Corporate media production
With the advent of affordable equipment, there are more opportunities than ever in the field of corporate media production. This book examines all aspects of this creative field, from concept development to the final stages of postproduction. The book also clarifies the roles of the writer, producer...
| Autor principal: | |
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Amsterdam :
Focal Press
2004.
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| Edición: | 2nd ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627615606719 |
Tabla de Contenidos:
- Front Cover; Corporate Media Production; Copyright Page; Contents; Preface and Acknowledgments; Part I: The Corporate Media Evolution; 1. The Changing Role of Corporate Media; Uses of Media in the Corporate World; Distribution and Delivery Systems; Videocassettes; Corporate Broadcasts; Distance Learning; CD-ROM, DVD, StreamingVideo/Audio; Interactivity-A Key; The World Wide Web; Local Area Networks and Intranets; Creative Changes?; 2. The Key Players; The Corporate Media Producer; Staff and Freelance Producers; Producer "Musts"; The Reward; The Director; A Definition
- The Director as an ArtistNot for the Fainthearted; The Reward; The Scriptwriter; The Real Differences; The Working Environment; The Research Factor; Staff and Freelance Writers; Clients; Client Profiles; A Dynamic Relationship; 3. Media Groups in the Corporate World; Large in-House Media Groups; Advantages and Disadvantages; Small in-House Media Groups; Advantages and Disadvantages; Outside Production Companies; Advantages and Disadvantages; Prosumers; Advantages and Disadvantages; Freelancers; Advantages and Disadvantages; 4. A Production Overview; Writing; Program Design; Scriptwriting
- PreproductionBudgeting; Talent Auditions and Bookings; Crew Bookings; Equipment Reservations or Rentals; Location and Set Arrangements; Blocking, Storyboards, and Diagrams; Rehearsals and Meetings; Production Scheduling; Production; Location Production; Studio Production; Graphic Arts Production; Audio Production; Postproduction; The Traditional Offline Edit; The Traditional Online Edit; Nonlinear Editing; Audio "Sweetening"; The Traditional Laydown and Layback; Nonlinear Audio Sweetening; Duplication/Distribution; 5. Production People; The Line Producer; The Production Manager
- The Assistant Director(AD)The Production Assistant(PA); The Director of Photography (DP) or Videographer; The Camera Operator; The Gaffer; The Grip; The Sound Recordist/Mixer; The Audio Boom Operator; The Floor Manager or Stage Manager; Technical Director (TD); Videotape Recorder Operator (Tape op); Video Control Engineer (VC); Engineer in Charge (EIC); Teleprompter Operator; The Makeup Artist; Graphic Artist; The Offline Editor; The Online Editor; The Audio Sweetening Engineer; Part One Summary; Part II: The Script; 6. The Program Needs Analysis; The Scenario of the Unneeded Media Program
- Program DesignThe Problem or Need; Objectives; Instructional Objectives; Motivational Objectives; Mixing Objectives; Audience Analysis; Multiple Audiences; Utilization; Interactive Design; Design Summary; A Complete Program Needs Analysis; Commentary; The Decision; 7. The Content Outline; Acquiring Content Information; Interview Techniques and Research Sources; Use a Tape Recorder if Possible; Use Open-Ended Questions; Guide the Discussion; Keep it Simple; Listen; Other Sources; Organizing Content Information; Content Outline Formats; Informal; Formal; Other Structures
- A Formal Content Outline
