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Advanced Media Production and Presentation Course

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Doha

Doha, Doha

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This Course is Designed For:

  • Cameramen;
  • Photographers;
  • Movie and TV Directors;
  • Scriptwriters;
  • Actors;
  • Film Producers;
  • Media Distributor;
  • Movie Editor;
  • Production Manager;
  • Film Graphic Artists.

Duration: 20 Days (4 Weeks)

Course Contents, Concepts and Issues

Part 1 – Contextualising Oral-Visual Presentations

Ø Gearing Oral-Visual Presentations to Internal and External Audiences;

Ø Contextualising Oral-Visual Presentations;

Ø Presenting Strategic plans;

Ø Strategy Implementation;

Ø Presenting Plans, Policies and Programmes;

Ø Presentation for Career Enhancement:

Ø Presentation in Response to Request for Proposal (RFP);

Ø Presentation as Consultancy Brief;

Ø Presentation for Organisational Operation or Business Enhancement:

Ø Presentation to supply Sales Information;

Ø Presentation for Motivational purposes.

Ø Presentation to provide Technical Information;

Ø Presentation to provide Financial Information.

Part 2 – Effecting Oral-Visual Presentation: The Back-Office Work (1)

Ø Preparing the Presentations;

Ø The Who, What, Where and Why;

Ø Research;

Ø Making Virtual Presentations: Phone, Video, Web and E-Mail:

Ø Identifying the Right Virtual Presentation;

Ø Virtual Presentation Preparations;

Ø Practicing Do’s and Don’ts;

Ø Virtual Presentation Delivery;

Ø Know the Audience’s Culture;

Ø Crafting Your Message;

Ø Following Basic Rules for Delivery;

Ø Working with an Interpreter.

Part 3 – Effecting Oral-Visual Presentation: The Back-Office Work (2)

Ø Message Organisation:

Ø Preparing the Introduction to the Oral-Visual Presentation;

Ø Gaining Familiarity with Information to be Presented;

Ø Create as many visual representations;

Ø Avoiding Distracting Visuals;

Ø Harnessing the Effectiveness of Multi-Media Presentations;

Ø Using Palm-cards;

Ø Creating Broad Headings;

Ø Generating Subheadings;

Ø Inserting Points under Subheading;

Ø Sequencing Points;

Ø Creating ‘Palmsters’;

Ø Ordering ‘Palmsters’,

Ø Inserting Hints;

Ø Creating Models and Charts for Effectiveness Enhancement of presentations;

Ø Rehearsal Sequence of Presentations;

Ø Audio-Rehearsals;

Ø Video-Rehearsals;

Ø Time-Constrained Rehearsal;

Ø Rehearsing to Perfection;

Ø Seeking Answers to apparently obvious points but with un-clarified issues;

Ø Enacting the Role of Audience members;

Ø Pre-empting and preparing answers to anticipated questions


Part 4 – Other Important Issues in Creating an Oral-Visual Presentation

Ø Compiling Information, utilising Stories, Statistics and Other relevant supportive material;

Ø Using Stories to Make Your Point;

Ø Using Statistics and Other Numerical Data;

Ø Employing More Support:

Ø Correct Word Style:

Ø Using Humour Effectively:

Ø Guidelines for Effective Introductions, Transitions and Conclusions:

Ø Planning Powerful Visual Aids:

Part 5 – Mastering PowerPoint for Oral-Visual Presentations

Ø Deciding on Content Detail for PowerPoint, for Oral-Visual Presentations;

Ø PowerPoint Information Organisation for Oral-Visual Presentations;

Ø Importance and effectiveness of a ‘PowerPoint Script’;

Ø Using a ‘PowerPoint Script’ for Oral-Visual Presentations;

Ø Choosing the most effective background;

Ø Selecting the most appropriate Font style and size;

Ø Selecting Font Colour;

Ø Employing Appealing but Compatible Designs;

Ø Using Predesigned PowerPoint Templates;

Ø Timing vs Click-run;

Ø Value of Auto-Click-run Devices;

Ø Using Auto-Click-run Devices;

Ø Building in Animation;

Ø Choosing Transmission;

Ø Transmission Variation;

Ø The Use of, and problems with, in-built sounds;

Ø Incorporating film clips in Power-Point Presentations;

Ø Linking external files and web pages to Power-Point presentations;

Ø Creating PowerPoint Notes for Oral-Visual Presentations;

Ø Using PowerPoint Notes in Oral-Visual Presentations;

Ø Printing PowerPoint Handouts;

Part 6 – Additional Points and Guide to Oral-Visual Presentations

Ø Possible Solutions to unexpected problems;

Ø Tips for Presentations at Public Meetings;

Ø Important Prelude to an Oral-Visual Presentation;

Ø How to Secure Venue;

Ø Negotiating and cross-checking Venue Cost;

Ø Deciding on Room Layout and capacity;

Ø Ensuring the most effective Seating Arrangements;

Ø Sociotechnical Issues;

Ø Checking and verifying suitability of Audio-visual Equipment;

Ø Testing and organising Sound System, in relation to expected audience numbers;

Ø Verifying Electricity Voltage-Equipment compatibility;

Ø Checking Podium suitability;

Ø Checking Lighting effectiveness;

Ø Restrooms;

Ø Ensure conducive Temperature and Ventilation.

Part 7 – Getting On-Stage (1)

Ø Effective Body Language:

Ø Audience Appreciation:

Ø Preparing for Possible Questions.

Part 8 – Getting On-Stage (2)

Ø Managing Anxiety when Presenting;

Ø Minimizing Anxiety;

Ø Managing Physical Symptoms of Anxiety;

v Using Nervousness as an Asset;

Ø Improving Communication through Eye Contact,

Ø The importance of Posture and General Body Language (Kinesics and Kinesiology – discussed elsewhere, separately)

Ø Enhancing Verbal Communication;

Ø Confining to Relevant of Information;

Ø Demonstrated Knowledge and Mastery of Subject;

Ø Supporting line of Argument;

Ø Exploiting Selling Points;

Ø Summarising;

Ø Providing Conclusions

Part 9 – Averting ‘Stage Fright’ in Oral-Visual Presentations

Ø Effecting a Timely Delivery;

Ø Taking Control;

Ø Mental Preparation;

Ø UniFocal Audience Interaction;

Ø VariFocal Audience Interaction;

Ø Playfellow Audience Interaction;

Ø Stranger Audience Interaction;

Ø ‘Supportive Awareness’ and Reciprocity;

Ø Focal Scanning;

Ø Being the Focal-Person!

Ø Enacting the Exhibitionist Role;

Ø Countering Kinesics;

Ø Employing Kinesiology.

Ø Taking Control.

Part 10 – Addressing Post-Presentation Questions

Ø Dealing with Premature Questions;

Ø Purposes of Questions;

Ø Addressing Questions seeking Mutual Agreement;

Ø Addressing Questions from members with advanced knowledge of the subject;

Ø Lack of knowledge in the area and a determination to gain insights

Ø Dealing with enquirers who recognise your expertise but who seek increased knowledge;

Ø Using recapitulation in addressing questions;

Ø When to request rephrasing of question;

Ø When it is appropriate to request repetition of questions;

Ø Acknowledging questions that provide support your findings and, or, methodology employed;

Ø When to seek re-interpretation of questions;

Ø Addressing general ‘observations’;

Ø Importance and method avoiding ‘Bluffing’, in response to particular questions.

Part 11 – Media Production Distribution and Exhibition

Ø The Audience;

Ø The Technology of Distribution;

Ø New Production Considerations;

Ø Conceptualising Media Distribution:

Ø Solid-State Storage;

Ø The Other Aspect of Distribution:

Ø Internet Distribution.

Part 12 – Understanding the Production Process

Ø Brief History of Audio, Film and Production;

Ø Phases of Production;

Ø Digital Technology vs. Analogue Technology;

Ø Important Terms in Production;

Ø Single Camera vs. Multiple-Camera Production;

Ø Studio Production vs. Location Production;

Ø The Production Team in Audio, Video, Film and Multimedia Production:

Ø Images, Sounds and the Creative Process:

Ø Production Aesthetics:

Part 13 – Producing and the Production Management

Ø Producing:

Ø Production Management.

Part 14 – Scriptwriting

Ø Visual Thinking;

Ø Preparation for Scriptwriting:

Ø Familiarisation with the Scriptwriting Formats:

Ø Fiction Scriptwriting:

Ø Non-Fiction Scriptwriting:

Part 15 – Floor Directing

Ø Aesthetic Approaches:

Ø Visualization;

Ø Composition;

Ø Combining Shots;

Ø Sound and Image Interaction;

Ø Shooting Script Preparation;

Ø Production Coordination;

Ø Multiple Camera Directing;

Part 16 – Audio

Ø Aesthetics of Audio;

Ø Types of Microphones;

Ø Microphone Placement and Selection;

Ø Sound-Signal Control;

Ø Sound Perspective.

Part 17 – Lighting and Design

Ø Realist Lighting and Design;

Ø Modernist Lighting and Design;

Ø Postmodernist Lighting and Design;

Ø Light And Colour;

Ø Lighting Equipment;

Ø Light Control;

Ø Light Measurement;

Ø Setting Lighting Equipment;

Ø Principles of Design;

Ø Set Construction;

Ø Costume Design;

Ø Makeup.

Part 18 – The Camera

Ø Camera Placement;

Ø Lens Control;

Ø Video Cameras;

Ø Digital Cameras;

Ø Film Cameras;

Ø Camera Care.

Part 19 – Recording

Ø Analogue Recording;

Ø Analogue Audio;

Ø Digital Audio;

Ø Analogue Video;

Ø Digital Video;

Ø Film Recording;


Part 20 – Editing

Ø Aesthetic Approach:

Ø Editing Modes;

Ø Editing Digital Audio;

Part 21 – Graphics, Animation and Special Effects

Ø Aesthetics of Graphics and Animation;

Ø Principles of Graphics;

Ø Graphic Design;

Ø Searching the Internet;

Ø Animation;

Ø Special Effects.


We offer very attractive discount for groups of 3 and more people, from the same organisation, taking the same course. This discount is between ten percent (10%) and thirty three percent (33%), depending on the group size. Even with these discounts, we can also deliver courses for groups in the country of your choice.

Please feel welcome to contact me, at any time. My e-mail addresses are: fria@hrodc.com; and fria.hrodc@outlook.com

My Direct telephone number is +442071935906

With kindest regards,

Fria Cayao

Senior Reception Administrator – HRODC Ltd & HRODC Postgraduate Training Institute

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Doha, Doha

Qatar

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