Chapter 2: Pre-Production

The Three Stages of Production

The process of producing a television program is generally divided into
three stages.
The first stage, PRE-PRODUCTION, includes but is not limited to: Setting
goals, writing program proposals, conducting program conferences and
crew meetings, story-boarding and scripting, location scouting, gathering
all equipment and supplies needed, etc.
The second stage, PRODUCTION, refers to the shoot itself, and includes
all aspects of cleaning up afterwards and crew debriefing.
The final stage, POST-PRODUCTION, refers to editing the material shot
during production, and should also include distributing the program and
promoting it to your target audience.
All of the stages are important; but pre-production is especially important
because it makes the other stages proceed that much more easily and
smoothly.

The Importance of Planning (Pre-Production)

Let’s be honest: Access producers have lives outside of television, and
they’re frequently looking for shortcuts. Many producers think that they
can save time and energy by skipping pre-production and moving right
into production. This is not true. You cannot avoid pre-production; you
can only postpone it.
Pre-production is in many respects another word for decision-
making. And you cannot avoid making decisions, only postpone the
inevitable. And when you postpone making important decisions until the
last possible minute (i.e. until you’re just about to shoot or edit), you’re
putting extra pressure on yourself at the time when you are already under
the pressure of the clock to get something shot or edited. Don’t make this
mistake.
Planning offers many advantages:
* Planning saves time (your precious time, the crews’ and talents’ time,
and the costly equipment time)
* Planning makes the shoot go more smoothly
* Planning makes for a more focused, better executed program
* Planning keeps you sane, because it allows for you to anticipate, plan
for, and deal with the problems that inevitably come up.
So what kind of planning do you need to do?

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Make Fundamental Decisions:

Set Your Goals

Before you begin to produce a program, you must answer a number of
fundamental questions regarding...
• AUDIENCE: Who am I trying to reach?
What is the best way to reach this audience?
• GOALS: Why am I making this production?
What is the purpose of the production?
What do I want my audience to think, feel, or do as a
result of seeing it?
Is video the right tool for the job?
As an Access producer, you have almost complete freedom to do
whatever kind of show you want, about whatever topic you want, in any
manner that you want (subject to city, state, and federal law, of course).
This means you don’t have to mimic conventional commercial television.
Be innovative. Be creative. Be funky. Be whatever.
But if you can do anything, how do you decide what to do? Start with a
very clear understanding of your audience and your goals. If you figure
those things out, figuring out the format and content becomes a whole lot
easier. And it makes you much more likely to create a program that
succeeds in the way you hoped it would.
Plan Your Content
To figure what information to communicate through your program, you
should do two things:
• Research the topic. Know your material.
• List the most important points to get across.
- Prioritize them.
- Don’t try to squeeze too much information into the program. Less is
sometimes more.
Decide on Format
Knowing what audience you’re trying to reach and what information you’re
trying to communicate makes it easier to figure out how to communicate
that information. Ask yourself:
• What kind of form will the program take (documentary, talk show,
news, theatrical, feature, live, interactive, etc…)?
• What should it look and feel like? Think visually and aurally.
• If there are other shows that it should resemble, how are those
programs structured?
• What should happen first, second, third, …, last?

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Put Your Vision on Paper

Write a Treatment
In the classic days of Hollywood, when an executive first learned of a
possible production, it was presented in the form of a treatment. The
purpose of the treatment was to show the executive how the story would
be treated - hence the term treatment. The person who wrote it would, of
course, tailor it to be as attractive as possible for that executive. Hence,
the treatment is not the original story itself, but a description of how it will
look as a moving picture.
A treatment should serve as a very brief summary of who your audience
is, what you want them to get from watching your program, and how you
propose to accomplish that goal. Here’s an example:
I plan to do a 3-minute program showing the general public how to get
to CCTV’s Central Square facility using public transportation. The
camera will be the eye of the public and the purpose of the program is
to visually show and tell how easy it is to get to CCTV.
Write a Script
While the treatment is necessarily brief, the script can be any length,
depending upon its purpose and the amount of detail you include.
Scripts can serve any number of several important purposes:
• Making sure that the program keeps to its intended purposes
• Giving the director and/or camera person a clear roadmap as to the
producer’s intentions
• Making sure that the rest of the production team, including the talent,
knows exactly what to do and when.
Scripts can take any number of forms, including:
• A list of points to be made, questions to be asked, and/or specific
images to capture
• Side-by-side columns describing the audio and video that will be
recorded during every minute of the program.

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 • A visual STORYBOARD which captures in quick sketches the
sequences of images to be shot, with the corresponding audio written in
captions underneath. Don’t be put off by thinking that only artistic types
should do storyboards. Storyboards aren’t used to showcase artistic
talent, but to help you pre-visualize your shots and identify effective,
appropriate shot sequences. The video portion of the script will help
comprise your list of what to shoot, your Shot Sheet.

Here are some tips about writing scripts, from the Somerville Com-
munity Access Handbook, by Carol Yourman and Abigail Norman:
• Know your audience, and keep your objectives in mind.
• Write to your audience; keep your representative viewer in
mind.
• Think visually and aurally.
• Keep simple, direct, and to the point.
• Be conversational. Avoid a formal, term-paper style. Avoid
long, complex sentences.
• If your script has spoken lines, speak them aloud before
committing to paper.
• Use a word processor if you can, and don’t be afraid to revise.
• Communicate frequently with your director, producer, talent,
and other colleagues.

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 Make A Shot Sheet
Nothing will teach you more about good camerawork than your first
session editing footage that you've shot. Still, here’s some good advice
for anyone starting out.
Good planning and scripting is one key to successful shooting. Your
editing job will be much, much easier and go much faster if you figure out
exactly what shots you need to get before you ever start shooting. That’s
what scripts and storyboards are for! But even if you skip those things,
don’t leave home without a Shot Sheet. The shot sheet will remind you of
all the footage you need to capture during the production, so that you
come back to the edit suite with everything needed to finish your program.
And when making up your shot sheet, don’t forget to include all of the “cut-
aways,” “cut-ins,” and “reaction shots” you’ll want to capture. (See
Chapter 4, Fundamentals of Camerawork and Shot Composition, for more
information about these kinds of shots.)
Also be sure to include audio segments in your shot sheet. Will you need
extra ambient sounds to fill in those silent parts of your tape, special
sound effects, or music?

Decide Shooting Locations

Your planning and scripting will probably call for you to shoot your
program in specific locations. On the other hand, some access producers
find that they end up making some decisions for reasons that have little to
do with what the program calls for and much more to do with the realities
of their limited resources of people, time, and energy.
For this reason, it may help to review the nature of working in the Field vs.
working in the Studio; these two environments are very different from each
other and offer particular advantages and disadvantages. Your decision on
where to shoot may depend, in some instances, on these differences.
Keep in mind, however, that many programs combine elements shot in
both locations, capitalizing on each environment’s advantages.

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 Advantages Disadvantages
Studio Convenience & Control: Staging:
Plenty of power, lighting, audio gear TV stage looks artificial and
Little likelihood of interruption may not relate to program
content
Don’t have to deal with picking up
and moving lots of equipment
Functionality: Functionality:
3-camera set-up enables you to Studio is a confined space
shoot from multiple angles in one What you shoot, whether live
take or live-on-tape, is what you get
Can be live and interactive
Creative options with chroma key
Time: People:
Little or no editing time is needed for Need large crew, typically at
programs shot live-on-tape least six, some of whom must
have advanced certifications
Support:
CCTV Staff are on hand to deal with
technical issues
Field Staging: Convenience & Control:
Field footage is often more Not as controlled a setting as
compelling, naturalistic, and related the Studio in terms of lighting,
to the program content audio, staging, and power
More likelihood of interruption
Have to deal with picking up
and moving lots of equipment
Functionality: Functionality:
You can shoot anywhere you want. Live and/or interactive
Pre-recorded nature of the program telecasts not usually possible
allows you to edit it as desired Cannot do chroma key or other
special effects available with
studio equipment
People: Time:
Generally need only a small crew Your program usually requires
editing after shooting
Support:
CCTV Staff are not on hand to
deal with technical issues

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 Keep in mind that while the environment of a STUDIO SHOOT is generally
constant and predictable, the environment of the FIELD SHOOT is always
variable. The studio provides warmth in winter, air conditioning in
summer, easily controlled lighting and audio as well as many other
aspects that the producer and director can always count on.

When one enters the ever-changing environment of the field, however,

one should always expect the worst and hope for the best.
On the minus side in the field, expect:
Audio problems: Traffic noises, phones ringing, conversations
Video problems: Glaring sunlight, backlighting, color temperature
conflicts
Power problems: Too few A/C outlets, blown fuses, dead batteries
Weather problems: Wind, rain, sleet, snow, icebergs (just the tip of)
People problems: Gesturing pedestrians, uncooperative security
Logistics problems: Flat tires, forgotten equipment
On the plus side, you can shoot all those things you could never shoot in
the studio: Cars, planes, trains, the ocean, a skyscraper, birds, parades,
concerts, fires, to name just a few. In addition, you can present your
subject, both aurally and visually, in a far more naturalistic and compelling
way than you could ever do in the studio.
Crew & Time Requirements:
The most critical constraint you will face as an Access producer is
probably time - your time, your crew’s time, and your talent’s time.
Whereas a Studio shoot typically requires a technical crew of at least six
people, most single-camera productions in the field require only one or
two technical people: A cameraperson and audio engineer. On the other
hand, while a single 3-hour shooting session in the Studio may be all
that’s needed for completing a one-hour program, many single-camera
productions in the field require you to spend many hours in the edit suite.
Professionals allot up to one hour of editing time per one minute of
finished program; Public Access producers often invest much less time,
perhaps one hour of editing time for every five minutes of finished show.
So your choice of shooting location may depend, sometimes anyway, on
whether your own time is limited or not, and whether or not you’ll be able
to get a whole bunch of people together for a few hours. If you think you’ll
be producing a Studio shoot in the future, you should use every chance
now (including taking classes and volunteering on other people’s shoots)
to get to know as many people as you can who might be able to help you
out later on.

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Put Your Plans on Paper
There’s a lot to do, and most people prefer not to try and keep it all in their
head. Make a list of everything you need to do. Create a timetable: What
are you going to do this week, next week, the week after? If something
has to happen by the third week, what do you have to do before then?
Remember that you have many other responsibilities in your life, so be
realistic.

Make All the Arrangements

Do initial paperwork
a) Submit a Program Production Contract to CCTV at least one week
prior to reserving equipment.
b) Get signed Premises Taping Release (if not shooting in the Studio).
Accessibility is always an issue in the field. Before videotaping at a
location in the field (at the Mall, for example), you must obtain written
permission from the property owner or manager. When videotaping on
public property, it is often a good idea to get the permission of the local
government and police authorities.
Communicate closely with event coordinators
a) If shooting an event, obtain a script of the program. Plan shots and
transitions between shots.
b) If you want to have input into the staging, lighting, audio, and program
outline decisions, insert yourself into the decision-making process as
early as possible. Don’t wait til the day of the shoot, when the plans
have already been made, and the group you’re shooting for will be
least likely to be accomodating.
Arrange for talent
a) Prepare them for what will happen during shoot.
b) Ask them if they have photos, music, objects that would enhance the
production.
c) Tell them how to dress for television, and what clothes to avoid. (See
Chapter 7, Fundamentals of Being Talent, for more information.)
d) Make sure they know how to get to the shoot and when to arrive.
Arrange for crew
a) Make sure they’re certified to use the equipment.
b) Prepare them for what will happen during shoot.
c) Make sure they know how to get to the shoot and when to arrive (early
to help you set up, right?).

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Scout the Location
A site survey conducted in advance of your shoot helps you anticipate all of
the problems that may occur and prepare accordingly. Ideally, you would
conduct the survey at the same time of day as the shoot so that you’re not
surprised by a church bell ringing, reflected sun, locked door, etc.
Power:
a) Where are the outlets located?
b) Are the sockets grounded (three-prong) or not (two-prong)?
c) How many extension cords do you need?
d) Where is the circuit breaker box located?
Lighting:
a) What are the lighting sources in the environment?
b) Can you take advantage of indirect lighting by bouncing light off walls?
c) Will you need to bring additional lighting? Will they allow you to? If
you do, will it blow the fuses? Do you have the room to set them up?
Will you need sandbags to keep the light stands from being knocked
over? Will your talent be uncomfortable?
d) How are you going match the color temperature of all the lights?
e) Are you going to have back-lighting or reflection problems?
f) Do you have enough AC power for the lights and the other equipment?
(Here’s how you can tell: Amps x volts = watts. Most places run on
120 volts, so if the circuit you’re on is rated at 15 amps, then you may
plug in up to 15 x 120 = 1800 watts of gear on that circuit.)
Audio:
a) What ambient noises (such as phones ringing, air conditioners,
refrigerators, traffic or construction noise, conversations in another
room) will you have to contend with?
b) Will it be noisy and difficult to mic? Do you need a windscreen?
c) Is there a public address or sound system from which you can take a
feed? Does it give a line- or mic-level feed? What kind of connectors
does it have? How far is it to your recording device?
d) If using wireless mics or intercoms, have you tested them in that
environment to insure there will be no interference?
Set:
a) What environment will you be shooting in?
b) Do you need to re-arrange furniture for any reason?
c) What will be in the background, and what can you put in the
background that would be more appropriate?
d) What props do you need to bring with you?

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 Cameras:
a) Where can you put the cameras for the best shots and still not interfere
with the audience?
b) What types of shots and angles can you get from these positions?
c) How far is it from these positions to the power and audio sources?
People:
a) Who are the people you need to know (people in charge, people with
keys, secretaries, janitors, security)?
Logistics:
a) What time can you gain access to the location?
b) Will you have enough time to set up?
c) Where can you park for unloading and loading?
d) How long will it take you to get there?
e) Where can you run all your cables so that they won’t be walked on or
tripped over? Do you need to tape down the cables with gaffer’s tape?
f) Do you need to take crowd control measures - such as installing “no
parking” signs, roping off areas, locking doors, or hiring off-duty police?
g) Where is the nearest telephone you may use to call CCTV, your talent,
your crew?
h) If doing a live shoot, where are the cable drops for sending the signal
upstream and watching the return signal?

Make an Equipment List

Make a list of all the equipment you’ll need. You’ll use this list when
reserving CCTV’s facilities, and later on before heading off to the shoot.
Don’t forget things like set supplies, raw videotape, any pre-edited (roll-in)
footage you plan to use, duct tape, pen and paper, tweeker, etc.

Do the Follow-up Paper Work

a) Reserve CCTV’s facilities and equipment. You’ll need an approved
production contract number, which you should receive within five
business days of submitting a Production Contract.
b) Get signed talent releases from all performers and participants. If
minors, get signatures from their parents or guardians.

Reconfirm All Your Arrangements.

It’s not enough to recruit crew and talent, you have to get them to show
up, too! Many producers have learned from experience to give their crew
members and talent a reminder call a day or two before the shoot. It’s
also a good idea to reconfirm your equipment request with CCTV.

Get a Good Night’s Rest. Have a Good Shoot!

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Forms: Pre-Production Check-list

Make Fundamental Decisions

 Define Your Audience.
 Define Your Goals.
 Research the Topic.
 List the Most Important Points to Get Across. Prioritize Them.
 Decide on Program Format.
Put Your Vision on Paper
 Write a Treatment.
 Write a Script and/or Storyboard.
 Make a Video and Audio Shot Sheet.
Decide Shooting Location
Put Your Plans on Paper
 Make a List of Everything That You Need to Do, and A Timeline.
Make All the Arrangements
 Do the Initial Paperwork: Submit Production Contract, Get Signed
Premises Taping Release for Owner and/or Police and government.
 Communicate Closely with Event Coordinators.
 Arrange for Talent.
 Arrange for Crew.
Scout the Location
 Do a Site Survey. Take a List of Everything to Check Out.
Make an Equipment List.
 Make a List of All the Equipment You’ll Need.
Do the Follow-Up Paper Work
 Reserve CCTV’s Facilities and Equipment.
 Get Signed Talent Releases from All Performers (or guardians).
Reconfirm All Your Arrangements
 Give Reminder Calls to Your Crew and Talent. Reconfirm Your
Arrangements with CCTV and Event Coordinators.
Get A Good Night’s Rest

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Forms: Location Survey
Location: ______________________________________________________
Address: ______________________________________________________
Floor:_________________________ Room Number: _________________
Contact Person: ________________________________________________
(name) (phone)

Name of Janitor/Maintenance: _____________________________________

Phone: ______________________ Location: _______________________
What time will space be accessible for set-up? ________________________

Electricity
# of AC Outlets:_________________ 3 or 2 prong?____________________
(indicate location of outlets on diagram below)

# of Extension Cords: ____________ # of Power Strips: ________________

# of Amps:_____________________ Breakers or Fuses? _______________
Location of Fuse/Circuit Breaker Box:________________________________

Audio
Is there a public address or sound system? ___________________________
Does it have mic or line feed?______________________________________
What type of connectors are needed to take a feed from the sound system? _
_____________________________________________________________
Any ambient noises?_____________________________________________
_____________________________________________________________
If using wireless mics or intercom, did you test them? ___________________

Lighting
Will you have enough available light? ________________________________
What type of light is it? ___________________________________________
Is portable lighting needed? _______________________________________
How many lights? _______________________________________________

Set
What will be in the background? ____________________________________
Do you need to rearrange furniture? _________________________________
What props do you need to bring? __________________________________
Do you need to limit access to any doors or areas? _____________________
_____________________________________________________________

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 Diagram of space, including windows, locations of outlets, and possible
camera and portable light locations:

Logistics
How long will it take you to get there?________________________________
Where can you park? ____________________________________________
Loading Dock? _________________ Elevator or stairs? ________________
Ceiling height: __________________________________________________
Width of Hallways: ______________ Width of Doors: __________________
Sprinkler System?_______________________________________________
Type of Flooring: ________________________________________________
Permits and clearances needed:____________________________________
_____________________________________________________________
Location of nearest phone you can use? _____________________________
Receive calls?__________________ Phone number: __________________

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Forms: Equipment Inventory
Program: ___________________________________________________
Date of Shoot: __________________ Crew Call Time:______________
Location: ___________________________________________________
Transportation
Vehicle: ____________________________________________________
Permits: ____________________________________________________
Parking/gas money:___________________________________________
Paperwork
Premises Taping Release:______________________________________
Talent Release Forms: ________________________________________
Script & Shot Sheets: _________________________________________
Labels for Tapes:_____________________________________________
Camera Equipment
Camera/Camcorder/AC Adaptor:_________________________________
Fully Charged Batteries: _______________________________________
VCR/Cables/AC Adaptor: ______________________________________
Monitor/Cables: ______________________________________________
Tripod: _____________________________________________________
Cases/Bags: ________________________________________________
Videotape: __________________________________________________
Audio Gear
Microphones/Windscreens: _____________________________________
Audio Mixer:_________________________________________________
Fully Charged Batteries: _______________________________________
Headphones: ________________________________________________
Cables: ____________________________________________________
Adaptors: ___________________________________________________
Gaffer’s Tape: _______________________________________________
Lighting
Light Kit and Stands: __________________________________________
Extra Lamps: ________________________________________________
Reflective Cards: _____________________________________________
Corrective Colored Gels: _______________________________________
Diffusion: ___________________________________________________
AC Power
Extension Cords: _____________________________________________
Power Strips: ________________________________________________
3-2 Prong Adaptors: __________________________________________

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Forms: Talent Release

Name:___________________________________________________________

Program Title:_____________________________________________________

Authorization and Release

In return for the opportunity to appear in the above named program, I hereby
grant to _________________________________________ , cable access
producer, permission to transmit live and/or to record for later transmission my
likeness and/or voice as a part of the above-named cable television access
program, for any lawful purpose, at any time. I also authorize the use of my
name and any excerpts of said program for the purpose of promoting and
publicizing that program. I waive any right that I may have to inspect or approve
the finished product or the written copy that might be used in conjunction
therewith, or the use to which it may be applied. I agree to hold the producer,
Cambridge Community Television, MediaOne of Cambridge, and any cable
company which transmits the program harmless for any liability to others arising
from anything I may say or do during the program, except as set forth in a written
script provided to me by the program producer.

I have read this agreement before signing and fully understand its contents.

Signature:________________________________________________________

Print Name: ______________________________________________________

Print Address:_____________________________________________________

________________________________________________________________

_________________________________________ _____________________
Signature of Parent or Guardian Date
if above-named person is not of legal age
Forms: Storyboard

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