Animations

We can create graphic animations, from a simple "flying logo" to full blown "cell animation." Using the powerful Adobe After Effects Production Bundle, our Producers can create stunning, multi-layered animations, which will add a high-end look to a commercial. By nature, animation takes time to create, the more that can be done "off-line" in the Pre-Production phase, the quicker the editing phase will be. Pre-planning and communication are the keys to successful animation.

Music & Audio

Some companies have their own Music Jingle package, which they may have used on other TV or Radio spots. These packages usually contain a variety of cuts for different uses, such as, full sing :30, sing out :30, :30 donut or :30 instrumental bed. Using a Jingle package on TV as well as radio, is a great way to "brand" your business and provide advertising consistency. The version of the jingle used for a TV ad will have an impact on script content and the overall look of the spot. KIVI/KSAW TV Productions includes a station voice talent for cutting the audio of your script at no extra cost. However, this voice is not exclusive and can be heard in numerous other TV spots. The client has the option to contract with an outside vendor for voice talent at their own contract rate. Any music Jingle or outside voice talent must be delivered to our Producer before the edit can begin. We can handle a variety of audio formats, including: CD, minidisk, DAT and ¼" reel-to-reel. Certain audio files can also be e-mailed to our Producers, including: Wav, MP3 and AIFF files.

Other Graphics

Photographs, charts and detailed graphic design are elements, which take time to make ready for integration into the commercial. As such, the Pre-Production phase is the best time to gather these elements and prepare them. Our Producers can scan photos you provide and create more complex graphics on our "off-line" graphics workstations, making for more effective use of edit time.

Commercial Script Writing

The KIVI/KSAW TV Producers use a two-column script format as seen below. The AUDIO column incorporates all sound elements of the spot, including: announcer, on-camera dialog, music and sound effects. The VIDEO column gives a running description of the visual elements of the spot, including: videotaped footage, logos, still pictures, animations, graphics, transitions and special effects.
 
This "blue print" helps determine what and how visuals need to be shot, what logos, graphics and animations may need to be pre-produced prior to editing, and what impact the shooting process will have on the client's business. The script also helps the Producer assess what equipment and production techniques will be necessary to create the commercial, and how much time it will take to complete the project. It gives a clear picture of what the final product will look like and how the spot is designed to send a creative message to the client's target audience.

Besides the script, the Commercial Producer may also create some supplemental documents, which can help visualize the spot and organize the shoot. A "Shot Sheet" is a list of all the videotaped elements, which need to be in the completed spot, and can greatly assist in streamlining the shooting process. A "Story Board" is similar to a comic book rendering of specific scenes within the commercial, complete with text, which can help illustrate camera angles, actor positioning and graphics placement.

Commercial Shooting

Depending on direction from the finalized script and the client's Production budget, there is a wide range of possibilities when it comes to shooting a commercial. It can be as simple as using a video camera and lights to shoot some product shots inside a store... or as complex as shooting with actors at multiple locations over several days. Whatever your needs, our experienced Commercial Producers will use state-of-the-art, broadcast quality equipment to create a high impact commercial within your budget.

Formats

KIVI/KSAW TV Productions can shoot on two different videotape formats; Panasonic's DVC Pro (25/50) digital format (including 4x3 and 16x9 aspect ratios) and Sony's Betacam SP format, the former standard of the broadcast industry. Both formats produce superior image quality and give us flexibility in meeting our client's needs.

Field production support equipment includes:

• Ikegami HL75 DVC Pro 50 Camcorder with Canon 8-128mm IFXS 16x9 lens

• Sony DXC537A BetaCam with Fujinon 9-144mm lens

• Vinten Vision 8 and CSI ENG 30 Tripods

• Sony 9" portable color monitor

• Lectrosonics UCR190 & UCR195D UHF, CR185 VHF Wireless Microphones

• Sachtler Director 270D HMI light

• Lowel Omni and Lowel D lighting kits

• Eagle II Doorway Dolly, Trovato Pedestal & Trovato Tote 48" Jib Arm (below)

This equipment allows us to adapt to a variety of shooting situations.  For example, the Dolly and Jib Arm configuration seen above can be used to give a high-end, "Hollywood" look to a spot, allowing the camera to "float" up, over and around the environment.  Our extensive lighting kits assure that every scene we shoot is properly lit ... and when we need the power of the sun, our HMI light will fill in the shadows.  Recording location sound is critical.  So in addition to the array of wireless microphones listed above, we have a host of lapel, stick and shotgun mics ready to handle the most demanding audio scenarios.

Shoot Organization

Once the videotape format and equipment have been decided upon, location shooting can begin.  This is where advance scheduling and organization make a big difference in the effectiveness of the shoot.  Again, using the script and even a "shot sheet" as a guideline, locations, employees, product, props and potential actors must all be coordinated to make the most effective use of the production shooting time.  Weather, people's schedules, control of the environment, and the unexpected all have an impact on this process.  Are the products neatly organized on the shelves?  Has the delivery truck been washed?  Do the employees know their role?  When will the on-camera talent arrive?  Are there people ready to act as customers, with signed release forms?  The more complex the commercial, the more organization will be necessary to assure a smooth field shoot.   Your KIVI/KSAW Producer will work directly with you to make the process as simple as possible, productive and fun!

Shooting Odds and Ends

Occasionally, a script may not be finalized or even started before a shoot is scheduled.  Although this is not the recommended approach, our Producers are trained to "think on their feet."  Sometimes it is necessary to shoot first and then write a script based on the material collected.  Regardless of which approach is used, the Producer will often shoot extra footage, or more scenes at the client's request, to keep on file for future spots or updating the original spot.  All client field footage is saved, indexed and put in a database, where it can be easily retrieved.

Post-Production (editing)

This is the final step in the process of creating your commercial.  In our Edit Suite we use the AVID Media Composer 1000 non-linear, digital editing system.  This system features input/output with a Sony PVW2800 Betacam SP deck, Panasonic DVC Pro deck, as well as CD, MiniDisk, DAT and ¼" Reel-to-Reel audio sources. Connected to this system is our Macintosh G4 Graphics Work Station running PhotoShop, Illustrator, and After Effects Production Bundle.  This "multi-tasking" environment allows the Producer to work on graphics and animations on one machine, all while editing the project on another, thus improving efficiency. The Edit Suite also features Sound Effects and Music Libraries from Network, Killer Tracks and Metro, with over 200 CDs to choose from.

When it comes to non-linear editing systems, AVID is the leader  the industry.  We have 3 Avid editors; a 2003 Media Composer v.11, a Medial Composer v.7 (Power Macintosh), and a 2003 Avid DV Express 3.5 w/ProPack.  Field footage is "digitized" onto the computer hardin drive in broadcast quality resolution.  Logos, animations, music, still photos, sound effects, announcer audio and graphics are imported into the commercial project.  With all the elements at his fingertips, the Producer is ready to begin editing.  Media Composer gives the Producer complete creative control over the creation of the spot, allowing multiple layers of video and audio, with an endless variety of 3-D effects and transitions.  Because the system is digital, there is no loss of quality, regardless of the number of layers and effects applied, the final product maintains the same image quality as the original field footage.

The client is welcome to participate in the post-production process, if they desire.  The Producer will use the script as a guideline, but creative involvement and the flexibility of the editing process can create enhancements to the original idea.  Due to the non-destructive nature of digital, non-linear editing, many options can be applied to achieve a desired effect without starting the process over again.  Scene selection, graphic positioning, different sound tracks, and many more options, can be drag-n-dropped, copy-n-pasted with tremendous flexibility.  The possibilities are limitless.  

Working within budget and time constraints is the key to a successful final product.  Six to eight hour edit sessions don't work for everyone.  Our Producers will use the time necessary to create an effective commercial within your budget limits.

Once the spot is done, a VHS copy will be made for the client's approval.  When the spot is approved, it will be assigned a unique number in the KIVI/KSAW Commercial Traffic system and readied for air.  If the spot is scheduled to be broadcast on other TV stations, dubs can be made at an additional cost.