T356 - Week 7

Agenda/Announcements

• Today: Quiz on audio, graphics & studio signal flow.
• In lecture we'll cover timecode, visualization/blocking/treatments/scripts
• We'll look at Dramatic scene samples (if time allows)
• Critiques! - All team production exercises from last week's news call for a 1-page critique. All remaining production assignments require a critique.
• If you haven't turned them in, please submit your finished demonstration video scripts and pre-production materials in lab this week.
• We'll select the final PSA and the partners this week during lab. Finalized PSA materials are due next week. We'll schedule these in lab (half-hour blocks) next week. So as soon as we lock into the PSAs this week, you should find out if your client has a preferred time slot (everyone gets about 25 minutes).
• Dramatic scene pitch, proposals, treatments, and floor plans are due next week. Everyone needs to turn one in! We'll vote for these in lab next week.

Be sure to do the readings: cybercollege 57 (time code) & 60 (video switcher and special effects)

Zettl chapters 17.1 (PDF) & 18 (PDF)

Time code

Time code is an electronic numerical signal recorded or embedded into the signal, which allows videotape and multitrack audio machines to be synchronized with frame accuracy. With time code, each frame or location on a tape is assigned a unique number. This allows us to access that specific frame or location on the tape precisely, again, again, and again with frame accuracy.

Here in the US with our NTSC standard, we’ve been taught that video runs at 30 frames per second- actually it’s 29.97. While we count it on a 30 frames per second basis, video runs at 29.97 frames per second.

During recording, a videotape recorder (capable of recording timecode) assigns a unique timecode number to each frame of video, which is recorded along with the video information.

Time code is formatted like a 24 hour clock HH:MM:SS:FF.

"Hours" range from 00 to 23, "minutes" range from 00 to 59, "seconds" range from 00 to 59, "frames" ranges from 00-29.

There are two ways to count or number timecode (which can usually be selected on the VTR):

• Basic, (Non-drop) frame
• Drop frame.

Basic (non-drop) timecode: each new frame of video is assigned the next higher number (06:01:00:29 becomes 06:01:01:00)

The problem with basic non-drop timecode is that the frame numbers drift from the actual elapsed time of a program.

Imagine you've been asked to assemble a two-hour program for a TV station. You could set your timecode display to start at 0, then assemble your programming. When you got to 2 hours you'd be done, right? Wrong- unless you are using drop frame timecode.

Let's assume a 30 frame per second rate as our basic timecode readout leads us to believe and look at a day:

We need 2 hours of programming:
2 hours x 60 minutes = We need 120 total minutes.
120 minutes x 60 seconds = We need 7,200 total seconds.
7200 seconds x 30 frames = We need 216,000 total frames.

But video actually runs at 29.97 frames per second. That's a 3/100ths of a second difference from 30 frames per second.

We really need to take our total seconds and multiply by 29.97 instead of 30.
So 7,200 x 29.97 =  215,784 total frames.

There's 216 frames difference - or about 7.2 seconds.

These problems are avoided if you use drop frame timecode.

Drop frame time code is harder to calculate, but it provides a numbering system that is more accurate, timewise.

In drop frame time code, the frame numbers 0 and 1 are removed from each minute except for every tenth minute (starting from the first). That is, minute 00, 10, 20, 30 and so on, do not have any frame numbers dropped, but all other minutes do. (06;01;00;29 becomes 06;01;01;02)

You can tell when something is drop frame because the time code display has semicolons (;)

PS: There are several good shareware time code calculators out on the net. On the Mac I use TC Calc.

Treatments/Program Proposals/Scripts/Blocking

First a quick review of the production process is in order. (Remember this from T206 & 283?) It has three stages:

1. Pre production (Must be thorough)
2. Production
3. Post production

The Producer is ultimately responsible for the production and making sure that everything gets done.

The Director gets the crew and talent to function as a team and tells then what to do.

The producer is in charge of almost all the activities that take place during the Pre production phase, the most important step in the production process. This includes developing an idea & treatment, writing a script, planning, getting talent, locations and crew etc.

The most important step: No program should start without an objective and a target audience.

• Objective: After watching your program, what will viewers do?
• Target audience: Who are you trying to reach?

Once you have these two you can work up a program proposal and a treatment.

• The program proposal describes exactly what you are going to do and how much it will cost. (See Jim's program proposal information) While its style varies, it usually contains:
  • Title
  • Objective Example: After watching "Feeding the Needy," viewers will understand 3 things they can do to help feed needy children and feel motivated to take action in their community.
  • Target audience (who are you trying to reach)
  • Show format (documentary, talk show, series of how-to, etc)
  • Production method/plan (production strategy, personnel, facility use, etc)
  • Tentative budget (how much)
  • Attached or included Treatment
• The treatment is a narrative description of the story told in the present tense. While treatments don't need to contain specific production information, they should show exactly how the story flows, and ideally should touch on every scene. Treatments for shorter programs can be included in a proposal. Treatments for long-form programs and movies (which can be 50 pages or more) are stand-alone documents. The treatment can be a key document used in selling or pitching a film.

The Pitch: How are TV shows & movies launched? With the pitch. A movie or TV executive is on the receiving end. Agents typically pitch ideas to executive producers. Writers usually don’t do it. Often the script isn’t even conceived yet.

Facilities request

This specifies the exact equipment that is needed. (Specific microphones, boom stands, cameras, dollies etc)

Imagine you were producing one of your demonstration videos, or a final project in Studio 6. You have the studio booked, but you have to figure out everything you need. In addition to the number of cameras, you'll need to plan for set construction, lighting set up time, engineers, tape operators, and even the blank tape.

Visualization, sequencing & blocking

Assuming you have a clear cut objective and a script- the next step is visualization.

Directing starts with visualizing key images. You must first imagine what something is going to look in order to have a chance of re-creating it with a video camera.

The director does not necessarily carry out visualization and sequencing. It’s often the responsibility of the Production Designer or Art Director.
Directors often work with artists who create sketches and storyboards.
Visualization also includes sound. Sound, costume and lighting are also integral to establishing mood.

Production designers often use elaborate perspective sketches. (See Purple Rose of Cairo illustration) These are followed by detailed floor plans.

Visualization - Starting Out

Don't start with a floor plan. Instead start by imagining what you want to see inside of the frame. Then create initial storyboards by recording (drawing) what you imagine inside of the frame.

Even if you don't think of yourself as an artist, you're capable of drawing basic storyboard figures. You can use stick figures with perspective boxes. (See example) You can also take pictures with your digital camera of people (or Barbie dolls, etc.) as stand-ins for the real thing.

Try starting by envisioning certain key scenes. (Remembering the basics of continuity) Create storyboards of the scenes.

Once you've created your initial storyboards, consider where the camera and talent needs to be in order to get the shot. Also consider your possibilities and limitations. You have a finite number of cameras and a limited means of positioning them. You are now ready to create your initial floor plan.

Sequencing & blocking

After visualization is done you need to create a set the instructions for getting from one shot to the next. Determing the precise placement of talent, props and cameras is called blocking. In order to start blocking, you'll need your storyboards, floor plans and scripts. Refer to your storyboards and floor plan. Make instructions in the script for both talent and cameras. Make sure it's possible to get your shots. If not then you'll have to edit or change something.

Alfred Hitchcock created elaborate storyboards for his movies. (See example) Once this was complete he hardly bothered to look in the viewfinder. He trusted the cameraman to faithfully duplicate his image from the storyboard.

Once you've planned the blocking and sequencing for your scene, you'll need to refine it. You should always rehearse your scenes with talent (or stand-ins) focusing only on blocking. During rehearsals, take pictures from the various camera standpoints to make sure you're getting exactly what you need. (See the various types of rehearsals in the week 8 notes.)

 

Review Dramatic Scene Exercise

 

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