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
- References
Chapter 23 - Post-production through to delivery
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
- References
Summary
The final phase of the production cycle is post-production, where the material shot or gathered during the production phase is either polished, if shot as-live in studio or on OB, or shaped into a completed program. The latter has been increasingly the case over the last two decades, as the impact of digital technology within post-production has grown. Digital editing has opened up a range of new approaches to the craft and, as a result, triggered dramatic changes in editing styles.
Post-production involves expensive and sophisticated equipment, which might create the impression it is principally a technological phase, but it is not. It is as creative as any other phase of the production cycle. All the elements that have been gathered to tell the program's story are brought together in this phase, to construct a cohesive narrative progressing logically to an end point, or otherwise build through steps or segments that have a unity and generate some sort of enjoyment for the audience. The craft of getting that progression to flow smoothly and entertainingly is the craft of editing. It is the art of putting shots in order so that they make sense and tell a story.
The cost of the technology that carries out this craft has the capacity to seriously damage the program's budget, at a time when there are few offsets for the production to recover its position.
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- The Business of TV Production , pp. 344 - 362Publisher: Cambridge University PressPrint publication year: 2007