Producers

Ultimately, the Producer’s job is to “produce” the show. This includes all aspects of assembling the project from beginning to end. If there is some doubt as to whose responsibility a certain task is, then it is the Producer’s. The list here is to help new Producers understand everything that goes into a production, whether it be live or studio. Distinctions will be made under each section. The first three steps can be done in any order, but all three must be done before any further action can be taken on any project for it to be an ARTC project.

The below list contains quite a bit of detail. But there is also a simple checklist for you to use while you're working.

Associated pages and roles: Script supervisor, Director, Production assistant.

Approve the Project

Before beginning any project, it must be approved by the current Vice President, who also serves as Executive Producer for the company. The Executive Producer’s direct involvement in the project can be negotiated at the time of approval and can range from no involvement whatsoever to co-producer status. Remember, the Vice President can only approve your ability to request resources from other parts of the company. Any monetary needs (studio space, venue rental, marketing materials, etc.) must be approved by the Executive Committee.

Select Scripts

Scripts should be chosen based on what the Producer is trying to achieve, whether someone else is already producing it, the needs of the company’s catalog, and the technical abilities of the company, more or less in that order. If the script is being adapted from another medium then the adaptation should be completed before further steps are taken if at all possible. Original scripts can also be commissioned from our in-house writers or from writers outside the company. Workshopping a script (whether original or adapted) is fine, but the final completed version should be in hand well before recording or performance time. If you are assembling a show using multiple scripts, you should decide now how to bridge them together and begin writing that material if necessary.

• Live show distinction:

Scripts should be chosen to fit the audience and the occasion. Romances may not be appropriate for SF conventions, etc.

• Studio distinction:

The limitations of the medium of distribution should be taken into account. The practical limit on CDs is about 74 minutes.

Secure Permission

Permission should be secured from the writer(s) before the Producer proceeds any further. Up to now (2006) this process has been pretty informal within the ranks of the company, but this may (and should) change as time goes on. If you are choosing an adaptation, you must make sure that the source material is either in the public domain or that we have secured permission to adapt it.

• Live show distinction:

Up to now (2006) contracts have not been used for live performances and we have been relying on verbal consent from writers and actors. This may not always be the case. It is possible that some kind of blanket agreement may become necessary within the membership, but that will be discussed at a later time.

• Studio distinction:

Contracts should be used if at all possible. Contracts detail royalty payment terms to participants and are a written record of permission to use the talents of everyone involved in the project.

Book Studio Time/Choose Venue

You must have a distribution channel for your show, whether it is to be sold on CD, given away via Podcast, or performed live.

• Live show distinction:

Live venues must be chosen carefully. Things to be considered are: acoustic properties of the room, stage size, appropriateness (is it likely to attract our target audience), marketing (how difficult will it be to get word to our target audience), cost (do we have to pay anything for the space? Are we getting paid for the show?), time of the show, and location. For a live show, this step should actually take place before selecting scripts.

• Studio distinction:

Currently (2006) we have the following options for studio space:

1. Audio Craft – owned and operated by Henry Howard. Henry has traditionally donated the use of the studio to ARTC and therefore booking is done around his personal and professional schedule. The studio has enough room for 1-4 people in close proximity with each other.
2. Pangea – owned and operated by Jim Peliksza. This studio costs $40/hour and can be booked around Jim’s professional schedule. The studio has several rooms, each room having enough space for 1-3 people in close proximity. Maximum simultaneous cast size would probably be 12-16.
3. Georgia Public Broadcasting – The studios at GPB, which are basically an open room with decent acoustics. To use this space you would have to schedule it, and also schedule the ability to bring all the necessary equipment. Also, GPB will only allow us to use the space for material that they will want to broadcast, so its availability may be somewhat limited.
4. Bill’s Basement – owned and operated by Bill Ritch. This is not a studio in the strictest sense, but can be used for recording in a pinch.

Assemble Cast and Crew

Once the above steps have been completed, the Producer’s first task is to appoint a Director and a Sound Designer. All three can be the same person if that is the Producer’s wish, or any combination thereof. The Director is responsible for filling the roles in the cast, scheduling rehearsals, and coaching the actors. The Sound Designer is responsible for the overall sound of the production, assembling sound effects (whether acquired from a sound effects library or recorded in-house as Foley), and either appointing a Mixer or acting as the Mixer themselves. If all three of these roles are filled by different people, then the Producer has final say over all matters. The Producer’s direct involvement in the day-to-day process of the production can range from no involvement (complete trust in the appointed Director and Sound Designer) to co-director or co-sound designer. At least one Musician should also be brought on board at this point, as well as a Foley lead.

• Live show distinction:

For live shows, technical crew must be assembled. This includes someone to set up and run the mixing board, Foley artists, musicians, someone to run recorded sound effects, and a floor manager (if necessary). All of these things are necessary for studio productions as well, but for a live show they must all be present at once, whereas with a studio production the duties are spread out over more time.

Rehearse

Once the cast and crew have been selected, rehearse the script.

• Live show distinction:

For live shows, the Producer should bear in mind that you only get one take and should rehearse the actors and crew appropriately. Be sure to know all the details about the show as early as possible (date, time, location, etc) so as to accurately set the production calendar and schedule sufficient rehearsal time. As we move forward, we may have more than one project in development at a time. It will be up to the Producer and the Director to work with the other Producers and Directors to prevent double-booking and other problems.

• Studio distinction:

For studio productions the Producer and Director will be allowed the luxury of additional takes. However, this is not a license to skimp on rehearsal. Time is very valuable whether the studio is being donated or if the company is paying for it. Rehearsals may be structured differently for studio productions in that you may choose to run scenes between characters and then different scenes with different characters rather than the whole show in one sitting. The Mixer can always stitch the scenes back together in post production. Studio work should adhere to the highest quality we can achieve and it all begins with the acting. Bear that in mind when scheduling rehearsals or when deciding whether to do another take.

Record/Perform

Have a good show!

• Live show distinction:

The Producer should work with the technical staff and the venue to determine when we will be given access to the stage and begin setting up fairly early in the day. Arrangements should be made for finding volunteers to help pack the van, get to the venue early, help set up, and then help break down and unload the van afterwards. Other things to consider are whether you want to have an introduction, bridging, and/or credits. The Producer will also dictate the dress code to the cast. We have not (as of 2006) determined a standard dress code for every show, so it will be up to each individual Producer to set it themselves.

• Studio distinction:

If you have rehearsed properly, this process should go fairly smoothly. If possible, schedule actors to arrive at the studio according to the scenes they are in to prevent people from having to sit around and wait all day. Also be sure to schedule time to record Foley as it will speed up the mixing process if you don’t have to go back into the studio later.

Post-production

After the performance/recording session, the recorded tracks must be processed.

• Live show distinction:

The show should have been recorded using either the Alesis recorder, the DAT recorder, the Samson Zoom H4, or some combination thereof. Either the Producer or one of the members of the technical staff should go through the recording and fix any errors that are repairable. Examples of this include volume levels, removal of lengthy pauses (especially between scenes), and some plosives if possible. The show may be used in a Podcast (if the authors and actors have given permission). If it is eligible to be rebroadcast then it should be entered into the Podcasting spreadsheet/database so the Podcasting producers will know it is available. At the very least, an archive copy should be made with the option of distributing to the cast. Make sure the cast understands the distribution arrangement we may or may not have with this disc. Some shows may be free to copy while others are not.

• Studio distinction:

Post production is obviously a much more complicated affair when dealing with studio tracks. Great care should be exercised to maintain high standards of quality while also keeping to a reasonable schedule. The Sound Designer and Mixer should work together to get sound effects gathered or recorded, vocal filters applied properly, and monitor the pacing of the piece. They should also work with the Musician(s) to get any transitional or incidental music mixed properly. It is then the Producer’s responsibility to arrange for duplication, either through glass-mastering or CD-R replication, depending on the scope of the project and whether it is intended to be a permanent addition to the company’s catalog.

Archiving

Following either a Live show or a Studio production, all materials should be archived in case of future need.

• Live show distinction:

At a minimum, all recorded sound effects used in the show should be archived in a set, easily-accessible location. If another Producer wishes to put on the same show next year or 5 years from now, they should not have to go through all the work of locating and auditioning recorded sound effects unless they disagree with the selection the previous producer made. If the Alesis was used for recording the show then the tracks should be preserved if possible. In some cases the files will have to be compressed before they will be easily stored. At this time Monkey’s Audio is the preferred software for this compression. Be sure to put the Monkey’s Audio program on the archival disk as well, just in case.

• Studio distinction:

All materials relating to the production should be saved, including trials, experiments, project files, and unused tracks. A future Producer should be able to reconstruct the entire project at any point in the future in the event of the need for remastering, remixing, or any other reason. This is especially important for all voice tracks.

It is important to note that DAT is not an archival media. The content should be transferred to CD, DVD or hard drives.

Marketing

The Producer should work with the Marketing Director to ensure that the production is distributed through the appropriate channels to the target audience. If graphics are to be used, the Graphics Committee should be consulted to ensure that consistent branding elements are used with regards to fonts and design elements.

• Live show distinction:

The marketing process should begin around the same time as rehearsals, if not earlier. There are many ways to promote the show and as many as possible should be used. Postcards can be printed, email can be sent to various lists, postings on blogs and other online communities, word-of-mouth, posters, press releases to various local publications (AJC, CL, etc), banners to be posted online can be made, and in some cases ads can be purchased to help promote shows. When choosing which of these to use, time and cost are the major influencing factors. Whether we are being paid for the show is important, as is the venue. Convention shows should be promoted differently than public shows (Dragon*Con is a being all to itself). Preferably a budget should be requested and approved for the show well in advance to smooth the process out.

• Studio distinction:

Marketing of studio productions has traditionally been at the sales table at live shows and also on the ARTC website. This may change as our marketing budget increases. The Producer of a particular show may choose not to have any involvement in the promotion of the project after the final product has been delivered, turning it instead over to the Marketing Director. However, the Producer must see to it that appropriate and attractive packaging is supplied for the project. We have a cover template, which can be supplied to artists wishing to provide cover illustrations. We also have set color schemes for certain elements of the template which should be adhered to and could influence the colors used by the illustrator. Liner notes should also be constructed which detail cast and crew credits, contact information for the company, and, if the Producer and author wish to do so, a brief essay about the piece(s). It is also the Producer’s responsibility to arrange for printing of the covers and liner notes in some fashion.

Conclusion

The above steps are hopefully a good set of guidelines for what is expected of a Producer. Anything listed above that is mentioned as being “the Producer’s responsibility” can be delegated to another person, but the Producer remains responsible for making sure it is done correctly, with an eye to quality and professionalism, and in a timely fashion.

It should be noted that up to this point (2006), ARTC productions have been fairly linear, which is to say we seldom have more than one show in production at a time, mostly due to scarcity of resources. This does not have to be the case, however. If a Producer wishes, they can begin a new project at any time after securing the approval of the Executive Producer, bearing in mind that some resources may not be immediately available. Also, first time Producers should feel encouraged, but not required, to enlist people who have produced shows before as either a co-producer or an advisor.