Part One: 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, 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 Fainthearted The Reward The Scriptwriter The Real Differences The Working Environment The Research Factor Staff and Freelance Writers Clients Client Profiles Busybodies Instant Decision Makers Yessirees Committee Heads Plain Old Perfect Clients 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 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 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 Two: The Script 6 The Program Needs Analysis The Scenario of the Unneeded Media Program Program Design The Problem or Need Objectives Instructional Objectives Motivational Objectives Mixing Objectives Audience Analysis Audience Size/Discipline Audience Demographics Audience Attitudes Audience Needs/Interest Audience Knowledge Level 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 Insist on Simplicity Listen Other Sources Organizing Content Information Content Outline Formats Informal Formal Other Structures A Formal Content Outline Commentary 8 The Creative Concept Print Versus Visual (Showing Versus Telling) Telling (Print-Oriented Writing) Showing (Visual Writing) The Creative Visual Concept Types of Concepts Concept Thinking Concept Examples Host on Camera with Slides Transferred to Tape Music Video Documentary Children Interviewed on Clean Air Concept Summary 9 The Treatment A Definition Treatment Summary A Complete Program Treatment Commentary 10 The Script Formats The Two-Column Format The Screenplay Format Interactive Scripts Storyboard Narration Script 11 Script Terminology Editing Terms Camera Terms Scene Heading Terms Sound Terms Master Scenes Versus Detailed Descriptions 12 Dialogue and Narration Dialogue Credibility Natural Speech Patterns Believable Character Motivation Use of Contractions and Colloquialisms The Dialogue Test Narration Effective Narration Qualities Conversational Tone Content Focus Simplicity 13 Structure and Transitions Types of Structures Structure Versus Storyline Corporate Structures The Tell ''em Structure Tell ''em Examples Benefits Bookends Contrasting Actions Creative Use of Structure 14 A Screenplay Format Script Commentary Part Three: Preproduction: The Plan for Success 15 Preproduction Detail-the Key The Players The Client The Producer The Director The Assistant Director The Production Assistant Crew Costs Run ''n'' Gun Shoots Preproduction Tasks Budgeting Reviewing and Breaking Down the Script Creating The Master File Obtaining Props and Wardrobe Scouting and Confirming Locations and Obtaining Permits and Releases Auditioning and Selecting Talent, Professional and Otherwise Developing and Writing the Shooting Schedule Hiring the Crew Designing Sets Renting or Reserving Production Equipment and Vehicles Equipment Lists Designing and Creating Artwork, Animation, and Character-generated Titles Reviewing and Selecting Stock Footage Reviewing and Selecting Music Blocking the Script Rehearsing Conducting Preproduction Meetings Preparing Equipment for the Shoot Part Four: Production 16 Production Formats, Equipment, and Shooting Styles Glamour or Grind? The Videotape and Film Recording Processes Film Recording Video Analog and Digital Recording Formats One-Inch Reel-to-Reel Three-Quarter-Inch U-Matic Half-Inch Camcorders D (Digital) Formats DV (Digital Video) Equipment Cameras Videotape Recorders (VTRs) Microphones Mixers Monitors Lights Lighting Accessories Other Equipment Production Styles Location Shooting Single-Camera Style Studio Shooting Multicamera Style "Virtual" Production 17 A Day on Location and a Day in the Studio Location Production Setup Rehearsal Take One The Strike Small Location Shoots Studio Production Rehearsal Switching Live-on-Tape Nondramatic Studio Shoots Smaller Studio Shoots 18 Audio Production Audio Recording in the Studio The Production Audio Room The Recording Session The Audio Script Transfer to Videotape Audio Recording.