'AS LIVE' PRODUCTION: (Lecture) Briefing

Learnt from last term:

Communication - keeping actors on board throughout the project. Stayed in contact with my actress from directions unit and used her again for fiction.

Manage time in the edit better - there were aspects of the sound design that I would have liked to improve but didn't have time.

Schedule time better - only had a few hours with actress but was tight for time so had to shoot that day.

Get better at team work - shot all my project myself, could have done with an extra crew member.


Briefing:

Aims:
- A1 to promote knowledge and critical understanding of As Live studio productions
- A2 to enable development of a creative methodology for the production of As Live studio productions including research and critical analysis
- A3 to enable development of the creative, technical and collaborative skills necessary in the realisation of As Live studio productions.
- A4 to widen students’ oral presentation and pitching skills within a commissioning panel context 

Outcomes:
- LO1 demonstrate critical and creative knowledge and understanding of As Live studio production
- LO2 develop innovative concepts and a creative methodology for a studio production format
- LO3 implement a range of practical, creative and collaborative skills required for studio production
- LO4 develop, prepare and present a detailed pitch to a commissioning panel 

23rd Jan - pitching session

25th Jan - job interviews

Studio content and production teams:
- all content for the commissioned programme will be discussed within the group through meetings

Assessment:
30% Production role critical analysis (2000 words)

that demonstrates knowledge and critical understanding of As Live studio productions, appropriate creative methodology and critical analysis of As Live studio production.

70% Project output

Pilot video supported THROUGHOUT by Online Research Journal. While the production is a group project, each students’ involvement will be assessed individually – use your journal to demonstrate that you meet the learning outcomes. 

Critical Analysis: writing analytically and synthesising theory 

Think of this as a piece of writing which teaches the reader about your role and uses the experience of this production as anecdotal evidence to illustrate typical tasks, issues and skills.

Show the reader that you can critically evaluate your own work and that you understand PROFESSIONAL APPROACHES & CONTEXT through a focus on ACADEMIC REFERENCING THROUGHOUT. 

- Crucially it should include research into studio production and the specific professional role you have undertaken, and how that research informed your actual role and the production.

- Conduct thorough research into studio production through relevant text books and by critical analysis on your journal of as live/studio content
- Use references to demonstrate your research into the wider context of as live/studio production as well as your own role.
- ONLY USE WHAT HAPPENED AS ANECDOTES TO SUPPORT WHAT YOU REFERENCE.
- FOR THIS REASON IT SHOULD NOT WAIT UNTILTHE PRODUCTION IS COMPLETED TO BE WRITTEN – it is as much about informing yourself during the production about your methodology and approach as it is a piece of critical writing. 

Studio Productions:

Communication:

- know your role

- etiquette

- team work

Dry / wet hire:

- dry - just shell

- wet - all included

Gallery

Lighting

Sound super / grams

Director 

Producer

Vision Mixer

Script super / p.a

Studio Advantages:

Sound:

- Usually studio is specially sound proofed so that the quality produced is without any echo or intrusive noises.

- Microphones can be plotted and rigged in advance and adjustments made (at any time during the recording if pre-recorded).

- Sound can be monitored from the sound room and adjustments made as necessary. 

Pictures:

- Lighting again plotted, rigged and set in advance in controlled environment – no changes in light conditions as on location.

- Material instantly viewed and reviewed in gallery so quality assured.

- Multi camera shoots - Camera positioning carefully plotted and rehearsed to give full coverage.

- Single-camera shoots – continuity monitored more easily. 

Studio Challenges:

Sound:
- re-creating ‘reality’ requires the use of either pre-recorded SFX, atmos/wildtrack or foley sounds played in during or after the recording.
- Music & effects – again either played in during recording or in post. 

Pictures:
- Again in re-creating reality need to carefully plot lighting.
- For studio productions which do not need to re-create reality can plan lighting in advance but needs qualified, experienced staff to ensure lighting plan meets all needs of the production. 

Safety Considerations:

All staff should be properly trained for the studio environment and appropriate risk assessments made.

Prior to our record you will be fully briefed regarding safety here at the studio, however the usual hazards are :
- Trip hazards – e.g. Cabling
- Electricity/Lighting
- Fire hazards/keeping exits clear — 
- Confined spaces
- Audiences/public
- Manual handling/lifting
- Scaffolding/heights

A full risk assessment must be made prior to recording in order to ensure you have taken all reasonable precautions.

Ultimately the production team is liable for the safety of everyone employed and invited to the production. All productions have insurance in place to cover any potential liabilities.

Only appropriately qualified technicians to install or operate equipment which is potentially hazardous e.g. electricians/lighting technicians

Consultants employed as necessary for specialist skills e.g. Pyrotechnics.

EVERYONE in the studio needs to consider their part in ensuring safe practice. 

Introduction to the gallery:

Research key roles within the gallery

BBC academy

Skill Set