Studio production: The Big Top proposal

Big Top Proposal

This is our proposal we gave out to the people judging our pitch so they had a general idea of our show idea. This also meant they had the information they needed in front of them.

Steal the style: Production meeting 2 30/01/2018

Production meeting 2

Notes from meeting by Jemma Cotterell

Production Meeting 2 ( 30-01-18)

Show Content Ideas

Trends of the week/ Steals of the Season

• Presenter lead, look at 5 styles that are current ( spring/ summer looks)
• Show a variety of ways to style the item
• VT- a reporter in the high street, finding the trends for the best price OR
• VT- both presenters, finding looks for each other, look revealed in the studio
• Research: find average budget for a clothes shop, look for statistics we can use

Plus Size

• Style makeover, on a budget
• Will not do, will use plus size models in modelling sections

Old to New

• Look at TV shows that are set in the past ( Peaky Blinders, Stranger things) and look at the fashion they bring with them

• How to emulate that style on a budget

Old to New [VT]

• Fashion History: Churchill- siren suits- evolved into onesies/ rompers
• Look at how practical clothes have evolved into fashion
• Chartwell- Churchill’s house, in kent

Fashion Fails

• Embarrassing wardrobe malfunctions
• fails/ triumphs of online shopping
• Bad fashion choices from the past/ school years
• Audience participation- they bring in own stories

Wardrobe Dig

• Find interesting character
• Figure out whose wardrobe it is
• Needs to be a celebrity to work

DIY fashion

• Look at big brands, how to emulate look
• Tutorial segment, shows audience how to make this product
• Fun and quick projects you can do at home
• http://www.stylemotivation.com/24-stylish-diy-clothing-tutorials/

Independent Shops [VT]

• Presenters need a challenge, or a budget, to find the best item in the time
• Owner interview- why shop independent?
• Shop must have an interesting backstory/ niche
• Etsy shops- only sell online

Music

• An independent/ local artist
• How they present themselves on stage vs off stage
• Two fans of different types of music do a style swap

To Do:  try and expand on research into these segments, see the research to be done doc

From this meeting we confirmed that content of the show and the structure of it.

It allowed me to start contacting potential contributors for it and organising shoots/recordings for VT and Promo.

We could also start making a schedule for the class with deadlines and to dos on it.

Studio production- "Research and development- Finding and Organising talent and contributors"

Studio production- "Research and development- Finding and Organising talent and contributors"

Exploring:

Research & Development

Pre-production/production meetings

Setting and agreeing initial goals and objectives

Research, research and more research!

At this stage of the production we are all researchers

Working within your teams you will need to contribute ideas for:

• Content
• Contributors
• Locations
• Design/branding

Finding people

Typically you will need to find people to fulfil the following roles:

Presenters/actors

Contributors

Audience

Artists/guests

Research: 

Casting Talent

Talent includes; performers, presenters, reporters, contributors-anyone who appears on screen who needs to be cast

They may or may not be paid or have a contract

What do we look for?

Relevant skills/experience

Performance

CHarisma/engaging character

'Look' appropriate to brand/style

Representation+relevance to audience

Finding talent

Talent can be found in many ways, these include;

Own contacts

Auditions;

Advertisements calling for new talent to come forward to relevant press/online 

Showreels

Agents

We would need to negotiate their contracts and payments in advance to the filming.

Scouting;

Visiting talent performing elsewhere

Talent websites/journals

Issues

Scouting 

Talent can be found in a variety of places;

Theatres

Pub performers

Online etc.

It gives you the opportunity to find new talent that could be cheaper in the long run

An issue with this could be that it is time consuming, to try to avoid this try and do background research, get names and try to see them-ask around for people.

Auditions

These could be open aka anyone can apply or closed so they are only open to specific entrants

You can find undiscovered talent this way and you an record the audition to view later.

Showreels

Often an agent or individual will send this in, you should ask to see showreels from anyone you are considering to cast.

They should be used to give you an idea of their:

Style

Experience 

Showreels are only apart of the process within casting, they are useful at the early stages but you should meet with the person to get a sense of who they are.

Always audition talent.

Dealing with agents and talent

Ensure you conduct yourself in a business like manner.

Introduce yourself and explain your requirements, email with more info if reuested

Check availability, find out what else they are working on and find out any potential clashes.

Make sure you are clear about the terms and conditions of the deal you are doing, establish:

Hours/days of contract-rehearsals

Rate of pay-daily/hourly

Expenses-beware of rates ie. mileage/meal rates rather then receipts

Consider setting limits

Artists contracts & release forms

It is essential that all talent and contributors are given contracts or release forms, get people to commit on paper.

This should be done in advance to any recording or rehearsals, as early as is possible. 

Liaise with your PRODUCTION MANAGER at all times who can assist/provide/action and collate these. 

Finding contributors

In order to find 'ordinary people' for your show you'll need to apply the same research techniques used in doc film making;

• Appeals/ads
• Sourcing and contacting relevant organisations/interested parties
• Contacts
• Press offices/media liaison

Finding audiences 

You need to decide what purpose your audience serves;

• Passive- is only there for the applause/background
• Active- involved in some way in the programme
• Representative- discussion
• Supportive- there to support particular contestants

You can use many techniques to find audience members such as:

• Open advertisements- inviting anyone to contact you to get tickets- "Eventbrite"
• Professional programming 
• Targeted advertisements
• On Air promo/social media
• Your own or your contributors' contacts
• Targeted calls/research (In the same way as finding contributors)

Representation-Audiences

Audiences in the show should reflect the audience at home.

Accuracy

Keep good records through out the pre-prod process, it's essential that all information is accurate and checked. 

This includes;

• Spellings of names/titles/other on screen information
• Programme content-UP TO DATE
• Information imparted on screen about contestants

Scheduling and organising talent, contributors and audiences

Negotiations have to be had to establish the level of commitment need and the amount they are prepared to give, major contributors are needed as much as possible from the pre to the production phase, audience obviously only on record day.

Some talent might even be needed for post-prod

Departments should as much as possible seeks to minimise the time needed with talent and contributors REMEMBER-BOOKINGS WITH YOUR TALENT AND CONTRIBUTORS MIGHT HAVE BUDGETARY IMPACTS

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I found this lecture really helpful as it gave me ideas to find contributors for the Fashion Fails segment. As the show is aimed a large age range and both men and women I will be using online sites and shop advertisements to try and find some fashion fail stories.

Studio production: Specialist skills

Specialist Skills: Assistant Producer, Gallery PA

Assistant Producer

(1) AP's are often people within production companies who have played an important role in the development of the script or screenplay.

The take on responsibilities that are given to them by the Producer, these duties can range from supervising the production design ream or cover other work not already covered by another role.

They work in the development and pre-production stages, and on the production.

You need to be:

(2)

• Be well organised

• Be highly flexible

• Have good planning and organisational skills

• Have good communication skills

• Be good at time management

• Be confident and enthusiastic

• Have excellent clerical skills

• Have a good work ethic

• Have a strong sense of loyalty and responsibility

• Be highly computer literate

• Have a keen interest in the business of filmmaking

Gallery PA

Gallery PA's work directly with the Producer's during the pre-production and production.

(3) The role of the Gallery P.A. is to keep the show on time, it includes counting down interviews and VTs as well as counting into a live programme in a 2 min/1 min, 30 second/20 second/10,9,8....A show can also include other counts such as:

• Counting into a rehearsal

• Counting down to the beginning of a live show or recording

• Counting into, through and out of every pre-recorded item or insert

• Timing the length of each section of the programme whether that is scripted or as directed

• Counting down to the end of the show

• Counting character generators onto air

• Counting presenters into live voice-overs on videos items and into, through and out of interviews

• Counting to pre faded music

All of this is done with multiple stop watches. It's the PA's job to remind the director of any time problems with the schedule or the script. However it's the directors and producers jobs to work out what to do when/if the show over runs.

Over all this research helped me to understand what would be required of me in my job roles. I understand what I need to do and how I can do it to the best of my ability now.

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(1) Associate Producer or Assistant Producer creativeskillset.org/job_roles/3067_associate_producer_or_assistant_producer

(2) Producer's Assistant creativeskillset.org/job_roles/3084_producers_assistant

(3) 'P.A./Script superviser' - Cue and Cut

Studio production: role research

Role research

In preparation for my interview on Friday for my studio production role I did some research into what each one I applied for entailed. My first choice was: VT researcher/Floor Manager

My second choice was: Production Manager/Gallery P.A.

The aim of this research was to allow me to go into my interview with a better sense of the roles I had applied for and could there for talk about them more.

VT Researcher

Floor Manager

(1)Part of the responsibilities of a floor manager are that sets, props and technical equipment are safe, ready to use and in the correct positions before filming commences. 

They liaise and coordinate between the directer and the people involved in the actual production on the studio floor.

It's their responsibility to pass on cues between presenters and guests to make sure that timings are met and that the broadcast goes smoothly, and according to the set plan. They'll make sure people that are taking part know their particular role and how it fits in with everything else is going on.

Their responsibilities include: 

• Checking equipment is working before a show
• Seat the audience
• Refer to floor plans as and when needed
• Assist the guests on the show
• Relay instructions from the control room to the studio floor using a talkback system
• Keeping the director and the producer informed of action off-camera
• Assist in the planning and preparation of productions
• Oversee the work of other departments such as; sound, lighting and props
• Rehearse live shows
• Give cues and time counts to presenters, actors or guests
• Organise runners to make the best use of the studio's time
• Look ahead in the programme schedule to anticipate the changes to the set, or to see what props are going to be needed later in the show
• Have a brief and look and those who are involved in the programme
• Manage the audience (explain safety requirements, show timings and what will happen during filming and when the programme will be aired)
• Deal with any tech problems
• Control the studio and stop the production if necessary
• Liaise with public relations staff to agree who will be interviewed (eg. at sports events)
• Pass information and progress reports from live events to studio presenters
• Adhere to health and safety regulations (keeping 'safe areas' and fire exits clear of equipment)

Production Manager

(2)Production managers are responsible for the organisational aspects of production scheduling and budgeting. 

They work in all genres of TV.

They assist the producer to interpret and realise the director's vision, financially and logistically. They prepare production schedules or script breakdowns to confirm that sufficient time has been allocated for all aspects of the production process, and to check the producer's budget and schedule.

They report directly to producers, work closely with all the heads of department to ensure that productions run smoothly, meet deadlines and stay within the budgets. Throughout the shooting, they monitor schedules and budgets, prepare daily report sheets for producers, detailing all aspects of each day's shoot.

During pre-production and shooting production managers deal with any unexpected circumstances and prepare workable alternative plans. They over see all aspects of the day-to-day running of shoots, from the contract prep to all health and safety requirements, they work closely with members of all other production departments, actors and other contributors.

Production managers:

• Understand the tech processes involved in television production, including camera, lighting, sound and editing
• Know how to ensure that all necessary licences and clearances have been obtained for a production
• Have highly developed communication skills
• Have strong problem-solving skills
• Be able to work effectively, and with diplomacy and sensitivity, with all members of the production team, and with actors/other contributors/members of the public
• Have advanced analytical skills
• Have strong budgeting and financial skills
• Pay precise attention to detail and have a methodical approach to work
• Have excellent organisational skills
• Be able to conceptualise ideas
• Have strong IT skills, and knowledge of the relevant computer packages
• Understand how to comply with regulations relating to liability and indemnity when shooting in different locations 
• Have up-to-date working knowledge of relevant UK union and/or broadcaster regulations and agreements 
• Know how to access information about and comply with, corresponding regulations and agreements in other countries
• Possess current knowledge of relevant legislation, regulations and associated procedures, including copyright, data protection, public liability
• Have knowledge of the requirements of the relevant health and safety legislation and procedures

Gallery P.A.

The interview

Whilst in my meeting with Helen and Jo about the possible jobs I could do it was suggested to me that I think about being an Assistant Producer/Gallery P.A. as it would expand my skill set more then staying with researching roles.

As an assistant producer and gallery p.a. I started off researching all of my requirements within the role, this allows me to know everything I will be expected to do.

Assistant Producer

(3) Assistant producers (otherwise known as associate producers) have a significant role in the development of a production.

They can help contribute any ideas creatively toward the project and generally take on roles that have been delegated to them through the Producer. 

They work in the development and pre-production stages on the production. 

The duties they have can range anywhere from supervision over the production design team through to post-prod, or co-ordinating the work of the visual effects companies.

(4) An assistant producer needs to be:

• Well organised
• Highly flexible
• Good planning and organisational skills
• Good communication skills
• Good time managment
• Excellent clerical skills
• Good work ethic
• A strong sense of loyalty and responsibility
• Be highly computer literate
• Have a keen interest in the business of filmmaking
• Have some understanding of the film production process
• Have some experience of script reading
• Be aware of any health and safety laws and procedures

They will provide admin support to the Producer, and the Producer will give them tasks to do daily throughout production. Duties can range from writing coverage on script, drafting letters and making phone calls. They may also have to run an office, interview personnel, co-ordinate the fundraising process and assist with duties on and off set. They'll liaise between the producer and the post production team, they'll also help prepare publicity materials.

Gallery P.A.

(5) The role of the Gallery P.A. is to keep the show on time, it includes counting down interviews and VTs as well as counting into a live programme in a 2 min/1 min, 30 second/20 second/10,9,8....

A show can also include other counts such as:

• Counting into a rehearsal
• Counting down to the beginning of a live show or recording
• Counting into, through and out of every pre-recorded item or insert
• Timing the length of each section of the programme whether that is scripted or as directed
• Counting down to the end of the show
• Counting character generators onto air
• Counting presenters into live voice-overs on videos items and into, through and out of interviews
• Counting to pre faded music

All of this is done with multiple stop watches. It's the PA's job to remind the director of any time problems with the schedule or the script. However it's the directors and producers jobs to work out what to do when/if the show over runs.

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(1) 'Television Floor Manager' - www.prospects.ac.uk

(2) 'Production Manager' - creativeskillset.org/

(3) 'Assistant producer' - creativeskillset.org

(4) 'Producer's Assistant' - creativeskillset.org/
(5) 'P.A./Script superviser' - Cue and Cut

Style the style: production meeting 1

Production meeting 1

Notes by Jemma Cotterell

Production Meeting 1 (26.01.18)

• The show- ‘Steal the Style’- a chat/ advice show, looking at being an antidote to the mainstream fashion.
• Should cater to all budgets.
• Should look at all aspects of fashion
• 4 different topics with a VT each, some examples-
• 1-Trends of the week: popular trends dressed differently. VT- trends for the best price
• 2- not on the high street: a guest segment, the owner of an independent shop. Interview format
• 3- vintage markets: VT make an outfit from a vintage market/ top five items found
• 4- wardrobe dig: a guest ( casting possibility: blogger with quirky taste) shows us their favourite items

• Graphics: similar style to the example, font tone colour- to keep
• channel : E4/ C4 similar style shows how to look good naked etc.
• Target audience: male and female, 16+, working age
• Presenters:  one male, one female, one fashion expert, one bubbly personality ( eg. Gok Wan and Georgia Toffolo)
• TO DO:

• research fashion and style- look at magazines for research
• research into own roles
• Brainstorm ideas

From this production meeting we spoke about the potential segments for the show and each of us were given research topics for the segments.

It helped me gain a rough understanding of how the producers wanted the show to look, this allowed me to be able to help other people in the group with the research and what was required from them.

The Big Top- Pitch

The Big Top - Pitch

The idea for our show was to have a variety act of circus performers, these would range from strong men and contortionists to fire eaters and ceiling performers for our VTs.




We decided to call our show The Big Top, this was relating to our research about the large circle tents used to perform in where called Big Tops.

We decided to use our VTs for acts that could not be performed in a studio due to health and safety risks and just practicality. In the studio we would've included classic circus acts like clowns.

The channel we decided to go for on our show was BBC 2, this was due to it's remit for 'Drama and arts programming' we felt that included our show very well.
We choose a viewing time of 8:30pm due to the potentially distressing nature of circus acts, we felt the audience at this time was in general more appropriate for this show.

Due to our viewing time and the nature of the show we choose to have a target audience of families with older children.

I contacted various circus schools and independent performers, I tried to stick to free performers to save on money. I had 2 people solidly interested in the show and the concept who were both free and I had contacted over email.

Health and safety for the show was a huge importance which is why big acts like trapeze's etc. were all decided to be on VTs to try to minimise the risk to the audience. We did research into the BBC commissioning health and safety requirements and worked from there.

For our pitch our over all idea was received very well, we were praised for it being something new and interesting that hadn't been attempted before.

We had minor set backs such as:

• We should've researched more into the channel and audience that the show would've been aired to. This way we would've known that the show was more suited to children then it would be adults, therefor it would be better aired on CBBC rather then our original choice.
• We didn't include enough visual detail about our set.

From our pitch and the input we received from Del I learnt, that next time I pitch an idea I will need to make it a much more visual product rather then all text and words. 

I also have to do more institutional research to allow me to find the right channel and target audience for my show.

This over all experience will go on to help me make better pitches and be more confident in my idea and pitching skills.

Development of pitch idea

Pitch idea development

Before we pitched our idea we went through various other ideas. We had to think about things such as:

• Health and safety
• Participents
• The various aspects of the show
• Running times
• Content

In the end we went with the idea of 'The Big Top'.