Developing a TV Production
Here is a general outline of the various stages a large TV production may go through, from the initial idea to the transmitted program.
1 PROGRAM IDEA
General assessment of the program idea. Considering how it could be developed and presented.
Where the program material already exists (e.g. a play), enquiries into availability (performance rights, etc.).
Where material is to be prepared and developed, commissioning a writer.
Potential costing. Feasibility assessment. Considering suitable presenters/actors/ performers.
2 RESEARCH
Research into the subject fgathering data, material availability, etc.).
3 SCRIPT DEVELOPMENT
A preliminary script (draft script/outline script) may be prepared. This shows the topics to be covered, and the general nature of treatment; perhaps with dialogue, commentary, announcements, etc.
4 SCRIPT ANALYSIS
Draft/outline script examined for the order of items/scenes (program running order); possible durations; settings or location shooting required; ‘Insert’ items needed (e.g. library film/videotape), etc.
5 PRELIMINARY PLANNING
Director may meet production team principals (cameras, lighting, sound, set designer, etc.) to assess the proposed program format (possible problems, opportunities, etc.).
The designer’s rough plans, sketches, samples, are assessed. Preliminary ideas about any special effects (scenic, lighting, video) are discussed.
Initial enquiries may begin about the availability and costs of any special requirements fe.g. hydraulic platform, satellite links, water tanks).
6 ‘FINAL’ SCRIPT
Revised script or running order may be prepared, giving finalized information on production treatment.
(Casting, performer booking at this stage.)
7 PRODUCTION MEETING/TECHNICAL PLANNING
Firming of production treatment. Here, after the set designer has explained the proposed scenic treatment, and the director has gone through the show shot by shot, any observations are made by specialists (suggestions, potential problems, changes).
From the ‘final script’ and provisional set designs, the production team plans and evaluates the technical operations involved:
• Noting performers’ positions. General action.
• Considering camera positions, and camera moves.
• Sound pickup arrangements. Positions of sound booms. Sound treatment (music, effects).
• Lighting treatment. Any special effects required.
• Any special scenic effects (e.g. rain) or video effects required.
• The technical facilities needed are assessed.
• Costume and makeup are discussed. (Samples of materials/clothing.)
• Graphics and titling may be discussed.
• The staging plan (setting designs, and their layout in the studio) is agreed.
Following the production meeting the specialists initiate organization for hiring, contracts, set construction, lighting planning, etc.
9 REHEARSAL SCRIPT
‘Finai script’ is prepared, with full details of the action, showing where various effects are required.
(In drama, additional guidance on when/where each scene takes place; e.g. ‘Day/Night/Evening’.)
This script, which does not contain technical operational details, is used during all pre-studio rehearsals, and for general production organization.
10 PRE-STUDIO REHEARSALS
(Typically in a rehearsal hall before the studio session.) Actors/performers practice dialogue (lines), the action, business, their moves.
11 CAMERA SCRIPT
This script is a composite, developed by adding extra details to the original rehearsal script.
It contains all technical operational details, including information on camera positions and moves, switching, audio details, cues, etc.
12 TECHNICAL RUN
A final pre-studio rehearsal. Attended by specialists (cameras, lighting, sound) to familiarize themselves with the action and treatment, and check for possible operational or staging problems.
13 PREPARE STUDIO
Set yp and light scenery, dress settings – arrange furniture, hang drapes, position ornaments, properties, rugs, etc.
Assemble the camera and sound equipment.
Check that videotape, film and slide channels have any insert material required for the show. Check all titling.
14 CAMERA REHEARSALS
Action is rehearsed, while the camera crew, sound crew, electricians, stage hands etc. follow the director’s instructions lover intercom/talkback).
Floor manager oversees and controls studio activities.
15 RECORDING SESSION
The program may be recorded in sections, or in its entirety.
16 OFF-LINE EDITING
The director (and/or VT editor) examines a compact VCR unedited copy of a videotape of the production, which displays on-screen timecode throughout, to identify shots. Guided by notes made during taping session, the director decides on the selection and order of shots, potential editing points, types of transitions, etc. Also considers where after-treatment is needed to complete/improve production (e.g. added effects, music, etc.).
17 ON-LINE EDITING
Sequences are copied from the original videotapes and sound, in the required final order, to form a show copy.
Any corrections in the picture (e.g. color balance) or sound (filtering, reverberation) are made.
Titles, audio effects, background music, video effects etc. are added.
18 REVIEW
Final version (‘show copy’) of the composite tape is checked and passed.
Airing/transmission schedule confirmed.
Promotion.
19 TRANSMISSION
Final tape may be copied for distribution, archives.
In smaller productions, these various steps may be abbreviated or missed out altogether. For example, an INTERVIEW would not require steps 2–8, 9,10,12, (16).