DMA 346 TV Producer Report Format

Each co-producer of the DMA 346 project team is required to submit a separate Producer Report typed in this format.  DO NOT submit reports in plastic binders, covers, or sleeves!!!  Naked paper and a staple will suffice.  To save paper, use no more than an 11pt Font, single spaced with half inch margins top, bottom, left and right.  Use this document as a template to type your actual report.  

1.  List the name of the project, the co-producer(s), and the sound design team members.

	eg.  “Gun Safety PSA”	 Joe Blow & Suzie Smith (Co-Producers)
				 Tom Jones – ADR
				Jane Doe – foley, ambiance, sfx
				Bob Han - Music

2. Describe the functions/services you performed on this project.

	eg.  Directing ADR, Coordinating Talent, Video Editing, DVD Authoring, Supervising Music Composition. 

3.  List the dates, functions, times, and hours you worked on this project with a final total.

	eg.  	6/23/10		Directing ADR		12:00pm – 7pm		(7 hrs)
		6/28/10		Video Editing		10:00am – 3pm		(5 hrs)
		7/12/10		DVD Authoring		11:00pm – 5am		 (6 hrs)
					          				 Total = (18 Total Hours)

4.  Explain in detail the process, software, and equipment you used to perform work on this project.

	eg.	We started out with a Quicktime window burn of the PSA which I e-mailed to the team……  I used FCP at home on my laptop to place the ADR on the timeline………..I used Encore to author the DVD on the iMac station at school……..etc.
 
	eg.	I originally wanted a sentimental theme for this segment, but since I am not a musician, I had difficulty communicating what I wanted.  I would say I wanted less of this or that, rather than “lose the brass in the bridge” or “more sustain in the chorus”.  When I finally played my music composer samples of similar music from a movie CD I had, he finally understood what I wanted.  He merely lifted the instrumentation and arrangement, but changed the melody just enough to be legal.  I always remained calm in spite of how frustrating it was to describe what I wanted…….(get it?.....continue for each).

6.  Evaluate the quality/contribution of each aspect of the sound design team’s work in improving the effectiveness of this project relative to ADR, VO, ambiance, sfx, walla-walla, and music.  Explain how each component improved your project or failed to improve the project.

	eg.	Originally, this segment of the project was really boring and slow because the guy talking is not very dynamic or emotional.  With the addition of the sentimental music, the viewer really starts to sense how the guy actually feels.  You pay more attention to him because the music underscores his feelings to the point that you start to get tears in your eyes.  Now the segment really has an emotional power that makes the viewer want to keep watching.  Through music we were able to inject emotional impact into a scene where there was none previously…….

7.  Assess your professionalism on this project (organization, punctuality, dependability, efficiency, congeniality) and then state the letter grade you believe that you deserve for this course based on what you achieved in improving the project rather than on the amount of effort you put forth on the project.

	eg.	I know it doesn’t matter how many hours you put into a project, or how hard you worked to make things turn out right.  All that matters is what’s actually on the screen, so taking that into consideration, I think my main strengths on the project were…………..because……………My weaknesses or areas for improvement include……….because…………………………….
………….so taking all of this into consideration……… I believe that I deserve the grade of B- for this project	

8.  Now assess the professionalism of each co-producer as well as each member of the sound design team.  Write a separate paragraph for each individual and assign a letter grade for each individual.

	CO-PRODUCER(s)
	
	Joe Blow’s Grade – if you want someone who really knows how to edit in FCP, Joe is the guy.  His technical skill in FCP and     Pro Tools is very professional; unfortunately his behavior is not.  He showed up late for most of our sessions and was extremely unresponsive when it came to the numerous e-mails, texts, and phone calls we made to him throughout the project.  He was also AWOL throughout most of the final mixing phase.  He did direct a little of the ADR sessions, but didn’t seem very involved in the project as a whole.  Although I admire his skill with the software, I would not want to work with him on future projects.  I believe that he deserves the grade of C- for this project. 

	Suzie Q’s Grade – without Suzie we never would have been able to complete this project on time.  She handled everything from talent scheduling, casting, and craft services to equipment rental, insurance bonds, and transportation.  In addition, she is a good director who seemed to get great performances out of each of our actors in ADR.  I learned so much from her just watching how she motivated the talent.  Although she’s not that familiar with most of the editing software programs, she was present at every editing session giving her opinion on the best takes to use and how to mix the composite soundtrack.  She seemed to keep our whole team motivated and on task.  I definitely would be willing to work with her again anywhere and anytime on any future projects.  I believe that she deserves the grade of A for this project.

	SOUND DESIGN TEAM

	Tom Jones (ADR) – our ADR turned out great; however, Tom was not ready with the gear set up when our actors arrived.  As such, our actors had to sit around while he set up the mic, mixer, headphones, etc.  This made us look real unprofessional in front of our talent and added an extra hour to each session.  These unnecessary delays could have easily been avoided by his arriving an hour or two ahead of time to set up and troubleshoot all the problems that usually occur when trying to get all the equipment to work properly.  The ADR, though, sounds very natural and it has perfect lip-sync.  He was always easy to get a hold of and responded to all our inquiries instantly.  He’s a nice guy that I would work with again, but he only deserves a grade of B+ for this project because of the unnecessary delays in session setup.

	Jane Doe  (foley, ambience, sfx) – the worst part of our project was definitely the sound effects.  Instead of going to the trouble to record the foley, ambience, and sfx live with her own mic in the studio or on location, Jane just downloaded stock sound effects from the internet which we could have easily done ourselves.  That is why our American police car has a European-sounding siren, and the drunk driver’s Volkswagen car sounds like a diesel truck.  The footsteps taking place on the lawn sound like they’re walking on asphalt.  No matter how many times we told her that these effects would not work for our project, she just kept replacing them with different effects that were just as artificial and bad.  For these reasons, I would never work with her again.  She deserves a grade of “D” for her work on this project.

	Bob Han (Music) - with the addition of the sentimental music, the viewer really starts to sense how the guy actually feels.  You pay more attention to him because the music underscores his feelings to the point that you start to get tears in your eyes.  Now the segment really has an emotional power that makes the viewer want to keep watching.  Through music we were able to inject emotional impact into a scene where there was none previously.  Bob is a very talented composer who knows how to arrange instruments to the point where it sounds like a John Williams symphonic score.  His only drawback is that he gets impatient working with producers who can’t describe musically what they want.  He is also difficult to contact, i.e., not returning phone calls or e-mails in a timely manner.  This caused unnecessary delays in our project.  In spite of his musical talent, I would not work with him in the future.  I believe he deserves a grade of B for the project.

Checklist for required documentation of the project:

  8.  Have you attached a signed Talent Release Form from all Narrators and Actors to this report?

  9.  Have you attached a signed Music Composition Release from all the Composers on this project?

10.  Have you attached a signed Music Performance Release from all the Musicians on this project?

11.  Have you submitted an MP4 File that has been tested for playback via SD Card on our HDTV?

12.  Have you submitted a final BD containing each week’s progress with selectable audio channels?