MMQ Mediaworks Brunei is a local television production house and we are committed to creating high quality visuals to suit your commercial needs. Through all stages of production from concept, scripting, story boarding, and production to post production, we'll work together with you to see that your final work meets both your requirements, budget, as well getting the intended message across to all viewers.
Our corporate services include TV Commercial, Marketing, Educational, Training and Corporate Video.
This is a guide on how to export using Quicktime Pro (PC or Mac), iMovie, Final Cut Express or Final Cut Studio using the Quicktime Component. First, make sure your project’s properties is correctly set to HDV or HD with the right frame rate and aspect ratio, and then edit as usual. At the end, select “export” (it’s probably called either “export” or “advanced” on the new iMovie ‘08) and select one of the two methods.
1. This Quicktime export creates .mov h.264 files. This method has good options, but it crashes frequently when you click “Settings” to configure your video (for me, this crash is reproducible on both my Mac and my PC). However, you might get lucky. Uncheck de-interlacing if your footage is not interlaced.
2. This MPEG-4 export creates .mp4 h.264 files and it’s easier to use, but it does not have a de-interlacing option (which might leave “jaggies” on your video), and it occassionally creates a “tick” on the picture (a keyframing bug that Apple hasn’t bothered to fix for over a year now).
Between the two options, I would go with the first one if it doesn’t crash for you. The only change you might need to do is to select either PAL’s 25 fps instead of the suggested NTSC’s 29.97, or 23.976 if you shot in 24p mode (note: iMovie and Final Cut Express don’t support native 24p editing). That’s it, now sit back while your video is encoding and after a while you will be having a progressive 720p file for usage with Vimeo/Youtube HD, or AppleTV (.mov/.mp4), and the XboX360 or the PS3 (.mp4 only).
Warning: Apple’s Quicktime has a stupid bug for over a year now, where de-interlacing just doesn’t work, even if you tell it to. In that case, or if you are using iMovie ‘09, check this guide.
Finally we made it to BroadcastAsia 2009, as usual the Singapore Expo venue was at Hall 7 and 8. Held concurrently with CommunicAsia, EnterpriseIT and iGov. Its unfortunate that the registration was a bit confusing with people coming from the Expo MRT and the 'unofficial' taxi stand near the mrt would be lost and 'guided' to Hall 3 or 4.
Anyway, we managed to talk to a lot of people and met some new friends and business associates. I was looking forward to seeing the Sony, Apple and other big honcho's booths. Panasonic was having a blast being the only brand that showcased new cams for their P2 lineup and putting up the global customer list including RTB of Brunei :*). I talked to one the Panasonic technical engineer, coming from Thailand and he courteously guided me through the smaller 152, 172, 202 and the larger Varicam. Its interesting to see his 'view' about the complexity of Panasonic's approach to codec and sensor technology. Unfortunately, small production house will feel the heat as the HD technology has not mature in a sense that Sony has their proprietry codec and media ; XDCAM EX Long GOP and SxS and the Panasonic with their P2. Please be reminded that even Philip of the UK mentioned that p2HD is quitely costly, not just the media but also the amount of data contained in their AVCHD 100mbps. 1GB per minute?!!! wow! here in Singapore the 32GB p2 card costs around SGD1150.
Anyway, let us be realistic. What matters most is the quality of your programming. A culmination of creative, intelligent, purposeful and enjoyable watch. with the targeted audience in mind. Here its the MAN/BRAIN behind the cam is important. I have come across many an instance where the most expensive equipment is used by an unskilled and uncreative individual. I hope you know what I mean. The same goes with photography. It is simply not the camera.
Apologies for not putting the caption for the pictures. Some pictures are not posted for security reasons hehe..Will be updating them soon.
"My Pledge" is a film competition organised by Temasek Polytechnic and supported by Nexus, in conjunction with National Day 2009. It hopes to promote deeper reflection of much-recited but seldom pondered-upon national pledge.
Submit your entry today and your short film cound be selected for screening at various NDP 09 and other platforms.
Winners also stand to win attractive prizes, including a chance to re-create their films with the guidance of industry professionals.
"My Pledge" is an inaugural project of the "Short Films @ SG" series which is spearheaded by Nexus and slated to be held annually. This series encourages Singaporeans to reflect, discuss, express and embrace our Singapore identity through film. At the same time, it serves as an incubator that cultivates budding film-makers so as to boost the local film scene.
The Theme - "My Pledge"
Some of us recite iur national pledge daily, but do we pause and ponder on its words? What does the pledge mean to us?
Crafted to provide a young nation with a foundation to build upon, the pledge has become the personal vow of each Singaporean.
Each line of the pledge guides us in our values and relief as Singaporeans.
Each line is significantly different, yet as a whole, the pledge symbolises the dreams of a young nation and lifts us to inspirational ideas.
Each line may hold a different meaning in our hearts, make us remember an incident that happened to us or inspire us to form stories that can represent them.
So come up with an idea for a short film that expresses your interpretation of the pledge. You can base your short film on just one line, a combination of the different lines or the whole pledge. Express your personal interpretation of our National Pledge in film and win attractive prizes, including the opportunity to recreate your winning films with the guidance of industry professionals.
For more details, please visit www.mypledge.sg. Prizes : Secondary Schools Category
First prize - $3,000 cash
Second prize - $2,000 cash
Third prize - $1,000 cash
In addition to the cash prize, each winning team will get a chance to re-create their film with the guidance of experienced industry professionals.
The top school will also receive a trophy.
Post-Secondary Schools Category
First prize - $3,000 cash
Second prize - $2,000 cash
Third prize - $1,000 cash
In addition to the cash prize, each winning team will get a chance to re-create their film with the guidance of experienced industry professionals.
The top school will also receive a trophy. Open Category
First prize - $3,000 cash
Second prize - $2,000 cash
Third prize - $1,000 cash
In addition to the cash prize, each winning team will get a chance to re-create their film with the guidance of experienced industry professionals.
CALL TIME - This is the time you are to report for work. You should be in the holding area at this time for check-in.
HOLDING AREA - This is where the extras report for work. Anytime you are not actually working on the set, you must be in the holding area. Please do not make it necessary for the AD's to go looking for you when they might need you. You could miss your opportunity in front of the camera.
BASE CAMP - This is where the cast and crew report for work. Basecamp is easily recognized (not in Brunei tho) by the massive trucks and trailers and equipment moving about. Please stay clear of this area.
THE SET or LOCATION - This is where that actual filming will be taking place.
BACKGROUND or EXTRAS or ATMOSPHERE - This is you! A background performer or extra does not speak lines alone. Extras can make crowd noises or be singing in a group, but cannot be scripted.
PANTOMIME or MIME - To act with only facial and bodily movements.
FEATURED EXTRA or SPECIAL EXTRA or SILENT BIT - May be used to describe an extra in a scene who is very recognizable on camera as a character or someone who is interacting directly with a primary actor, but still does not speak.
"QUIET!" - Means quiet. Whenever you are on the set there should be no talking. If you must talk to a production assistant or assistant director, please whisper and only if it is absolutely necessary.
"PICTURE'S UP!" or "STAND BY!" - Means everyone - even crew - must be absolutely quiet, we are about to roll.
"ROLLING!" - Means film is rolling; we are shooting.
"ACTION!" - This cue is usually for the primary actors or "stars" to begin the scene.
"BACKGROUND ACTION!" or sometimes, simplified to "BACKGROUND!" - This is the cue for the extras. Most of the time it will be called immediately before the actors get their "action" cue.
"CUT!" - We have stopped shooting. Wait where you are; where you ended the scene for further instructions.
"BACK TO ONE" or "FIRST POSITION" - The AD is now asking everyone to return to the point where they began the scene; their first position. We will be doing another take. Remember you should do exactly the same thing for each take unless an AD asks you specifically to change something.
"NEW DEAL" - We are ready to move on to another scene or set up. Wait for instructions. You will most likely be directed back to the holding area, but it could be that you need to change your wardrobe for another scene.
1st ASSISTANT DIRECTOR (AD) - The person running the set; keeping the crew, the actors, and the director on schedule. The 1st AD works closest to the director.
2nd ASSISTANT DIRECTOR (AD) - The person to set up the background in the scene and direct the extras. The 2nd AD also assists the 1st in scheduling, etc.
2nd 2nd ASSISTANT DIRECTOR (AD) –This person may also set background. The 2nd 2nd assists both the 1st and 2nd AD’s.
PRODUCTION ASSISTANT (PA) - The go-fers on the set. They work for the AD's.
A generic Audition Tips for Bruneian Talents eg; actors, actresses, models, singers, dancers, performance artists, musicians..etc..
On the phone with your Agent (skip this if you do not have an agent) but it is worthwhile to be prepared: * WHO am I auditioning for? Casting Director? Director? Producer? Get names of contacts ahead of time, if possible. * WHAT am I auditioning for? Film? Is it a comedy or drama? Commercial? What is the product? (check conflicts) * WHAT is my character? Get written character description, if available. * WHERE is the audition? Always get address and directions even if you have auditioned for the casting person previously. Not only do offices move, but it is NOT uncommon for a callback to be in a different location than your initial audition. * WHEN is the audition? Day/Date/Time * WHEN is the shoot or shoot dates? Check your calendar. Do not accept an audition if you are not available for the shoot. It is unprofessional and not appreciated. * ASK if sides (or copy for commercials) are available ahead of time. Also ask if the whole script is available. ARRANGE TO GET WHATEVER IS AVAILABLE TO YOU! In the Audition Lobby: * Arrive 10 minutes prior to your audition appointment, the earlier the better. * Sign-in with the casting assistant - Remember that today's assistant could be tomorrow's casting director. Act accordingly! * Check for changes in sides or script or copy. ALWAYS! * Check # of headshots/resumes needed. Always have, at least, 5 copies with you. * STAPLE HEADSHOT & RESUME BACK-TO-BACK NOW - Resumes should also be the same exact size as the headshot. * Check for change in Shoot Date(s) - If you have conflicts that cannot be changed, you should decline the audition. * Also check about Callback Audition Dates. Ask here. DO NOT ASK IN THE AUDITION ROOM! * Quietly wait for your appt. Be courteous of surroundings.
In the Casting Room:
* BRING HEADSHOTS/RESUMES IN - Have them out & ready to hand over (not tucked in a briefcase, notebook, envelope, etc.). * Quick greeting - No physical contact (handshake, hug, etc.) unless you are approached first. * Keep questions simple & specific - Do not be afraid to ask, but ask only what is necessary for the read itself. Never ask vague "What are you looking for" questions and DO NOT ASK "LOBBY" QUESTIONS about callbacks, shoot dates, etc. * Read facing the reader for film & into the camera for commercials. Ask if unclear. * Read scene. * If asked to read again, LISTEN to direction, ask questions if necessary, make adjustment. * Quick thank you and exit.
Post Audition:
* Sign out quietly, remaining courteous of actors waiting to be seen. * Follow up questions or updates should be asked to your agent if you have one. Represented talent should NOT call the casting office directly. If you do not have an agent, it is acceptable for independents to check in with the assistant who set the audition appointment, but please be mindful of the busy office and limit the number of calls.
Good news for Canon 5D mk2 owners in Brunei...Since I myself am a 5Dmk2 user, I know that this will be an advantage to those have an inclination to use the 5dmk2 as video camera as well..here goes..cant wait!! Canon has announced a firmware update for its EOS 5D Mark II digital SLR enabling manual exposure when shooting videos. With the updated version, users will be able to manually adjust the shutter speed, aperture and ISO settings in the video mode. The new firmware will be available for download on 2 June 2009 from Canon's website here. Available 2nd June 2009
LONDON, UK, 27th May 2009: Canon announced today it will release a firmware update for the EOS 5D Mark II allowing users to manually control exposure when shooting video. The new firmware will be available for download from 2 June 2009 on Canon Europe’s support web site. Following the launch of the EOS 5D Mark II in September 2008, Canon’s Research and Development team has listened closely to customer feedback to develop additions to the camera’s movie recording functionality.
Allowing EOS 5D Mark II owners to achieve even more stunning video results with the camera, the firmware update will include the following manual controls when shooting video:
Full aperture selection
ISO speed: Auto, 100 – 6400 and H1
Shutter speed: 1/30th – 1/4000th second
The EOS 5D Mark II integrates full HD movie capability into a high-end 21.1 Megapixel camera; opening a multitude of new possibilities for photojournalists and news photographers. Since its launch the camera has proved its appeal to professionals working in diverse fields, from studio and wedding to nature and travel. Now, following customer feedback, Canon has improved functionality for professional video users, further unleashing the potential of the EOS 5D Mark II for cinematographers and photographers alike.
Bah...ani untuk siapa kan belajar storuboarding which one of the understated skill in a production. I, myself, use this to 'materialise' the idea for the client/staff/people. So they can see/hear/read what I have in mind. Download them here..Storyboard 1, 2 and 3.
Credit to Mr. Chuckles aka Mark Fong , we now have a choice of 4 different apertures. 1. The widest/lowest aperture of your lens eg 1.4, 1.8, 2.8 2. 5.6 or nearer in the case of f4 3. f16 4. f22
A quick demo of a reliable and sound method of manipulating the aperture for recording videos on the new Canon 5D Mark 2.
Update: as I mention in the video the lowest aperture my lens could get to was f/2.8. Some folks have mentioned that for lenses that could get below f/2.8 they have found that they can set it to f/2.0 and f/1.4 (I haven't verified this btw). I also have been able to record at f/8 but it is a tricky and wacky way to get it and you won't know you got it unless you do some still references.
Auditions are open to all Bruneians. These guidelines are intended to provide you with important information as you consider your audition.
Prior to Auditions -- Find a copy of the script, read the play, and become familiar with the characters. Directors generally have scripts available and may provide a brief synopsis of available roles.
Dress and Appearance --
This is a job interview (of sorts) -- dress nicely.
·Select clothing that reinforces your confidence. It should be flattering and comfortable.
·Avoid bulky, loose clothing that might interfere with your movement and mask your physicallity.
·Wear comfortable, lightweight shoes rather than boots or athletic shoes.
·Your hair should be held back away from your face.
Initial Audition --
You will be asked to complete an audition form that includes past stage experience and your schedule. During your audition, the directors will be considering you in the context of the play being cast -- make the best first impression you can. The director will be listening to your vocal quality, assessing your stage presence and projection, and observing your movement. Be prepared to answer questions from the director.
Audition Material --
Students are encouraged to use a prepared monologue. Students may bring a rehearsed reading. Students without a monologue will be provided with one and given the opportunity to prepare briefly before their cold reading.
Prepared Monologue Guidelines
Content:
·Select a monologue from a modern, published play.
·Choose a character with whom you identify.
·It should be no longer than one minute in length.
·It should allow for vocal and emotional variety.
·It should allow for a variety of movement.
·Do not use self-written material; it generally does not give you an opportunity to portray a character and provides less dramatic impact than a proven play.
·Avoid excessive strong language and profanity.
Presentation:
·"Prepared" means rehearsed and fully memorized. If you do not have time to prepare the monologue completely, read it for your audition. Rehearse the reading as much as possible.
·Performance energy and stage presence are important.
·Incorporate gestures and facial expression.
·Motivated movement during the audition is desirable.
·Avoid using chairs and other props.
·Avoid sitting or kneeling on the stage.
·Use standard Language. Avoid accents and dialects, unless requested
Callbacks --
The director will use this opportunity to have auditionees read scenes from the play being cast. Directors callback auditionees based on the information from the audition form and on observations from the audition including but not limited to:
·Availability and compatibility of schedule.
·Past experiences with particular attention to those at Appalachian.
·Vocal and physical characteristics.
·Stage presence and projection.
·Appropriateness for the character being cast.
·Willingness to grow, cut, or dye hair.
Casting --
This is a highly subjective process involving artistic choices that are influenced by many factors including but not limited to:
·The factors listed above under Callbacks
·Compatibility with the ensemble in terms of physicality and interpersonal "chemistry."
·Demonstrated ability to take direction during callbacks.
·The artistic judgment of the director.
If you are not cast, please consider the number of factors that led to the director's decision. Everyone who has ever auditioned, including most directors, knows the anxiety of auditioning and the pain of not being cast. In an academic environment, most directors are willing to discuss their casting decisions with you.
Petronas. the famous national oil company of malaysia. its been years that when they make a tv ad, they usually relate to simplest theme that invoke your emotions. The last ad that watched was the burung murai ad. This year..its the color blind ad for the national day.
I wish i know who made it but i assume they're the ones that they have engaged before for the previous ads. oh! wait!! its yasmin ahmad!! i think she was the director for 'muallaf' which was banned i think in Malaysia and I think she is the one that is behind the family ad in Singapore as well.
Bravo!! bellissima!! Yasmin Ahmad.
More on the color blind ad is here and here and one of her work is here. I love the ad.
Coming back to the human factor. We are all so engross in technology and life now, we tend to forget what matters.
And oh! btw, MMQ's upcoming project will be on soon. The thinking started more than 5 years ago which more than what Yasmin has done/did. So its gonna be a Bruneian Original. Watch this space.
THE WRITTEN APPROACH Nearly every company will require a written approach before they decide whether or not they will meet you. Most companies receive a considerable number of requests, nearly all of which are turned down. Many of them are turned down because the information is presented in such a way that the executive simply cannot assimilate it in the brief time available. Common faults include: • Too much irrelevant information. • Bad presentation - Page after page of long, closely typed paragraphs. • No directions - Why are you writing? What would you like them to do? • No sign posting - Numbering points and subheadings make a document easy to read and will enable you to focus on key points. • Ideally, the written approach should consist of a two page proposal (consider 3 pages the absolute Max) accompanied by a brief covering letter. THE PROPOSAL The proposal must give the facts about your organisation and the event for which you seek sponsorship, together with the list of benefits which will accrue to the sponsor. Neither the facts nor the benefits should occupy more than a page each. PAGE ONE of the proposal might run as follows... WHO YOU ARE. A paragraph describing the aims, objectives and activities of your organisation. If you wish to expand on this, do so by means of an attachment. WHAT THE PROJECT IS. An equally brief description of the project for which you are seeking sponsorship. WHERE the project will be taking place. WHEN the project will be taking place. YOUR OTHER SOURCES OF FINANCIAL SUPPORT. Grants from arts bodies should not jeopardize your chances of obtaining sponsorship. Rather, they constitute endorsement of you and your project by the professional arts world. THE AMOUNT OF SPONSORSHIP MONEY REQUIRED. There is no need for a budget breakdown at this point, simply state the amount of money you are looking for. Further budget information can form an attachment if necessary. You may find the emphasis on brevity restricting. Remember that at this stage all the company will be doing is deciding whether or not they want to meet you. It is rare for a company to endorse a sponsorship project on the base of a written application alone. PAGE TWO of the proposal should list the benefits. The prime benefits you are able to offer your potential partner will certainly include: YOUR AUDIENCE. A brief analysis of your audience. Quantify wherever possible. PUBLICITY MATERIAL. Say what you plan to produce, how many of each item and where these will be displayed or distributed.
HOSPITALITY. Outline the opportunities your project might generate for entertaining. Give details of priority booking schemes or concessional rates for the companies’ employees. Identify any items that the sponsorship might generate with a life beyond that of the project. MEDIA COVERAGE. Mention any media coverage that you might expect your project to receive. Show yourself to be aware of the difficulties encountered by sponsors in getting media acknowledgement for their sponsorship of the arts. Say that you would like to work with them in order to maximize their chances of obtaining appropriate media credit. When presenting benefits, try and be as specific as possible. You should aim to give sponsors sufficient data so that they can evaluate the cost effectiveness of your project alongside other promotional opportunities THE COVERING LETTER This should be brief and to the point. It should contain a one or two sentence summary of the proposal and an indication that the attached project and accompanying benefits analysis is only one example of your organizations’ activities. Express willingness to explore alternative ideas. You have outlined benefits for the company by their sponsorship of the stated project but you would not wish this to preempt any more flexible or imaginative approach which might develop during discussion Avoid saying that you 'look forward to hearing from them.' Instead, retain the initiative by courteously indicating that you will telephone to arrange a meeting unless you hear from them in the meantime. ATTACHMENTS As a general rule, keep these to a minimum and make sure they are absolutely relevant. If you wish to send examples of publicity material or press cuttings, one of the former and two of the latter should be sufficient. If you have a number of projects for which you are seeking sponsorship, attach a list of them, indicating the amount of sponsor investment required for each. Avoid sending bulky plastic folders containing loose-leaf papers. Clarity, neatness and the avoidance of jargon are much more important in your written approach than the use of multicolored folders and glossy printing. REMEMBER THAT ONE OBJECTIVE OF YOUR WRITTEN APPROACH IS TO AVOID A NEGATIVE RESPONSE. You are unlikely to have 'Yes' said to you at this stage. It will either be 'No' or 'lets discuss it at a meeting.' THE OTHER OBJECTIVE OF THE WRITTEN APPROACH IS TO SECURE THE MEETING... THE MEETING There are several ground rules for a successful first meeting with your potential sponsor: Present yourself well. Dress according to their conventions, not yours. Remember your homework on the company's operations and show an interest in them. Don't assume too high a level of knowledge on their part concerning your activities. On the other hand, never patronize. If you have decided that two people from your group are going to attend, define the role of each in advance. You may choose to have a 'talker' and a 'listener.' You may choose to share the giving of information to the sponsor, and responding to the sponsor's comments. (Or you may decide to have a single representative at a first meeting and, later, if the opportunity is given to you to make a presentation of the proposal to other executives within the company, use a two person delegation. When you enter the meeting, establish a dialogue at the earliest opportunity. You may be nervous. You may feel uncomfortable in unfamiliar surroundings. You will give yourself a chance to relax, as well as gaining useful insights, if you begin the meeting by asking questions rather than selling your proposal. Although you have studied information about the company, this is your opportunity to ask questions which will enable the sponsor to restate the company's position. For example: What are the criteria against which they assess sponsorship proposals? What are their sponsorship objectives? How long have they been sponsoring the arts? Who are their target audiences? Which of their projects do they regard as having been the most successful? Why? How are their decisions made concerning sponsorship? LISTEN to the information you are given and be prepared to modify your own proposal accordingly. You must think fast and possibly be prepared to discuss alternative ideas and projects. Sponsorship companies can find that their most successful projects evolve during discussions, with benefits being negotiated accordingly. When you are describing your project, try and be as clear, concise and informative as possible. Use verbal signposting (e.g. number your points) and respond quickly to any requests for specific information. If possible, finish the meeting with a clear idea of what happens next. Don't let it tail off into the equivalent of 'I look forward to hearing from you.' Ask if they require any further information from you. Would they like you to develop a more comprehensive proposal for presentation to a committee or board? You should already have determined how the decision will be made: Try to determine the schedule for the decision-making. Establish who will next contact whom and when. Once again try and keep the initiative. It is in your interest to be able to instigate any followup. POST MEETING FOLLOW-UP Write promptly and say thank you for their time and for their interest. It is courteous and will leave the company with a positive impression of your organization. Maintain a file on all the responses you receive. Make notes of meetings and telephone calls for the record. You should be continuously reviewing your methods of approach and refining your techniques. Gradually you will learn how to generate more sponsorship with less effort. Try to maintain contact with the company. Invite them to a performance or an exhibition, or to tour your premises. Send newsletters and press clippings. If your request is rejected, do not challenge the decision- however politely. This does not preclude you from asking why you were turned down. Although the reason is likely to be one of company policy or fully committed funds, you might get some clues as to how you could improve your presentation. Continue to maintain contact, if possible, but let at least 9-12 months go by before putting in another application for sponsorship. Remember, too, that in the case of projects with large investment implications for the sponsor you may have to see an initial 'no' as part of a longer lead time requirement. DEVELOPING A GOOD WORKING RELATIONSHIP Once your proposal has been accepted and you have entered into a partnership, it is necessary to get the terms of the sponsorship clearly agreed in writing. This might take the form of a letter of agreement, or a more formal contract. The agreement is the first step in developing the working relationship and there are five steps in all. They are:
The Agreement
The Timetable
The Workload
The Commitment
The Followup
THE AGREEMENT Key points to cover are: A clear description of the project, including venues and dates. The sponsorship payment. The method and timing of payment. The wording of the credit to be given to the sponsor on the publicity material. If the sponsors name is to appear in the project title, you must also agree on the wording of the title. Any arrangements such as advance booking facilities or concession rates for the sponsors employees Any restrictions on the sponsorship. For example, if the company is to be the sole sponsor of the project it should be clearly stated that no other sponsor will be associated with the project. Arrangements covering any cancellation or postponement of the project. THE TIMETABLE Develop a timetable for the sponsorship which is compatible with your existing commitments and those of all deadlines for printing the publicity material. Ensure that the sponsor is given the opportunity to see and comment upon such material before it goes to press. Ensure that the sponsor knows the deadlines for any priority booking schemes. THE WORKLOAD Many sponsorship projects generate extra work, both in the execution of the project itself and in publishing it. If there is extra work to be done it must be clearly identified well in advance and then by mutual agreement allocated either to your organization or to your sponsor. Typical areas where this may occur include:
Project management
Media liaison
Hospitality
Publicity material
PROJECT MANAGEMENT. Although you should retain control of all artistic decisions concerning the project, there might be a certain amount of project management. (for example, in the production of a book or record) which the sponsor is better equipped to handle. MEDIA LIAISON. If the project is expected to generate media coverage you need to be quite sure who will co-ordinate the writing and distribution of press releases and the issuing of invitations to press launches. If you are responsible for contacting the media, you should ensure that the sponsor has the opportunity to read and endorse all the information you produce concerning the sponsorship. HOSPITALITY. Be quite clear as to who is expected to book caterers and arrange venues. If you undertake the responsibility for any of these arrangements ensure that the sponsor endorses your plans well in advance. PUBLICITY MATERIAL. It is well worth working closely with your sponsor when planning the production of publicity material. Your sponsor may have in-house expertise, or contacts with good designers. They may wish to invest more money in publicity material than you can afford, but for which they have additional resources. Whoever is responsible for co-coordinating the production of publicity material, it is essential that both of you have a chance to see it and comment upon it well in advance of any print deadlines. THE COMMITMENT A good working relationship requires that commitments entered into are intended to be met. If, on your part, you find that commitments cannot be fully lived up to-- for whatever reason-- then warn your sponsor as soon as possible. Often they can help to rectify matters.
THE FOLLOW-UP At the end of the project, you and your sponsorship partner should hold a debriefing session on highlights and/or lessons learned. If the sponsorship is long-term an annual audit can ensure that it is working satisfactorily for both parties and, at the same time, can lead to development of ways in which the relationship can be strengthened and improved.
CONCLUSION Never presume to think that because your sponsors are 'commercial' they will be brash or insensitive. They have decided to be your sponsorship partner because by associating with you, they can convey certain messages to their target audience. They will not want to alter your artistic identity. Always remember that you and your sponsors are living and working in the same society. You may have a great deal to offer each other.
