Tuesday, 30 January 2018

As Live Production | Contributors and Production Design (30th January 2018)

(Notes form lecture)
  • Finding talent
    • Showreels - need to meet face-to-face as well
    • Auditions - open or closed / may find undiscovered talent / put them in a difficult scenario
    • Agents - more than likely going to cost money
    • Scouting - may be cheaper / opportunity to find new talent / time consuming
    • Talent websites, e.g. Mandy
  • Dealing with talent
    • Introduce yourself and explain your requirements
    • Check availability - find out what else they are working on / potential scheduling clashes
    • Make sure you are clear about the terms and conditions of the deal you are doing - hours/days, rate of pay, expenses, consider setting a flat fee or limits
    • Contracts and release forms are essential - should be done in advance of VTs/rehearsals etc.
  • Finding contributors
    • Appeals/adverts
    • Sourcing and contacting relevant organisations and parties
    • Contacts
    • Press offices/media liaison
    • Must be cast as with any other talent
  • Finding audiences
    • Passive/active/representative/supportive
    • Open advert
    • Targeted advertising
    • Piggy back on existing networks e.g. UCA Twitter
    • Social media
    • Targeted calls/research
  • Representing the audience
    • Audiences in the show should reflect the audience at home
    • On many programmes they are individually cast
  • Accuracy
    • Keep records throughout the production process
    • Essential that all information is accurate and checked - spelling etc.
    • Ofcom broadcasting code...
  • Scheduling and organising talent, contributors and audience
    • Carefully negotiate how much time and commitment we require and the amount they are prepared to give
    • Some talent may be needed for post production
    • Departments should seek to minimise the amount of time that talent is required
Production Design
  • 'Creatives' are often freelance
  • The production team will work alongside the freelancers, commissioning the work they require and taking the lead on decisions
  • Look at their previous work
  • Brief the creatives on exactly what the producers want
  • Important considerations
    • No glare or shiny surfaces
    • Background should not overpower the contributors
    • Shadows
    • Copyright
    • Framing
    • The audience
Production Meeting
  • Music influence on fashion - recreating bold fashion statements - dress to the era
  • History behind outfits - Churchill onesie / siren suit
  • Independent stores - undiscovered gems - 
  • Dress the presenter - £30 budget to buy the other presenter an outfit (bonus points for going under budget / minus points for going over) - bargain hunt style - VT of shopping for clothes, then outfit is revealed in the studio

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