Guide to Video Production
Guide to Video Production
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Guide to Video Production
People like watching television! And this is why video is still one of the most engaging and powerful ways to communicate
But there are hundreds of ways of telling the same story.
Our job is to find the most cost effective way that delivers all your key messages to your audience and within your budget – and we have a rigorous process designed to achieve success.
But there are hundreds of ways of telling the same story.
Our job is to find the most cost effective way that delivers all your key messages to your audience and within your budget – and we have a rigorous process designed to achieve success.
The Brief
The brief is fundamental to determining the success of the project. At this stage it is important to have a broad overview with regard to programme content, while keeping an open mind as to how this will be delivered.
A brief that is too detailed will stifle creative scriptwriting and prevent potential good ideas from coming to the surface. A brief that is too loose however will not provide sufficient focus for the scriptwriter, and the final programme will almost certainly lack clarity and impact.
Ask yourself 'Why are we making this programme?'
The answers to this will act as good backgound information for the script writer and director.
The brief should also address other key points, in particular:
What are the key messages?
What is the nature of your target audience?
How will they be watching the video programme?
How do you want them to respond to your programme?
Finally, it is helpful to have some idea of the budget and timescales that you have available along with any other constraints.
A brief that is too detailed will stifle creative scriptwriting and prevent potential good ideas from coming to the surface. A brief that is too loose however will not provide sufficient focus for the scriptwriter, and the final programme will almost certainly lack clarity and impact.
Ask yourself 'Why are we making this programme?'
The answers to this will act as good backgound information for the script writer and director.
The brief should also address other key points, in particular:
What are the key messages?
What is the nature of your target audience?
How will they be watching the video programme?
How do you want them to respond to your programme?
Finally, it is helpful to have some idea of the budget and timescales that you have available along with any other constraints.
The Proposal
We will respond to your brief with a proposal. This will probably be in the form of an outline treatment which will indicate programme content as well as approximate costs and timescales.
Whoever you speak to at this stage, this should not cost anything. The proposal will act as a sounding board for ideas, and enable you and the production company to home in on the best options.
From this point you should be in a position to decide which ideas to go with. You will be clear on your message content and the ways in which the messages will be delivered. Budgets and lead times will also be finalised and agreed.
Whoever you speak to at this stage, this should not cost anything. The proposal will act as a sounding board for ideas, and enable you and the production company to home in on the best options.
From this point you should be in a position to decide which ideas to go with. You will be clear on your message content and the ways in which the messages will be delivered. Budgets and lead times will also be finalised and agreed.
Scripting, storyboards and treatments
Research is the foundation of good programme making. And the purpose of research is to understand you, your product, your market and your target audience.
Some research will have been carried out during the proposal stage, however there will most likely be a lot more questions thrown up from this that will need to be answered to develop a script.
So we will be spending some time with you.
After the consultation process, we can start to develop a storyline that reflects your organisation’s values and answers your immediate programme needs.
Invariably we will recce all locations as part of research. This helps us to think in pictures and allows us to develop a visual theme for your programme. It also means we understand the technical demands of the location and can therefore create an optimised shooting schedule with the right equipment and crew.
A well written script will engage your audience and convey all your key messages in a concise and imaginative way.
A script is used where specific messages and exact words need to be agreed before shooting. The script may also include details of props, presenters, location, music, graphics and voiceover. This is the blueprint for your programme.
Storyboards are used where the mood and visual details are critical in the finished programme. A storyboard helps us communicate with you how your programme is going to look and as such can be extremely helpful in the production of a TV commercial or a graphics intensive programme for example.
A treatment is used to convey a broad programme structure and key messages. We use this approach often for programmes that consist of vox pops or talking heads in order to give you a good idea of the sorts of messages that we will be acquiring through a prompted interview technique.
Which ever method is used, we make sure you have a crystal clear understanding of the proposed programme content, look and feel, and the opportunity to fine tune before starting the shoot.
Once programme content is agreed, a shooting schedule is drawn up. This identifies the exact filming order, specifying all props, personnel and locations. It means everyone knows exactly what happens and when - avoiding any surprises when we come to the shoot.
Some research will have been carried out during the proposal stage, however there will most likely be a lot more questions thrown up from this that will need to be answered to develop a script.
So we will be spending some time with you.
After the consultation process, we can start to develop a storyline that reflects your organisation’s values and answers your immediate programme needs.
Invariably we will recce all locations as part of research. This helps us to think in pictures and allows us to develop a visual theme for your programme. It also means we understand the technical demands of the location and can therefore create an optimised shooting schedule with the right equipment and crew.
A well written script will engage your audience and convey all your key messages in a concise and imaginative way.
A script is used where specific messages and exact words need to be agreed before shooting. The script may also include details of props, presenters, location, music, graphics and voiceover. This is the blueprint for your programme.
Storyboards are used where the mood and visual details are critical in the finished programme. A storyboard helps us communicate with you how your programme is going to look and as such can be extremely helpful in the production of a TV commercial or a graphics intensive programme for example.
A treatment is used to convey a broad programme structure and key messages. We use this approach often for programmes that consist of vox pops or talking heads in order to give you a good idea of the sorts of messages that we will be acquiring through a prompted interview technique.
Which ever method is used, we make sure you have a crystal clear understanding of the proposed programme content, look and feel, and the opportunity to fine tune before starting the shoot.
Once programme content is agreed, a shooting schedule is drawn up. This identifies the exact filming order, specifying all props, personnel and locations. It means everyone knows exactly what happens and when - avoiding any surprises when we come to the shoot.
Scheduling
Scheduling is crucial to making the shoot as efficient as possible - and the more complex the shoot, the more detail we apply.
Our scripts are written in specific software which goes on to index each scene and prioritises each according to location, personnel and other influencing factors.
An optimum shoot order determines that we spend the maximum time shooting and minimum time travelling - making the most of your investment.
It also means people involved on shoot days have call times, resulting in less hanging around. So 40 minutes of your busy chief executive's time will be just that - and no longer.
A shot list also ensures that every detail is accounted for - all footage, personnel, props and sound effects are detailed in the production schedule with a time allocation.
Our scripts are written in specific software which goes on to index each scene and prioritises each according to location, personnel and other influencing factors.
An optimum shoot order determines that we spend the maximum time shooting and minimum time travelling - making the most of your investment.
It also means people involved on shoot days have call times, resulting in less hanging around. So 40 minutes of your busy chief executive's time will be just that - and no longer.
A shot list also ensures that every detail is accounted for - all footage, personnel, props and sound effects are detailed in the production schedule with a time allocation.
The Shoot
Once shooting starts, your involvement will become a lot less, though we generally insist that there is at least one client representative on location during the shoot.
In this way we can be sure that every recorded detail is correct from your point of view as well as ours.
In this way we can be sure that every recorded detail is correct from your point of view as well as ours.
Shooting may involve presenters, actors, specialist lighting, teleprompt or steadicam, studio or location depending on the nature of the programme. This may take place at your premises, in the studio, or any location at home or overseas.
Programmes are shot in either 4:3 ratio or 16:9 widescreen for a contemporary cinematic feel. We shoot standard definition or high definition which is ideal for large scale screening and on a range of formats to suit the production. This may be DV Cam, Digital Betacam, HDV Cam and HD.
Each has its own merits and we will be happy to advise you on the most appropriate for your programme.
Programmes are shot in either 4:3 ratio or 16:9 widescreen for a contemporary cinematic feel. We shoot standard definition or high definition which is ideal for large scale screening and on a range of formats to suit the production. This may be DV Cam, Digital Betacam, HDV Cam and HD.
Each has its own merits and we will be happy to advise you on the most appropriate for your programme.
The Edit
All the shoot material (rushes) is first digitised into our broadcast edit suite, ready for the offline cut or rough cut.
The script will define very much how the programme comes together at this point. Inevitably during the edit new ideas crop up and the off line edit provides an opportunity to explore and experiment either with alternative choices of music, graphic treatment, sound effects and cutting styles.
When we feel we have all programme content pinned together, with a good indication of the final style of the programme, we call you in. In terms of content. there should be no surprises – after all, the programme has been shot to an agreed script.
Generally by this stage, the programme will be very close to the final cut, though clients will often want to tweak the programme in response to seeing the first cut .
The script will define very much how the programme comes together at this point. Inevitably during the edit new ideas crop up and the off line edit provides an opportunity to explore and experiment either with alternative choices of music, graphic treatment, sound effects and cutting styles.
When we feel we have all programme content pinned together, with a good indication of the final style of the programme, we call you in. In terms of content. there should be no surprises – after all, the programme has been shot to an agreed script.
Generally by this stage, the programme will be very close to the final cut, though clients will often want to tweak the programme in response to seeing the first cut .
Graphics
Graphics and 3D motion graphics are an integral and important part of programme making and are created and composited at our Cheltenham post production facility.
Graphics creation is achieved through a suite of dedicated software packages and enables us to incorporate moving logos, titling, end credits as well as complete animation sequences.
Through our suite of post production tools, we can multilayer video tracks, soft focus, slo-mo, digitally enhance, composite effects and blend any number of video tracks for a truly sophisticated look to your programme.
Graphics creation is achieved through a suite of dedicated software packages and enables us to incorporate moving logos, titling, end credits as well as complete animation sequences.
Through our suite of post production tools, we can multilayer video tracks, soft focus, slo-mo, digitally enhance, composite effects and blend any number of video tracks for a truly sophisticated look to your programme.
The Sound Dub & Mastering
A well mixed soundtrack makes the difference between a good programme and a great programme.
With a library of over 20,000 music and sound effects virtually anything is possible to create a stunning sound track for the final edit – and if you need a 5.1 surround sound mix to really involve your audience this can easily be accommodated during the sound mix ready for DVD authoring.
We have a number of music composers who write specifically for television. So for a unique soundtrack we can create a bespoke, frame accurate music track for your programme.
And if there is a particular sound track that you require we can create a ‘sound-a-like’ with all the feel and atmosphere of the original but without the royalty costs.
The soundtrack – consisting of music and special effects is not just filler – it is a vital part of creating mood. Use this correctly and it won’t just be the key messages that the audience remembers. You will create emotional buy in – one of the most powerful tools in any marketing mix and one that will bond your audience with your message.
Creating the online master either takes place at our post production facility in Cheltenham or London, depending on the programme output.
Once backed up onto digital tape and hard disk, your programme files are kept safe for future use.
The final stage is the delivery format that you require. For most uses, DVD is the most requested medium though we can supply your finished program on any tape format, encoded for playback in any country around the world.
We also encode for CD ROM and all formats for electronic distribution and web streaming.
Web Streaming - Find out more ...
We have a number of music composers who write specifically for television. So for a unique soundtrack we can create a bespoke, frame accurate music track for your programme.
And if there is a particular sound track that you require we can create a ‘sound-a-like’ with all the feel and atmosphere of the original but without the royalty costs.
The soundtrack – consisting of music and special effects is not just filler – it is a vital part of creating mood. Use this correctly and it won’t just be the key messages that the audience remembers. You will create emotional buy in – one of the most powerful tools in any marketing mix and one that will bond your audience with your message.
Creating the online master either takes place at our post production facility in Cheltenham or London, depending on the programme output.
Once backed up onto digital tape and hard disk, your programme files are kept safe for future use.
The final stage is the delivery format that you require. For most uses, DVD is the most requested medium though we can supply your finished program on any tape format, encoded for playback in any country around the world.
We also encode for CD ROM and all formats for electronic distribution and web streaming.
Web Streaming - Find out more ...
DVD - Duplication and Replication
DVD is a great medium for delivering your programme – it is relatively inexpensive to duplicate, offering far superior picture quality to VHS and can be posted and distributed cheaply.
There are all sorts of programming tricks that we can do with DVD
DVD authoring - Find out more ...
There are two methods of copying CDs and DVDs. The first, generally for quantities up to about 500 is simply to burn each CD or DVD individually. This is called duplication and is usually done in a rack of burners, so that 10, 20 or more copies may be made in each session.
These CDs and DVDs may have artwork printed directly onto the body using a dedicated ink jet printer. For very small runs ( up to twenty ) individual labels can be printed and applied by hand which can give a very high quality finish.
For larger runs – 250 copies or more, it is more economical for a master CD to be replicated. This involves creating a glass master which is then used to create a tool which physically stamps out the CDs or DVDs.
On body artwork is usually silk screened on before sealing and packaging.
Whichever copying method is used, CDs and DVDs can be packaged in a limitless way according to your preference – transparent sleeves, printed card sleeves, Jewel cases and box sets being the most common.
We ensure that all graphical content is carried through to the on body print and case, sleeve or booklet design, resulting in a complete and coherent product.
There are all sorts of programming tricks that we can do with DVD
DVD authoring - Find out more ...
There are two methods of copying CDs and DVDs. The first, generally for quantities up to about 500 is simply to burn each CD or DVD individually. This is called duplication and is usually done in a rack of burners, so that 10, 20 or more copies may be made in each session.
These CDs and DVDs may have artwork printed directly onto the body using a dedicated ink jet printer. For very small runs ( up to twenty ) individual labels can be printed and applied by hand which can give a very high quality finish.
For larger runs – 250 copies or more, it is more economical for a master CD to be replicated. This involves creating a glass master which is then used to create a tool which physically stamps out the CDs or DVDs.
On body artwork is usually silk screened on before sealing and packaging.
Whichever copying method is used, CDs and DVDs can be packaged in a limitless way according to your preference – transparent sleeves, printed card sleeves, Jewel cases and box sets being the most common.
We ensure that all graphical content is carried through to the on body print and case, sleeve or booklet design, resulting in a complete and coherent product.
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