(6)Magazine Format

8/3/2019 (6)Magazine Format

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Module 2Basic Television

Formats

Magazine/Documentary



TV Programming» Early Morning (6-9 am)

» Daytime (9-3pm)» Early Fringe Day part (3pm-up)» Primetime (7-10pm, 8-11pm)

» Late Fringe

» Early Morning (6-9 am)

» Daytime (9-3pm)» Early Fringe Day part (3pm-up)» Primetime (7-10pm, 8-11pm)

» Late Fringe



TV Programs

» Audience(Children, Women, Men)» Demographic (Age, Race, Gender)» Content (Information, Entertainment,

Infotainment)» Per theme (Variety Show, Drama,

etc)

» Audience(Children, Women, Men)» Demographic (Age, Race, Gender)» Content (Information, Entertainment,

Infotainment)» Per theme (Variety Show, Drama,

etc)



Basic Television Formats» Critics and academicians suggest that there is

no single agreed-upon industry or critical termgoverning the ever-expanding system ofadaptation of narrative and other contentacross different media.

» However, within the purview of television, just

such a term - the format - exists although criticalresearchers have been slow to recognize such adevelopment

» Critics and academicians suggest that there isno single agreed-upon industry or critical termgoverning the ever-expanding system ofadaptation of narrative and other contentacross different media.

» However, within the purview of television, just

such a term - the format - exists although criticalresearchers have been slow to recognize such adevelopment



Basic Television Formats» Until 1998, for example, the only book dealing

with the subject of television format was a legalhandbook published in Dutch (van Manen, 1994)

» There is no entry concerning television formats inthe New York Times Encyclopedia of Television(Brown, 1977), while only a short note appears in

the recent Museum of BroadcastingCommunication Encyclopedia of Television(Fiddy, 1997)

» Until 1998, for example, the only book dealingwith the subject of television format was a legalhandbook published in Dutch (van Manen, 1994)

» There is no entry concerning television formats inthe New York Times Encyclopedia of Television(Brown, 1977), while only a short note appears in

the recent Museum of BroadcastingCommunication Encyclopedia of Television(Fiddy, 1997)



Basic Television Formats» On the other hand, inside the television industry,

broadcasters and producers have been quicker to embrace the term and the concept

» The TV format is now a crucial mechanism inregulating the recycling of program contentacross different television systems in the world.

» Although TV industries talk confidently of the

format as a single object, it is in fact a complex,abstract and multiple entity that is, typically,manifested in a series of overlapping butseparate forms.

» On the other hand, inside the television industry,broadcasters and producers have been quicker to embrace the term and the concept

» The TV format is now a crucial mechanism inregulating the recycling of program contentacross different television systems in the world.

» Although TV industries talk confidently of the

format as a single object, it is in fact a complex,abstract and multiple entity that is, typically,manifested in a series of overlapping butseparate forms.



Basic Television Formats» Magazine Documentary

» Live Programs» Narrative

» Magazine Documentary

» Live Programs» Narrative



Magazine/Documentary» News» Lifestyle

» Sports» Documentaries (historical or otherwise)» Mini-documentaries (60minutes or so)» TV specials

» News» Lifestyle

» Sports» Documentaries (historical or otherwise)» Mini-documentaries (60minutes or so)» TV specials



Magazine/Documentary» Anything that deals with a non-fiction treatment

of a subject in a format that is not straight newsor interview or discussion

» Magazine Features and documentaries areusually under the direction of the newsdepartments

» Deals with news, information and opinion

» Can relate to current or historical events or ideas» Can be academic, cultural, or even abstract,

without apparent connection to anycontemporary or major issue or concern.

» Anything that deals with a non-fiction treatmentof a subject in a format that is not straight newsor interview or discussion

» Magazine Features and documentaries areusually under the direction of the newsdepartments

» Deals with news, information and opinion

» Can relate to current or historical events or ideas» Can be academic, cultural, or even abstract,

without apparent connection to anycontemporary or major issue or concern.



Magazine/DocumentaryFeatures/Magazine

» Presentation providing informational andeducational content. But it doesn·t have to bepurely factual or academic in style.

» Productions that do not deal with a controversialissue or do not take a point of view toward thesubject

» Straightforward report on an event, thing,situation, person, or idea, a problem, anorganization, a place

» Principally informs the audience» More often oriented toward objectivity

Features/Magazine

» Presentation providing informational andeducational content. But it doesn·t have to bepurely factual or academic in style.

» Productions that do not deal with a controversialissue or do not take a point of view toward thesubject

» Straightforward report on an event, thing,situation, person, or idea, a problem, anorganization, a place

» Principally informs the audience» More often oriented toward objectivity



Magazine/DocumentaryDocumentary

» Next to the drama, it is said to be the highest form ofTV art

» Practitioners and critics consider it as the highest form

of the news and information art» Provides information and present a point of view(POV)

» Productions that deal with a controversial issue» Principally makes the audience think and feel

» At its best, it synthesizes the creative arts of thebroadcast media and makes a contribution to publicunderstanding by interpreting the past, analyzing thepresent and anticipating the future. Sometimes thisall happens in a single program, in a highly dramaticform that combines intellectual and emotionalmeaning.

Documentary

» Next to the drama, it is said to be the highest form ofTV art

» Practitioners and critics consider it as the highest form

of the news and information art» Provides information and present a point of view(POV)

» Productions that deal with a controversial issue» Principally makes the audience think and feel

» At its best, it synthesizes the creative arts of thebroadcast media and makes a contribution to publicunderstanding by interpreting the past, analyzing thepresent and anticipating the future. Sometimes thisall happens in a single program, in a highly dramaticform that combines intellectual and emotionalmeaning.



Magazine/Documentary» Both require careful research, analysis and

evaluation of materials

» Both consist of many diverse forms: news,interviews, panel discussions, dramatizations,speeches and music.

» Neither are news stories but explore behind andbeneath the obvious

» Both require careful research, analysis andevaluation of materials

» Both consist of many diverse forms: news,interviews, panel discussions, dramatizations,speeches and music.

» Neither are news stories but explore behind andbeneath the obvious



Magazine/DocumentaryExamples (shows):» Probe

» Imbestigador » Balitang K» Jessica Soho

Reports

Examples (shows):» Probe

» Imbestigador » Balitang K» Jessica Soho

Reports

(Channels) National Geographic Discovery Channel History Channel Biography Channel Animal Planet Knowledge Channel



Magazine/DocumentaryOutline-to-script approach (process)1. Determine the subject and point-of-view - will

this be an objective feature or a subjectivedocumentary?

2. Prepare tentative outline - not a road map, buta general direction

3. Do thorough research: analyze libraryresources, make personal visits to people andplaces, determine what visual and auralmaterials are available and study them.

Outline-to-script approach (process)1. Determine the subject and point-of-view - will

this be an objective feature or a subjectivedocumentary?

2. Prepare tentative outline - not a road map, buta general direction

3. Do thorough research: analyze libraryresources, make personal visits to people andplaces, determine what visual and auralmaterials are available and study them.



Magazine/DocumentaryOutline-to-script approach (process)

4. Prepare a more definitive outline, a detailed rundownsheet.

5. Work closely with producer and director (in manyinstances the writer is also the producer and sometimesalso the director) to solidify the outline and prepare a fullscript. During this period the writer may suggest specificmaterials to be obtained, recommend the orientation of

these materials, and even help gather them.

Outline-to-script approach (process)

4. Prepare a more definitive outline, a detailed rundownsheet.

5. Work closely with producer and director (in manyinstances the writer is also the producer and sometimesalso the director) to solidify the outline and prepare a fullscript. During this period the writer may suggest specificmaterials to be obtained, recommend the orientation of

these materials, and even help gather them.




6. Prepare lead-ins, lead-outs, and interview backgroundmaterials and question-and-answer outlines as theactualities (people and events recorded live) aregathered , and other transition material as the scriptbegins to take shape. As the material comes in, thewriter continually revises the outline, accommodatingnew, unexpected material and deleting anticipatedmaterial that is not obtainable.

7. When most of the material is in, prepare a full script.Revise this script in conference with the producer anddirector.


6. Prepare lead-ins, lead-outs, and interview backgroundmaterials and question-and-answer outlines as theactualities (people and events recorded live) aregathered , and other transition material as the scriptbegins to take shape. As the material comes in, thewriter continually revises the outline, accommodatingnew, unexpected material and deleting anticipatedmaterial that is not obtainable.

7. When most of the material is in, prepare a full script.Revise this script in conference with the producer anddirector.




8. After all the material has been gathered, seenand heard many times by the writer and therest of the production team, write the finalscript, sometimes called the working script . Thisversion is used for final editing and timing ofthe program.


8. After all the material has been gathered, seenand heard many times by the writer and therest of the production team, write the finalscript, sometimes called the working script . Thisversion is used for final editing and timing ofthe program.



Magazine/DocumentaryExamples (approach):» Narration (Fahrenheit 911)» Reenactments/recreations (The Civil War)» Animation (Bowling for Columbine)» Direct or Natural Cinema (Grey Gardens)» Filmmaker/Videographer as part of the story (Paper

Chasers)

» Interviews (The Fog of War)» Confessionals to camera (Blue Vinyl)» Archival Footage (Eyes on the Prize)» Archival Photos (4 Little Girls)

Examples (approach):» Narration (Fahrenheit 911)» Reenactments/recreations (The Civil War)» Animation (Bowling for Columbine)» Direct or Natural Cinema (Grey Gardens)» Filmmaker/Videographer as part of the story (Paper

Chasers)

» Interviews (The Fog of War)» Confessionals to camera (Blue Vinyl)» Archival Footage (Eyes on the Prize)» Archival Photos (4 Little Girls)



Magazine/DocumentaryOn Interviews

» Choose interview subjects who arecompelling and knowledgeableabout your topic.

On Interviews

» Choose interview subjects who arecompelling and knowledgeableabout your topic.



Magazine/DocumentaryBasic Interview Techniques

The Ideal Character/Interview Subject:» Candid and forthcoming» Able to speak coherently about the topic» Unique perspective

» Knowledgeable about topic» Passionate about topic» A recognized expert» Clear viewpoint

Basic Interview Techniques

The Ideal Character/Interview Subject:» Candid and forthcoming» Able to speak coherently about the topic» Unique perspective

» Knowledgeable about topic» Passionate about topic» A recognized expert» Clear viewpoint



Magazine/Documentary» Location, Location, Location: On set or

on location?

» On location» Choose location with characteristics that

help you tell your story, location is another aspect of your storytelling

» Location, Location, Location: On set or on location?

» On location» Choose location with characteristics that

help you tell your story, location is another aspect of your storytelling



Magazine/Documentary» Ocular inspection

» For interviews, try to find a controlledenvironment (the less control you have the moreheadaches you will have to make it look andsound right. Sound should be a primary

consideration when location scouting.)

» Ocular inspection

» For interviews, try to find a controlledenvironment (the less control you have the moreheadaches you will have to make it look andsound right. Sound should be a primary

consideration when location scouting.)



Magazine/Documentary» Check the lighting (is there sunlight or indoor

lighting in the room?)» Is there enough room to shoot? Comfortable

temperature?» Know the policies (if there are any) in your

chosen location» Make sure you have permission to shoot from the

location owners and not just your subject.

» Check the lighting (is there sunlight or indoor lighting in the room?)

» Is there enough room to shoot? Comfortabletemperature?

» Know the policies (if there are any) in your chosen location

» Make sure you have permission to shoot from the

location owners and not just your subject.



Magazine/Documentary:Script Format

» Script formats vary among stations,studios and production houses

» Some standard conventions andbasic script formats are widely used,

however, and are acceptable toalmost everyone in the field.

» Script formats vary among stations,studios and production houses

» Some standard conventions andbasic script formats are widely used,

however, and are acceptable toalmost everyone in the field.




Several basic script formats in television and radio:

1. single-column format (endemic to radio)2. Single-column format used for screenplays andfor single-camera television shows

3. Two-column television format with video on theleft and audio on the right (used for multi-

camera productions, sometimes audio is on theleft and video is on the right)4. Film or screenplay format with each sequence

consecutively numbered

Several basic script formats in television and radio:

1. single-column format (endemic to radio)2. Single-column format used for screenplays andfor single-camera television shows

3. Two-column television format with video on theleft and audio on the right (used for multi-

camera productions, sometimes audio is on theleft and video is on the right)4. Film or screenplay format with each sequence

consecutively numbered




Two-column television format (with video on theleft and audio on the right)

(left side) contains video directions, visualimages

(Right side) contains audio information includingdialogue

The writer for television writes visually, showingrather than telling, where appropriate (writes for the ear and the EYE)

Two-column television format (with video on theleft and audio on the right)

(left side) contains video directions, visualimages

(Right side) contains audio information includingdialogue

The writer for television writes visually, showingrather than telling, where appropriate (writes for the ear and the EYE)




Usual jargons used:

SOT (sound on tape) - for projects that still usetape

VO (voice-over) STANDUPPER MSC (music) MOS (man on the street)

Usual jargons used:

SOT (sound on tape) - for projects that still usetape

VO (voice-over) STANDUPPER MSC (music) MOS (man on the street)




Script Preparation

Begins with a summary or outline (a shortoverview of the script, written in narrative form)

Treatment or scenario (a more detailedchronological rundown of the prospective script,giving information on the setting, plot and

characters, and, sometimes, examples ofdialogue

Script Preparation

Begins with a summary or outline (a shortoverview of the script, written in narrative form)

Treatment or scenario (a more detailedchronological rundown of the prospective script,giving information on the setting, plot and

characters, and, sometimes, examples ofdialogue



Magazine/Documentary:Script Format (sample)

Outline or Summary

A man and woman, both about 60, are at thebeach and find a kind of beauty in being in lovethat did not feel when they were younger. Thestory shows that romance in older years cansometimes be even more youthful and excitingthan in youth.

Outline or Summary

A man and woman, both about 60, are at thebeach and find a kind of beauty in being in lovethat did not feel when they were younger. Thestory shows that romance in older years cansometimes be even more youthful and excitingthan in youth.




T reatment or scenario

It is morning. Gladys and Reginald are on abeach, by the water·s edge, holding hands andlooking lovingly at each other. They are about60, but their romantic closeness makes themseem much younger. They kiss. They talk abouthow they are even more in love than when theywere younger. Hand in hand they enter abeach house.

T reatment or scenario

It is morning. Gladys and Reginald are on abeach, by the water·s edge, holding hands andlooking lovingly at each other. They are about60, but their romantic closeness makes themseem much younger. They kiss. They talk abouthow they are even more in love than when theywere younger. Hand in hand they enter abeach house.




T elevision - One-ColumnFADE UP:

A BEACH AT SUNRISE, THE WAVES BREAKING ON THE SAND.

TWO PEOPLE ARE IN THE DISTANCE, AT THE WATER·S EDGE, HOLDING HANDS STARINGTOWARD THE SEA. THEY ARE ABOUT 60. BUT THEIR BRIGHTNESS OF LOOK AND POSTUREMAKE THEM SEEM MUCH YOUNGER. THEY SLOWLY TURN THEIR FACES TO EACH OTHERAND KISS.

GLADYS: I did not feel so beautiful when I was 20.

REGINALD: (GRINNING) Me neither. But we weren·t in love like this whenwere 20.

DISSOLVE TO ENTRANCE HALL OF A BEACH HOUSE. IT IS MORNING.

(THE DOOR OPENS AND GLADYS AND REGINALD WALK IN, HAND IN HAND,LAUGHING)

T elevision - One-ColumnFADE UP:

A BEACH AT SUNRISE, THE WAVES BREAKING ON THE SAND.

TWO PEOPLE ARE IN THE DISTANCE, AT THE WATER·S EDGE, HOLDING HANDS STARINGTOWARD THE SEA. THEY ARE ABOUT 60. BUT THEIR BRIGHTNESS OF LOOK AND POSTUREMAKE THEM SEEM MUCH YOUNGER. THEY SLOWLY TURN THEIR FACES TO EACH OTHERAND KISS.


REGINALD: (GRINNING) Me neither. But we weren·t in love like this whenwere 20.

DISSOLVE TO ENTRANCE HALL OF A BEACH HOUSE. IT IS MORNING.

(THE DOOR OPENS AND GLADYS AND REGINALD WALK IN, HAND IN HAND,LAUGHING)




T elevision - Tw o-ColumnVIDEO AUDIO

FADE IN ON BEACH AT SUNRISE (GLADYS AND REGINALD ARE SEEN IN THE

PAN ALONG SHORE LINE AS DISTANCE, BY THE WATER·S EDGE, HOLDINGWAVES BREAK ON SAND HANDS, STARING AT THE SEA. THEY ARE ABOUT

60, BUT THEIR BRIGHTNESS OF LOOK ANDPOSTURE MAKE THEM SEEM MUCH YOUNGER.)

ZOOM IN SLOWLY (GLADYS AND REGINALD TURN THEIR FACES TOEACH OTHER AND KISS. THEIR FACES REMAIN

CLOSE, ALMOST TOUCHING.)


REGINALD: (GRINNING) Me neither. But we weren·tin love like this we were 20.

DISSOLVE TO ENTRANCE HALL (THE DOOR OPENS AND GLADYS AND REGINALDOF BEACH HOUSE - MORNING WALK IN, HAND IN HAND, LAUGHING.)

T elevision - Tw o-ColumnVIDEO AUDIO

FADE IN ON BEACH AT SUNRISE (GLADYS AND REGINALD ARE SEEN IN THE

PAN ALONG SHORE LINE AS DISTANCE, BY THE WATER·S EDGE, HOLDINGWAVES BREAK ON SAND HANDS, STARING AT THE SEA. THEY ARE ABOUT

60, BUT THEIR BRIGHTNESS OF LOOK ANDPOSTURE MAKE THEM SEEM MUCH YOUNGER.)

ZOOM IN SLOWLY (GLADYS AND REGINALD TURN THEIR FACES TOEACH OTHER AND KISS. THEIR FACES REMAIN

CLOSE, ALMOST TOUCHING.)


REGINALD: (GRINNING) Me neither. But we weren·tin love like this we were 20.

DISSOLVE TO ENTRANCE HALL (THE DOOR OPENS AND GLADYS AND REGINALDOF BEACH HOUSE - MORNING WALK IN, HAND IN HAND, LAUGHING.)



Tools of the TradeProduction Book Organization is the key to a successful

production. To stay organized, theproduction person needs easyaccess to the production

information that he/she will gather during the production

Production Book Organization is the key to a successful

production. To stay organized, theproduction person needs easyaccess to the production

information that he/she will gather during the production



Tools of the TradeProduction Book

An effective way of doing this is to buya large loose-leaf binder and a setof tabbed dividers so that eachsection can be easily identified.

Production Book

An effective way of doing this is to buya large loose-leaf binder and a setof tabbed dividers so that eachsection can be easily identified.



Tools of the TradeProduction Book: Documents Inside» Script» Crew list» Schedule» Breakdown pages» Props» Furnishing list» Cast list» Budget» Transportation

» Meal Plans» Insurance package» Permits, clearances and releases

Production Book: Documents Inside» Script» Crew list» Schedule» Breakdown pages» Props» Furnishing list» Cast list» Budget» Transportation

» Meal Plans» Insurance package» Permits, clearances and releases



Budget: Financial BibleShort BudgetProduction: Date:Length: Shooting Days:

Category Budget Actual Cost» Production» Cast» Crew» Equipment» Post Production» Editing» sound» Office Expenses» Insurance» Contingency

Short BudgetProduction: Date:Length: Shooting Days:

Category Budget Actual Cost» Production» Cast» Crew» Equipment» Post Production» Editing» sound» Office Expenses» Insurance» Contingency



Executive Producer/Production

ManagerHot tip: 4 common Budgeting Mistakes1. Excluding or discounting items you h ope

to secure2. Not including enough contingency

money3. Not creating alternate budgets4. Overlooking a hundred ´little thingsµ

Hot tip: 4 common Budgeting Mistakes1. Excluding or discounting items you h ope

to secure2. Not including enough contingency

money3. Not creating alternate budgets4. Overlooking a hundred ´little thingsµ




ManagerHot tip: 10 ways to lower your budget1. Get free or inexpensive equipment2. Get free or inexpensive crew3. Get free or inexpensive food4. Use cars instead of production trucks

5. Shoot and travel over less days with lesspeople

Hot tip: 10 ways to lower your budget1. Get free or inexpensive equipment2. Get free or inexpensive crew3. Get free or inexpensive food4. Use cars instead of production trucks

5. Shoot and travel over less days with lesspeople




ManagerHot tip: 10 ways to lower your budget

6. Get corporate/agecy sponsorships or product placement deals

7. Use original music

8. Use public domain footage9. Use natural light and china lanterns10. Log and transcribe your own footage

Hot tip: 10 ways to lower your budget

6. Get corporate/agecy sponsorships or product placement deals

7. Use original music

8. Use public domain footage9. Use natural light and china lanterns10. Log and transcribe your own footage

(6)Magazine Format

Documents

Transcript of (6)Magazine Format