MUSIC IN TELEVISION Have you seen Michael's new song? Excited young fan For a full understanding of the present chapter, refer to Chapters 5 and 6 (video copyright and licensing), Chapter 8 (video issues in recording con- tracts), Chapter 16 (promotion, distribution, and retailing), and Chapter 21 (aramatic scoring). I ‘ong before MTV made “music television” into a corporate brand and pop- cc culture catchphrase, the two entertainment industry sectors were deeply inter- tuwined, From The Ed Sullivan Show piped into a black-and-white console to Soul Train chugging through a 27-inch color set to American Idol blasting out of a plasina screen HDTV, nusic has always been part ofthe broadcasting pictures host fever fuzzy the image ot sharp the sound. It’s sometimes the star of the show (on Imusic specials and variety shows, for instance) and often abit player (piped sofly jnto the background during a dramatic scene, perhaps), but it’s aways there, some- ‘where, occupying a vital role, Any fall discussion of the nvusic business, therefore, must include a look at TV. Why is it so important? Because for the music industry, the broadcast TV | networks, cable networks, and satellite services represent the followings + A key income source (via licensing royalties for performance rights and commercial uses) © A prime marketing vehide (vi high-profile commercials) ia spotlight placement in specials, series, and Left Alicia Keys accepts her avard for Best R&B ‘Video for the song “If | Ain't Got You” at the MTV Video Music Awards. 375Peat VI Music Baonocasune ao Faas auo Tecate * A national stage for exposure (via band bookings on talk shows and other entertainment programs) * A means of selling music directly to a large, mainstream audience (vig Promotional programming or commercials bought by labels) Jn recent yeurs the broadeasting arena has also become a populist A&R mech. Subin— letting TV audiences select the next record label signings through reaity show talent competitions in genses including pop, country, and hip-hop, New \cchnology, meanwhile, is opening doors to fees active music programming and direct impulse purchases by viewers. And the “xplosive growth of home theater 18 to 35s, Although important to both sides, the music industry/TV pairing has not always been without static, and this too ie something as old as the broadcast mediom itself. Janet Jackson's infamous “wardrobe malfunction” during the 2004 Super Bowl halftime show may have sent Shockwaves through the halls ofthe FCC, standards of the time, ible 20.1 provides a brief timeline of some of the significant moments in the evolution of music on television. On the following pages is a more detailed guide to common types of musicITV tie-ins past and resent, as well as an exploration of the changing broadcasting industry Picture, the technological shifs in TV hand. ware and music-themed home video Software, and the rise of MTV and the short. form music video format. VARIETY AND TALK SHOWS afer the AFM negotiated a systein of new Payinents from TV producers to musi- cians. Variety shows employed five Orchestras, backup singers and dancers, eal anEet andthe leading stars ofthe day. “High: culece performances of classi- CaLmsi, opera, and theater were showeaved ot all three networks throughout the 1950s and into the 1960s, but high produeticn Costs and poor ratings foundered ‘more than one series with high ideals, istChapter 20. Music in Television 377 TABLE 20.1. Historical Development of Music in Television 1936 «+ Fist television broadcasts available in Lonclon. 1940s ane AFM strengthens contol of the music industry by banning five music on TV embers from recording for television films untit 1950. [Nine slotions onthe air and fewer than 7,000 television sets in the United States 2 Kral Television Theatre brings Broadway-quaity five theater to TV 1 TENG Sulivan Show debuts and becomes TV's longest-running and most successfl va 2 Lawrence Welk begins broadcasting performances. and prohibiting, ity show. 1950s 2 avery shows, amateur talent shows, and classical performances dominate the “Golden Age of Television.” ‘+ Omnibus, bosted by Alistair Cooke, inspiration for American public television. ‘= Classics birthed: Name That Tune, So You & ABC's Rock ‘a’ Roll Show, hosted by Alan Freed, i rock music, launches to become a revered cultural series and provides ‘Want to Lead a Bandl, the Tonight Show, Musical Chairs he first prime-time network special devoted 10 5 1 Actvorks realize the benefits of producing programming, for niche markets and broader app. 1 Mice Hootenanny is the first regulaihy scheduled folk music program on network television, followerd by CBS Hee Haw. 73 million viewers watch the Beatles perform oF [ABC produces The Monkees as an Amercian ary “The Public Broadcasting System debuts, 19 The Ed Sullivan Show. iswer fo The Beatles. 19705 A Coca-Cola commercial make worldwide hit + Soul Train debuts and is syndicated in 1971 caer aed on eusical personalities abound: The Partidge Fal, The Sonny & Cher Comedy Hour The Captain & Tennille Show, Donny & Marie Show, and The Jacksons « Tosle night becomes a showcase for musical performers with Midnight Special, In Concer 1s the ad’ song “Ve Like To Teach The World To Sing” into a and syndicated Don Kirshner’s Rack Concert anc! Saturday Night Live + PBS Great Performances series debuts 19805 se Black Entertainment Television network debuts; iis later acquired by MTV parent Viacom 2 chartbased music show Solid Gold debuts in syndication J ideo Killed The Ratio Star” IMEIV signs on with the Buggles’ he Country Music Television network debuts itis eventually acquired by MTV parent acon, Pop faci the trend of high-profile music marketing by hiring Michael Jackson 35 pitehman; his 3's production hha famously catches fre during the commercial Mjcen targets older music fans with VHA, then launches the European version of MM et for long, form music video. The growth of perecorded videocassettes creates a new wat (Continued)19908 + MTV spreads its music cha ‘muiple continents {8 2 cultral fascination with eafiy TV. * Epler Beavis & Buuhead, an animated show about two designed to keep young mal 20008 ‘+ Nearly 60 million p Jr lo “America: A Tribute to Heroes,” a benefit concerticlethon ain O dias after the atacks of September 11, 200} “Ametican Idol” a “Pop Idol” debuts on Fox. twill eve recording stars ofr Inners-up who were * Janet jackson’s * cople in the United States tune fed on more than 30 networks 1 tually make an outcry over Fa ne FCC eventually fines CBS owned fiat » alot $550,000, The explosive popularity of DVDs expand the othe ‘music on video, By the early 1960s, another type of show had begun to emerge. Aimed Hed youth audience, it often Wo artists and featured a throng of dancing teenagers. American Bandstand is th | Known, but others included Hullabaloo, Where he Action Js, and the long. sta | syndicated favorite, 5 970s, In Concert offered ! ‘very Neckend and set the stage for later series sich ay uae City Limits, ‘in terms of sheer significance, however, no music variety program can match e ‘The Ed Sullivan Show for breaking new ground. 11 Presented Elvis to the American, ‘neinstream (hile censoring his gyrating hips), first televised the Rolling Stones And the Doors, and launched the British Invasion veh its historic showcase of the Beatles in 1964, schedules can change ‘lassic “iiusic variety” shows woul concert series are s nding a live rock concert quickly with audience tastes, the era of these ld seem to have passed, although various weekly Primarily on public television, supplanted at tests such as American Idol, se mantle for establ daytime, lished acts, in large part, are and late-night news/entertainment/ talk 2 a 2 a '€ Pop music main- The long-running comedy Years the most sought-after‘TV-series booking, guaranteeing watercooler conversation on the Monday morning after a performance and a potential record sales boost in the days beyond, Chapter 20 % Music in Television 379 MUSIC SPECIALS/EVENTS/ AWARDS SHOWS _& Although “music variety shows" have faded out as a series format on mainstream English-language TY, the priiné-tiine live-rnisic special ot event on TV has con- tinued to thrive, Just as it once wasn’t Christmas until Bing Crosby or Andy Williams sang about the season with other sweater-clad stars on TY, the holidays today still inevitably bring forth a range of special musical programming, in mul- tiple genres and various show formats. Particularly high-profile concerts (such as “farewell” performances or lavishly staged spectacles) also find their way onto the small screen, as do “mini” concerts keyed to other events, such as the Super Bowl. ‘A small number of stars still get their own broadcast specials on occasion, “The most abundant source of music event programming comes from an ever- expanding array of music awards shows, which now cover the gamut from pop to country to hip-hop to Latin music to “people's choice” picks across the musical spectrum. The Grammys remain the gold standard, but other mainstays include the Country Music Awards, the American Music Awards, the Billboard Music Awards, and the MTV Video Music Awards, among others. Even nonmusic shows such as the Emmy Awards, the Academy Awards, and theater's Tony Awards have carved out increasing airtime for musical performances of nominated show songs or musicals. (The Emmys, of course, have long honored the many music contri- butions to TV with awards in numerous categories from outstanding title theme music to outstanding music direction.) Performing slots on the highest-profile of these shows are valued as much a5, ‘or more than, the trophies themselves. The power of an award to boost a winner's album sales can vary from greatly to hardly, but sales upticks are easily measured in the catalogs of acts that performed live during the shows. ‘As one might expect, mysic specials are major productions to pull off. Figure 20.1 represents graphically how musicians and other personnel work together in this sector of the telecommunications field. This flowchart for a recorded music special (a process similar to, but in some ways quite distinct from, a live program) exhibits a huge payroll; productions on this scale are economically feasible only for network shows and cable TV specials. It is probable that part of the cost of such productions is borne through exploitation of aftermarkets—home videos, theatrical showings, or foreign exhibitions, for instance. On the plus side, these programs offer employment opportunities for a wide array of creative individuals, from studio musicians to background singers to copyists. Table 20.2 runs down the ‘many steps required to put together a music special, and the many people required to make one successful.380 Past VI x Music ue Bronocastine ano Fun ano Treats TvivivEo PRODUCTION TV Musical Specials Award Shows [fereromnere BUSINESS MANAGER Music Fights Prooucen — | — Budget Contiat LopisiosFactias RET Payrovtaxes ae — = i woacaConecToR.—] ee ‘CoNbUCTOn | MUSIC COORDINATOR ‘Special Material Writers E DiRECTOR rT! Usama j[ ORCHESTRA CONTRACTOR iar AFM Steward WRITERS z 4 ARRANGERS ae Copyisis a Eioncsnnncmemer VOGAL CONTRACTOR ~ TeGIRIGAL DIRECTOR AFTRA Stowe [La rote : ramen es! aan CHOREOGRAPHER VISUAL ARTS Dancers ‘A Director - Pomorassmarmisecaneanr! Costume Designer FIGURE 20.1, TV and Video ProductionTABLE 20.2, Production of a TY Music Special A progam ofthis kind requires the services ofa large number of talented artists and businesspeople, ‘The following isa typical sequence of activity 1. The producer contracts withthe director, writers, and performers 2, The producer schedules a series of meetings 0 decide what music is to be programmed (original or preexisting: live or prerecorded} and who is to perform it. These decisions are made. in consultation with the musical director, writers, choreographer, featured performers, and ar dec. {5r Star performers’ personal musical directors andlor personal managers may also provide input 3. The musical director meets with the special material writers, music coordinator, and featured antsts to set music routines—style, Key, sequence, et. The music is sketched far ful scoring later the music coordinator, often doubling as the rehearsal pianist, rehearses the featured performers, using musical sketches, confirming keys, routines, and more. 5. The musieal director hires arrangers to score the music for the orchestra 6. background singers are tobe used, the musical dizector will probably hire a chyal director to pre Pare the music forthe singers, hite the singers, and rehearse them separately from the orchestia 7. The arrangers hire copyists or a music preparation firm to extract the individual parts for the instrumentalists and singers, nin off copies as needed, bind the scores, set up the books, and deliver them to the studio for rehearsal and recording. The supervising copyist attends the recording sessions, acts a5 music librarian, and corrects mistakes in the parts, reorchestrating + ~passages if needed, ‘8. Meanwhile, the musical director has hited an AFM (American Federation of Musicians) contractor to engage the individual musicians for the studio orchestra. The contractor and supervising copyist develop a list of doublers—the musicians inthe orchestra required to play more than one instrument. The contactor notifies the doubles what additional instruments to bring to the sessions 9. The orchestra prerecords most, if not al, of the show. Prerecording may be done to provide accom- panying music for dancers. Featured singers might prerecor! their voices, to9, paticularly if they are called on to dance when they sing. 10. After preliminary rehearsal, the background singers join the oxchestra to record their racks, Meanwhile, the audio engineers have been busy recording the best possible orchestra-choral sounds and coordinating live recording with prerecorded tacks. They are assisted by music cullers ‘F editors, Final master tapes are produced that now include music, dialogue, and sound effects, THEME SONGS Many TV theme songs (e.g, ftom The Andy Griffith Show, The Addams Family, Cheers) have claimed a place in the pages of American music history, and a select few, such as the Rembrandts’ rendition of the Friends theme (“T'l Be There for You”), have even taken up residence for a time on the pop music charts. ‘Today, {ewer shows have full-scale opening theme songs (networks fear viewers will channel- surf away during a long introduction), and others use existing pop songs in place of original material, Still, the TV theme song remains a vital part of the TV scene,382 FARE VI Music BRonocasting ano Fit ano Taare * BACKGROUND MUSIC AND FOREGROUND SPOTLIGHTS the majority of TV music serves ate mood, to fill gaps, this type of music usé is a signific in licensing revenues, background music for TV since the medium debuted, the proininence ive rise over the years, Background music, Like film music (see Chapter 21), Bround” added during editing to cre context, As noted earlier, business because it brings Although the use of as “back. and to provide cultural icant one for the music shows has been a constant 'n to that music has been on the in effect, has come increasingly to the fore. ground in some shows ‘Teen-targeted programs have hel this trend, using large excerpts of current songs during eacl h episode. The newest twist with shows on monet NMOS is use of a "back sell”: telling viewers atthe end of the show what Riusic was featured, displaying the album cover, and sending vi + The growing number of TV soundtrack albume filling record store racks is to music’s prominence on x programs Many prime-time Another innovation is the “club” some TV shows, once or twice, Beverly Hills 90210 led thie After Datk, but Buffy the Vamp pire Slayer (The Bronze), her teen-skewed shows follow ed. Acts that have played tude the Flaming Lips, Cibo Matto, Aimee Mann, and ‘pack with its Peach Pit Charmed (P3), and oth these TV “venues” inch Blink-182, luting the shows, Now, as in the past, recording stars turn up as actors on TV Series, although most often in nonperfo ming roles; likewise, young TV stars can occasionally translate their popu and careers,iy Free!CORBIS. themselves, and music has played a Jarge role in making them so. of the ad jingle business such as the Alka-Seltzer “plop plop fizz fizz” rhythmic rhyme, the Oscar Meyer hotdog song, and the Meow Mix feline sing-along to the lush, pop-fueled approach of contemporary campaigns for car and clothingPARTI Musica Beonocastie ao Furs ano Tucaren companies, Songwritersand musicians have been star players in the TV commercia} sector. Although product-specific jingles are still and used in TY spots, there has been an fcensing existing popular songs for commercial use, The dividends for the music business are twofold. The company pays the record label and music publisher for the right to use the music, of course and these fees ean be significant. But record- {ng acts have also found that they can reap retail rewarle through the exposure 4 Inalor TV ad campaign can brings the payot isp is new, lesser known, or has faded from the spotlight. is the group ‘Trio, which fell off the * THE EVOLVING TV PICTURE Why has TV become such a vital medium for the music i above? Just consider the mumbers: 9896 of color TV set, making television's potent than that, however, is the Opportunity that TV Programs present to connect with audiences who might not otherwise be exposed to music'—those not inclined to june into a radio station, for instance, or to pop on 2 Pair of headphones in a listening post at a mail record store. Not all programming reaches that anymore, of course, because hundreds With diverse interests, industry, as outlined American households have at least one Programming reach enticing. More Four injor commercial networks (NBC, CBS, ABC, ventional broadcasting, with two others-—"The Wi and Fox) dominate con. B and UPN—making some Bains. The more frequent ‘TV stations tend to be affiliated with one Of the networks. Local stati i is normally limited to news talk shows, perhaps an occasional local the use of music in local station program ic is needed in connection with locally product shows, tracks ate most often used, Although NBC, CS, an ABC claimed 8096 ofthe viewing audience in 1980, today’s “big four” networks-—the purveyors of so-called “Free TV" ir shae ofthe overall audience pie steadily Programs, low-budget children’s shows, talent show, and public service shows; ming is minimal, If mus library musi hhave seen theiChapter 20 * Music in Television slip to under 50%, This has posed challenges to the traditional business model for TV networks, which is built on selling high-priced “mass-market” commercial spots to advertisers with the promise that they will be seen by a large number of viewers enticed by the “free” network programming, Claiming more and more of those viewer eyeballs now are the ever-expanding «late of cable channels, which offer “narrowcast” programming centered on every- thing from food to sports to gardening to soap operas to game shows to science fiction to, of couse, music (more on this seginent—and the pioneering MTV—a litle later on). The revenue model for a basic cable network bas typically been a dual-revenue stream, including both ad sales and subscriber fees. Most cable chan- nels are sold to consumers in “bundles,” offering a large number of choices for one monthly fee. Faced with this new environment, the networks/eable distinction is blurring into a new “conglomerate” model, with networks, cable companies, and/or pro~ igram producers increasingly being brought under single corporate umbrellas. This fllows for the sharing of programming and costs, as well as synergistic cross: promotions such as MTV's producing the halftime show for CBS's Super Bowl broadcast; both are owned by Viacom. Colnpeting with both conventional broadcast TV and cable are direct broad cast satellite (DBS) systems, which deliver digital programming directly into homes, bypassing cable connections with small “dishes” attached to houses, Arriving on the scene only in the 1990s, DIBS has already claimed a big chunk of the audience, Digital cable systems have also made strides in homes, offering not just better sound and pictures but the opportunity for interactive applications. ‘Among the other ways home viewers can access entertainment programming are these: «+ Pay-per-view: A variation on traditional cable pay-TV, PPV delivers a spe- cific progcam to cable subscribers for a separate fee, Initially slow to catch ‘on this now-lucrative medium has offered everything Irom live concerts to premium movies. « On-demand programming: Unlike PPV, where viewers cannot contrat when and how they view movies or programs, on-demand programming allows the user to choose precise viewing times, as well as to rewind and pause programming, On-demand choices are offered over digital cable and satellite systems, either for a one-time fee or as part of a subscription ser- vice, Personal video recording (PVR), available through set-top boxes of as part of cable and DBS services is avariant, allowing users to record regular programming for playback at any time. © Interactive programming: This form of program so-called tyvo-sereen experience, where viewers use their PCs with Internet access to interact with a program via quizzes, contests, or votings the aim is ing exists primarily as a 385386 Paar VI Music Bronocastine ano’ tas ano Twearen {0 increase the amount of time that " make it more appealing to advertises i brought opportunites for advanced i merchandise (or music) featured o i viewer and programmer mo | a viewer “sticks” with S. The advent of digi interactive application, programs. The also allows for the delivery oft ™mographics, viewing p 4 program and thus I cable and DBS has 8, including sales of 'v0-way link between targeted, or addressable, advertising keyed to de Zatlers, or other factors, On-demand programming and PVRs have Put pressure on advertisers to develop commercials or promotional Programming that viewers might choese tt to watch, whether or not the technology exists te bypass them. And that, | is opening new doors for the ent of course, ertainment industry to work with the dl sector The Home Theater Impetus Part of what has spurred interest n new music ' evolution of the TY set itself, which Once, stereo sound was hailed systems for TV took off with th Could replicate in a living room theaters—or in concert halls an EI pening offering commercial-fre | ‘The home theater boom its i the DVD format in the 1990s, {0 the new digital entertainme featuring concerts, have proved to be a rogramming for television is the hasbecome a home enterainnent center Where 1 2 breskthrough, mulichannel surtound sour e burst of interest in home theater setups, whet the stunning sound ef elf was initially driven by the as consume: nt format backstage footage, dramatic growth of "8 migrated away from VHS movies Music-telated DVD software titles. artist commentary, interviews, and more— Popular sales niche for the music indy istry, * MTV AND THE RISE OF THE MUSIC VIDEO ust include some discussion of MT, 981, with a clip of the Buggles'“Video Phecy did not come to pass, the music Video channel lid permanently alter the Promotion and marketing equation for peor labels and bands, patting a new preminmeon resentation and visual image In the years since its debut, MTV has chifted its programming focus to include fever videos and more original shows while also spinning off a host of new chan. ‘els and subchannels focused on music Seements, including musie for baby boomers and college students as well a alte native music. Competition has alsoiinet Chapter 20% Music in Television 387 arisen from Country Music ‘Television, Black Entertainment Television, MuchMusic, and others.” “The rise of MTV also sparked the growth of a relatively new industry: The music video production business, Once a rarity, a music video quickly became a ‘standard promotional too! for major-label acts after marketing executives realized the power of the broadcast meditim to captivate fans—and motivate album buy- cers. Although tighter budgets at the labels have trimmed production levels some ‘what, most major acts still produce at least one clip foram album, but itis unlikely today that they will clock in atthe estimated $7 million spent for Michael Jackson and Janet Jackson's “Scream” or the 14-plus minutes used for Michael's “Thriller” PRODUCING SHORT-FORM VIDEOS * “The production of music videos, or short-form videos, demands many of the same sets of sills and cast of professionals needed to make long-Forss film projects direc tots, production managers, editors, special-effeets experts, and so on. Many of the directors working in the field, therefore, have backgrounds directing films or com mertials, Unique to the video dip process is the role of the record company, which most often produces the music videos (while sharing the costs with the artists) Most recording companies do not have in-house video directors; instead, they generally have someone in charge of overseeing video assignments forthe label's acts, This person is commonly called a “video commissioner” Ina typical scenario, video commissioners with a project to be assigned will approach a number of directors; generally, they will do this by going through the ‘executive producer or director’ rep at one of the many video production compa- nies, which often boast rosters of 5 to 20 directors. Sometimes, they may also con sider someone unaffiliated with a production company who has made a strong impression via a music video reel sent in to the label, unsolicited. Each of the selected candidate directors will then come up with his or ber own concept for the video, incorporating into it any style/themvatic preferences that the artist of label has put forth (oftentimes, they leave the creative end entirely to the directors other times, they have a specific situation in mind), In most situations, directors come up with their own concepts, although some do work with a writer, When the production company’s executive producer pitches the director's concepts to the label/artst, he or she will hand over the director’ treatment (typ ically a one-to-thtee page script of how the director sees the video), design aids (photos or scenes from movies ot other things to explain or demonstrate the vision), and a budget that @ freelance producer has been hired to put together, based on the elements of the treatment. ‘This budget should fit within the mone- tary guidelines originally put forth by the commissioner. (For a sample music video budget worksheet, see Table 20.3.)aie j TABLE 20.3, _ Music Video Budget Summary Worksheet Production/song tile_ : Date — Video commissionetabel SEE CEE H HEE Director___ peer Seer eeeseecessanaaael Principal photography begins Naot days ze Above-the-Line Expenses Production Cost Director Producer Script Above-the-line subiotal Below-the-Line Expenses Unit production manager Production assistants Ext talent Set operations Property Wardrobe Makeup and hair Electrical Camera Sound (playback, sound package, walkie-talkies) Transportation Location (rental, permits, catering) film, tape, and lab Other Subtotal production Postproduction Offline editing Ondine editing Stock, dubs, tasters Other Subtotal postproduction General & administrative Insurance Office and miscellaneous Contingency Subtotal general & administiative Below-the-line subtotal Grand Total sndred dollars ("ets grab a camera and 25 forthe night Banquet scene. toting days, One well resource is A: Michae! Wiese Productions389 Chapter 20 + Music in Television ‘The commissioner will then narrow down the pitches and go to the artist and the rest of the management and creative team at the label to choose the one that best fits their needs. At this stage, a few of the directors may be asked to fine- tune certain parts of their treatment, before they choose the one they want to go with, ‘The organization most representative of short-form video producers is the Music Video Production Association (MVPA). MVPA’s major goals are to exchange technical information, standardize production-bidding procedures, and formulate guidelines for fees and payment schedules, Once a video director has been selected, he or she will want to engage, early on, a writer, a production designer, and possibly a choreographer. A video story- board is sometimes created, similar to the storyboards created for TV commercials (see Chapter 22), and a shooting schedule is set. Many music videos are now shot on location because i is less expensive than building sets (and budgets are steadily decreasing). Table 20.4 shows the three phases characterizing most short-form video production, ion: the three Phases Short-Form Video Produ TABLE 20.4, Preproduction phase 1. Audio master tape is completed. Record company negotiates a synchronization license with the ic publisher for the video. Label determines a production budget, negotiates with the arlist for possible sharing of costs, 2 3. Budget is set, and label engages a freelance video director. 4. Director, label, and artist develop a concept for the video. 5. Director engages a writer, production manager, possibly a choreographer, supporting cast, director of photography. 6. Director, writer, and production designer lay outa storyboard, 7. Sets are designed, then constructed or rented; costumes are designed, then executed or rented, 8. Soundstage’ booked; production manager engages production personnel (gaffers,stagehands, etc). 9, Production manager rents equipment as needed (cameras, lights, dollies), 10. Director orders audio click tracks to aid rehearsals 11. Production manager takes out accident, health, and liability insurance, Al of the foregoing are reconfiemed On the soundstage 1. Director rehearses the performers’ lip-synching, stage movements, Choreographer rehearses dancers. 2. Director rehearses camara movements, approves lighting, plans special effects. The prostuction is shot. (Continued)390 Paar VI Music me Baonocastine awo Fitm ano Tueatea TABLE 20, (Continued) Postproduction phase + Production manager orders return of all rented equipment, sets, costumes; orders sets struck, soundstage cleared Pircor supervises all poiproduction werk, including editing, processing of visual elles, com Pte graphics, epticals; edits final master, ovders copies made Sia manager fo) obains releases rom all performers, ats, and creative personnel: ib), gels (eotheceac fom all personnel; satisies all union contactors and () athorince payntee ‘o all personnel Director delivers video master to the recording company. Director and production manager confirm that all bills have been paid. Director and production manager reconfiem everything, All concetned! look for their next job! Record company seeks atply, attempts to recoup procicton costs through nonwideoese performances ‘and from sales/ientals of home video products. During production, differences may arise over “artistic control” The director may Want one thing, the artist something else. The artist’s recording contract, when properly drawn, will articulate who decides how the videos are to be hae lech particularly in respect to style, content, and choice of ditector, mort artiste will usually defer to the judgments of divectors of proven ability. It should be ‘oted, however, thatthe final product belongs to the record label and that it reaine the final approval on edits. Occasionally directors who are highly respected vil be awarded “final cut,’ but such occurrences are rate. means of exposure. 2 Both CMT and BEY were later acquired by MTV parent company Viacom.