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Produce Stronger Video: Writing Films for Museums
This document provides guidance on producing strong museum videos through effective writing and production processes. It recommends beginning with thorough research and developing a treatment that outlines goals, stakeholders, story, budget and timeline. For production, it advises planning interviews and capturing supplemental footage and assets. Post-production involves transcription, logging highlights, and iterative editing cycles with reviews. The goal is to tell an artist or exhibition's story while capturing materials for future research and programming.
Produce Stronger Video: Writing Films for Museums
- 1. Produce Stronger Video: WritingFilms for Museums Anna Chiaretta Lavatelli Director of Digital Media Museum of Contemporary Art Chicago Bridget O’Carroll Digital Media Associate Museum of Contemporary Art Chicago
- 2. Schedule 1:30–1:45 pm Introductions 1:45–2:45pm Production overview Break 3:15–4 pm Writing in groups 4–4:30 pm Review and questions
- 3. Methodology Capture content thattells the story of an artist or exhibition, while also capturing raw material to support research and the content creation across platforms.
- 9. Timeline (past 4years) 1 year: Meet artist, research begins 4–6 months: Interview 4-3 months: Source materials, B-roll, Music, Images 2 months: Rough cut 1 month: First cut 2 weeks: Fine cut 1 week: Final cut
- 10. Uses for contentcaptured Curatorial research Exhibition labels Exhibition book Blog Magazine Docent training Public relations promotions Social media
- 11. New Timeline 1.5 years:Research begins 1 year: Interview, distribute transcript 6 months: Rough cut 5 months: Source B-roll, Music, Images 4 months: Additional interview with Curator 3 months: First cut 2 months: Fine cut 1 month: Final cut
- 12. Production Overview • Pre-production Research Treatment •Production Interview B-roll • Post-production Log Transcript Highlights Edit Rough cut First cut Fine cut Final cut
- 13. Review process Treatment Transcription Transcript Highlights(First Assembly) Rough cut First cut Fine cut Final cut
- 14. Pre-production: Research • Assessexisting content • Meet with contributors/stakeholders • Meet with talent • Read material by contributors/talent/thought-leaders • Review existing content (again)
- 15. Pre-production: Treatment What isthe goal? Who do you have access to? What is the story? What will it look like? What is your budget? How will you make it happen?
- 16. Pre-production: Treatment Title, duration,format Goal Characters Synopsis Style Schedule Interview questions
- 17. Storytelling in Film Act1: Set Up Act 2: Confrontation Act 3: Resolution
- 18. Storytelling in Film Act1: The need to rewrite art history Plot point 1: How to paint like a master Act 2: Normalizing blackness Plot point 2: Representing the black figure Act 3: Always playing at the highest level
- 19. Budgeting $0–800 Camera Operator $0–800Equipment $0–500 Sound Engineer (w/ equipment) $0–250 Production Assistant $500/day Editor A video generally costs $1000/minute
- 20. Production Budget sketch1 $800 Camera operator 1 $500 Camera operator 2 $250 Camera/Production assistant $250 Sound engineer $650 Equipment: cameras and lights $50 Transportation $2,500 + $3,000 post-production = $5,500
- 21. Production Budget sketch2 $0 Camera operator (me) $0 Production assistant (Bridget) $250 Sound engineer $50 Transportation $300 + in-house post-production = $300!
- 22. Production Budget sketch3 $0 Director (in-house) $500 Camera operator $0 Production assistant (in-house) $250 Sound engineer $50 Transportation $800 production + $2,000 post production = $2,800
- 23. Post-Production Budgeting $100–300 transcription $500/dayeditor $1,500–5,000 depending on scope and needs
- 24. Production: the Interview •Review plan and scope with crew in advance • Listen closely and go off script • Don’t be afraid to interrupt, but do so carefully • Consistent but silent affirmations
- 30. Production: the B-roll •Use a checklist • Review checklist post-interview • Never too much, always overshoot • Don’t rush
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- 32. Post-Production: Transcription Verbal Ink Castingwords Timestamps (Each page is about 3 minutes)
- 33. Post-production: Logging Review footage Transcripthighlights Rewrite treatment (if needed) Organize highlights
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- 36. Storytelling in Film Act1: Set Up Act 2: Confrontation Act 3: Resolution
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- 39. MCA Chicago /SCRIPT v.11 MCA CHICAGO PRODUCTION DOCUMENT PAGE 1 OF 10 Kerry James Marshall MASTRY Visual Audio If you look at the historical narrative of art, we do have to contend with this idea of the quote-unquote Old Masters. And I had to recognize that in that pantheon of Old Masters there are no black Old Masters. TITLE: Kerry James Marshall MASTRY 0:23:17 00:00:44:01 One of the senses you get from the work that we call Old Master works is that the work was based on their knowledge of some things. There were either ideas or principles, there were things about the way we see, that they seemed to know. And they used that knowledge to construct these pictures that functioned in very particular and very specific ways. And so what I was always intrigued by was what it was they knew that allowed them to make those kinds of pictures. So for a young person who is interested in drawing and making images myself looking at what I was doing, and comparing it to what I saw in the books–or what I saw in the museum, the discrepancy between what I could do and what those pictures seemed to represent was vast. And so I wanted to figure out how to close that gap between what I was doing and what they had done.
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- 41. Review process 6 mo.Treatment 4 mo. Transcription 3.5 mo. Transcript Highlights 3 mo. Rough assembly 2 mo. Rough cut(s) 1.5 mo. First cut - small circulation 2 wks. Fine cut 1 wk. Final cut
- 43. Choose your ownadventure 1. Pre-production: write your treatment 2. Scriptwriting: use provided transcript or your own
- 44. Treatment Writing What isthe goal? Who do you have access to? What is the story? What is your budget? What will it look like? How will you make it happen?
- 45. MW Video CritPanel Friday, April 20 9:00am–10:20am Junior Ballroom D
- 46. Anna Chiaretta Lavatelli Directorof Digital Media Museum of Contemporary Art Chicago alavatelli@mcachicago.org @annalavatelli Bridget O’Carroll Digital Media Associate Museum of Contemporary Art Chicago bocarroll@mcachicago.org @brocarroll Produce Stronger Video: Writing Films for Museums