LMW II Production Checklist
PRE-PRODUCTION: PART I
GROUP CONTACT INFORMATION
Name: Rainer Schmidig________________________Phone: 925-963-1672_________
Name: Miguel Poblete____________________________Phone: 510-261-6178_______
Name: Dana Starrh________________________Phone: 661-805-2221_______________
TOPIC DEVELOPMENT (GROUP DISCUSSION):
Spend 20 minutes assessing each group member’s knowledge of your topic. Go through the blog and write down any questions you have, possible leads for film topics and any other ideas to research. Make sure everyone has a basic understanding of the topic. Consider dividing up the group and taking on different aspects of the topic to delve deeper.
Note each group member’s knowledge level, and what they know/are focusing on:
Group Member Knows About Topic
Dana Starrh a lot
Miguel Poblete a lot
Rainer Schmidig a lot
Potential leads and sources for media gathering (fill in this section as you brainstorm as a group):
•WHAT COULD YOU SHOOT:
Interviews, Screen recordings of video games, places where video games are played, Museums.
•WHO COULD YOU SHOOT:
interviews: Don Veca, Jim Diaz, Wilbert Roget, Spencer Nilesen, fans of video games, audio engineers in the industry.
•WHERE COULD YOU SHOOT:
locations: Homes, Businesses, Outside, Conventions, Museums.
•WHEN COULD YOU SHOOT:
events: All the time.
•WHAT ELSE COULD YOU USE: archives: The Internet, School Resources.
What are the some interesting aspects of this topic? Go further than you went last term.
It has a large history. It is something that is often overlooked yet, plays a large role in video games.
•What questions about the topic do group members have?
Wondering what the main point of the documentary will end up being.
•What needs to be researched? Who/how will this be researched?
Different types of sound in video games, technological advancements affecting audio in games, research people who make sound for games.
What skills do group members have?
|Group Member||Video Camera||Still Camera||Audio Field Recording||lighting||Video
|Sound Editing||Motion Graphics||Music||Producer|
What would team members like to do?
|Group Member||Video Camera||Still Camera||Audio Field Recording||lighting||Video
|Sound Editing||Motion Graphics||Music||Producer|
ROLES & RESPONSIBILITIES
Nominate a producer: this person manages the project planning and schedule.
Everyone must pick a primary role and secondary role.
Producer: Dana Starrh
(project planning and master schedule)
Sound: Miguel Poblete
(field recording, leveling, mixing)
Music/Score: Rainer Schmidig
(composition, production, camera operator)
Editor: Dana Starrh
(assembly, roughcut, final cut)
Motion Graphics: Rainer Schmidig
(title sequences, information graphics)
Animation: Miguel Poblete
Other: Vandad Odabaei
TEAM NAME AND LOGO:
Team Name: Sound World Productions
Logo design notes: World as a music note, has headphones, also has a cord coming out of it.
Logo design complete ☐ YES
NON-FICTION SHORT TREATMENT WRITING:
Messages (themes) to explore for your topic: The change of sound in games, and the effect it has on us as gamers and in our culture. How the change in technology has effected the industry.
What tone best suits your topic? (authoritative, mocking, happy, calm, angry?)
Upbeat, Happy, euphoric, elated.
What does the finished project look like?
A comical, relaxed, uplifting documentary.
What does it sound like?
Pretty and Euphoric, uplifting, joyful, and dope.
Who is the audience? Who would want to watch your film?
Gamers, fans of music, ideally everyone.
Which techniques support your topic, themes, and tone best? (How will you make your film interesting and informative?)
X voice-over(narration) ☐ host X archival footage X reenactments
X interviews X experts X animations X montage
Who has something to say about your topic? List as many as you can – not every subject works out! You need to schedule TODAY – shooting takes place in the next two weeks.
|Subject Name||interview about||realistic / fantasy?||contact / lead information
phone, email, address
|availability / dates||confirmed?|
|Jim Diaz||Sound Design||Realisticemail@example.com||open schedule||yes|
|Spencer Nilsen||Music Composition||Realisticfirstname.lastname@example.org||open schedule||yes|
|Wilbert Roget||Music Composition||Realistic||415.963.1518||open schedule||yes|
|The Made||Music in community||Realistic||Themade.org||open schedule||yes|
Preliminary Interview Questions
What do you want to know about? How will you get people to talk about the things you want them to talk about? Remember, people don’t always think about things in a very clear way and rarely talk in “film ready” sound bytes. Write provocative questions!
• What is the importance of Music in Video games
• What is the most difficult part of composing
• How does music affect game play
• What is game music going to be like in the future
• How has game music progressed over the years
• Has technology affected the way you compose music
• What is the most rewarding part of composing game music
x Post Interview Questions to blog
An equipment reservation for an LMW camera kit must be made with the Equipment Room (ER) by Session 2. An LMW camera kit includes: ()
Equipment Needed for Production:
x video camera(s)_____ x still camera(s)_____ x tripod(s)_____
☐ lighting kit x audio recorder(s)_____ ☐ interview mic(s)_____
☐ shotgun mic x lavalier mic kit ☐ boom
The Equipment Room info sheet lists available equipment.
Commit to a production schedule by the end of Session #2. Rough Cut is due Session #7.
Look at when your projects are due and make sure you are giving yourself enough time to work.
x Create a Google calendar for your group. (easier with a Google account)
x shoot dates___________________________________________________________
x recording sessions_____________________________________________________
x editing sessions_______________________________________________________
x group class schedules__________________________________________________
PRE-PRODUCTION: PART II
PREPARATION AND RESEARCH
x Confirm equipment reservations.
x Confirm travel arrangements.
Identify good locations for your shoot(s).
|Location||Purpose: (interview, scenery, event)||Distance from Campus||Sound Conditions||Lighting Conditions||Access Times|
|Illumina Visuals||Interview||10 min||excellent||excellent||weekends 3-6|
|Wilbert’s Apartment||Interview||20 min||okay||okay||weekends 3-6|
|Jim Diaz’s house||Interview||30 min||okay||dark||weekends 3-6|
|The Made Museum||B-roll and interview||10 min||noisey||okay||weekends 3-6|
What could affect your shoot? Weather? Noise? Lighting? What will you do if an interview cancels, event cancels, etc.? EXPECT THE WORST.
Lighting could affect the shoot but sound should be fine because they are all in secluded rooms. Except the museum.
How do you plan to get to your locations?
Research your topic deeply before you start. The more you know about your topic, the more you have to discuss with interview subjects. Take notes.
Reading (Books, Magazine, Website)
☐ Post Reading notes to blog
Viewing (Movies, Videos, News)
☐ Post Viewing notes to blog
Listening (Radio, Podcasts, Conversations)
☐ Post Listening notes to blog
INTERVIEW: Topic(s) Place(s) Person(s)
Your interview is a conversation with your subject. Your role is to listen and share with your audience.
x Review preliminary questions.
x Update questions/talking points based on research findings
x Practice asking questions in group before interviewing subjects.
Topics for discussion:
Evolution of game music
Game music today
Game music in the community
Game music in the future
Each day of production needs its own checklist.
Do you have everything you reserved?
x camera (s) x tripod ☐ batteries x cables
x mic(s) ☐ white card ☐ lights ☐ other__________
x Batteries charged for the shoot?
☐ Lighting kit lamps working?
x Storage Media
☐ consent forms
x batteries (disposable
x beverages/water bottles
|x LMW settings on
x White Balance
x neutral density filter
|x mics connected
x mics turned on (if needed)
x mic settings checked
x camera inputs set
x gain levels set
x channels set
x headphone volume set
x mic proximity tested
|☐ backlight check
☐ lights focused
☐ shadow check
x equipment placement
x electrical outlets
x lighting sources
x background setup – (move clutter, decide what works in camera frame)
x crew positions
x equipment packed
☐ forms signed
x clean up any trash or mess
x return moved items to where they belong
x check space before leaving for items not packed
Don’t forget to get your footage off the P2 Cards before you return them to the ER. You can return the camera and check out a card reader to do the transfer later.
Logging Material: Log and Capture/Log and Transfer
x Set the Final Cut Scratch Disk to project directory (defaults to Media Drive)
x Save the Final Cut working file
x capture media to project directory scratch (capture batch preferred)
x make notes
x organize clips into bins
x save work
Group Discussion: Using Motion Graphics in the Project
How can motion graphics work with your project?
We are going to add some animated characters to bring titles in
What style of graphics fit your topic best?
x Collect Images
x Collect Facts and Information
x Produce motion graphics in After Effects
x Export for use in Final Cut
c Design your lower 3rds. Make sure your design is consistent with your overall theme. Be mindful of what titles you use for your subjects- these words affect how your audience will respond to them.
Rough Cut is due in Session #7
x Compare assembly edits as a group
x Make a new sequence to combine best elements of assemblies
x Add b-roll, photos, graphics and other visual material to sequence
x J and L edit techniques applied
x audio levels matched between clips and edits
Rough Cut Test:
x Watch project without sound
x Listen to project without image
Do these tell the same story? (If not, re-edit to make clear)
Rough Cut Finish
x Export as DV/NTSC quicktime (progressive)
x Test the export – play it back
x Check the file settings. Make sure they match what is required on syllabus.
x Place a copy in the class dropbox directory for the project.
x Make a compressed version for online use
x Upload to YouTube or Vimeo
x Link to Rough Cut on the project blog
x Ask for specific feedback about your work (editing, story, tone)
x Take notes of feedback from peers
x Do your peers understand your story?
x Discuss as group
x Decide what feedback requires attention – things that should change in your project.
x Make adjustments to post-production schedule
x Schedule editing suites for continued rough and fine edit work needed ASAP
x Ask for feedback after the workshop. Talk to classmates, friends and instructors
x Create music that works thematically with project
x Make short, ambient soundscapes that move your project along
x Share progress on blog
x Refine project editing
x Add b-roll
x Add lower thirds
x Add other graphics and sequences
x review entire project for completeness
Picture lock is the end of visual editing on the project. The project is visually “locked” and no more changes will be made to the edit sequence from here.
x Review edit
Do you need to make changes? Make them now.
x All changes done.
Group members must agree that the project is at Picture Lock
Audio Post-Production and Conform
Audio editing is done after Picture Lock. Once your final edit is done visually, the sound is handled next. This is to minimize the amount of time spent conforming the two parts of the project into one final file.
x remove any duplicate or unused audio from project
x export audio from Final Cut into Soundtrack Pro
x Separate dialog onto separate tracks
x Make a track for ambience and background sounds
x Adjust the pan position of dialog tracks – usually center or close to center
x Adjust levels of regions to match each other per track
x Adjust levels of tracks to match each other
x route the dialog tracks to an axillary bus for processing
x Apply EQ to remove low and high end from dialog tracks
x Apply limiter or compressor to dialog aux if needed
x Adjust background sounds and ambience
x Add music or score to the project
x Adjust the level of the music
x Listen to the complete project and readjust any levels if needed
x Return the project to Final Cut Pro
VIDEO POST PROCESSING
x Create a master sequence for final processing.
x Insert the final edit sequence into the master sequence.
x Adjust individual sequences or clips by applying color correction directly as needed.
x Adjust overall look of video by nesting the fine edit sequence into a containing sequence.
x Add beginning and ending titles to the master sequence
Export Master sequence
x Export finished master sequence from Final Cut.
x Test the finished file
x Verify the file settings are correct
x Upload finished work to the class dropbox for the project.
Create online versions
x Use Adobe Media Encoder or Compressor to create delivery versions of project from master sequence file.
x Upload compressed version to Vimeo or YouTube
x Embed video on project blog.
x Does the project succeed in communicating its message? Yes
x What kind of feedback has it received? Good feedback, just minor technical issues and a couple edit comments
Places to show work
Don’t forget to save your receipts and turn them into Jerry Smith (forms available from your instructor) for a $50 reimbursement.