Enhanced descriptions from Syndetics:

Corporate Media Production thoroughly examines all aspects of this exciting creative field, from the initial script to the final stages of postproduction. The book also clarifies the roles of the writer, producer, director and client while focusing on the dynamic relationship shared by these key players. This in-depth book captures all the technical and creative elements used in the creation of media in the corporate world. Topics include: Program Needs Analysis Developing the creative concept Script essentials Keys to successful preproduction Lighting, camera and sound Directing executives, employees, and professional actors The director's key aesthetic skills Graphics Production Music and sound production Critical judgment and people skills Traditional and nonlinear editing Audio sweetening The future of corporate media

Table of contents provided by Syndetics

• Preface and Acknowledgments (p. xiii)
• I The Corporate Media Evolution (p. 1)
• 1 The Changing Role of Corporate Media (p. 3)
• Uses of Media in the Corporate World (p. 4)
• Distribution and Delivery Systems (p. 4)
• Videocassettes (p. 4)
• Corporate Broadcasts (p. 4)
• Distance Learning (p. 4)
• CD-ROM, DVD, Streaming Video/Audio (p. 5)
• Interactivity--A Key (p. 5)
• The World Wide Web (p. 5)
• Local Area Networks and Intranets (p. 5)
• Creative Changes? (p. 6)
• 2 The Key Players (p. 7)
• The Corporate Media Producer (p. 7)
• Staff and Freelance Producers (p. 7)
• Producer "Musts" (p. 7)
• The Reward (p. 8)
• The Director (p. 8)
• A Definition (p. 8)
• The Director as an Artist (p. 9)
• Not for the Fainthearted (p. 9)
• The Reward (p. 10)
• The Scriptwriter (p. 10)
• The Real Differences (p. 10)
• The Working Environment (p. 10)
• The Research Factor (p. 10)
• Staff and Freelance Writers (p. 11)
• Clients (p. 11)
• Client Profiles (p. 12)
• A Dynamic Relationship (p. 13)
• 3 Media Groups in the Corporate World (p. 14)
• Large In-House Media Groups (p. 14)
• Advantages and Disadvantages (p. 14)
• Small In-House Media Groups (p. 14)
• Advantages and Disadvantages (p. 15)
• Outside Production Companies (p. 15)
• Advantages and Disadvantages (p. 15)
• Prosumers (p. 15)
• Advantages and Disadvantages (p. 15)
• Freelancers (p. 15)
• Advantages and Disadvantages (p. 16)
• 4 A Production Overview (p. 17)
• Writing (p. 17)
• Program Design (p. 17)
• Scriptwriting (p. 17)
• Preproduction (p. 18)
• Budgeting (p. 18)
• Talent Auditions and Bookings (p. 18)
• Crew Bookings (p. 18)
• Equipment Reservations or Rentals (p. 18)
• Location and Set Arrangements (p. 18)
• Blocking, Storyboards, and Diagrams (p. 18)
• Rehearsals and Meetings (p. 18)
• Production Scheduling (p. 19)
• Production (p. 19)
• Location Production (p. 19)
• Studio Production (p. 19)
• Graphic Arts Production (p. 20)
• Audio Production (p. 20)
• Postproduction (p. 20)
• The Traditional Offline Edit (p. 20)
• The Traditional Online Edit (p. 20)
• Nonlinear Editing (p. 21)
• Audio "Sweetening" (p. 21)
• The Traditional Laydown and Layback (p. 21)
• Nonlinear Audio Sweetening (p. 21)
• Duplication/Distribution (p. 21)
• 5 Production People (p. 22)
• The Line Producer (p. 22)
• The Production Manager (p. 22)
• The Assistant Director (AD) (p. 22)
• The Production Assistant (PA) (p. 22)
• The Director of Photography (DP) or Videographer (p. 22)
• The Camera Operator (p. 23)
• The Gaffer (p. 23)
• The Grip (p. 23)
• The Sound Recordist/Mixer (p. 23)
• The Audio Boom Operator (p. 23)
• The Floor Manager or Stage Manager (p. 23)
• Technical Director (TD) (p. 23)
• Videotape Operator (TAPE OP) (p. 23)
• Video Control Engineer (VC) (p. 23)
• Engineer in Charge (EIC) (p. 24)
• Teleprompter Operator (p. 24)
• The Makeup Artist (p. 24)
• Graphic Artist (p. 24)
• The Offline Editor (p. 24)
• The Online Editor (p. 24)
• The Audio Sweetening Engineer (p. 24)
• II The Script (p. 27)
• 6 The Program Needs Analysis (p. 29)
• The Scenario of the Unneeded Media Program (p. 29)
• Program Design (p. 29)
• The Problem or Need (p. 30)
• Objectives (p. 30)
• Instructional Objectives (p. 30)
• Motivational Objectives (p. 30)
• Mixing Objectives (p. 31)
• Audience Analysis (p. 31)
• Multiple Audiences (p. 32)
• Utilization (p. 32)
• Interactive Design (p. 33)
• Design Summary (p. 34)
• A Complete Program Needs Analysis (p. 34)
• Commentary (p. 36)
• The Decision (p. 37)
• 7 The Content Outline (p. 39)
• Acquiring Content Information (p. 39)
• Interview Techniques and Research Sources (p. 40)
• Use a Tape Recorder If Possible (p. 40)
• Use Open-Ended Questions (p. 40)
• Guide the Discussion (p. 41)
• Insist on Simplicity (p. 41)
• Listen (p. 41)
• Other Sources (p. 41)
• Organizing Content Information (p. 42)
• Content Outline Formats (p. 42)
• Informal (p. 42)
• Formal (p. 42)
• Other Structures (p. 43)
• A Formal Content Outline (p. 43)
• Commentary (p. 46)
• 8 The Creative Concept (p. 47)
• Print Versus Visual (Showing Versus Telling) (p. 47)
• Telling (Print-Oriented Writing) (p. 47)
• Showing (Visual Writing) (p. 47)
• The Creative Visual Concept (p. 47)
• Types of Concepts (p. 48)
• Concept Thinking (p. 48)
• Concept Examples (p. 48)
• Host on Camera with Slides Transferred to Tape (p. 48)
• Music Video (p. 49)
• Documentary (p. 50)
• Children Interviewed on Clean Air (p. 50)
• Concept Summary (p. 50)
• 9 The Treatment (p. 51)
• A Definition (p. 51)
• Treatment Summary (p. 52)
• A Complete Program Treatment (p. 52)
• Commentary (p. 54)
• 10 The Script (p. 56)
• Formats (p. 56)
• The Two-Column Format (p. 57)
• The Screenplay Format (p. 58)
• Interactive Scripts (p. 58)
• Storyboard (p. 59)
• Narration Script (p. 59)
• 11 Script Terminology (p. 63)
• Editing Terms (p. 63)
• Camera Terms (p. 64)
• Scene Heading Terms (p. 66)
• Sound Terms (p. 67)
• Master Scenes Versus Detailed Descriptions (p. 67)
• 12 Dialogue and Narration (p. 69)
• Dialogue Credibility (p. 69)
• Natural Speech Patterns (p. 71)
• Believable Character Motivation (p. 71)
• Use of Contractions and Colloquialisms (p. 72)
• The Dialogue Test (p. 72)
• Narration (p. 72)
• Effective Narration Qualities (p. 72)
• 13 Structure and Transitions (p. 75)
• Types of Structures (p. 75)
• Structure Versus Storyline (p. 75)
• Corporate Structures (p. 76)
• The Tell 'em Structure (p. 76)
• Benefits Bookends (p. 77)
• Contrasting Actions (p. 78)
• Creative Use of Structure (p. 78)
• 14 A Screenplay Format Script (p. 79)
• Commentary (p. 85)
• III Preproduction: The Plan for Success (p. 87)
• 15 Preproduction (p. 89)
• Detail--The Key (p. 89)
• The Players (p. 89)
• The Client (p. 89)
• The Producer (p. 90)
• The Director (p. 90)
• The Assistant Director (p. 90)
• The Production Assistant (p. 90)
• Crew Costs (p. 90)
• Run 'N' Gun Shoots (p. 90)
• Preproduction Tasks (p. 91)
• Budgeting (p. 91)
• Reviewing and Breaking Down the Script (p. 93)
• Obtaining Props and Wardrobe (p. 94)
• Scouting and Confirming Locations and Obtaining Permits and Releases (p. 94)
• Auditioning and Selecting Talent, Professional and Otherwise (p. 94)
• Developing and Writing the Shooting Schedule (p. 94)
• Hiring the Crew (p. 95)
• Designing Sets (p. 95)
• Renting or Reserving Production Equipment and Vehicles (p. 95)
• Designing and Creating Artwork, Animation, and Character-Generated Titles (p. 96)
• Reviewing and Selecting Stock Footage (p. 96)
• Reviewing and Selecting Music (p. 97)
• Blocking the Script (p. 97)
• Rehearsing (p. 97)
• Conducting Preproduction Meetings (p. 99)
• Preparing Equipment for the Shoot (p. 99)
• IV Production (p. 101)
• 16 Production Formats, Equipment, and Shooting Styles (p. 103)
• Glamour or Grind? (p. 103)
• The Videotape and Film Recording Processes (p. 103)
• Film Recording (p. 103)
• Video Analog and Digital Recording (p. 103)
• Formats (p. 104)
• One-Inch Reel-to-Reel (p. 104)
• Three-Quarter-Inch U-Matic (p. 104)
• Half-Inch Camcorders (p. 105)
• D (Digital) Formats (p. 105)
• Mini DV (Digital Video) (p. 105)
• Equipment (p. 106)
• Cameras (p. 106)
• Videotape Recorders (VTRs) (p. 106)
• Microphones (p. 107)
• Mixers (p. 107)
• Monitors (p. 108)
• Lights (p. 108)
• Lighting Accessories (p. 109)
• Other Equipment (p. 109)
• Production Styles (p. 110)
• Location Shooting (p. 110)
• Studio Shooting (p. 111)
• "Virtual" Production (p. 111)
• 17 A Day on Location and a Day in the Studio (p. 113)
• Location Production (p. 113)
• Setup (p. 113)
• Rehearsal (p. 115)
• Take One (p. 115)
• The Strike (p. 115)
• Small Location Shoots (p. 118)
• Studio Production (p. 118)
• Rehearsal (p. 119)
• Switching Live-on-Tape (p. 119)
• Nondramatic Studio Shoots (p. 120)
• Smaller Studio Shoots (p. 120)
• 18 Audio Production (p. 122)
• Audio Recording in the Studio (p. 122)
• The Production Audio Room (p. 122)
• The Recording Session (p. 122)
• The Audio Script (p. 123)
• Transfer to Videotape (p. 123)
• Audio Recording on Location (p. 124)
• Sync Source (p. 124)
• Field or Studio? (p. 124)
• The Importance of Sound (p. 124)
• V The Director (p. 127)
• 19 The Director's Role (p. 129)
• Illusionism: The Director's Art (p. 129)
• Script Aesthetics (p. 129)
• Informational Clarity (p. 130)
• Character Profiles (p. 131)
• Plot and Structure (p. 132)
• Structure and Transitions (p. 133)
• Tone and Pace (p. 133)
• Summary (p. 134)
• 20 Human Aesthetics (p. 135)
• Image and Performance--the Critical Ingredients (p. 135)
• Casting (p. 135)
• Auditions (p. 135)
• Appearance ("Look") (p. 136)
• Performance Capability (p. 136)
• Ability to Take Direction (p. 137)
• Personality (p. 137)
• Audition Review (p. 137)
• Rehearsal (p. 138)
• Before the Shoot (p. 138)
• Rehearsal on the Set (p. 139)
• Execution (p. 140)
• Distractions (p. 140)
• Directing Nonprofessional Talent (p. 141)
• 21 Audiovisual Aesthetics (p. 144)
• Pictures and Sound (p. 144)
• Script Analysis and Visualization (p. 144)
• Visual Elements (p. 144)
• Camera Placement and Movement (p. 145)
• Standard Coverage (p. 145)
• Editing Coverage (p. 147)
• Nonstandard Camera Placement and Movement (p. 148)
• Movement (p. 149)
• Frame Size (p. 150)
• Short Focal Lengths (p. 150)
• Mid-Range Focal Lengths (p. 150)
• Long Focal Lengths (p. 150)
• Prime Lenses (p. 150)
• Zoom Lenses (p. 151)
• Shot Descriptions (p. 151)
• Wide Shot (WS) (p. 151)
• Medium Shot (MS) (p. 151)
• Medium Closeup (MCU) (p. 151)
• Closeup (CU) (p. 154)
• Extreme Closeup (ECU) (p. 154)
• Insert (p. 154)
• Avoiding "Jump Cuts" (p. 154)
• Change Focal Lengths (p. 155)
• Change Camera Positions (p. 155)
• Plan Edits Carefully (p. 156)
• Frame Composition (p. 156)
• Balance (p. 156)
• Depth (p. 159)
• Mood and Lighting (p. 161)
• Sound (p. 165)
• Sound Quality (p. 165)
• Microphone Choices (p. 165)
• Types of Sounds (p. 165)
• Summary (p. 166)
• 22 Technical Aesthetics (p. 167)
• Avoiding Technical Inaccuracies (p. 167)
• Props (p. 167)
• Makeup (p. 168)
• Wardrobe (p. 168)
• Continuity Problems (p. 169)
• Physical Continuity (p. 169)
• Performance Continuity (p. 170)
• Screen Direction (p. 171)
• "Sneaking" Across the Line (p. 177)
• Summary (p. 180)
• 23 General Aesthetics (p. 181)
• A Definition (p. 181)
• Tone (p. 181)
• Corporate Tone Considerations (p. 182)
• Pace (p. 182)
• Shot Content (p. 182)
• Shot Length (p. 183)
• Editing for Pace (p. 183)
• Transitions (p. 184)
• Use of the Cut (p. 184)
• Use of Dissolves (p. 184)
• Use of Wipes (p. 185)
• Use of Digital Video Effects (DVE) (p. 185)
• Summary (p. 185)
• 24 People Skills (p. 186)
• The Director as Consultant (p. 186)
• The Director as Manager (p. 187)
• Planning (p. 187)
• Organizing (p. 188)
• Confirming (p. 188)
• Preproduction Meetings (p. 188)
• The Director as Supervisor (p. 189)
• Communicate (p. 189)
• Be Accessible (p. 189)
• Be Decisive (p. 189)
• Be Reasonable (p. 190)
• Recognize Good Work (p. 190)
• Have Fun (p. 190)
• Say Thanks (p. 190)
• The Director as Coach (p. 190)
• Communicating with Actors (p. 191)
• Articulating (p. 191)
• Allowing Flexibility (p. 192)
• Clarifying Motivation (p. 192)
• Recognizing the "Real World" (p. 192)
• Encouraging Actors (p. 193)
• Demanding Excellence (p. 193)
• Recognizing Effort (p. 193)
• Knowing When to Let Up (p. 194)
• Gaining Respect (p. 194)
• Coaching Employee Talent (p. 194)
• Summary (p. 196)
• 25 Judgment Skills (p. 197)
• Sensitivity to the People and the World Around Us (p. 197)
• Sensitivity to Audience Tastes (p. 198)
• Sensitivity to the Client's and Producer's Tastes (p. 198)
• Other Judgment Calls (p. 199)
• Judgment Under Pressure (p. 199)
• Visual Versus Content (p. 199)
• Content Versus Visual (p. 200)
• Summary (p. 200)
• VI Postproduction (p. 203)
• 26 A Postproduction Overview (p. 205)
• Traditional Versus Nonlinear (p. 205)
• Traditional Editing Overview (p. 205)
• Duplication (p. 205)
• The Master Script Package (p. 205)
• The Editing Process and Time Code (p. 207)
• Time Code and Control Track (p. 207)
• 27 The Offline Edit and Rough-Cut Screening (p. 208)
• The Offline Edit (p. 208)
• The Editor (p. 208)
• The Offline (p. 208)
• The Editing Process (p. 208)
• The Rough-Cut Screening (p. 210)
• Additional Notes (p. 210)
• 28 The Online Edit (p. 211)
• Auto Assemble (p. 212)
• Special Effects (p. 212)
• 29 Nonlinear Editing (p. 213)
• A Nonlinear Analogy (p. 213)
• The Nonlinear Editing Process (p. 215)
• Logging and Digitization (p. 215)
• Editing (p. 216)
• Titles and Artwork (p. 217)
• Client and Producer Review (p. 217)
• Output (p. 217)
• The Future of Nonlinear Editing (p. 218)
• Summary (p. 218)
• 30 Audio Sweetening (p. 219)
• The Sweetening Room--Traditional Audio Sweetening (p. 219)
• The Laydown, Mix, and Layback (p. 220)
• Nonlinear Audio Sweetening (p. 221)
• 31 The Future of Corporate Media (p. 223)
• Network Media Delivery (p. 223)
• Interactivity (p. 223)
• Going Global (p. 223)
• Distance Learning (p. 223)
• Sales and Information Programming on the Nets (p. 224)
• A Challenging Tomorrow (p. 224)
• Glossary (p. 225)
• Bibliography (p. 233)
• Index (p. 235)