Organizing Production Mechanics
Planning and organizing processes vary from one establishment to the next. in a small studio, everyone combines forces to build the show, and job demarcations are slight. At a larger studio center, interdepartmental and union relationships are usually clear-cut, and a considerable amount of documentation is necessary for the wheels to turn. Whatever the system, the people who are going to provide the various facilities and services still have to discuss their respective ideas. The list on the facing page is a reminder of the scope for discussion.
Production resources
However experienced, a director cannot hope to know the answers to the thousand and one aspects that arise when devizing a TV show. That is why he has expert advice from specialists. Some apparently difficult requirements are remarkably easy to meet (such as a shot of a man suddenly shrinking to become minute), while paradoxically, some ‘simple’ situations can pose real problems as for example obtaining convincing open-air acoustics in large-area studio scenes. So the director consults his aides on how to obtain a convincing illusion, how to save money and time, how a setting can be modified to offer a better variety of shots and so on.
Will it work?
In practical terms, planning usually prompts the question: What are we trying to achieve? How can we accomplish this? Will that method work? Are there any potential problems? How do we overcome these? Was the idea a good one in the first place? Many a ‘great idea’ has proved to be a confounded nuisance to other contributing specialists, or an unworkable fiasco on the studio floor. The more we can anticipate and rationalize at the planning stage, the better.
Take a simple example of aspects discussed for a scene:
A girl walks upstairs, speaking throughout the walk. How is the camera shooting the walk? It is tilting up from a position at the foot of the stairs. Will the camera shoot off the top of the set? No, there is a ceiling. Will this ceiling preclude appropriate lighting? No, it can be effectively lit from these other directions. If a sound boom is to follow the walk, the boom operator will not be able to see from the suggested position. Then a flat must be moved to give him a clear view. The mite might be seen in the long shot. Can’t the mike work further away for that shot? The sound quality (acoustics) will change, particularly dye to the low ceiling. Let’s see if it is too bad, or if we have to yse other sound pickyp methods. Will the footsteps on the stairs sound authentic? They are thickly carpeted, so that should be all right.
Camera cable routing, too, is a potential hazard. Cables can get snarled up, or block other cameras’ moves, or drag around making noises. Many directors therefore move scale cut-outs on cords around their staging plan, to ascertain problems, before allocating camera positions for their camera plan.
Typical considerations in technical planning
Outline–Director outlines the nature of the production, style, general indication of techniques to be used (e.g. single camera, multi-camera, rehearse/record, live-on-tape, etc.).
Talent – Discusses particular requirements of talent, re costume, makeup (styles, fitting arrangements, etc).
Staging – Set designer describes the proposed style, layout, and treatment of settings. On a staging plan (perhaps with a card model) details of the set structures are discussed (as they affect available shots, lighting, sound pickup). Any scenic changes are agreed (re: settings revamped, repositioned, moved, dismantled, erected during the production). Arrangements for storage of props, standby scenery, in the studio during the show. Audience seating.
Any effects involved in the production, ranging from physical effects (e.g. simulating snow, smoke, fire, etc.) to lighting effects (e.g. lightning, firelight, etc.), and video effects (e.g. chromakey backgrounds).
Check up on any safety precautions required, staging restrictions (e.g. maximum floor weight), etc.
Action – Director outlines where he anticipates performers will stand, the nature of action, and any special, business involved. (These may affect the way the setting is constructed, how action is lit, shooting problems, sound treatment, etc.).
Cameras – Director indicates the number of cameras required; types of camera mountings; the main camera positions in each scene; and probable camera moves.
Any special camera accessories needed (e.g. lens filters, effects attachments).
Specialists evaluate the proposed treatment, anticipating equipment requirements, possible problems, etc. (e.g. sufficient working space, time for moves, camera cable routing, etc.).
Lighting – The lighting director examines the staging arrangements and the proposed production treatment (camera shots, audio) and considers probable lighting treatment (Taking into account time available, lighting equipment, manpower, lamp-rigging problems, safety, etc.) He discusses with the director end set designer such factors as the colors, tones, etc. of settings, pictorial effects, atmosphere, mood, etc., picture-matching to film or videotape inserts.
Audio – Discussion on audio pickup problems, mike arrangements, the need for recorded sound inserts fmusic, effects).
Video effects – Planning of chromakey (CSO) or other video effects.
Graphics,, titles – Arrangements for all artwork, displays, etc.
Further technical facilities – Organizing facilities for any pre-studio filming or videotaping. Also technical resources needed for the studio production; e.g. studio floor monitors, prompters, film island (telecine, slide scanner), videotape, recording channel, etc.
Scheduling – Arrangements for pre-studio shooting (filming, videotape, audio recording, etc.). Any experimentel sessions.
Pre-studio rehearsals – Preliminary script read-through; blocking action; rehearsal of lines/action. (‘Technical run-through’ for technicians/operators to assess operations.)
Studio activities – Preparation and erection of settings, set dressing. Lighting rigging and setting lamps. Rehearsal and recording periods (reheerse and record in sequences, in scenes, or straight through).
Post-production – Editing. Post-production dubbing, etc.