• Share
  • Email
  • Embed
  • Like
  • Save
  • Private Content
Anatomy Of A Spot
 

Anatomy Of A Spot

on

  • 659 views

 

Statistics

Views

Total Views
659
Views on SlideShare
658
Embed Views
1

Actions

Likes
1
Downloads
0
Comments
0

1 Embed 1

http://www.linkedin.com 1

Accessibility

Upload Details

Uploaded via as Microsoft PowerPoint

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Processing…
Post Comment
Edit your comment

    Anatomy Of A Spot Anatomy Of A Spot Presentation Transcript

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