Corporate Media Production 3rd Edition by Ray Dizazzo 0367857294 9780367857295

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Product details:

ISBN 10: 0367857294

ISBN 13: 9780367857295

Author: Ray Dizazzo

This book offers an in-depth exploration of the exciting field of corporate media production from concept development through to the final stages of postproduction and considers all the technical, interpersonal and creative elements needed for success. This third edition has been updated to reflect both traditional and social media production perspectives, including all phases of research and script development/presentation; essential preproduction activities and production styles; equipment; editing; distribution and evaluation methods; and the role of social media as distribution platforms. Special emphasis is placed on the director’s role and client education and handling. Organized to follow the standard production sequence, Corporate Media Production, Third Edition, will lead students through the entire process in a clear, logical, step-by-step manner. Topics include: Program needs analysis Client interaction Critical judgment and people skills The director’s role Script essentials Dialogue and narration Audio production Editing Social media production and distribution Written in an engaging and easy-to-follow format, this book is a perfect introduction for students wanting to learn the ins and outs of corporate media production. The book is also accompanied by the mini lecture series “Corporate Media Production: Tools for Success,” in which author Ray DiZazzo offers personal, practical insights on topics such as working with employee talent, handling auditions, exploring the director’s role, exploring the scriptwriter’s role and more. 

Table of contents:

Part I. The Corporate Media Evolution
Chapter 1. Change in Motion
TWO FORMS, ONE FOUNDATION

Chapter 2. The Value and Purpose of Corporate Media
LARGE IN-HOUSE MEDIA GROUPS
Advantages and Disadvantages
SMALL IN-HOUSE MEDIA GROUPS
Advantages and Disadvantages
OUTSIDE PRODUCTION COMPANIES
Advantages and Disadvantages
FREELANCERS
Advantages and Disadvantages

Chapter 3. The Key Players
THE CORPORATE MEDIA PRODUCER
Staff and Freelance Producers
Producer “Musts”
The Rewards
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
Plain Old Perfect Clients
Busybodies
Instant Decision Makers
Committee Heads
A Dynamic Relationship

Chapter 4. Production People
LINE PRODUCER
PRODUCTION MANAGER
ASSISTANT DIRECTOR (AD)
PRODUCTION ASSISTANT (PA)
DIRECTOR OF VIDEOGRAPHY (DV)
CAMERA OPERATOR
GAFFER
GRIP
SOUND RECORDIST AND MIXER
AUDIO BOOM OPERATOR
FLOOR MANAGER OR STAGE MANAGER
TECHNICAL DIRECTOR (TD)
VIDEO CONTROL ENGINEER (VC)
ENGINEER IN CHARGE (EIC)
TELEPROMPTER OPERATOR
MAKEUP ARTIST
GRAPHIC ARTIST
EDITOR
AUDIO SWEETENING ENGINEER
FINALLY

Chapter 5. A Production Overview
WRITING
PREPRODUCTION
PRODUCTION
POSTPRODUCTION
SUMMARY

Part II. The Script
Chapter 6. The Program Needs Analysis (PNA)
THE PROBLEM OR NEED
OBJECTIVES
AUDIENCE ANALYSIS
UTILIZATION
INTERACTIVE DESIGN
DESIGN SUMMARY
A COMPLETE PNA
THE DECISION

Chapter 7. The Content Outline
ACQUIRING CONTENT INFORMATION
INTERVIEW TECHNIQUES AND RESEARCH SOURCES
ORGANIZING CONTENT INFORMATION
CONTENT OUTLINE FORMATS
A FORMAL CONTENT OUTLINE
COMMENTARY

Chapter 8. The Creative Concept
PRINT VERSUS VISUAL (SHOWING VERSUS TELLING)
THE CREATIVE VISUAL CONCEPT
TYPES OF CONCEPTS
CONCEPT THINKING
CONCEPT EXAMPLES
CONCEPT SUMMARY

Chapter 9. The Treatment
A DEFINITION
TREATMENT SUMMARY
A COMPLETE PROGRAM TREATMENT
COMMENTARY

Chapter 10. The Script
FORMATS
The Two-Column Format
The Screenplay Format
Interactive Scripts
Storyboard
Narration Script

Chapter 11. Script Terminology
EDITING TERMS
CAMERA TERMS
SCENE HEADING TERMS
SOUND TERMS
MASTER SCENES VERSUS DETAILED DESCRIPTIONS

Chapter 12. Dialogue and Narration
DIALOGUE CREDIBILITY
THE DIALOGUE TEST
NARRATION
EFFECTIVE NARRATION QUALITIES

Chapter 13. Structure and Transitions
TYPES OF STRUCTURES
STRUCTURE VERSUS STORYLINE
CORPORATE STRUCTURES
Tell ’em Examples
Creative Use of Structure

Chapter 14. A Screenplay-Format Script
COMMENTARY

Part III. Preproduction: The Plan for Success
Chapter 15. Preproduction
DETAIL: THE KEY
THE PLAYERS
SOCIAL MEDIA-STYLE SHOOTS
PREPRODUCTION TASKS
SUMMARY

Part IV. Production
Chapter 16. Production Recording Formats, Equipment, Systems and Shooting Styles
DIGITAL RECORDING BASICS
PRODUCTION EQUIPMENT
PRODUCTION STYLES

Chapter 17. A Day on Location and a Day in the Studio
LOCATION PRODUCTION
STUDIO PRODUCTION

Chapter 18. Audio Production
AUDIO RECORDING IN THE STUDIO
THE VOICE-OVER BOOTH
THE RECORDING SESSION
AUDIO RECORDING ON LOCATION
THE IMPORTANCE OF SOUND
THE BOTTOM LINE ON SOUND

Part V. The Director
Chapter 19. The Director’s Role
ILLUSIONISM: THE DIRECTOR’S ART
SCRIPT AESTHETICS
SUMMARY

Chapter 20. Human Aesthetics
IMAGE AND PERFORMANCE: THE CRITICAL INGREDIENTS
CASTING
REHEARSAL
EXECUTION

Chapter 21. Audiovisual Aesthetics
PICTURES AND SOUND
SCRIPT ANALYSIS AND VISUALIZATION
VISUAL ELEMENTS
CAMERA PLACEMENT AND MOVEMENT
FRAME SIZE
PRIME LENSES
ZOOM LENSES
SHOT DESCRIPTIONS
AVOIDING “JUMP CUTS”
FRAME COMPOSITION
SOUND
SUMMARY

Chapter 22. Technical Aesthetics
AVOIDING TECHNICAL INACCURACIES
CONTINUITY
SCREEN DIRECTION
SUMMARY

Chapter 23. General Aesthetics
A DEFINITION
TONE
PACE
TRANSITIONS
SUMMARY

Chapter 24. People Skills
THE DIRECTOR AS CONSULTANT
THE DIRECTOR AS MANAGER
THE DIRECTOR AS SUPERVISOR
THE DIRECTOR AS COACH
SUMMARY

Chapter 25. Judgment Skills
SENSITIVITY TO THE PEOPLE AND THE WORLD AROUND US
SENSITIVITY TO AUDIENCE TASTES
SENSITIVITY TO THE CLIENT’S AND PRODUCER’S TASTES
OTHER JUDGMENT CALLS
JUDGMENT UNDER PRESSURE
SUMMARY

Part VI. Postproduction
Chapter 26. A Postproduction Overview
EDITING
VIDEO MEDIA FILES
SOUND FILES
GRAPHICS AND ANIMATION FILES
PREBUILT SEGMENTS
The Edit
SUMMARY

Chapter 27. Producer and Client Screenings
THE PRODUCER SCREENING
THE CLIENT SCREENING
DELIVERY/DISTRIBUTION

Chapter 28. Why Evaluate?
THE EVALUATION PAYBACK
FEEDBACK AND THE NEED TO IMPROVE
DOCUMENTATION
WHICH EVALUATION?
ADMINISTERING THE EVALUATION
WHAT NEXT?
A FEW FINAL NOTES ON EVALUATIONS

Chapter 29. The Future of Corporate Media
SALES AND INFORMATION PROGRAMMING ON THE INTERNET
THE EFFECTS?
A CHALLENGING TOMORROW

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Tags: Ray Dizazzo, Corporate, Media, Production