Anatomy Of A Spot

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Anatomy Of A Spot

  1. 1. VIDEO AND AUDIO PRODUCTION
  2. 2. Spot/Production Types <ul><li>Edited Master </li></ul><ul><ul><li>The Full Production with all sound and graphics </li></ul></ul><ul><li>Tag Master </li></ul><ul><ul><li>Full production minus a small section so you can insert deals/offers </li></ul></ul><ul><li>Generic Master (also called TEXTLESS) </li></ul><ul><ul><li>The Edited Picture and on-camera dialogue allows for maximum change possibilities </li></ul></ul>
  3. 3. Basic Edited Master VIDEO GRAPHICS SYNCHRONIZED (on-location) SOUND VOICEOVER/NARRATION SOUND EFFECTS MUSIC
  4. 4. Typical Edited Master VIDEO GRAPHICS SYNCH SOUND NARRATION SOUND EFFECTS MUSIC NARR GRAPHICS SYNCH SOUND OFFER V/O OFFER GFX
  5. 5. Creating a Tag Master <ul><li>Merge the elements that don’t change </li></ul><ul><ul><li>Dialogue </li></ul></ul><ul><ul><li>Branding Voiceover </li></ul></ul><ul><ul><li>Music and Sound Effects </li></ul></ul><ul><li>Keep your “tag” the same amount of time so you don’t have to re-edit (:07 = :07) </li></ul>
  6. 6. Creating a Tag master Merge the parts that don’t change MUSIC SOUND EFFECTS VIDEO GRAPHICS SYNCH SOUND NARRATION NARR GRAPHICS SYNCH SOUND OFFER V/O OFFER GFX
  7. 7. The Tag master Simplify your time in the studio VIDEO AUDIO OFFER V/O OFFER GFX
  8. 8. Creating a Generic Master <ul><li>Remove all graphics/logos </li></ul><ul><li>Put narration and music on separate audio channels </li></ul><ul><li>Generic/Textless master is designed to give you maximum flexibility </li></ul><ul><li>No re-editing of footage (hence “master”) </li></ul>
  9. 9. Creating a Generic Master VIDEO GRAPHICS SYNCH SOUND NARRATION SOUND EFFECTS MUSIC NARR GRAPHICS SYNCH SOUND OFFER V/O OFFER GFX
  10. 10. Creating a Generic Master Remove all logos, supers, offer-based V/O Keep EVERYTHING on separate tracks VIDEO SYNCH SOUND NARRATION SOUND EFFECTS MUSIC NARR SYNCH SOUND AUDIO 1 VIDEO AUDIO 2 AUDIO 3 AUDIO 4
  11. 11. What should you request? <ul><li>Obviously you need an Edit Master </li></ul><ul><ul><li>This is what you send to stations or to dub house for client </li></ul></ul><ul><li>If you plan on ‘tagging’ your productions, request a tag master </li></ul><ul><ul><li>You can save client lots of time if you get them in the habit of writing offers that fall within a time limit </li></ul></ul><ul><li>If you plan on reusing a production, request a generic master </li></ul><ul><ul><li>Why should you re-edit if you’re only changing logos, supers, and voice-overs </li></ul></ul>
  12. 12. What should you request? <ul><li>Hard disks are so cheap now, all projects should include the purchase of a drive in their budget </li></ul><ul><li>We are using Final Cut Pro more and more, which gives us more flexibility in where we edit and who can edit it </li></ul><ul><li>For sound projects, request an .omf file </li></ul><ul><ul><li>This file type can be read by many outside sound facilities should you need to take your project there </li></ul></ul>
  13. 13. Know your project status <ul><li>Confirm with editor location of your masters </li></ul><ul><li>Store your masters yourself, or put them in a place you know they are </li></ul><ul><li>Follow up with your editor </li></ul><ul><ul><li>Things get busy very fast, and an archive, backup, or even extra “safety” masters are the first things forgotten during crunch-time </li></ul></ul>

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