15 Having ideas
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Roger Singleton-Turner
Abstract
The development of a real project might go something like this: have the idea, turn it into a proposal, turn the proposal into a treatment, develop interactive elements, work out a budget, get a commission, work out the finance, make and distribute the show, and cash in on merchandising. Professionally, it is necessary to organise each step of production and post-production carefully with schedules and timetables because so many steps depend on earlier steps having been completed. A practical video module is not, perhaps, the place to go into a lot of detail about writing a script; there are other books and courses that cover this area most effectively. However, the success of any project or programme revolves around its script or format. If these are right, then the performers, be they hosts, actors, comedians, or members of the public, will, simply, perform better.
Abstract
The development of a real project might go something like this: have the idea, turn it into a proposal, turn the proposal into a treatment, develop interactive elements, work out a budget, get a commission, work out the finance, make and distribute the show, and cash in on merchandising. Professionally, it is necessary to organise each step of production and post-production carefully with schedules and timetables because so many steps depend on earlier steps having been completed. A practical video module is not, perhaps, the place to go into a lot of detail about writing a script; there are other books and courses that cover this area most effectively. However, the success of any project or programme revolves around its script or format. If these are right, then the performers, be they hosts, actors, comedians, or members of the public, will, simply, perform better.
Chapters in this book
- Front matter i
- Contents v
- List of illustrations xi
- List of tables xvii
- Preface xix
- Acknowledgements xxi
- List of abbreviations xxiii
- 1 Introduction xxvii
- Part I: Safety and Good Practice 1
-
PART II: INTRODUCTION TO THE STUDIO
- 2 Basics 19
- 3 Working with cameras 29
- 4 Lenses and shooting conventions 49
- 5 The studio production team 62
- 6 Technical jobs in the studio 81
- 7 Design and sets 103
- 8 The job of Script Supervisor and multi-camera paperwork 120
- 9 Camera scripts, camera cards etc. and creating them in MS Word (with a note on Autocue) 134
- 10 In the studio 160
- 11 Lighting for video cameras 172
- 12 Microphones and sound 199
-
PART III: CONTENT
- 13 Interviews, discussion and chat 217
- 14 Demonstrations and movement 251
- 15 Having ideas 265
- Part IV: Applying the Principles 287
- 16 Getting it all together 293
- 17 Drama 325
- 18 Music 367
- 19 Shooting action 387
- 20 Afterword 398
- Appendix I 400
- Appendix II 408
- Select videography 412
- Bibliography and references 428
- Suggested further reading 433
- Index 434
Chapters in this book
- Front matter i
- Contents v
- List of illustrations xi
- List of tables xvii
- Preface xix
- Acknowledgements xxi
- List of abbreviations xxiii
- 1 Introduction xxvii
- Part I: Safety and Good Practice 1
-
PART II: INTRODUCTION TO THE STUDIO
- 2 Basics 19
- 3 Working with cameras 29
- 4 Lenses and shooting conventions 49
- 5 The studio production team 62
- 6 Technical jobs in the studio 81
- 7 Design and sets 103
- 8 The job of Script Supervisor and multi-camera paperwork 120
- 9 Camera scripts, camera cards etc. and creating them in MS Word (with a note on Autocue) 134
- 10 In the studio 160
- 11 Lighting for video cameras 172
- 12 Microphones and sound 199
-
PART III: CONTENT
- 13 Interviews, discussion and chat 217
- 14 Demonstrations and movement 251
- 15 Having ideas 265
- Part IV: Applying the Principles 287
- 16 Getting it all together 293
- 17 Drama 325
- 18 Music 367
- 19 Shooting action 387
- 20 Afterword 398
- Appendix I 400
- Appendix II 408
- Select videography 412
- Bibliography and references 428
- Suggested further reading 433
- Index 434
