Producers - Revision history

Rory at 00:53, 18 January 2010

2010-01-18T00:53:56Z

← Older revision		Revision as of 19:53, 17 January 2010
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	The below list contains quite a bit of detail. But there is also a [[Producers checklist\| simple checklist]] for you to use while you're working.		The below list contains quite a bit of detail. But there is also a [[Producers checklist\| simple checklist]] for you to use while you're working.

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

	== Approve the Project ==		== Approve the Project ==

Rory: /* Post-production */

2010-01-18T00:48:49Z

Post-production

← Older revision		Revision as of 19:48, 17 January 2010
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	* '''Live show distinction:'''		* '''Live show distinction:'''
	The show should have been recorded using either the [[Alesis HD24\| Alesis]] recorder, the [[Tascam DA30 MKII\| DAT]] recorder, or ~~both~~. 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 [http://en.wikipedia.org/wiki/Plosive plosives] if possible. The show may be used in a [http://en.wikipedia.org/wiki/Podcast 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.		The show should have been recorded using either the [[Alesis HD24\| Alesis]] recorder, the [[Tascam DA30 MKII\| 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 [http://en.wikipedia.org/wiki/Plosive plosives] if possible. The show may be used in a [http://en.wikipedia.org/wiki/Podcast 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:'''		* '''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.		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.

Sounddguy: /* Archiving */

2007-05-22T14:47:29Z

Archiving

← Older revision		Revision as of 09:47, 22 May 2007
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	* '''Studio distinction:'''		* '''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.		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 ==		== Marketing ==

BillRitch: Added category

2007-05-16T03:45:56Z

Added category

← Older revision		Revision as of 22:45, 15 May 2007
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	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.		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.


			[[Category:Production]]

Rory at 01:02, 16 May 2007

2007-05-16T01:02:24Z

← Older revision		Revision as of 20:02, 15 May 2007
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	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.		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 [[Producers checklist\| simple checklist]] for you to use while you're working.

	== Approve the Project ==		== Approve the Project ==

Rory: /* Marketing */

2007-05-16T00:52:41Z

Marketing

← Older revision		Revision as of 19:52, 15 May 2007
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	* '''Live show distinction:'''		* '''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.		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 ([http://www.dragoncon.org 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:'''		* '''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.		Marketing of studio productions has traditionally been at the sales table at live shows and also on the [http://www.artc.org 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 ==		== 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.		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.		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.

Rory: /* Archiving */

2007-05-16T00:50:48Z

Archiving

← Older revision		Revision as of 19:50, 15 May 2007
Line 65:		Line 65:

	* '''Live show distinction:'''		* '''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.		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 HD24\| 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 [http://www.monkeysaudio.com/ 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:'''		* '''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.		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.

	== Marketing ==		== 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.		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.

Rory: /* Post-production */

2007-05-16T00:49:19Z

Post-production

← Older revision		Revision as of 19:49, 15 May 2007
Line 57:		Line 57:

	* '''Live show distinction:'''		* '''Live show distinction:'''
	The show should have been recorded using either the Alesis recorder, the DAT recorder, or both. 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.		The show should have been recorded using either the [[Alesis HD24\| Alesis]] recorder, the [[Tascam DA30 MKII\| DAT]] recorder, or both. 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 [http://en.wikipedia.org/wiki/Plosive plosives] if possible. The show may be used in a [http://en.wikipedia.org/wiki/Podcast 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:'''		* '''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.		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.

Rory: /* Book Studio Time/Choose Venue */

2007-05-16T00:38:14Z

Book Studio Time/Choose Venue

← Older revision		Revision as of 19:38, 15 May 2007
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	* '''Studio distinction:'''		* '''Studio distinction:'''
	Currently (2006) we have the following options for studio space:		Currently (2006) we have the following options for studio space:
	* ''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.		# ''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.
	* ''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.		# ''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.
	* ''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.		# ''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.
	* ''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.		# ''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 ==		== Assemble Cast and Crew ==

Rory: /* Book Studio Time/Choose Venue */

2007-05-16T00:34:22Z

Book Studio Time/Choose Venue

← Older revision		Revision as of 19:34, 15 May 2007
Line 27:		Line 27:
	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.		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:'''		* '''Studio distinction:'''
	Currently (2006) we have the following options for studio space: 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. 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. 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. 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.		Currently (2006) we have the following options for studio space:
			* ''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.
			* ''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.
			* ''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.
			* ''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 ==		== Assemble Cast and Crew ==