1. 6/4/20161 RTV 420 Collecting Media for Site The Project Work Production Review Interactive Media

2. 6/4/20162 Interactive Media work Writing scripts Producing Video Shooting still images Producing audio Creating web page mockup Merging Media Pitching Practical, job-oriented work Theoretical analysis

3. 6/4/20163 Starting work Review chapters for help Write two different scripts:  An audio explanation  A :30 promotional video  A :30 radio commercial  A ‘podcast’ style interview  A feature ‘news report’  An audio ‘mini-documentary

4. 6/4/20164 The ‘Client’ A merged Journalism / RTV / Film / PR / Communication department What is the Target Audience? What should this look like online? How will it be promoted and marketed across the region? How will it be positioned?

5. 6/4/20165 Production Overview /Review What, that we will go through quickly, do you not know?  Reading links What skills do you need to understand / improve in the coming weeks?  Training sessions  Evaluation of skills  FCP, etc.software It all starts with a good idea and scripts

6. Audio Production Three things you mix  Sources, copyright (more later) Production terms:  Establish, hold under, cross fade, segue, music bed, voice over, straight voice, jingle, stinger, cold ending (etc.) Types of productions  Promo, commercial, PSA  Voice / VO / music / SFX  Narration / dialogue 6/4/20166

7. Samples Commercials 6/4/20167

8. Audio Production ProTools or Audition (Audacity) Stereo or multitrack recording Live mix or mixdown Timing / length issues Setting levels: VU (or ppm)  Foreground or background  Voice over vocals or SFX 6/4/20168

9. VIDEO PRODUCTION 6/4/20169

10. Cameras Consumer, Prosumer, Pro Manual vs. automatic controls Tape, memory card Cloud storage Here it is: “Photography is the art of capturing and controlling light.” 6/4/201610

11. 6/4/201611 Lenses Camera body vs. lens Zoom or fixed (prime) -- critical focus Optical vs. Digital zoom Diaphragm / aperture -- f-stops / t-stops / number means what? Manual vs. autofocus  Sharp focus, Selective focus, follow focus, rack focus, soft focus, swimming focus Depth of field is affected by focal length, aperture, and the distance of objects from the camera.

12. 6/4/201612 Camera mounts Tripod and pedestal  Friction head / Fluid Head Crane vs. jib Dolly / track SteadiCam vs. Handheld  Image stabilization Robotics, follow me, Segue, ‘copter, cable mount, etc.

13. 6/4/201613 Shot Composition Rule of Thirds Point of View Angle  High angle, low angle, high level, low level, bird’s eye view, canted / Dutch angle Cut off lines, look space, lead room, head room, eye line Terms: WS, OTS, 2/S, etc.

14. 6/4/201614 Transitions What is a shot? Fade / cut / Diss / Wipe / DVE Changing shots in a continuous shot Multi cam shoots vs. film style Real time to Filmic time Invisible / seamless edits Sequences Master Shot / cover shot Jump cuts / pop cuts

15. 6/4/201615 Camera movements Pan, tilt, truck, dolly, arc, zoom, boom/pedestal DVE Crane, tracking, feather, 360 shot, follow, swish pan, snap zoom

16. 6/4/201616 Technical vs. aesthetics What kind of camera? What kind of lighting? What kind of lens? Consumer vs. Prosumer vs. professional cameras (reading online) How the story is told? ‘Language’ of visual storytelling -- Hollywood style, home movies style, new media style, NPPA / news style

17. 6/4/201617 Foundation Review regarding content creation

18. Editing Kulechev effect Shooting to edit ‘Director’s Cut’ – why? Pacing, continuity 6/4/201618

19. 6/4/201619 How do we create visual content? B-roll with nat sound, interviews, Voice overs, dramatic scenes. How do we 'create' b-roll when then is no event to shoot? ("The Ken Burns Effect") What are the standard techniques for shooting b-roll, interviews, and dramatic scenes? Visual storytelling--does what you have: drive the story? Build characters? keep the audience connected? accomplish the communication goal?

20. 6/4/201620 Interviewing Interviews: Camera point of view (objective, subjective, presentational) Formats -- scripted, semi-scripted, ad-lib. Information, personality, opinion Types of questions -- primary & follow- up; open-ended and closed-ended. Principles of Interviewing – (variety) Q&A in production vs. interviewing for sound bites

21. 6/4/201621 Talking Heads Why is this a dominant content item in many visual production? How do we keep it from becoming negative, static, boring? What production issues are there vs. quality of content issues?  How do we shoot interviews?

22. 6/4/201622 More content basics News story style: narrator with actualities (sound bites) and some 'wild sound' (nat sound). Production basics: still a lead (intro/open), a beginning / middle / end structure, inverted pyramid style? Still conversational writing -- simple sentences (SV, SVO), active voice, present tense verbs, contractions, sentence fragments. For radio--how do you 'draw mental pictures'?  more expressive language and voice style.

23. 6/4/201623 Audio segments Documentary style: adds musical elements, longer segments, greater variety of voices heard, transitions. Also takes on different documentary forms. Terms applied: music bed, establish, hold under, fade, cross fade, stinger, jingle, voice over, mixing Narration vs. dialogue PSA / promo / commercial copy types -- straight copy, hard sell, soft sell, spokesperson, humorous

24. 6/4/201624 Review copyright What can and what can we NOT put into our production? What is 'fair use'? 'public domain'? 'creative commons'? How challenging are copyright issues? (Harry Fox Agency, Tony Orlando example / see show credits) Performance licensing (ASCAP, SESAC, BMI) Blanket license vs. needle drop

25. 6/4/201625 Review copyright Digital Millennium Copyright Act SoundScan Synchronization license Master use license Criminal and civil issue  cease and desist vs. settlement vs. court ruling  How do you assert copyright?

26. 6/4/201626 Bottom line If you don’t own it or it’s not public domain, you can’t put it into a production “Royalty Free Loops” www.royaltyfreemusic.com ###