business days of submitting a Production Contract. b) Get signed talent releases from all performers and participants. If minors, get signatures from their parents or guardians. Reconfirm All Your Arrangements. It s not enough to recruit crew and talent, you have to get them to show up, too! Many producers have learned from experience to give their crew members and talent a reminder call a day or two before the shoot. It s also a good idea to reconfirm your equipment request with CCTV. Get a Good Night s Rest. Have a Good Shoot!
Forms: Pre-Production Check-list Make Fundamental Decisions Define Your Audience. Define Your Goals. Research the Topic. List the Most Important Points to Get Across. Prioritize Them. Decide on Program Format. Put Your Vision on Paper Write a Treatment. Write a Script and/or Storyboard. Make a Video and Audio Shot Sheet. Decide Shooting Location Put Your Plans on Paper Make a List of Everything That You Need to Do, and A Timeline. Make All the Arrangements Do the Initial Paperwork: Submit Production Contract, Get Signed Premises Taping Release for Owner and/or Police and government. Communicate Closely with Event Coordinators. Arrange for Talent. Arrange for Crew. Scout the Location Do a Site Survey. Take a List of Everything to Check Out. Make an Equipment List. Make a List of All the Equipment You ll Need. Do the Follow-Up Paper Work Reserve CCTV s Facilities and Equipment. Get Signed Talent Releases from All Performers (or guardians). Reconfirm All Your Arrangements Give Reminder Calls to Your Crew and Talent. Reconfirm Your Arrangements with CCTV and Event Coordinators. Get A Good Night s Rest
Forms: Location Survey Location: Address: Floor: ContactPerson: Room Number: (name) (phone) Name of Janitor/Maintenance: Phone: What time will space be accessible for set-up? Location: Electricity # of AC Outlets: 3 or 2 prong? (indicate location of outlets on diagram below) # of Extension Cords: # of Amps: Location of Fuse/Circuit Breaker Box: # of Power Strips: Breakers or Fuses? Audio Is there a public address or sound system? Does it have mic or line feed? What type of connectors are needed to take a feed from the sound system? _ Any ambient noises? If using wireless mics or intercom, did you test them? Lighting Will you have enough available light? What type of light is it? Is portable lightingneeded? How many lights? Set What will be in the background? Do you need to rearrange furniture? What props do you need to bring? Do you need to limit access to any doors or areas?
Diagram of space, including windows, locations of outlets, and possible camera and portable light locations: Logistics How long will it take you to get there? Where can you park? Loading Dock? Ceiling height: Width of Hallways: Sprinkler System? Type of Flooring: Permits and clearances needed: Elevator or stairs? Widthof Doors: Location of nearest phone you can use? Receive calls? Phonenumber:
Forms: Equipment Inventory Program: Date of Shoot: Location: Crew Call Time: Transportation Vehicle: Permits: Parking/gas money: Paperwork Premises Taping Release: Talent Release Forms: Script & Shot Sheets: Labels for Tapes: Camera Equipment Camera/Camcorder/AC Adaptor: Fully ChargedBatteries: VCR/Cables/AC Adaptor: Monitor/Cables: Tripod: Cases/Bags: Videotape: Audio Gear Microphones/Windscreens: AudioMixer: Fully ChargedBatteries: Headphones: Cables: Adaptors: Gaffer s Tape: Lighting Light Kit and Stands: Extra Lamps: ReflectiveCards: Corrective Colored Gels: Diffusion: AC Power Extension Cords: Power Strips: 3-2 Prong Adaptors:
Forms: Talent Release Name: Program Title: Authorization and Release In return for the opportunity to appear in the above named program, I hereby grant to producer, permission to transmit live and/or to record for later transmission my likeness and/or voice as a part of the above-named cable television access program, for any lawful purpose, at any time. I also authorize the use of my name and any excerpts of said program for the purpose of promoting and publicizing that program. I waive any right that I may have to inspect or approve the finished product or the written copy that might be used in conjunction therewith, or the use to which it may be applied. I agree to hold the producer, Cambridge Community Television, MediaOne of Cambridge, and any cable company which transmits the program harmless for any liability to others arising from anything I may say or do during the program, except as set forth in a written script provided to me by the program producer. , cable access I have read this agreement before signing and fully understand its contents. Signature: Print Name: Print Address: Signature of Parent or Guardian if above-named person is not of legal age Forms: Storyboard Date
