1. Television Production I Modules 1-9

3. The TV Process Fields and frames –Video is a series of still images that give appearance of motion –NTSC video runs at 29.97 fps; Motion pictures run at 24 fps –Began with interlaced scanning, but progressive scanning (1080p, 720p, etc) now also prevalant Quality of the captured image is largely determined by camera’s CCD (charged-coupled device) or sensor

4. Television Standards Differing TV standards -- NTSC (standard TV for North America); PAL (Europe) & SECAM (being phased out) StandardsNTSC for SDATSC for HDTV Aspect Ratio4:316:9 Lines 525 (in reality, 480) 1125 (in reality, 1080) Sound 2 Channel (stereo) 5.1 Channels (surround sound) Max Resolution720 x 4861920 x 1080

5. Television Standards 1 PIXEL

6. Television Standards NTSC/SD vs ATSC/HD 486px 720px 1080px 1920px

7. Different HD Formats Most Common FormatsResolutionFrames Per Second SDNTSC DV720 x 48029.97 HD 720/60p1280 x 72059.94 1080/60i1920 x 108029.97 1080/24p1920 x 108024 OR 23.98 1080/30p1920 x 108029.97 1080/60p1920 x 108059.94 Ultra 2K2048 × 1080 Varies by camera; standard broadcast specs likely to be UHD @ 30 fps Ultra HD (4K)3840 x 2160 DCI (4K)4096 x 2160

8. Production Personnel (Basic) Producer Responsible for all personnel working on a production; coordinating technical and non-technical production elements Director In charge of directing talent and technical operations; ultimately responsible for transforming a script into effective audio and video messages Talent Actors (who portray other people) Performers (who appear in non- dramatic roles) Announcers (who generally don’t appear on camera)

9. Production Personnel (Basic) Technical Director (TD) Operates the video switcher; usually acts as technical crew chief Production Assistants (PA) Assists director and producer during production; takes notes on ongoing production needs and changes Lighting Director (LD) Designs the lighting plan, arranges for needed lighting equipment, sets up and checks the lighting Makeup Person Works with talent for production Audio Director/Tech Arranges/set-up audio equipment, monitor during production Boom/Grip Operator Determines microphone location; holds as necessary in field situations

10. Production Personnel (Basic) Video Recorder Operator Arranges video recording equipment; set-up, operation, monitors recording Continuity Secretary Makes notes on scene and continuity details; ensures consistency between takes and scenes CG Operator Programs opening titles, subtitles, closing credits Camera Operators Set-up & operate cameras; work with director, LD, audio tech on shots Floor Manager Responsible for coordinating activities on the set; may be assisted by stagehands Editors Blend audio and video recordings together to create final, piece

11. Phases of Production Preproduction –“The most important phase of production is preproduction” –Basic ideas and approaches of the production are developed and set into motion; determine how to Hit the Target Audience –Key Talent and Production Members decided; all major elements are planned; Production meetings; Rehearsals Production –Can be either live or recorded Postproduction –Strike sets, Handling final obligations, Editing, Distribution, Etc.

12. Program Proposals & Treatments 1 st step: The Treatment – a clear and succinct summary of your ideas –“Your ability to write and effectively communicate your ideas ends up being the most important criterion for success” –Often used to identify weaknesses in structure; often used to interest key people in supporting the production (like financial backers) –The treatment should show: The essence of the production and/or the basic storyline Locations and talent required; key scenes Basic production needs and approximate times of the segments

13. Script-writing Scripted Level - Semi-scripted to Fully Scripted –Semi-scripted includes interviews, discussions, ad-lib shows, and many and variety shows. Scripts often resemble a basic outline, with show segments and basic times –Fully scripted – list complete audio and video for every moment of the program Concrete-to-Abstract Continuum –Concrete – presents information clearly; found in “hard” news, documentary, instructional pieces, etc. –Soft news likely to be more Abstract, communicating actions and feelings more than facts

14. Script-writing Present materials that capture and holds audience interest by: –Engaging the audience’s emotions –Presenting your ideas in a fresh, succinct, clear, and creative way –Making your viewers care about the subject matter –Using aural and visual variety A-roll – primary interview (or other) footage B-roll – related supplementary footage

15. Capturing & Holding Attention The success of a TV program depends on the ability to capture and hold an audience –Start with a clear understanding of the needs and interests of your specific target audience –Create an emotional connection with the audience Keep in mind… –Be careful in blatantly challenging widely held beliefs –Audiences like to hear about new and exciting things But don’t be exploitative just to capture attention –The content of a production, good or bad, will be recorded in the reputations of the production staff, station, and sponsors

16. Treatment Writing Assignment Write a treatment for an episodic TV series based on how a college student can spend a summer vacation Remember: CLEAR and SUCCINCT summary of: –The essence of the show/story; basic storyline(s) –Talent required / characters –Locations required –Production needs (tech/equipment, personnel, etc.) Full assignment details listed on our course website

17. The (15-step) Production Sequence 1.Identify the purpose of the production –Entertain, inform, instruct, make the audience take action, etc? 2.Identify and analyze your target audience –Know the age, sex, socioeconomic status, educational level, content preferences, etc. –Know what your target audience finds acceptable and unacceptable 3.Review similar productions done in the past –How will your production differ/be similar? What mistakes did they make that you should avoid? 4.Determine the value of the production to a sponsor 5.Put it down on paper

18. The (15-step) Production Sequence 6.Draw up a tentative schedule –Plan carefully, allowing for deadlines 7.Bring above-the-line personnel on board –Above-the-line includes producer, writer, director; key creative crew 8.Decide on key locations –Determine benefits of convenience and control (studio) vs. authenticity (locations) 9.Make decisions on talent, wardrobe, sets –Rehearsals can begin after cast is assembled 10.Make other decisions on staff and production needs –Includes transportation, catering, accommodations

19. The (15-step) Production Sequence 11.Obtain necessary permits, insurance, clearance –In many shooting situations, permits and insurance must be obtained beforehand –Use of prerecorded music and video material also requires legal clearance 12.Make arrangements for acquiring additional material –Think about stock footage, archival material, still photos, graphics, and other necessary material 13.Rehearsals 14.Review footage and make editing decisions –Know the difference between off-line and on-line editing 15.Follow-up work

20. Budgeting Productions Know the difference between above-the-line and below- the-line expenses/personnel –Above-the-line expenses refer to performing and producing: talent, script, music, office services, etc. –Below-the-line expenses refers to the physical elements (sets, props, facilities, etc.) and Technical Personnel (stage manager, engineers, VTR operators, etc.) Cost effectiveness measured by: –Cost per minute –Cost per viewer –Cost vs. measured benefits