PRE-REQUISITES OF A CREATIVE PRODUCER/DIRECTOR:SET-UP RESPONSIBILITIES

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TV News Reporting and Production MCM 516

LESSON 02

PRE-REQUISITES OF A CREATIVE PRODUCER/DIRECTOR

A creative Producer has to present the idea and have to work till its execution for making the

programme ready for the telecast.

An idea is any conception existing in the mind as the result of mental understanding, awareness or

activity. It's a thought, a notion, an impression, an opinion, a point of view, a belief, a plan of action a

concept developed by the mind and a theme.

A producer therefore is required to possess certain characteristics and qualities of mind and soul.

Creative

Innovative

Analytical

Logical

Critical

Deep observation

Vast study

Visualization power

Decision power

Sense of humour

Sense of proportion

Acute conclusion

Common sense

Aesthetic sense

Great exposure

Editorial judgment

Self starter

Initiative

Team leader

Forbearance

Tolerance

Practical experience

General knowledge

Courage

Confidence

Bravery

Time management

Accuracy

Precision

Conviction

Consistency

Ethics

Communication

Motivation

Determination

Patience

Fairness in controversy

Disinclined

Unbiased

Unprejudiced

Investigative

Informative

Inquisitive

Objectivity

TV News Reporting and Production MCM 516

Subjectivity

Technically sound

Pleasant personality

Command and control

Keeping in the view that a TV programme can never be anticipated good or bad as the viewer have there

own choices, a producer has to prepare the programme to the utmost of one's abilities.

The audiences have many choices of channels and the variety of these television programmes give then

open chance to select the programme the want at some particular period of time.

Selective exposure:

we use the medium we want

Selective Perception: we understand the things we like

Selective retention:

we remember the content we need

Thus a producer should feel the pulse of the viewers and should design the programme in such a way

that it reaches to the target audience as it is being telecast and for that there are again two factors one

should bear in the mind;

Common frame of reference

Mutual field of experience

Common frame of reference is that the viewer has the understanding of the content, which is being

shown on the screen as it is in their knowledge.

Mutual field of experience is that the audience can feel themselves a part of the matter they are watching

in a television programme.

The programme will be successful if there are greater numbers of viewers who can relate to the

programme on TV so the producer should take care of the fact that the things close to reality and the

matters of our day-to-day life are of vital importance and capture more attention.

SET-UP RESPONSIBILITIES

Producer & Director

Learn to delegate responsibility. If you personally move props, cue music, or tweak lights you are

wasting valuable time. The more you can put on paper prior to the day of production the less you'll have

to try to remember. If the program is fully-scripted, spend time with the script and mark it carefully.

Become very familiar with any pre-produced elements. If the program is not fully-scripted, study the

subject matter of the show in order that you might be able to anticipate the direction and flow of the

show. The more organized and prepared that you are the less chance for disorganization and confusion

when those inevitable changes arise.

Assignments to your crew must be clear, oftentimes in written form, and usually distributed in the

following order:

1) Give the floor director (FD) his/her floor plan and directions as to the set design and dressing.

Usually a floor assistant(s) will be available to help with the set-up. Ideally you will have met with the

FD before class, so he/she has a good idea of what you are doing.

2) Provide your audio engineer with his/her specially marked script and explain exactly what you want

in the way of microphones, audio carts, CDs, etc. Often this can, and should, be written down to save

time during production.

3) Provide orientation for your camera operators as to position, main subject for each camera, shot lists,

etc. Give operators shot sheets if warranted. Remember; remain flexible so that changes during rehearsal

can be incorporated in the final taping/broadcast. Cameras will not be ready to move into position for

rehearsal until the basic set and lighting are completed.

TV News Reporting and Production MCM 516

4) Meet with your talent to firm up last minute details and to make him/her comfortable in what may be

a strange environment. It is important for the FD to meet with the talent to explain what is taking place

during rehearsal and what will take place during the actual production. Also, hand signals and cues must

be reviewed so that the FD and talent are "communicating".

5) Provide your production assistant (PA) or graphics operator with a detailed list of graphics to be

inserted and a copy of the script with graphics noted. Ideally the graphics will already be composed and

stored to disk. If so, disk page numbers will be highlighted on the PA's script. Ask the PA to double

check the graphic pages for accuracy--(typos, spelling, etc.)

6) Make sure that your videotape operator has any playback tapes (with cue points noted) and the record

tape(s). Ask the VT operator to review the playback segments that will be used in order to gain

familiarity with them.

7) Check out your technical director on any special or unusual switcher effects to be used. Routine

switcher transitions should be picked up during the run through and rehearsal.

8) Review the program with your assistant director (AD) making sure that he/she understands the flow

of the program and knows what time cues will be needed. Important--Make sure that you, your AD and

talent all agree as to whether the time remaining cues are to end of talent, or end of show.

Confusing the Medium with the Message

As fun as all the visual effects might be to play with, you should consider all this high-tech stuff merely

a tool for a greater purpose: the effective communication of ideas and information.

If that sounds a bit academic and stuffy, you might want to look at things from a broader timeline.

If you think about it, today's latest high-tech effects will look pretty lame a few years from now. (Think

of the special effects in some early films.)

It's only the ideas and feelings that have a chance of enduring.

How many times have you seen a movie and forgotten about it almost as soon as you left the theater? In

contrast, some movies seem to "stick with you" -- movies you may think about for days or even weeks.

In 2005, the average American spent about 1,700 hours watching television, the equivalent of 70 full

days. The average U.S. home has more TV sets than people.

The medium you are learning to control can be used either to provide audiences with time-wasting,

mindless, drivel or with ideas that can make a positive difference in the overall scheme of things. (And,

as you may have noticed, there is a definite need in the world for people who can make a positive

difference.)

How would you rather have your work and life remembered? These readings will add

perspective and a greater understanding of television's role, impact, and responsibility.

George Lucas, one of the most revered film and video innovators of our time, has repeatedly pointed out

that to be successful we must go beyond simply knowing how to do things.

It's very foolish to learn the how without the why -George Lucas, award-winning writer,

producer, and director of the Star War films and a leading innovator in film and video.

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