piXvfm, inc.

The Pre-Production phase is one of the most important stages in the production process. The more time spent planning and organizing at this stage, the more efficient the video shoot and edit will be, and ultimately, the better the final product will be.

First, a Concept of what the video will be about and how it will be used is established. Then a treatment or Outline is created that describes all of the elements in the video in more detail. A working Script is created by organizing all of the elements of the outline into a complete detailed description including dialogue and action. The elements of a script are typically laid out into 2 sections on a page. The first column contains a description of the visuals with scene numbers. The second column contains the dialogue or voice over.

In the case of a series of over 100 technical programs that piXvfm produced for Delmar Publishing, the production process typically began at the Outline stage, before the scripts were completed. That way we were able to begin tracking down any components, locations, talent, or special requirements called for, and eliminate any sequences where some elements may not have been available. Pre-planning was crucial on this project, as we shot and tracked 8-12 programs simultaneously.

A simple Storyboard is often created with sketches and notes about proposed shots and dialogue. Notes of proposed transitions, special effects, sound and text are included. This is helpful in determining camera blocking (where the camera and actors should be placed) and what types of shots to use. We traditionally establish the location with a wide shot, narrow the focus with a medium shot and then show what is important with a close up. During the shooting phase, lighting set ups and camera positions are consolidated.

Once a first pass review of the scripts has been done, we begin creating a Shot List by breaking down the scripts and sorting the shots by type of footage, specific location, environment, talent, and common elements. For example, in an automotive shoot, we would group all of the vehicle exterior shots (beauty, grille, badging) together in one category, vehicle interior shots (driver’s seat, dash, console) are grouped together in a separate category, and shots featuring on-camera talent grouped in another category. The number of shots is calculated, and number of shoot days required is determined. Scripts are shot entirely out of sequence, with the order of shots being dictated by set-up. In this case – Exterior, Interior, and On-Camera. That way, any duplication of set ups – lighting and staging for the same type of shot – is eliminated.

A production Schedule is developed to organize the time, places and people involved. The schedule is arranged based on locations and set-up, which will dictate the shooting order. If testimonials or interviews are being used, those are shot first. That way, additional background footage (B-Roll) can be captured and used to support what the interviewee said.

Crew availability is checked and Crewmembers and Equipment are tentatively booked. piXvfm employs a staff of Producers / Directors, and editors and has a stable of freelance resources available. Every crewmember is selected based on the needs of the individual project. Most productions are typically staffed with a Director, DP (Director of Photography), Gaffer / Lighting Director, Key Grip, and Grip. When on-camera talent is utilized, we add an Audio Technician, Teleprompter, and Make-up Artist. Any specialized crew needs such as a Car Prep Technician, Precision Driver, SME (Subject Matter Expert), Steadicam Operator, or Jib Operator are addressed. Any sets requirements are assessed, and a set design company may be consulted. A 2 – 5 ton grip and lighting package is on most shoots.

Our default Camera Format is Panasonic’s P2 professional digital video storage media format. It features tapeless recording of DVCPRO / AVC-Intra streams on a solid-state flash memory card. The HPX-500 P2 camera can hold 4 64GB P2 cards and continuously record 640 minutes of 720/24p HD – without reloading! It uses 2/3” chips, interchangeable lenses, and records 32 formats of HD and SD for superior image quality.

Since P2 is a tapeless technology, and the video output is captured onto a solid state P2 memory card as a file, our approach to Workflow changes significantly. The process is speeded up considerably and is more reliable, which in turn, reduces production costs.

We made the transition to the P2 format back in mid-2006, and have never looked back. We were so taken with the cinematic look produced from the P2 camera, that we chose to use it in the production of a documentary about the first flag raisers on Iwo Jima. We were confident that this ultra-reliable format was the right way to go to capture the sole survivor of the flag raising on Mount Suribachi. Other typical camera formats we utilize are HDCam, DigiBeta or 16mm film.

Delivery Format is an important topic to consider prior to the shooting phase. For online use, the program content must be catered to the expected bandwidth. If a message is to be delivered over a corporate intranet with a fast Ethernet connection capable of 100–Mbps, full-motion video with high-quality audio may be delivered. But, certain allowances should be made for the expected delivery method during shooting. For example, lighting requirements become more critical. Compressed video images tend to increase in contrast, so, uniform lighting is essential. Camera movements should also be slow as to avoid video distortion and artifacts, and provide optimum playback of compressed video.

If the script calls for on-camera actors, a search is done of our Talent pool. Agencies are contacted with specific requirements, and headshots are initially provided and reviewed. Choices are then narrowed and demo videos are requested. Actors may be asked to read for a role at a video recorded in-house audition. If the program is comprised of B-Roll (no on-camera actors), a voice over actor is chosen from our pool of voice artists.

Once talent choices have been made, the actor’s sizes are verified. Wardrobe is selected, and orders are placed for any special requirements such as uniforms. Particular attention is paid to choice of colors to reduce contrast. Patterns with fine horizontal or vertical lines are avoided.

After a preliminary shot list has been created, we Scout potential locations that have atmosphere to suit the action. If on-camera talent is required at an exterior location, we consider any potential technical problems with the location. Things that could cause delays in capturing good audio, such as the location’s proximity to air traffic are taken into account. A check of scheduled activities such as gardening, or garbage pick up day is made. Weather reports, as well as sunrise and sunset times are checked. The position of the sun is observed in relation to time of day being portrayed in the script. Any potential continuity issues (such as shadows changing) with shooting out of sequence are considered. Traffic patterns are observed and it is determined whether the use of local Police or Highway Patrol is required to enforce a traffic control plan. Location use fees are researched and negotiated, and permits are secured.

If the location slated is an interior, the site’s room dimensions are checked to verify that the location is sufficient to accommodate all camera, lighting equipment and props. Ceiling height is measured as a potential location to mount lights. The number and size of windows are considered for control of natural ambient light. The room’s electrical service is checked for ample power. It is determined whether the local Fire Prevention Authority is required to inspect the site.

As soon as the script has been finalized, any special Equipment requirements and needs such as supplemental lighting (1200 – 5000 watt HMI), portable power, second camera, lenses, camera boom, production trailer, portable toilets, etc. are assessed and scheduled. A backup plan is developed, including a standby camera, to cover any potential technical problems.