----Tutorial 3: Guidelines for Producers----

This information has been prepared to provide basic guidelines and procedures for producers, associate producers and production assistants. Please keep it in a three-ring binder, as additional pages will be added from time-to-time.

When a producer, associate producer, and possibly a production assistant are assigned a “shoot,” every detail must be carefully planned in advance. It is crucial that the following items are addressed BEFORE one frame has been shot:

Shot Sheet (Detailed breakdown of what every shot should look like).

Script (If required, complete script needs to be put on TelePrompTer or cue cards).

Questions (In an interview situation, an abundance of questions need to be drafted, even though time will usually permit only a few to be answered. Also, if possible, a pre-interview with the guest will provide the best resource for the questions so that they come up with the most appropriate answers).

Staff & Equipment Requirements (It is extremely important that you don’t use more people than are necessary to complete your production. Consider whether you will need a grip, a prop master, costumer, or security. And don’t forget to assign a make-up/hair stylist. When it comes to equipment, make absolutely sure that you have EVERYTHING you will need in the field. And don’t forget the raw tape stock).

Story Boards (If the production you are putting together has unique elements or will need special handling in post production, it is safer to prepare Story Board sketches of what certain frames will look like. Trying to figure it out on location will cost you time – and time is money. Always remember that time is your enemy. Especially if you’re shooting outdoors and are constantly fighting the movement of the sun and the shadows).

Time-Code Logs (Be prepared to log the in-code and out-code of every shot, whether it will be used in the final production or not. Comprehensive Time-Code Logs will save you endless hours in post production).

Craft Services (Plan ahead to decide how many people will need to be fed on location, how many times, what special foods may be required, how much it’s all going to cost and who’s going to order it and pick it up during the shoot).

Authority (The so-called “pecking-order” on a production starts with the producer -- who is usually also the writer and director of a location shoot. The producer decides how the finished product will look, often where it will be shot, and what sort of camera angles will be used. The associate producer generally handles all of the paper-work involved, including shot sheets, scripts, TelePrompTer copy, time-code logs, discrepancy reports, ordering of necessary raw stock, release forms, property releases, guest pre-interviews, permits, insurance riders, equipment inventory, transportation and a myriad of other assignments as decided by the producer. If the production requires it, a production assistant can be brought in to take some of the load off of the associate producer).

Frame For Captioning (Always remember that ultimately ALL programming will need to be closed captioned according to FCC mandate. This means that you need to keep in mind that the lower-third of the screen will have text in it so it is advisable not to shoot extreme close-ups of someone’s face or the text will appear over their mouth or chin. Ordinarily you would allow a little “head-room,” or space, at the top of the picture. But, because of the captioning, you should allow more “crotch-room” at the bottom of the picture to allow for the captioning without destroying the aesthetics of your images).

Security (If you will be shooting in an area that may be of some concern for the safety of your equipment or personnel, be sure to include security guard(s) in your plans. It is always better to be on the safe-side).

Shooting Crowds (If you’re at an event and “real” people will be clearly seen in the background of your shots, it is advisable that you post a sign near your equipment that says something on the order of: “VIDEO PRODUCTION IN PROGRESS. PLEASE BE AWARE THAT YOU MAY BE CAPTURED BY OUR CAMERAS. IF YOU DO NOT WISH TO BE VIDEOTAPED, PLEASE MOVE TO ANOTHER LOCATION”).

Clean-Up Detail (By all means, NEVER leave a location in a mess! Always pick-up after yourselves. Remove trash, spruce up the area and leave it exactly as you found it when you arrived. The biggest complaint that people have about film and video crews is that they always leave a mess. Well, not the folks at this network, of course!).

Still Photos (Make it a habit to always order a still photographer to show up on your location to shoot a roll of publicity shots. At least one short roll of black and white and one roll of color [slides, not prints]. In order for us to get the maximum amount of promotion in newspapers and magazines, we need to have a massive library of publicity pictures. The associate producer needs to identify who is in every shot taken and should be responsible for the processing of the film).

So, these have been some of the basics for you to be aware of prior to and during a shoot. Every person involved in production needs to train their eyes to pick up any imperfections that might appear in a shot, be aware of unexpected and annoying background noises, incorrect lighting, perspiration on talent or guest, etc., etc. Remember, if I’ve said it once, I’ve said it a thousand times: “ALL YOU HAVE TO SELL AN AUDIENCE IS WHAT’S ON THE SCREEN!” That means we all have to strive to make every frame a Rembrandt.

Good luck…and happy shooting!!!

Sheldon I. Altfeld

(“Making Sure That Every Frame Is A Rembrandt” is available for purchase through PayPal at the Book Shelf on this website)