Our main objective is to provide audiovisual and interactive production services for museums, exhibitions, international pavilions and cultural projects in general effectively, responding to the client's quality expectations and complying in a timely manner with the established communication objectives.
Our team is fully aware that we must consider the experience as a whole and not reduce our work only to producing audiovisuals or interactive works in isolation from each other. In order to enhance and enrich it, we ensure that the flow of content is accessible and that the viewer can easily navigate between physical and digital elements in their journey. We pay special attention to this aspect, both from a technical perspective, considering projection distances, viewing angles, accessibility, etc., as well as from a creative dimension, producing content in an imaginative and surprising way for the visitor.
The audiovisual development and approval strategy that we propose allows our clients to follow the progress of the work at all times and ensure that each of the production stages is launched when the previous ones have been completed and duly approved. To this end, a calendar of meetings and revisions of prototypes is proposed in which the evolution of the work will be monitored and the due incorporation of adjustments and received notes.
PRODUCTION METHODOLOGY
Our production methodology begins with an exhaustive study of the project information. This allows us to identify the following parameters:
- Number and name of all productions.
- Their type.
- Each production’s main communication objective.
- Location.
- Technical specifications: screen type, screen size, audio channels, etc.
In addition to this analysis, we always take into account the visitor's experience. How digital and audiovisual elements integrate with the rest of the elements within the space and any technical considerations that need to be taken into account.
From there on, we define the production strategy. We take into account the specific nature of the project and identify which are the most suitable collaborators to perform the different tasks. Taking into account the general production program, we define an audiovisual production schedule in which the different tasks are coordinated with the rest of the teams.
AUDIOVISUAL AND INTERACTIVE PRODUCTION STAGES:
1. DEVELOPMENT AND PRE-PRODUCTION
In this first stage, a style guide and some step outline are elaborated for each multimedia piece. A meetings calendar will be established in which the production and content team will develop the different scripts and the technical requirements for their execution will be contrasted and updated. During this process, all sources of materials will be identified, making it clear what content is already available and which needs to be produced or obtained. The Tarkemoto team works closely with consultants, advisors and client representatives to collect and organise all the information necessary for the correct development of the scripts.
The draft scripts and production dossiers necessary to undertake the work will be prepared. A period of time will be established to discuss and correct these documents and, once validated, three types of deliverables will be developed.
- STORYBOARDS. Created in collaboration between the content and production teams, the storyboard is made, which is the first approach to the content and illustrates the narrative that will make up the visual aspect of each multimedia element.
- UX AND WIREFRAME DESIGN: We define the mechanics of interaction with the user and establish the language that these elements will use to transmit their contents. It is especially important to carefully follow the principles that will be employed throughout the journey to minimize the user's learning curve and to make their experience as satisfying and smooth as possible. Programming possibilities, internal structure and visual concept (according to the style guide) are also studied.
- PRODUCTION DOSSIERS: These documents collect all necessary information for filming, audiovisual creation, animations, etc. that will be part of each piece. A selection list of images will be made that will be validated by the client to start pre-production of the shootings and obtaining already existing images.
2. PRODUCTION STAGE
It is now when the true process of PRODUCTION begins, in which the content and digital production teams supervise the development of all the pieces, making sure that they coincide with what was defined in the previous STAGE. In addition, the Tarkemoto team will be responsible for the filming schedule, possible shootings, soundtrack creation and voiceover recording, post-production, subtitling, and all details of the process. The different teams involved in each production will work coordinated and in parallel, saving time, optimizing the resources needed for different jobs and anticipating any possible bottlenecks.
Following the approved schedule, different versions of the pieces will be submitted for approval. In general, they are Draft-cut and Final-cut versions for audiovisuals and Alpha Version and Beta Version for interactive elements. These versions will be reviewed and adjusted according to customer feedback.
Also, a prototype review schedule will be established so that the client can check the operation of the most representative parts in facilities designed for this purpose. This is especially useful for large-format or special needs interactive or audio-visual applications.
- Draft-Cut / Alpha Version: This is a version where the selection of most of the shots and images and a first cut is made. The sound is not yet treated and the mix is still provisional. Also, titles, graphics, special effects will be indicated or will be initial versions. Regarding interactive parts, in this stage, developers usually test the software using provisional content elements. The Alpha version may not incorporate all the features that are planned for the final version.
- Final Cut / Beta version: This is the final edited version of an audiovisual piece. It is the final sequence of images and sound, selected and ordered. Regarding the interactive pieces, the Beta phase usually begins when the software is complete, but it is likely to contain errors. The goal of beta testing is to eliminate any operational or programming issues, often incorporating usability testing by "testers."
To maintain adequate progress during production, Tarkemoto will reach an agreement with the customer regarding the time needed within each production schedule to properly review and comment on the pieces to be delivered.
3. DELIVERY, COMMISSIONING AND INSTALLATION
Once the pieces are approved in their final version, the Tarkemoto production team will produce the Master/Release Candidate version for installation in the exhibition space.
- Master Version: this is the definitive version of an audiovisual piece. It incorporates fine tuning in mounting, color correction and balanced sound mixes where appropriate. Image quality is adjusted to the requirements of the viewing and projection systems and is brought to their optimal levels.
- Release Candidate of an interactive work is a beta version to which the technical programming adjustments have already been made, it has been verified that the content is correct and it is ready to be launched. At this stage of stabilizing interactive elements, all software features must have been coded and tested through one or more beta cycles with no known bugs.
During this stage, final adjustments must be made in place, for which the participation of the hardware integrator is necessary. Tarkemoto coordinates the participation of the different teams to ensure that the delivered parts work optimally. At the end of the process, we will deliver a complete test report, as well as the necessary maintenance and operation manuals. At the end of this process, we make a backup of the raw materials and uncompressed copies of each of the pieces to be able to recode or modify them, if necessary in the future.
