Book contents
- Frontmatter
- Contents
- Preface
- Diagrams and tables
- Abbreviations
- Part A Opiate of the people: the television industry
- Part B Massage parlour: development and funding of a project
- Part C Riding the tiger: management of the production
- Chapter 12 Commencement of pre-production
- Chapter 13 Documentation and office systems
- Chapter 14 Crew, equipment and facilities
- Chapter 15 Casting, rehearsal and performance
- Chapter 16 Locations
- Chapter 17 Travel arrangements
- Chapter 18 Drafting the production budget
- Chapter 19 Scheduling the shoot
- Chapter 20 Preparing studio and outside broadcast productions
- Chapter 21 Management of the shoot
- Chapter 22 Management of the production budget
- Chapter 23 Post-production through to delivery
- Part D A nod to the gatekeepers: the environment of television
- Index
Chapter 12 - Commencement of pre-production
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- Preface
- Diagrams and tables
- Abbreviations
- Part A Opiate of the people: the television industry
- Part B Massage parlour: development and funding of a project
- Part C Riding the tiger: management of the production
- Chapter 12 Commencement of pre-production
- Chapter 13 Documentation and office systems
- Chapter 14 Crew, equipment and facilities
- Chapter 15 Casting, rehearsal and performance
- Chapter 16 Locations
- Chapter 17 Travel arrangements
- Chapter 18 Drafting the production budget
- Chapter 19 Scheduling the shoot
- Chapter 20 Preparing studio and outside broadcast productions
- Chapter 21 Management of the shoot
- Chapter 22 Management of the production budget
- Chapter 23 Post-production through to delivery
- Part D A nod to the gatekeepers: the environment of television
- Index
Summary
Part B dealt with the development of a program from concept and the pursuit of funding for production of that program, an exciting and intensely creative process that can be heartbreaking as well. Without the necessary funding to cover the costs of production, it is unlikely that production will commence and the program will then never be made. The unfortunate statistical reality is that a majority of program concepts that go into the development process do not end up as programs shown on television. They fall by the wayside somewhere along the line, most commonly through insufficient funding.
For those projects that do move into production, the environment of the project changes dramatically. No longer is it a semistructured, freewheeling exchange of ideas run on enthusiasm, hope and a modicum of desperation. The prevailing mood switches to one of structure, and the application of professionalism. There is still room for creativity and new ideas. That never stops until the program is delivered, but these are applied in a long, integrated and managed process, a matrix that is business-like and follows clearly laid-out pathways.
The intensity eases for the producer at this stage. There is a mood of relief at having got the project over the major hurdle that stands between the idea and its realisation, the ‘green light’ of funds that enables the project to go into production.
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- Information
- The Business of TV Production , pp. 195 - 203Publisher: Cambridge University PressPrint publication year: 2007