Corporate media production /
DiZazzo, Raymond
Corporate media production / Raymond DiZazzo - Hoboken, New Jersey : Taylor & Francis, c2000 - 265 pages ; 28 cm.
Includes bibliographical references.
Part1. The Corporate Media Evolution -- Part2. The Script -- Part3. Preproduction: The Plan for Success -- Part4. Production -- Part5. The Director -- Part6. Postproduction .
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 AnalysisDeveloping the creative conceptScript esse. Contents: Cover; Title Page; Copyright Page; Table of Contents; Preface and Acknowledgments; I The Corporate Media Evolution; 1 The Changing Role of Corporate Media; USES OF MEDIA IN THECORPORATE WORLD; DISTRIBUTION AND DELIVERY SYSTEMS; Videocassettes; Corporate Broadcasts; Distance Learning; CD-ROM, DVD, Streaming Video/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 Artist. Not for the FaintheartedThe 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; PREPRODUCTION; Budgeting. Talent Auditions and BookingsCrew Bookings; 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 VIDEOGRAPHERTHE 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; II The Script; 6 The Program Needs Analysis; THE SCENARIO OF THE UNNEEDED MEDIA PROGRAM; PROGRAM DESIGN; THE PROBLEM OR NEED; OBJECTIVES. Instructional ObjectivesMotivational 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; COMMENTARY; 8 The Creative Concept.
240803655
INDUSTRIAL TELEVISION
PN 1992.94 .D57 2000
Corporate media production / Raymond DiZazzo - Hoboken, New Jersey : Taylor & Francis, c2000 - 265 pages ; 28 cm.
Includes bibliographical references.
Part1. The Corporate Media Evolution -- Part2. The Script -- Part3. Preproduction: The Plan for Success -- Part4. Production -- Part5. The Director -- Part6. Postproduction .
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 AnalysisDeveloping the creative conceptScript esse. Contents: Cover; Title Page; Copyright Page; Table of Contents; Preface and Acknowledgments; I The Corporate Media Evolution; 1 The Changing Role of Corporate Media; USES OF MEDIA IN THECORPORATE WORLD; DISTRIBUTION AND DELIVERY SYSTEMS; Videocassettes; Corporate Broadcasts; Distance Learning; CD-ROM, DVD, Streaming Video/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 Artist. Not for the FaintheartedThe 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; PREPRODUCTION; Budgeting. Talent Auditions and BookingsCrew Bookings; 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 VIDEOGRAPHERTHE 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; II The Script; 6 The Program Needs Analysis; THE SCENARIO OF THE UNNEEDED MEDIA PROGRAM; PROGRAM DESIGN; THE PROBLEM OR NEED; OBJECTIVES. Instructional ObjectivesMotivational 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; COMMENTARY; 8 The Creative Concept.
240803655
INDUSTRIAL TELEVISION
PN 1992.94 .D57 2000