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Basics of the Video Production Diary
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Basics of the Video
Production Diary
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Contents i
OTHER TITLES IN THE SERIES
Basics of Video Production, 2nd edition, Des Lyver and Graham Swainson
Basics of Video Lighting, 2nd edition, Des Lyver and Graham Swainson
Basics of Video Sound, 2nd edition, Des Lyver
FURTHER READING FROM FOCAL PRESS
Film Production Management, 2nd edition, Bastian Cleve
Production Management for Film and Video, 3rd edition, Richard Gates
The Continuity Supervisor, 4th edition, Avril Rowlands
The Essential Television Handbook, Peter Jarvis
Video Production Handbook, 3rd edition, Gerald Millerson
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ii The Basics of the Video Production Diary
Basics of the Video
Production Diary
Des Lyver
OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEW DELHI
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Contents iii
Focal Press
Focal Press
An imprint of Butterworth-Heinemann
Linacre House, Jordan Hill, Oxford OX2 8DP
225 Wildwood Avenue, Woburn, MA 01801-2041
A division of Reed Educational and Professional Publishing Ltd
A member of the Reed Elsevier plc group
First published 2001
© Des Lyver 2001
All rights reserved. No part of this publication may be reproduced in
any material form (including photocopying or storing in any medium by
electronic means and whether or not transiently or incidentally to some
other use of this publication) without the written permission of the
copyright holder except in accordance with the provisions of the Copyright,
Designs and Patents Act 1988 or under the terms of a licence issued by the
Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London,
England W1P 0LP. Applications for the copyright holder’s written
permission to reproduce any part of this publication should be addressed
to the publishers
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging in Publication Data
A catalogue record for this book is available from the Library of Congress
ISBN 0 240 51658 3
Printed and bound in Great Britain
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iv The Basics of the Video Production Diary
For information on all Focal Press publications visit our website at:
www.focalpress.com
Contents
Introduction vii
How to use this book ix
Acknowledgements x
What is a production diary? 1
Why do we need one? 2
What’s in it? 3
How do we organize it? 5
An outline of our production 8
Pre production 11
The request for a programme – by phone 12
The request for a programme – by letter 14
Aims 18
Objectives 18
Target audience 19
The reply 20
Client meeting – preparation 23
Pre meeting planning 25
Client meeting – the meeting 27
Budgets – overview 30
Phone calls and letters 33
The treatment 39
Client budget 44
Negotiations and costs 46
Client meeting – negotiations 51
Production meetings 54
A business caveat 58
Production planning 60
More phone calls 62
The storyboard 69
Budgets – draft 75
The audio script 86
Health and safety 90
The recce (1) 92
Supplier meetings 97
The recce (2) 99
The final budget 104
More meetings and phone calls 108
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Contents v
Schedules and deadlines 116
Contracts 118
Copyright 125
Permissions 126
Insurance 127
Production 131
Production meetings 132
Confidentiality clauses 133
Second production meeting 136
Working with a PA 138
Production planning 141
Camera scripts 143
Studio camera cards 146
Floor plans 148
Location shooting script 150
Camera logs 152
Call sheets 156
The day before the shoot 159
Equipment checks 161
Rehearsals 163
Production briefing – 21st Sept. 165
The shoot – day 1 166
The shooting logs 169
The shoot – day 2 171
Re-shoots 174
Final production meeting 175
Post production 178
Editing overview 179
Off line edit 181
Client review 187
On line edit 190
The audio dub 198
Budget reconciliation 200
Hand-over and invoicing 205
Post mortem 207
Glossary 210
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vi Contents
Introduction
This book is aimed at you if you wish to learn about the business
side of video production. It is designed to complement the other three
in this series (Basics of Video Production, Basics of Video Lighting and
Basics of Video Sound), which allow you to understand the overall
process of video production and then look in more detail at sound
and lighting.
What I have tried to do with this book is to help you with two
distinct and different areas of video production. One is to understand
the paperwork that will be involved in the production process; the other
is to try to heighten your awareness of the communication and business
skills you will need if you are intending to set up your own video production company.
We will take a real programme that was made by a real production
company. Two people who met on a course like yours, have not been in
business long and are struggling to survive, run the company.
Video production requires a high degree of organization to be a
success. Good organization will require a proper diary to be kept of your
production. It is an understanding of the paperwork, and its organization, that will make your production either a success or a failure.
This book aims to help you produce that paperwork professionally and
logically. I have also tried to introduce you to some of the basic principles of setting up and running your own business. For your part, the
safety of an educational or training environment will help you to learn
from the mistakes we all make in the process of trying to be a success
in what is a very tough business.
This is not meant to be an ‘expert’s book’, but if you are a student
who wishes to learn about all aspects of planning and documenting a
video production, read on.
All types of media productions should have a production diary.
Although this book is specifically related to video productions, much of
what you read will be directly transferable to film courses, multimedia
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Contents vii
and sound courses as the basics and principles of running the business
remain the same.
The book explains, in simple language, what should go into the diary
and how to organize it into a logical order. There are hints and tips to
help you avoid the often-costly pitfalls that will beset any new producer
who is associated with an expensive production.
You will learn to detail the production process from conceptualization,
and how to write the aims and objectives of the programme, right
through to the final screening.
My aim is to give you a rapid insight into the process of organizing
your video programme without getting bogged down in technical terms.
Only where it is necessary to understanding is there any reference to
technical matters.
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viii Introduction
How to use this
book
I suggest that you read the first section, explaining what a production
diary actually is, before you look at the rest of the book.
It will also make sense if you read the section called ‘An outline of
our production’. As you will see, if you read this section, the book is
based around a simulation of a real production in much the same way as
your course will ask you to produce your programme in as real, but safe,
an environment as possible.
You may then choose to read this book from cover to cover, but it is
essentially designed as a ‘dip in’ book. You will see that all the different
pieces of paper that make up the diary are dealt with separately so it is
possible to read only the section that interests you at the moment without reference to the other sections.
This will help you to understand how to deal with the task your course
asks you to do today. For example you may have been asked to write a
treatment for an imaginary programme. You will find the help you need
by looking at the ‘treatment’ section without necessarily needing to read
the whole book. Each section is complete and needs no reference to any
other part of the book.
I have spent many years in the video and related AV industry, and
have taught video production at all levels. I wrote this text as a result
of being unable to find a ‘starter book’ to offer my students. Thank you
for buying it. I hope you find it useful and you have as many happy
years in the industry as I have.
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Contents ix
Acknowledgements
My sincere thanks are offered to Ace Productions from whom I have
borrowed the idea for our imaginary journey through one of their productions from an idea to the final invoice to the client.
I also have to thank Ace Productions’ kittens, Chico and Daisy, who
already think they are Hollywood stars and tore up most of the paperwork needed for my research!
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x The Basics of the Video Production Diary
What is a
production diary?
Every programme that is created will generate a great deal of paperwork.
All this paperwork needs to be collated and kept in a logical order. The
diary starts on the first day a programme is requested and closes on the
day the final invoice is paid.
Because it represents the programme from beginning to end it is
easier to think of it as a daily record of its life, a diary. Sometimes it
is called a production log, sometimes a production file; whatever you
have been told to call it I am calling it a production diary and you are
going to have to keep one for each production you ever do!
As with any other diary you must get into the habit of putting everything that happens into it, when it happens. It is no good thinking
‘boring paperwork’ and then trying to remember a phone number or an
idea for a credit sequence several weeks later.
The production diary is a complete and accurate record of exactly how
that programme was made. It is often seen as your ‘insurance policy’; notes
relating to meetings, requests for permissions, location details, clearances, every single receipt (including those for sandwiches, pencils and
petrol), in fact every single thing that happens during the production
process will be there. Any legal or financial query that may arise will be
settled by reference to your diary. It stands to reason, therefore, that it
must be complete and accurate. The test of a good production diary is that
it should allow anyone to completely recreate the programme.
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Pre production 1
You will have joined a media course because you want to make
programmes, that is very understandable and exactly the right reason
to be on a course. Unless you intend to make this new skill just an
expensive hobby you will realize that part of the making of successful
programmes is to make money, to make money you need to be running
a business, to run a business you need to be highly organized. All businesses generate paperwork and it is the paperwork as well as the finished
product that makes the money.
I have to assume that you are intending to make this venture your
career and that is why I am generating paperwork to help you make
professional productions!
Why do we need one?
There are many reasons why we have to have a production diary. The
prime reason is to log every stage of the production from start to finish.
This is necessary so that nothing is missed out or repeated. Time is
money. Remember that you only get paid once. If somebody on your
team repeats something, or you have to have lengthy meetings to explain
to each other what has been done, you will only get paid once. If everything is in the production diary it is a simple matter for the whole team
to see exactly the progress of a project, or find an important phone
number quickly and easily.
The production diary should allow anyone involved in the production
to be able to trace the whole sequence of events, or for a new member
of the team to get up to speed quickly and economically. Imagine
the cost and potential time wasted if your location manager has all
the arrangements for a three-day location shoot in his/her head and then
unfortunately has an accident a couple of days before that shoot. You
can find a replacement location manager very quickly, but what about
the location plans, catering arrangements, contact telephone numbers
and so on?
It may be necessary to prove that something was said or done at a
later stage in the production. Things can, and do, go wrong. An example
would be a security guard agreeing to open a building for you at 8 o’clock
in the morning. No one turns up and at 9 o’clock nobody can remember
the name of the person, the phone number or who said what. A very
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2 Basics of the Video Production Diary
expensive crew, cast and tight schedule are now in jeopardy. There is a
world of difference between a ‘friendly chat with one of the people on
site’ and the professional formal letter you sent confirming the arrangement that Mr Smith would be available to open the building at 8 o’clock.
If the production diary shows to whom the letter was sent, with its reply
and the phone numbers, the matter could be resolved very quickly. If
you lose time (time is money!) you may be required to produce the
evidence of the arrangements in order to claim any compensation.
Often, particularly if money is involved, clients will ‘forget’ that something was agreed during a meeting. In the enthusiasm of creating a
programme lots of ideas are discussed. Often a timid ‘well that would cost
extra’ from you will turn out to be your expense if the client wasn’t fully
informed, in writing, how much extra and a written confirmation
agreeing the extra expense can’t be found later.
There are no fixed rules regarding who is responsible for maintaining
the diary. In the professional world of large production companies, an
administrative team, under the control of the production manager, would
look after all the paperwork, smaller companies may make it the responsibility of the PA team. If you are on a production course, part of your
course work, and your final mark, will be your production diary. You will
have to compile it and present it with your finished programme. Normally
it is expected that you will have some help from the rest of your team,
but it will be up to you to ensure that it is complete.
What’s in it?
There is only one answer to this question – everything!
If you look at the contents page of this book you will see that I have
listed most of the headings you will use there and the book will run
through them one by one. What is important to remember is that wherever possible the documents should be originals. Some of the ideas,
phone contacts, notes, etc. may be on scraps of paper, backs of menus,
anything. For the sake of neatness and easy access you may, sensibly,
type them all out for your diary. Whatever you do, keep the originals,
even if it means keeping them separately in another folder. It is the originals that will be required by insurance companies, or courts of law, if a
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What is a production diary? 3
dispute arises. A vital, but often missed, section is the receipts section.
In here will go everything that your accountant can cost against the
production to save tax. This means doing a petty cash sheet for each
week, and attaching the receipts, for things like food, notepads, pencils
and of course the ring binder you keep the diary in!
Because the diary will build day by day and it will become your working
project document, it is wise to keep it in a ring binder, with dividers for
the different sections. You can buy single page pockets to slip the paperwork into and then, if a particular piece is needed, a handy tip is to
make sure that the sheet that was taken out is replaced with a note of
what it was and who has got it. That way it will always go back in the
right place and if someone else needs it, they know where it is.
You will see from the contents page that I have broken my ‘diary’ into
three sections: pre production, production and post production. These
are the main production stages. Remember that your diary is designed
to make your production go as smoothly as possible. It may be that you
have a ‘Contacts’ section containing all the phone numbers and addresses.
Equally you may decide you want a ‘Letters’ section.
Remember that this is not the boring bit of the course work but the
core of the programme that will ensure it goes smoothly, according to
plan, on budget, on time and ensures that there are no nasty headaches
or problems to get in the way of your creative work.
A good rule to follow is that about 60 to 70 per cent of the total time
you spend on the production should be on planning and preparation.
Only 30 to 40 per cent is spent on actual production. The more planning
and preparation you do the less time you will have to spend on the very
expensive production part. The less outgoing expense, the more profit
for you!
If you are already thinking that this is all a bit unnecessary, because
you already have this great idea for a programme and just want to get
the gear out and get on with it, then I have to tell you that you are
about to take up a very expensive hobby. Forget about the course, the
paperwork and employment in a highly organized and competitive
industry and have a lovely time with your camcorder!
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4 Basics of the Video Production Diary