Expanded Reference

FUNCTIONS - I use the word “functions” because, on small-scale local production, one person often performs several functions. I’ve created video pieces where I performed all of the listed functions. Of course, the more elaborate and expensive the production the more people are involved. PROCESS - This refers to what needs to be done, and when, for a video piece to come together as a finished product.  In many cases not every item listed needs to be accomplished.  On larger productions there would be subcategories for the items listed, such as set design, make-up, etc.  Process is broken down to three phases - Pre-production, Production, and Post-Production. Those three phases could also be called - Planning, Making the parts, Putting the parts together.

FUNCTIONS - Who Does What

PRODUCER
The Producer is the ultimate maker of a whole video or film project or a segment of it. In reference to larger productions, like feature films, documentaries, or TV shows, the term "Producer" can (and often does) refer to the person or organization that finances the production. At this level a Producer may or may not have expertise in the field of video or film production. They might have the money and means to hire or finance others who are expert. In reference to smaller productions, such as assigned productions within a Creative Services Department of a TV station, he or she has to assess what can be or needs to be done within budget constraints, then make a plan to get those things done. This includes selection of individuals or companies to fulfill various functions, and scheduling. On smaller productions the Producer function is often combined with the “Writer” and/or “Editor” functions. In a small operation or on a very small budget one person might be Producer/Writer/Shooter/Voiceover/Editor. Did I include coffee maker? Going to the other extreme … feature films and television shows often have an “Executive Producer” who hires one or more “Producers” who in turn hire or have available “Associate Producers”. Some other kinds of Producer include “Field Producer”, “Line Producer”, and “Show Runner”.

To clarify this just a little more ... The Producer function is the same for large and small productions in that the Producer is ultimately responsible for what gets made. On large productions a Producer might hire people who "know what they're doing". On small productions the Producer better know what they're doing, because they'll probably have to perform some of the functions listed below.

WRITER
This function can be pretty easily understood just from its name. There are some unique requirements for video or film writing. The writer needs to be able to imagine what this piece will look and sound like before anything has even been shot, and write it down. The final production may end up very much revised, but this is where it starts. The writing style for a TV voiceover usually needs to be casual and conversational. A sentence that looks just fine on a brochure may sound stilted or unnatural when spoken. It’s not always necessary to use complete sentences. Most TV spots are exactly 30 seconds long. A good "ball park" word count for a :30 spot is 70 words or less. It can be a challenge to get the clients message(s) across given that constraint.

VIDEOGRAPHER
The shooter! I didn’t include a lot of functions that are related to the actual shooting because they don’t usually apply to smaller productions. Most shooters that I’ve worked with handle some lighting, but as the size of the production grows so does the crew. It’s not unusual for videographers or cinematographers to have assistants. A separate person and/or crew may handle lighting. There’s also set design, wardrobe, make-up, props. In skilled hands these functions can greatly enhance the quality of a shoot. They also add to the cost. Back to the Videographer … editing is a much smoother operation when a skilled shooter has shot the footage. Amateur footage can be dreadful to edit.

GRAPHICS SPECIALIST
A graphics person or department usually handles a wide range of things. Logos and still images usually have to be specially treated for broadcast. Sometimes they have to be re-built for broadcast. Broadcast Graphics professionals frequently create animated pieces, design backgrounds, create logos, and compose full screen graphics. Design and Art skills can make a so-so spot look like an Emmy winner. Larger productions might have an “Art Director”, or “Design Director”.

DIRECTOR
This word conjures up the image of a guy sitting on a folding chair on a set in a big studio yelling “action”! Well, that’s a Hollywood Movie Director. In local broadcast TV it means something different. A TV Director usually works in and is the boss of a TV control room. I included this function, however, because on a Commercial, Promo, or small production the Producer is usually fulfilling the position of Director. In other words, the Producer function is often really a Producer/Director function. They tell the Videographer what they want shot. If there are any actors they direct them. They’re really doing the same thing as a Hollywood Movie Director, but without the folding chair, the megaphone, the artsy beret, or the prestige.

TALENT
In a local commercial this usually refers to a person who looks at the camera and says stuff. I guess you knew that. Can also refer to Actors.

VOICEOVER
The majority of local commercials consist of edited video, graphics, music track, and voiceover. Voiceover is a most important element. Usually the style and gender of the voice are dictated by the subject matter.  Many first time advertisers prefer what I call a "Mr. Announcer Man" voice.  Many Ad Agency Producers are more interested in a good "sell" voice.  You can note the difference when watching TV.  Many local spots will have "big" voices.  Most nationally distributed spots will use actor voices or voiceover artists that have a distinctive style, and interpret the copy (act).

EDITOR
This is the person who brings it all together, and makes what finally gets shown to the intended audience. It’s all up to them at this point. It’s down to the wire. There’s no time or budget to re-shoot … spots gotta air tomorrow. Video doesn’t look right … too bad … color correct it. VO is 2 seconds too long … find a way to fix it. Music doesn’t work … find something else … quick! This isn’t the right logo! Weren’t we supposed to have a shot of … ? Well, I could go on, but you get the idea. Editors work under the direction of the Producer, but they typically have a lot of input, and, of course, nowadays they’re often the same person.  See "What is Non-Linear Editing?" in "But Wait ... There's More!".

PROCESS - What Happens When

PHASE 1 – PRE-PRODUCTION

INFORMATION GATHERING
It’s crucial for a Producer and/or Writer to know something about their subject matter. In commercial, infommercial, training, and instructional work a client meeting is often a good idea, although phone or email communication can work well in some instances. It’s not necessary for the Producer/Writer to know everything about a particular product, service, business, or subject. They first need to know what the client hopes to accomplish. As an example; some restaurants do great lunch business, but not dinner. Then it only makes sense to focus on bringing in dinner business. Who does the client hope to talk to … kids? … seniors? … pet owners? Some clients know what they want, and they tell you. Some don’t, and information needs to be coaxed from them. This is a very important part of the process. If a Producer/Writer doesn’t have enough information or the right information then everything that follows might be an unfruitful effort. I talk about this in "But Wait ... There's More!"

SCRIPT
This is the concept, the big idea, and this is the blueprint. Everyone involved is going to depend on this document from this point forward. If the script is going to be approved by the client prior to production (and it usually is), then this is a point in the process where mistakes won’t hurt much, as long as they’re corrected. Names, locations, phone numbers, addresses … this is the time to make sure they’re right. Some clients have a difficult time visualizing the spot or video piece from the script. Storyboards can be helpful here. A storyboard is a document with a number of still images, drawings or photos, that illustrate, in order, what will happen during the commercial or video presentation.

TALENT SELECTION
Most local commercial TV production is done without on-camera talent, but if any acting is involved or a client wants a spokesmodel this is a very important part of the process. I talk about this in "But Wait ... There's More!".

LOCATION SELECTION
This refers to the place or places where scenes will be shot for the production.  For local commercial TV production this is usually a no-brainer. If the client owns a Hardware Store … that’s probably going to be the location. There are instances, however, when a product or service needs to be demonstrated in a particular location, or there is acting involved in the spot, or an on-camera talent needs to be placed in a particular setting. Scouting locations and, in some cases, getting permission to use them can take a few days or even weeks.

PHASE 2 – PRODUCTION

SHOOTING
This is an event that needs to be planned and scheduled. If there are 3 locations that need to be shot, then the Producer needs to judge whether or not that can be done in a day. Maybe each of the 3 only take 30 minutes to shoot, but each location is 2 hours away. See what can happen. The Producer has to try to figure that stuff out. If outdoor shots absolutely have to be on a bright sunny day … good luck! Late afternoon, evening is often the best time for outdoor shoots ... often referred to as "Magic Time". Most shooters charge for half days and days. They are also likely to charge for travel time. Shooters I’ve worked with will do some lighting. Larger productions often have separate individuals or crews to handle lighting. Things need to be worked out carefully for shoot days. It’s no good to drive an hour and a half to somewhere only to find out you didn’t think of something important. Gosh, how come I know that?

VOICEOVER
On most locally produced commercials and promos the voiceover serves as the only spokesperson for the product or service. It is a crucial element. This part of the process is easier to accomplish than it once was. Many voiceover artists work out of their homes and use email to send their work as mp3’s. Sometimes it’s still a good idea to work with them in a studio. It depends upon the situation and budget.

GRAPHICS CREATION
A Producer needs to make sure he/she has gathered all appropriate still images, and make sure that they work for broadcast. Many clients don’t understand that the little teeny weeny logo on their web site isn’t going to work on TV, unless, of course, they want it to be teeny weeny on the TV screen. If the client wants a logo, but doesn’t have one, someone’s going to have to make one. Otherwise their business name is likely to be nothing more than font supered on the screen (okay in some instances). Animations can improve the look and feel of a spot, and they don't require locations or actors. These things need to be considered before editing (In other words "Graphics Creation" is also an element of "Pre-Production").

MUSIC AND SOUND EFFECTS SELECTION
The music used on spots often comes from pre-packaged music libraries. The client usually doesn’t have exclusive rights to the music. Consequently one might hear the same music on 2 different spots for 2 different clients in the same market. Clients can buy exclusive use of a track through some companies … costs extra, of course. Clients can also contract with jingle companies to custom make a jingle … more expensive. Clients can also use some well-known popular music if they buy the rights … can be real expensive. (See "But Wait ... There's More!") Most use the first option … a non-exclusive track off a library. Sound effects and sound reinforcement can add a lot to a spot. Many times a video clip or a transition in a TV spot will have a certain “feel” to it. Most people don’t notice that it’s the sound effect that makes it “feel” the way it does. This element could be considered a part of "Pre-Production", but as a practical matter it often occurs during "Post-Production". So I put it in the middle.

PHASE 3 – POST-PRODUCTION

DIGITIZING
Digitizing refers to putting the video, audio, stills, and anything else that is an element of the soon-to-be-edited production onto a computer hard drive or server. This takes some time to do. If a Producer, agency representative, client, or guest is going to sit in on the editing It’s a good idea to have the digitizing done before that session. Digitizing isn’t very creative work (although "shot selection" is), and there’s nothing for others to do but twiddle their thumbs while it’s taking place. Editors frequently do the digitizing. In many Production Houses it is done by an Assistant Editor.

EDITING
This is the stage where all the video and audio clips, voiceover, music, graphics, and animations get put together into the sequences that are ultimately experienced by the viewer. Nowadays this work is usually done on a computer system. Sometimes the pieces all fall right into place and the project is done in a half hour … on the moon! Sometimes things do go well, but this is the last chance to fix anything that’s not quite right, so there can be a lot of problem solving. When you sit down to edit a video piece you never know what’s going to happen. The editing function requires a combination of artistic sensibility and technical skill. Seemingly small changes and decisions can greatly change the "look" and "feel" of a production. "Creative" or "artistic" decisons are within the domain of the Producer. As a practical matter, at this point in the process, they often fall to the Editor working in concert with the Producer or to the Editor alone. On smaller productions the Producer and Editor are often the same person. For a look at what an editor sees on a computer screen when editing go to "But Wait ... There's More!".

Output
For many years video pieces have been output or "printed" onto video tape.  Years ago the tapes were several inches wide on huge reels, then 3/4 inch video cassettes took over. Currently most TV stations use BETA cassettes, and, unfortunately, there's more than one kind, which can lead to compatiblility problems (Beta SP decks can't play Beta SX).

There are two other frequently used output options: DVD's and the Internet (which would also be considered a distribution method). Many TV stations are now receiving commercials and video pieces over the internet as digital files.

DVD authoring is the term used to design the look and flow of the DVD ... in other words - what the viewer sees when they load the DVD, and what happens when they push the buttons, so there's much more to it than just burning video to a DVD. It's a separate field of expertise. DVD authoring software is available that makes it possible for anyone to author a DVD, and in fact I do my own DVD authoring for small projects, such as when a client just wants a copy of their spot so they can look at it at home. However, if the intent of the client is to copy and distribute a major presentation on DVD I would hand the authoring over to someone else with more expertise.

Client's sometimes want a video piece to be available on their web site. Usually in those cases I provide a digital file (Quicktime movie, Windows Media, Real Media) to their webmaster, and the webmaster does the rest. Many website content experts convert video to "flash". Most web browsers have a flash plug-in that allows "flash" presentations to be viewed without the need for various format movie viewers, such as Quicktime Player, Windows Media Player, or Real Media Player.

Links

Video Shooting Tips for Non-Professionals

Final Cut Pro Tips & Tricks for Experienced Editors

I encourage questions and/or comments?

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