Production paperwork

As Producer most of our paperwork was organised by myself, along with our director George. I feel that I am quite an organised person which allows me to keep everything in order which is particularly important when working with news as there are very tight deadlines so organising this project was very good practice for working in the world of Television News. I wanted a place in which all three of us could have access to all of our documents and paperwork therefore I created a Google Drive folder called 'TTV NEWS PRODUCTION'. This folder contained all paper work regarding: Branding, Ideas, Post production, Pre production, Production, Test shots, and finally the Website. In these folders there were then sub folders that contained all information regarding to that specific topic. Having this system that I created in place was extremely useful as we could all work on documents together at the same time from home which was particularly useful at the moment in lockdown due to not being able to be together in person very much so having this system in place brought us great benefits. I used the Google Drive system for the Documentary Unit and it worked well however this time we all used it everyday and I was actively updating our groups on which new documents had been added. It was just myself, George and Jacob that had access to any of these files due to confidentially purposes with information that is shared in the area. 

Fig. 1 Screenshot of Google Drive Folder (2020).

Fig. 2 Screenshot of Pre production Google Drive Folder (2020).

Once, the Google Drive area had been the first thing that I did was create a To- do list for us with information on who was due to complete each task and when it had to be done by. This was a great way to keep on top of tasks that we had to complete and meant that there was no confusion over who was doing what. Once tasks were added I also colour coded them; green meant complete, orange meant in progress and read meant it had not been completed yet. This was great to have however it was quite tricky to keep on top of it as we were completing multiple tasks a day so on some days the list was out of date so in future I would make sure that I am actively updating it every morning. 

Fig. 3 Screenshot of To-Do list (2020). 

The next item of production paperwork that I created was our schedule It was so important for us to be organised as with Television News deadlines are tight and "the newsroom today has earlier deadlines in the digital workflow and must be organised" (Boyd, 2008:248). Reading this highlighted to me how important it was as Producer to make sure that everything is completed on time, if not earlier. For every project in the past I have used a simple schedule in a table format, however when researching my role of being a producer and creating a schedule a discovered a Gantt Chart. This concept was so useful to all three of us; and especially myself as I was able to quickly look at dates and see if we were sticking to deadlines that I had set for us or not. It was so much easier to use than a list of dates on a simple document as I could see with the colour blocking how long we would be working on tasks for and it also allowed us to support each other as a team as we were able to see when any of us had slightly more tasks to do during different stages of this project. Once this overall schedule was created it enabled me to pencil in dates for shoots and I could add these as the unit moved forwards. A Gantt Chart is definitely something that I will be using on all of my future projects as it helped me so much with this one, however a change that I would make if I was completing this unit again would be to make the Schedule before anything else was done. This is due to News having very tight deadlines and as Producer it is my duty to keep everyone on track, so completing the schedule before anything else would have us following a time plan from the beginning. 

Fig. 4 Screenshot of Schedule (2020).

Once the Gantt Chart was created, I could then make shoot schedules for our three days of filming. These were just a simple table structure that could be easily changed when planning shoots. I created these by pencilling out a timeline of the day, while considering breaks, lunch, briefings and checking footage. I then planned it out with timings and estimated how long each task will need to create a schedule for each shoot as shown in the image. Something that worked well was having the 'WHO' section so that I could quickly see who was needed at what time and who would be where when we were filming. However something that I would change is allowing more time for contributors to arrive. This is because on one of our shoots some contributors arrived a little late which meant that everything was set back by half an hour for the rest of the day however we did manage to make the time up throughout the day.  Therefore in future I will add around a half an hour pocket of time in the day as leeway for if anything takes longer than expected.  

Fig. 5 Screenshot of schedule from 17th November 2020 (2020).

After creating the schedules I began to collect contributor information.  We had decided on our contributors quite early on in the unit which was good as it allowed me to get planning quickly. I created a simple table and in this I listed all of our necessary contributors for the News Package and Live OB. I was able to outline all of the contributors roles and also their contact details which was helpful for when creating Call Sheets afterwards. This was also useful for keeping track of whether a contributor had confirmed that they were happy to take part and then if we had consent from them too. This enabled me to fulfil my role as producer as I could organise all of our contributors and if they were definitely happy to take part or not. I also used colour coding to make reading it efficient to see what still had to be organised if it was highlighted red. I made something similar to this for documentary and it really helped so I definitely wanted to use it again. 

Fig. 6 Screenshot of Live News contributor list (2020). 

Fig. 7 Screenshot of News Package contributor list (2020). 

After our locations had been decided on by our director George I was able to complete all of our Recce's. I have completed multiple of these in the past therefore I did not find it too challenging to do so. I like to be organised and know where everything is so Recce's are something that I enjoy to do. They are useful to know where all of our electrical outputs will be as well as entrances/ exits and keeping track of permissions. 

Fig. 8 Screenshot of Recce (2020). 

Because we were filming in multiple different locations I knew that there were going to be a few Recce's to complete. Due to the pandemic and things changing everyday I also organised for us to have a couple of back up locations so I also completed Recce's for these too. To make sure that they had all been completed I listed them all and then put them into a table format. Again I used my normal colour coding technique to see which Recce's I had remaining to complete; this was very useful and if I had many recce's to complete again in future I would do a similar thing. 

Fig. 9 Screenshot of Recce Checklist (2020). 

After completing the Recce's I was then able to fill in all of our Risk Assessments. I used the recce's to guide me and they were very useful to have. Due to coronavirus restrictions we had to change our locations a couple of times which meant that I had to fill in a couple more than needed but that was good practice. Completing risk assessments now is a very different experience to what they were before the pandemic due to lots of information being required about COVID-19 safety. As the COVID-19 supervisor it was my duty to ensure that there were many safety precautions in place to keep crew and contributors all feeling risk-free during our shoots. During the time that I was completing the risk assessments I was doing work experiences on Baby Cow Production's filming of 'This Time with Alan Partridge.' I asked to see the risk assessments and getting to see theirs and the way that they structure them was a great learning experience as I thought they would be filled with lots of information however they were actually very concise and straight to the point, therefore when completing ours I tried to do this. Furthermore, as all of our set-ups were quite simple due to COVID-19 restrictions our Risk Assessments were quite simple to complete and in future I will again try to be more concise rather than adding lots of unnecessary details.

Fig. 10 Screenshot of Risk Assessment (2020). 

Fig. 11 Second Screenshot of Risk Assessment (2020). 

Due to having six Risk Assessments to complete, again I made a list in a table format to help me to stay organised with what risk assessments needed to be done. This was useful to have in place as I could easily see  the progress that I was making and is something that I would use in future, however I would create a separate risk assessment list for spare locations as it may save me time if I did not complete them unless it was necessary to do so. 

Fig. 12 Screenshot of Recce list (2020). 

After finishing all of the necessary risk assessments I was able to start with Call Sheets and getting them done. Having the schedules that I created at hand was also useful for this. The Call sheet was particularly useful with this unit as there were many last minute changes so it was simple to alter the call sheet and email it out to crew so that they were updates on everything. I also know how important it is as "The entire production team may need to refer to it at some point during production" (BBC Academy, 2016). This was good practice because in Television News anything can change last minute and the timings are very tight so having the Call Sheets that I created on-hand was a great way to keep everybody organised. 

Fig. 13 Screenshot of Call Sheet (2020). 

Whilst working on the bulk of other production paperwork I was also developing the script. As Producer, it was my role to write our script therefore I started by creating a basic document with phrases and statements that we wanted to be incorporated in our script. I discovered that it is very important that "the script should never repeat what the viewer can clearly see, but should clarify, contextualise, and explain what is show on screen" (Boyd, 2008:266), therefore when writing I ensured to follow this. Compiling this document was a useful thing to do as it really helped me when writing the official script that we used. Something that I would criticise about creating this draft was using statistic and figures as when it came to writing the official AV script they were out of date and this made things quite confusing, therefore in future I would not include any data until the script is almost finished rather than it being out of date. 

Fig. 14 Screenshot of Draft Script (2020). 

After compiling this document I then created the official TTV AV Script. I have not used an AV Script before so this was a new experience for me and I learnt a lot from it.  I created this format in a Google Docs (Word) document and filled in the audio section. This is because I am the producer therefore I wrote all of the Piece to Cameras, Voice overs and interview questions. I split the script into the left column based on what shots they were linked with. Once I had filled this in our director George added al of the visuals and shots that he had in mind. After the visuals had been added, as our Graphic designer I then decided which graphics I wanted to go where based off of the draft script that I had created. Writing the AV Script was definitely something that I found challenging due to breaking it into sections for the column format, however once complete it was useful to have it matched up with shot on the right and helped me to visualise everything. I created three AV Scripts in total: The News Package, The Live OB and the Teaser. It was useful to do three because although I found the first one challenging, by the time I had done three I was confident on how to complete it and would feel confident when doing it again in future. We used colour coding again to organise set up of shots and also for Graphics. I was our graphic designed therefore I put all graphics in a red font in the left column. Using this colour coding was great with efficiently seeing what shots we needed and what graphics needed to be created. 

Fig. 15 Screenshot one of AV Script (2020). 

Fig. 16 Screenshot two of AV Script (2020). 

Fig. 17 Screenshot three of AV Script (2020). 

Fig. 18 Screenshot four of AV Script (2020). 

Fig. 19 Screenshot five of AV Script (2020). 

Once the script was completed, our director George was able to complete our storyboards; this was for the news package. They were useful to have he could then comprise the shot list from this and it was useful for me to have an idea of how each shot would look and what props/ exact locations of rooms we would use for each one. As Graphic designer I could also visualise the shots even more which enabled me to decide on graphics and font placement when creating the GFX list. Unfortunately just before we were due to shoot this our location had to change therefore we did not have storyboards for the new locations but this could not be helped due to the very tight time schedule, but the shot set ups were still very similar for the new location so they still did come in handy. 

Fig. 20 Screenshot of Storyboards (2020). 

Following this George then completed our Shot List. This was useful for me as a reporter as I could see where I was for each shot and also my movement which allowed me to arrive on location feeling confident about fulfilling my role, as well as giving myself as the reporter, "a clearer idea of what I am writing to"(Boyd, 2008:265). As Producer this also allowed me to see what was needed for each shot along with the storyboard, and as Graphic designer I was able to to again work on placement early on. 

Fig. 21 Screenshot of Shot List (2020). 

After having the shot list, the costume list was created. As I was in charge of branding, I suggested to George that we could potentially include our theme colours of blue and grey to keep our brand consistent as other News corporations do. George kept this in mind when creating the costume list and it was very helpful to me. He also mentioned at the bottom that costume changes needed to be made, and this was something that I had not considered when creating the schedule so I then went back to it and quickly added it in. This taught me that in future before creating schedules I should lease with our director as well as all crew to see if there was anything else that they need me to allow time for. 

Fig. 22 Screenshot one of Costume list (2020). 

Subsequently, George was able to create an equipment list on an Excel Spreadsheet and it was very helpful to me. I was able to note all that would be needed and then comprise an email to Ferg listing all of the kit that we would need and from which dates. George used colour coding to show which equipment would be needed for which shoot, this helped me as I could see quickly what would be needed for each day and allowed me to work out how long we needed certain pieces of equipment for. I think this alone shows how the director and producer have to work together as a team, because after all "The Producer makes decisions about the content of the news programme and the Director makes those decisions work on air" (Boyd, 2008:353).

Fig. 23 Screenshot  of Equipment list (2020). 

For this unit I was the Covid safety supervisor, I really wanted to fulfil my role of  so to do this I thoroughly read through what was stated on the risk assessment to ensure that we follow it. I then carried out some research as discussed in my 'Content Research' blog however I also read the 'COVID-19 Safety handbook', which is made "to help students" (UCA, 2020) and listed many different measures that we could put into place to keep us safe. During the time of researching for my role I was doing work experience on Baby Cow Production's 'This Time with Alan Partridge.' I ensured to speak with the Covid safety supervisor on the shoot after seeing his name on the call sheet to discuss measures that he had put into place. He stated some that I had not thought of such as emailing cast and crew each evening before the shoot to remind them that if they have symptoms they must isolate. He also discussed creating a 'Fit to Work' survey to send out which I then adapted as discussed in 'Content research'. I compiled some information that he had stated, along with the information from the Covid safety handbook and my own ideas to create our 'Coronavirus Safety Document'. In this I state all the rules in which crew and contributors must follow during time on location and filming. I highlighted in red font at the top that the document must be read and followed. I also asked for George and Jacob to send me their 'Screen Skills Coronavirus Basic Awareness on Production training' certificates before the shoot for health and safety purposes. I emailed this document out to crew and contributors on the evening before all three of our shoots to remind everyone of the rules they must follow. I feel that this document helped me to successfully fill my role as a Covid safety supervisor as it clearly states all details that should help to keep our production coronavirus- free. 

Fig. 24 Screenshot one of Coronavirus Safety Document (2020). 

Fig. 25 Screenshot two of Coronavirus Safety Document (2020). 

The floor plan for the green screen filming was created by George and was extremely useful for us all to have. As producer it was part of my role to focus on keeping the set safe and not messy, therefore this floor plan allowed me to see where we can keep kit and equipment to prevent any injuries from occurring. I also normally create floor plans free- hand however having it digitally created was great as it meant that shapes could be easily manoeuvred therefore it is something that I will be using in the future.   

Fig. 26 Screenshot of Floor plan (2020). 

As Reporter and Producer it was my role to write the interview questions. Initially, as discussed in my 'Content Research' this was something that I struggled with; due to the three contributors all representing different roles, as well as keeping keeping all questions open, this will allow me to "prompt the listener to answer in a much more detailed way"(Bitesize, 2017) which of course will be useful for interviewing. To help myself I listed lots of different phrases that begin open questions, such as: how, what, can you describe, and explain. From these I was then able to compile all questions needed by mentioning in the questions what we would want the contributors to discuss. For example, with Raheem he is discussing his positive views towards the app, so when creating his questions as a reporter I wanted him to focus on discussing why he uses the app. Therefore I steered his questions towards usage of the app such as "What is your main reason behind using the app?" I followed this technique for all questions and once I got into the swing of writing them it became easier. I did struggle with writing Susans questions as she has never even used the app, which subsequently meant that it was difficult to ask someone about something that she has never used. This however, allowed me to focus more on her feelings towards not being able to access it and in the end meant that we had some strong questions focussing on her thoughts, which I was very happy with. When writing the interview questions I did feel that I fulfilled my role as Producer and Reporter and was confident with the questions that I had written due to receiving very detailed answers from contributors which gave us lots to work with in the edit. 

Fig. 27 Screenshot of Interview Questions (2020). 

As Producer I really wanted to make sure that all crew, as well as contributors were appreciated and had no confusion to what was going on. To reflect this, every night before a shoot I would send an email to all involved stating the timings for the next day (they had already been told at least a week prior to this however I just wanted to remind them). I also discussed costuming slightly on some days if it was relevant and attached the Call Sheet, Schedule, and a Covid safety document. I also attached a Google Form that I had created regarding health before the shoot just to check that nobody was showing signs of Coronavirus and that nobody needed to isolate (this is discussed more in 'Content Research'). This simple task of emailing everyone helped me to feel prepared, and the next day during the shoots I received compliments from some contributors and a member of crew to state that it was good to have all information sent out as a refresh just before the shoot and also to know all the timings for the day. This made me feel happy and feel that I had succeeded in being a Producer, as I was "flexible and prepared in advance" (Boyd, 2008:280), therefore this task of emailing everyone the evening before for a recap is definitely something that I am going to take forwards with me. 

Fig. 28 Screenshot of email (2020). 

Something that is very important to get, especially due to GDPR rules is consent from contributors for them to appear in our production. Due to coronavirus restrictions I was unable to get contributors to sign consent forms in person as I did not want anyone to share pens as they could potentially be a high touch point and as our Covid Safety supervisor this was something that I had to keep in mind. This meant that I had to email all consent forms out to those that needed to sign them out via email. To make things as simple as possible I filled in all areas of the consent form our in red. This would have saved our contributors time, it is something that I did in documentary and it worked well therefore I knew that I wanted to do it again for this unit. 

Fig. 29 Screenshot of Consent Form (2020). 

To keep track of all consent forms and whether they had been filled in/ received I created a table with all the names of those that needed to sign a form in it. I colour coded the table and it made it easy to see in which stage every form was. It was little tasks like this that I completed that allowed me to keep on top of all paperwork and see if there were ay outliers in missing paperwork.  

Fig. 30 Screenshot of Consent form tracker (2020). 

After filming we had to make a transcript; we had three to complete so I distributed them out and we all completed one each to gain experience in completing them. I had created one perviously for documentary however I did progress by using a more formal format. I found a template online for a transcript document and then adapted it slightly by using the my UCA slides to guide me. It was very useful to have the transcripts as our director George was then able to look at them and highlight all relevant information therefore I will always ensure to complete a transcript after filming an interview. An improvement that I could make is naming the file name, this would make it simpler for the editor so that they can easily access the file. 

Fig. 31 Screenshot one of Transcript (2020). 

Fig. 32 Screenshot two of Transcript (2020). 

Before filming the green screen sections, I was responsible to make documents to be put onto the TelePrompTer. This was quite a simple task as I just had to copy the script onto a document. Something that I feel I succeeded in was placing gaps in between each phrase, this was in order to help George when speaking and leaving natural pauses so that the introductions do not feel rushed. Something that I feel I could definitely improve on is adding a large space at the beginning of the document. I left a slight space however it was not large enough as when he document was opened on the iPad for the teleprompter there was not much time between rolling camera and pressing play on the TelePrompTer to  George speaking. When using this equipment again I would make sure to leave a very large gap at the beginning. 

Fig. 33 Screenshot of TelePrompTer document (2020). 

Once filming was complete, it was time to organise all the graphics. I had already researched and decided what I thought would work for all of them however I needed to create some structured documents to make sure that we had not missed any out and also to organise who would create them all. I worked on the branding for our project and how I wanted everything to look. I also created all of the still graphics such as the logo, the banner and images for the project. Jacob as editor wanted to create the moving graphics however as I was branding we thought it would be a good idea if I was to come up with the design for all moving graphics and then Jacob would bring them to life. Having this system in place helped us a lot as it meant that I could fulfil my role of being in charge of the branding but also have time to follow producing tasks. The first document that we created was a GFX List. This is where all of the graphics that we wanted to be created were listed. George made the spreadsheet and added all of the graphics that he visualised as director, and once he had finished I then added descriptions for how they would visually appear as well as adding some of my own ideas for graphics that we would need. This was a very useful document as it helped me to work out how many graphics we were going to have to create/ design. Another useful thing about it was that George stated whether it was for the News package, Live OB, or teaser. This made things a lot more efficient for me as I could then just look at the script and work out where the graphic would be and then look at the shot list and see where it would be placed on screen. Something that I would change about the list is placing things in even more of an order, whether it is chronological with each film according to the script, or if all text graphics were together and all moving graphics were moving together. 

Fig. 34 Screenshot of GFX List (2020). 

After the list was complete, I could then start with organising how all the graphics would be created. To start with I listed all of the graphics that needed to be made, then I stated if they were moving or still; this helped me with deciding if it was myself or Jacob that would create it.  I then made a column for if the graphic could be created during post production, or if it needed to be created earlier. This column was not very useful as we ended up making them during the production  stage so in future if I was creating a similar document I would leave this column out. Something that I feel was very successful with creating this document was the colour coding. All of Jacob's graphics to complete were highlighted in blue boxes, whilst mine were highlighted in pink. This worked so well as it meant that we could clearly identify which graphics were ours to complete. I also used red and green colour coding for the 'Done' column. This was helpful as we could spot which graphics still needed to be finished. This document was something that I used a lot whilst creating branding and was a very successful way to log our progress, which as producer made me happy. 

Fig. 35 Screenshot of Graphics to Do List (2020). 

After completing the administrative documents for the graphics, I could begin working on the Website Design. Our director George created a plan for where he wanted the elements to be placed. This helped me as I could then add the branding to it in order to make it specific and unique to TTV. 

Fig. 36 Screenshot of Website Plan (2020). 

To add branding to the website design, I added the colours of TTV; grey, blue and yellow. I researched website pages for news channels and explain this in 'Content Research' and followed a similar structure when creating our website. I used the fonts that I feel we should use for the website in the areas that I think they should be used. I also used the colours that I would like to be used for specific areas, for example, I would like the main headline to be in blue therefore I used a blue font in the TTV shade. I also thought it would be good if the background was a dark charcoal grey as not only is it a TTV colour, but having a dark background would also make elements stand out more. Having this layout using the colours and fonts that we will be using will be a great benefit for Jacob when brining it to life and he will know where to put elements as well as knowing colour and fonts to use. This will be a great help as it will mean that it can be created quickly and this is key when working on Television News with tight deadlines. I feel that I fulfilled my role with this task as I created a structured document for Jacob to inform him of a design that will work well for our brand.  Despite this, there are some improvements that I would make. I could have added the actual TTV logo to where it says 'logo' to help to portray my vision a little more. To improve it I also could add images where they will be on the website. For example where it says 'Gallery' there will be images to display our brand and I could have included some of these. 

Fig. 37 Screenshot of Website Design (2020). 

Before our pitch with Beth we needed to create a Proposal document. As producer, it was my responsibility to create the proposal template so that it was easy for George and Jacob to complete their relevant sections. I used the slides from My UCA to create headlines for what would be needed when creating a proposal for Television News. I then asked Jacob and George if there was anything that they felt they wanted to contribute to the proposal and we ended up dividing up the proposal into sections for us to focus on so that we could discuss our specified areas in order to create the best proposal possible. I split it into a News package section, a Live OB section, a Website section, and a branding section. I feel that I succeeded as Producer here as I organised and helped to create a very detailed proposal document with George and Jacob that clearly projects our vision, despite this, in future I will try to make Proposal documents a lot more concise to fit the one A4 page brief by limiting the amount that can be written for each section. I also feel that if it were shorter it would be more likely to get noticed as "if you can distill your brilliant idea down into a single page that is going to excite producers, your idea is much more likely to get read and taken seriously than a speculative 20 page document." (Shelley, 2017) Therefore I will definitely focus on pitch documents being concise, yet attention grabbing. 

Fig. 38 Screenshot One of Proposal Document (2020). 

Fig. 39 Screenshot two of Proposal Document (2020). 

Whilst pitching we also delivered a slide show of our Treatment, which was very important as it is "written to convince potential employers of the power of an idea". (Shelley, 2017) This was a 21 page document which covers all areas of our News Production brand and what we wish to create. As Producer, it was my job to set up the treatment and make it simple for our group to add information to. I started by adding the slides and on each one titling it with what the slide needs to cover, for example this could be synopsis, style, Covid safety measures, website etc. I then added a short description underneath it stating what the slide needed to cover, and colour coded each slide for who was going to complete it. This made it very efficient when completing the treatment as we were all clear for what we were doing. As our branding representative it was my job to ensure that the treatment reflect our aims and brand as a whole. I took some time to create a gradient background for the slides as there is in the logo. I also created a transparent layer of 'TTV' in a medium shade of grey with 'Technology Television over the top'. I was happy with how this turned out and I did fulfil my role, however when the treatment was completed the logo was not finished yet, therefore we could not include it and I feel that not having it in the treatment looses a bit of the brand's identity. Because of this in future I would make sure that the logo is finished before the treatment is so that it can be included. 

Fig. 40 Screenshot of Treatment Title Slide (2020). 

Once the title card for the treatment had been completed, I began to add to other slides. For the Headline slides I used the same blue gradient and created another layer of image (in this case it was a photo of the NHS COVID-19 App). I really liked the effect that this gave and as I am in charge of branding I really felt that it represented TTV so I was very happy with this slide. An adjustment that I would make now is changing the font to 'Helvetica' as this is the font that we have used in all other branding so it would have been more linear.  

Fig. 41 Screenshot of Treatment Image Slide (2020).  

As Producer it was my job to discuss the Contributors, this was for the News Package and the Live OB. I made a simple table for them and then discussed who and what they represent. I was happy with this slide as it filled the brief that it needed to and clearly stated all of our contributors, however a change that I would make would be to make the slide a little more pleasing to the slide. It is quite text heavy and this could get boring during a pitch therefore in future I would add images to the slide to make it more interesting. 

Fig. 42 Screenshot of Treatment Contributor Slide (2020). 

I the thought it would be a good idea to show an image of each of the contributors in the next slide. I thought this was successful as it reflects our wide range of contributors that we have to reflect our large target audience. An improvement that I could make would be adding the name of each contributor underneath each photograph. 

Fig. 43 Screenshot of Treatment Contributor Image Slide (2020). 

The next slide to complete was the location one. This was quite simple to do as I just had to list the different locations that we would be using. Despite this I could have made the slide a lot more interesting to look at rather than focussing entirely on having the information on the slide. In future when creating a treatment I will make sure I have as little as possible clusters of text when pitching in a presentation, and mainly visuals to enhance its entertainment. 

Fig. 44 Screenshot of Treatment Location Slide (2020). 

The next slide that I created was focussing on the branding. For this slide I thought it would be interesting to include screenshots from the Google Form that I created relating to branding. This covers what our target audience thought about branding relating to technology and it is important to include in the treatment as it shows that as our branding representative, I did not just come up with the idea, a lot of  research was behind it. 

Fig. 45 Screenshot of Treatment Branding Slide (2020). 

One of my roles for this unit was being the Covid-19 Supervisor and this is a role that I took very seriously. I wanted to include it in the treatment as we are creating Television News during a pandemic and my priority was to make sure that everyone was, and felt safe. Therefore I include a screenshot from the Coronavirus Safety document that I created as described in Fig. 24. 

Fig. 46 Screenshot of Treatment Covid-19 Supervisor Slide (2020). 

Also in the Treatment, I wanted to include some research that I had done for creating the branding. I put together some images of other Television News Channels logos and decided what I liked and disliked about each in 'Content Research'. I think including this slide was a successful decision for achieving my role in branding as it showcases the research that I have carried out in order to create the best branding possible for TTV. 

Fig. 47 Screenshot of Treatment Logo Research Slide (2020). 

Finally for the Treatment I put together a mood board. Again, this is discussed in more depth in 'Content research' however I wanted to discuss the relevance of it in the treatment. I feel that it is a brilliant way of exhibiting our Television news Channel, as it reflects all of our colours and elements of our branding. Something that I could have improved is maybe adding some sketches of the logo that I had created to show how all the different elements link up. Despite this though I am still very happy with how this slide turned out. 

Fig. 48 Screenshot of Treatment Mood Board Slide (2020). 

I then created the TTV Logo brief. For the logo I wanted it to be the ultimate reflection of TTV, and something that would be recognisable across multiple different platforms. It was my job to create the logo, but I did not really know where to begin with it. I also knew that we did not have long for it to be created due to Television News having very tight deadlines to work with. Originally I was going to  reach out to some Logo designers for their help, therefore I did some research on how to compile a brief for a Logo designer and ended up creating the brief shown in fig. 49 . However once I had created this document, I realised that I wanted to create the logo. This was due to me feeling very happy with the brief and what we needed and then feeling confident about making it. The brief and mood board were the documents that I used most when creating the logo so in future I would definitely do this again as it really made me feel that I was doing well in my role. Something that I would alter is adding the colour chart that is in the mood board to the bottom of the brief so that I can have it easily accessible. 

Fig. 49 Screenshot of Logo Brief (2020). 

The final piece of Production Paperwork that I had to complete was the brief for the graphics. This was made by using the 'Graphics to do' list in fig. 35. I started by going through the table and titling each section in the brief document with the name of the graphic, I then added a short description for each moving graphic, an image if it was needed and colours if they were needed, and then I concluded with with any useful links. This document was unbelievable helpful during the creation of moving graphics as it was a space where I could describe all ideas for Jacob to see and saved so much time doing it this way rather than having to explain it face to face. The only thing that I would change in future is adding more description to each section, this is to make everything completely clear as we did have problems a few times where descriptions were slightly miss-understood. Therefore I feel adding more information would help with this. 

Fig. 50 Screenshot one of Graphics Brief (2020). 

Fig. 51 Screenshot two of Graphics Brief (2020). 

Fig. 52 Screenshot one of Graphics Brief (2020). 

In conclusion, I feel that I have succeeded in my roles as Producer, Reporter, Graphic designer/ branding, and Covid-19 Supervisor. It was definitely difficult to incorporate four very different roles with Production Paperwork, however I enjoyed the challenge and feel it payed off as I feel happy with how it has gone. This was a great experience for Television News with tight deadlines and having to get things done quickly; in some cases days before or even on the day, however it has been a good learning curve. 

List of Illustrations: 

Fig. 1 Emmerson, S. (2020) Screenshot of Google Drive Folder. [Google Drive, Screenshot] In possession of: the author: Kent. 

Fig. 2 Emmerson, S. (2020) Screenshot of Pre production Google Drive Folder. [Google Drive, Screenshot] In possession of: the author: Kent. 

Fig. 3 Emmerson, S. (2020) Screenshot of To-Do list. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 4 Emmerson, S. (2020) Screenshot of Schedule. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 5 Emmerson, S. (2020) Screenshot of schedule from 17th November 2020. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 6 Emmerson, S. (2020) Screenshot of Live News contributor list. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 7 Emmerson, S. (2020) Screenshot of News Package contributor list. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 8 Emmerson, S. (2020) Screenshot of Recce. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 9 Emmerson, S. (2020) Screenshot of Recce Checklist. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 10 Emmerson, S. (2020) Screenshot of Risk Assessment. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 11 Emmerson, S. (2020) Second Screenshot of Risk Assessment. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 12 Emmerson, S. (2020) Screenshot of R/A list. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 13 Emmerson, S. (2020) Screenshot of Call Sheet. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 14 Emmerson, S. (2020) Screenshot of Draft Script. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 15 Emmerson, S. (2020) Screenshot one of AV Script. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 16 Emmerson, S. (2020) Screenshot two of AV Script. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 17 Emmerson, S. (2020) Screenshot three of AV Script. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 18 Emmerson, S. (2020) Screenshot four of AV Script. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 19 Emmerson, S. (2020) Screenshot five of AV Script. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 20 Emmerson, S. (2020) Screenshot of Storyboards. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 21 Emmerson, S. (2020) Screenshot of Shot List. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 22 Emmerson, S. (2020) Screenshot one of Costume list. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 23 Emmerson, S. (2020) Screenshot of Equipment list. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 24 Emmerson, S. (2020) Screenshot one of Coronavirus Safety Document. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 25 Emmerson, S. (2020) Screenshot two of Coronavirus Safety Document. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 26 Emmerson, S. (2020) Screenshot of Floor plan. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 27 Emmerson, S. (2020) Screenshot of Interview Questions. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 28 Emmerson, S. (2020) Screenshot of email. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 29 Emmerson, S. (2020) Screenshot of Consent Form. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 30 Emmerson, S. (2020) Screenshot of Consent form tracker. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 31 Emmerson, S. (2020) Screenshot one of Transcript. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 32 Emmerson, S. (2020) Screenshot two of Transcript. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 33 Emmerson, S. (2020) Screenshot of TelePrompTer document. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 34 Emmerson, S. (2020) Screenshot of GFX List. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 35 Emmerson, S. (2020) Screenshot of Graphics to Do List. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 36 Emmerson, S. (2020) Screenshot of Website Plan. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 37 Emmerson, S. (2020) Screenshot of Website Design. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 38 Emmerson, S. (2020) Screenshot One of Proposal Document. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 39 Emmerson, S. (2020) Screenshot Two of Proposal Document. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 40 Emmerson, S. (2020) Screenshot of Treatment Title Slide. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 41 Emmerson, S. (2020) Screenshot of Treatment Image Slide. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 42 Emmerson, S. (2020) Screenshot of Treatment Contributor Slide. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 43 Emmerson, S. (2020) Screenshot of Treatment Contributor Image Slide. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 44 Emmerson, S. (2020) Screenshot of Treatment Location Slide. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 45 Emmerson, S. (2020) Screenshot of Treatment Branding Slide. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 46 Emmerson, S. (2020) Screenshot of Treatment Covid-19 Supervisor Slide. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 47 Emmerson, S. (2020) Screenshot of Treatment Logo Research Slide. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 48 Emmerson, S. (2020) Screenshot of Treatment Mood Board Slide. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 49 Emmerson, S. (2020) Screenshot of Logo Brief. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 50 Emmerson, S. (2020) Screenshot one of Graphics Brief. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 51 Emmerson, S. (2020) Screenshot two of Graphics Brief. [Google Docs, Screenshot] In possession of: the author: Kent. 

Fig. 52 Emmerson, S. (2020) Screenshot one of Graphics Brief . [Google Docs, Screenshot] In possession of: the author: Kent. 

Bibliography:

Boyd, A. (2008) Broadcast Journalism: Techniques of Radio and Television News. [Online] At: https://ebookcentral.proquest.com/lib/ucreative-ebooks/reader.action?docID=1074583 (Accessed on 17.11.2020)

BBC Academy (2016) Tips: Writing a Call Sheet. At: https://www.bbc.co.uk/academy/en/articles/art20141119153633570 (Accessed on 18.11.2020)

Boyd, A. (2008) Broadcast Journalism: Techniques of Radio and Television News. [Online] At: https://ebookcentral.proquest.com/lib/ucreative-ebooks/reader.action?docID=1074583 (Accessed on 17.11.2020)

Boyd, A. (2008) Broadcast Journalism: Techniques of Radio and Television News. [Online] At: https://ebookcentral.proquest.com/lib/ucreative-ebooks/reader.action?docID=1074583 (Accessed on 17.11.2020)

Boyd, A. (2008) Broadcast Journalism: Techniques of Radio and Television News. [Online] At: https://ebookcentral.proquest.com/lib/ucreative-ebooks/reader.action?docID=1074583 (Accessed on 17.11.2020)

UCA. (2020) COVID-19 Safety Handbook. [Online PDF] (Accessed 18.11.2020)

BBC Bitesize (2017) Responding and Interacting. At: https://www.bbc.co.uk/bitesize/guides/zyvygdm/video (Accessed on 18.11.2020)

Boyd, A. (2008) Broadcast Journalism: Techniques of Radio and Television News. [Online] At: https://ebookcentral.proquest.com/lib/ucreative-ebooks/reader.action?docID=1074583 (Accessed on 17.11.2020)

Shelley, A. (2017) Treatments, Pitches, Outlines- WHAT ARE THEY? At: https://www.bbc.co.uk/blogs/writersroom/entries/e9f4db68-3ec3-4041-b67f-14841afc3de5 (Accessed on 20.11.2020)