Labor Categories and Performance Requirements (final 05-27-2016) (3).docx

Labor Category Requirements

Required services may include many types of professional services depending on the scope and complexity of the individual task. Specific labor category requirements will be determined by the CMS Producer based on the scope and complexity of work required. These labor categories and levels of expertise will be identified in the request forwarded to the contractor by the CMS Contracting Officer Representative (COR). The Labor categories may include, but are not limited to, the following types of professionals:

a. Scriptwriter. The Scriptwriter works closely with the client, CMS program manager, CMS producer, and/or contract producer-director to create a script that accomplishes CMS objectives and maintains audience interest. Depending on the format of the production, the script may take the form of a typical “talk show,” a “news magazine,” or a dramatic production. The scriptwriter may be required to create characters and dramatic scenarios in some cases.

b. Producer Level 1. The Producer is responsible for planning and coordination of video production for live, taped, or edited video productions. He or she works with CMS planning team to assess needs and make recommendations as to the best and most effective way to achieve objectives through the use of the video medium. Obtains needed releases, performs research and supervises post-production activities. Must have a minimum of 5 years experience as an associate producer or production assistant. Must have understanding of all elements of production and some writing skills.

c. Producer Level 2. The Producer is responsible for producing live distance learning and information broadcasts; producing taped educational, instructional, and dramatic scripted shows; planning and coordinating all types of broadcast events and video production projects; and working with CMS to assess needs, make recommendations as to the best and most effective way to achieve objectives through the use of the medium. Must have a minimum of 5 years experience as a producer. Must have understanding of all elements of production and excellent writing skills.

d. Producer Level 3. In addition to possessing the same skills of the Producer Level 2 (item c, above), the Producer Level 3 has at least 10 years of producing experience and has achieved a high level of expertise in video/film. The Producer is responsible for producing live distance learning and information broadcasts; producing taped educational, instructional, and dramatic scripted shows; planning and coordinating all types of broadcast events and video production projects; and working with CMS to assess needs, make recommendations as to the best and most effective way to achieve objectives through the use of the medium.

e. Producer/On-Camera Reporter (field). The Producer/On-Camera Reporter gathers information for stories, conducts on camera interviews, and directs the camera crew in the taping of additional news footage. The Producer Reporter shall have on-camera reporting experience, speak well and understandably, have a pleasant voice and a professional on-camera appearance. In addition he/she will have experience researching and developing stories, have excellent script writing skills, and experience planning and assembling news stories and formulating interview questions. He/she shall have experience in field production and directing and in directing editing sessions.

f. Producer/Director Level 1. The Producer/Director has all of the skills of the producer (described in item d above), combined with the skills of the director (described in item i below). He or she shall have a minimum of 5 years experience in video production.

g. Producer/Director Level 2. The Producer/Director has all of the skills of the producer (described in item d above), combined with the skills of the director (described in item j below). He or she shall have a degree in Radio, Television, and Film or in Communications and/or a minimum of 10 years of experience in video production.

h. Associate Producer. The Associate Producer provides production and post production services and assists the Producer. Duties may include reviewing and logging of video tape footage, story research, pre-selection interviewing of potential subjects, assist in setting up interview and production schedules, assist in the directing of video editing, assist with script development, assist on video production shoot with logging and miscellaneous duties as directed by the producer. The Associate Producer should also have some production skills as a video camera operator and familiarity with the technical aspects of video production.

i. Director Level 1 (film-style). The Director directs dramatic (film style) productions. He or she is responsible for all aspects of the production and for supervising and coordinating the efforts of all members of the production crew. The Director must be highly skilled in breaking down scripts, developing storyboards, developing a shooting plan and schedule, casting talent, and establishing the overall look and feel of the piece. He or she must be able to block scenes and direct actors; establish camera position, framing, and camera movement; ensure thorough coverage of each scene without “crossing the line;” work with the director of photography to light each scene, select lenses and filters; work with the script supervisor to ensure thorough coverage and continuity; and work with the editor to make each scene as effective as possible.

j. Director Level 2 (film style): In addition to possessing the same skills of the Director (item i, above), the Level 2 Director has a degree in Radio, Television, and Film or in Communications and/or at least 10 years of directing experience and has achieved a high level of expertise in video/film. The Director Level 2 encompasses a wealth of experience working with scripts, talent, and crews. He or she should possess a very high level of creativity and quality and an ability to work independently if required.

k. Director (live studio broadcast). The Director directs live broadcasts and other studio productions. He or she is responsible for all aspects of the production and for supervising and coordinating the efforts of all members of the production crew. The Director must be highly skilled in directing and managing complex, live, scripted productions that have multiple guests, roll-ins, and live call-ins. He or she must be able to “call a show” and supervise the technical director, graphic artist, audio engineer, broadcast engineer, floor director, teleprompter operator, and multiple camera operators. In addition the Director shall be in charge of communicating and coordinating with CMS, transmission operations staff and CMS Studio Manager before and during broadcast events.

l. Director/Technical Director. The Director/Technical Director has all of the duties and skills of the Director (item k, above) and Technical Director (item m, below).

m. Technical Director. The Technical Director operates the video switcher that controls all incoming and outgoing video sources (Grass Valley iDDR, Ross Synergy 3, Grass Valley 250, Grass Valley Zodiac, or equivalent). He or she is responsible for setting up digital video effects, switching between cameras and other sources, keying graphics over live video, setting cues for tape roll-ins, and other activities related to using a switcher. The Technical Director operates a Pinnacle DVE Extreme, a Pinnacle Lightning still store, a Grass Valley Profile clip store, and a AJA Ki-Pro and XD Cam decks or equivalent for record and playback as required on task orders. On a location shoot, the Technical Director shall be familiar with the operation of the equipment the Contractor deploys to the remote location.

n. Assistant Director. The Assistant Director helps the Director coordinate large, complex productions. Under the supervision of the Director, the Assistant Director may participate in production planning, casting, scouting of locations, location of stock footage, and direction of staff during field or studio productions.

o. Videographer (studio camera operator). The studio Videographer operates a studio camera (such as Sony, Hitachi or equivalent) during a live or a live-to-tape broadcast from a CMS or contract studio. He or she must be able to execute pushes, pulls, pans, and focal pulls smoothly and consistently. He or she must be able to work as part of a team of studio videographers and must be able to understand and respond to direction given by the broadcast Director. The studio videographer must be able to light interview subjects and a television set.

p. Videographer Level 1 (ENG/EFP). The field Videographer operates an ENG/EFP camera during a field shoot. He or she must be able to set up and operate a broadcast quality field ENG/EFP camera (such as Sony XDCAM HD, Panasonic P2, or equivalent), compose a shot, light a scene, create dynamic camera movement, and videotape interviews, demonstrations, and b-roll. He or she must be able to work as part of an ENG team, typically consisting of a producer, an audio engineer, and the ENG/EFP videographer.

q. Videographer Level 2 (ENG/EFP). The field Videographer operates an ENG/EFP camera during a field shoot. He or she must be able to set up and operate a standard or high-definition broadcast quality field ENG/EFP camera (such as Sony XDCAM HD, Panasonic P2 or equivalent), compose a shot, light a scene, create dynamic camera movement, and videotape interviews, demonstrations, and b-roll. He or she must have at least 5 years of experience as an ENG camera operator. He or she must be able to work as part of an ENG team, typically consisting of a producer, an audio engineer, and the ENG/EFP videographer.

r. Director of Photography. The Director of Photography, normally deployed during a feature-quality film-style field shoot, is responsible for planning and executing all videography, in consultation with, and under the direction of the Director. This person works closely with the Lighting Director to produce images that are dynamic, visually appealing, and within engineering specifications for video. The Director of Photography may be required to select lenses and work with tripods, dollies, cranes, steadicams, matte boxes, or other equipment and/or direct those who specialize in using such equipment.

s. Lighting Director. In a studio production, the Lighting Director is responsible for designing lighting schemes and for hanging, focusing, and operating all lighting equipment in the studio. In a field environment, the Lighting Director is responsible for scouting the location, establishing a lighting plan, working with the Director and a lighting equipment rental company to obtain rental equipment, coordinating the delivery of the equipment to the location, supervising grips, and lighting each scene.

t. Grip (key, dolly). The grip assists the Lighting Director with setting up various lighting instruments; laying cable to provide power; dressing cables for safety on the set; using gels or diffusion to affect the color or quality of light; using flags or scrims to affect the intensity or direction of light; setting up generators if required; and loading equipment in and out of the grip truck as necessary. Grips may also be required to set up and operate camera dollies.

u. Jib Camera Operator. The Jib Camera Operator operates a camera jib, ensuring that “crane” shots meet the needs of the Director and the CMS Producer.

v. Audio Engineer Level 1 (studio). The audio Engineer is responsible for acquiring all audio necessary for video production. The task includes placing a variety of microphones on or near talent (including hard-wired or wireless lavaliere microphones and/or shotgun or boom mikes).

w. Audio Engineer Level 2 (studio). The audio Engineer is responsible for acquiring all audio necessary for video production. The task includes placing a variety of microphones on or near talent (including hard-wired or wireless lavaliere microphones and/or shotgun or boom mikes). During studio shoots, the Audio Engineer Level 2 operates a 48-channel analog audio mixer, controls a AJA Ki-Pro deck for recording and playback, operates a CD player to provide music and sound effects, and operates a telephone interface system for live phone-in questions.

x. Audio Engineer (field ENG/EFP). The Audio Engineer is responsible for acquiring all audio necessary for video production in field locations. The task includes using a field microphone mixer and operating shotgun, boom, hardwire, and/or wireless lavaliere microphones. The field audio engineer is responsible for ensuring that a quality audio signal is provided to the camera or other recording device.

y. Character Generator Operator. This individual operates a broadcast character generator, such as a Chyron Duet or a Type Deko. He or she should be able to design, create, save, and play back graphical show elements such as backgrounds, banners, titles, lower thirds, and credit rolls. He or she needs to work quickly, typing in names of callers during call-in segments of live television programs. He or she should be able to use other graphic programs such as Adobe Photoshop that integrate with character generator programs.

z. Graphic Designer (2-D). The Graphic Artist produces original, still artwork or 2D animation for incorporation into video. This person may use PowerPoint, Adobe Photoshop, Adobe After Effects and Adobe Illustrator and must be familiar with all procedures for importing graphics into video environments, such as Alpha Channels and Mattes.

aa. Video Animation Designer (3-D). The Video Animation Designer produces complex, multi-layered moving images for incorporation into video. This individual may use 3-D Studio Max, Adobe After Effects, Adobe Premiere, Maya, Apple Motion, Apple Final Cut Pro, and Avid Media Composer.

ab. Virtual Set Designer (3-D). The Virtual Set Designer produces complex, computer generated 3-D sets to be used with an Orad Pro-Set Virtual Set system. This individual may use 3-D Studio Max, Maya, Cinema 4D, or comparable 3-D software for design of sets. Must be familiar with Orad 3Designer, Maestro and Page Editor software and steps necessary to import 3-D designs into Orad Virtual Set System.

ac. Storyboard Artist. The storyboard artist works with the producer and director to produce visual representations (drawings) of key frames in a production. Much like a comic book, the storyboard helps the producer and director visualize the production, solve potential problems, and share ideas with the client prior to production.

ad. Floor Director. The Floor Director serves as the rehearsal and broadcast day studio supervisor for staff and talent in the CMS studio under the direction of the CMS or Contractor Producer and Director. The Floor Director helps direct on-set talent and assists with timing, blocking, and camera movement.

ae. Teleprompter Operator. The Teleprompter Operator controls the text that is fed through camera- or floor-mounted teleprompters. The Teleprompter Operator is responsible for the set-up and operation of the teleprompting equipment, for loading and making needed text changes to the teleprompted script and for operating the teleprompter.

af. Voiceover Talent (off camera). This individual provides voiceover narration for an CMS production. CMS may pay “scale” rates for professional union talent or non-scale for non-union talent.

ag. On-Camera Moderator. This individual hosts a live or live-to-tape broadcast. He or she must be able to moderate a live program, working with a teleprompter system, an IFB, and off-camera stage direction to host a smooth presentation. He or she must be able to field live telephone questions and smoothly recover should any technical or other problems occur during the live broadcast. While the on-camera moderator/host may be a SAG/AFTRA actor, he or she is ordinarily a local news anchor. CMS may pay “scale” rates for professional union talent or non-scale for non-union talent.

ah. Over scale Talent/Moderator. This individual is the same as item oo but may require rates that exceed SAG/AFTRA scale. This person is usually a famous actor or a top rated local news anchorperson.

ai. On Camera, Speaking (SAG/AFTRA). CMS routinely uses professional union (SAG/AFTRA) talent in its productions. Many video productions require role-players who can memorize lines, give plausible performances of scripted events, and repeat actions multiple times for multiple takes.

aj. On Camera, Speaking (non-union). CMS routinely uses professional non-union talent in its productions. Many video productions require role-players who can memorize lines, give plausible performances of scripted events, and repeat actions multiple times for multiple takes.

ak. Production Assistant. The Production Assistant provides miscellaneous services to the production and the producer-director. Duties may include coordinating and transporting equipment, logging tape, duplicating tape, digitizing footage in the Avid system, obtaining photo releases, focusing lights under the direction of the Lighting Director, and other miscellaneous duties as assigned.

al. Makeup Artist Level 1. The Makeup Artist applies makeup to professional talent and panelists for proper television appearance. The makeup artist provides all necessary makeup and associated supplies.

am. Makeup Artist Level 2. The Makeup Artist applies makeup to professional talent and panelists for proper television appearance. The makeup artist provides necessary makeup and associated supplies. The Level 2 artist should have additional training, skills, and experience, as he or she may also be asked to style hair, provide wardrobe services, and/or create special makeup effects such as wounds or scars.

an. Non-Linear Video Editor Level 1. Post-production on all CMS video programs is performed using Avid or Final Cut Pro non-linear editing systems. The Non-Linear Video Editor Level 1 shall be capable of basic operation of NLE systems. He or she shall digitize media, create sequences, mix multiple tracks of video and audio, and output to tape, DVD, or Blu-Ray. Editing shall be performed using CMS non-linear editing equipment unless otherwise specified in task orders.

ao. Non-Linear Video Editor Level 2. The Level 2 Non-Linear Video Editor shall have all of the skills and experience of the Level 1 editor. In addition, he or she shall have at least 5 years experience as a NLE editor. He or she shall be experienced in producing 2-D graphics using the Avid or Final Cut editing system, Adobe Photoshop, Genarts Sapphire, Adobe After Effects and/or Avid Marquee programs. The Level 2 Video Editor shall also have highly developed storytelling skills and be able to visualize scripts and work without direct supervision. Editing shall be performed using CMS non-linear editing equipment unless otherwise specified in task orders.

ap. Non-Linear Video Editor Level 3. The Level 3 Non-Linear Video Editor shall have all of the skills and experience of the Level 2 editor. In addition, he or she shall have at least 10 years experience as an NLE editor, as well as extensive experience in media management and in maintenance of non-linear editing systems and software. The Level 3 Editor also shall be capable of authoring DVD’s or Bu-Rays – creating menus with branching, and handling closed captioning files. Editing shall be performed using CMS non-linear editing equipment unless otherwise specified in task orders.