Pre-production
Pre-production is the process of setting out an initial high level plan of some of the elements involved in a television pilot episode set for a serialized series/traditional episodic television series, a short film, feature film, stage play, or other performance. There are three parts in a production: pre-production, production, and post-production. Pre-production ends when the planning ends and the content starts being produced on film, tape, or as a live performance.
In Television
When the network approves a pilot for filming, several things must occur. First, the show runner and producers are hired. The show runner is the person in charge. He or she will often work with the writers in a "Writers Room" to create a storyboard of ideas consisting of plot points, story arc, and ultimately a script that may often vary from the original sizzle reel or pilot shot as that episode example initially green lighting the series from the network. The showrunner will work with producers and casting directors/assistants to cast the actors, and the show runner is responsible for creative direction and usually oversees the project. Sometimes the showrunner is the person who created the show's concept, wrote the script or treatment and pitched it to the network for approval. Then the producers hire the crew -- and finally, after the writers room polishes the script the new pilot is shot and edited. This schedule is generally outlined as pre-production, production and post-production. Focusing on Pre-Production, the timeline in general order is as follows:
Pre-Production Activities
1. Location Scouts
– the location manager has a concept meeting with the producers and the director after reading the script – the location manager finds as many choices as possible for the Director – group as many locations together within the closest general or geographic area as possible to save time on moving from one location to another – scouts: Director/Location Manager/1st AD/Producer/PM or UPM/Art Director/Transportation Department or a Driver
First Scouts – does it work for the Director – does it work for the schedule
Last Scouts – does it work for the schedule – does it work for the director
2. Department Head Meetings
The director should have the following meetings: – concept meeting with producers/location manager/art director – script meeting with producers and writer, in larger or big budget productions a writer belonging to Writer's Guild of America will need the meetings with time lengths laid out beforehand – casting meeting with producers, casting director, casting assistant – costumes/wardrobe design – props – set decoration/set design – special FX – stunts and or choreography – extra casting – transportation – visit the set and talk to the Director of Photography/hair & make up/sound/actors
3. Director/1st AD Meeting
– go through the script scene-by-scene – give the AD a list of all special equipment needed (crane, Steadicam, circle track, special lenses..eg fish eye lens) – Director will find out what the 1st AD, 2nd AD thinks/what he says/what he wants
4. Production Coordinator
– consult them regarding your travel, hotel accommodations, family travel etc.
5. Production Manager
– go over all concerns with PM (budget etc) – prep is the time to organize (make mistakes on paper) – go in prepared and speak your mind – let them know if you foresee a problem early (overtime, over budget in areas that need correcting)
6. Extra Casting Meeting/Budget
– 1st Assistant Director, 2 Assistant Director, Extras Casting, Costume Designer go over the extra’s for the show
7. Stunts and Special FX
– get to know the Stunt Coordinator and Special FX Coordinator – (the 1st Assistant Director is the on-set Safety Supervisor-Safety Meetings) – go over all details of a stunt or special FX so you know the potential dangers, length of time for shooting and other details
8. Children
– Depending on the person, scheduling is more difficult with children under age 17 – Always get to know the parents, guardians and or caregivers – always be honest with parents and caregivers. Let them know what is really going on regarding time and schedule.
9. Day-Out-Of-Days
– this shows you the work, travel, hold days for all actors and some crew
10. One Liner – sets the schedule out on a “one line” basis for quick reference
11. Key Location Survey
– Director, 1st Assistant Director, 2nd Assistant Director, PM, LM, ALM, Producer, Set Decorator, Art Director, Director Of Photography, Grip, Gaffer, Transportation Captain, Construction Coordinator, Sound
12. Production Meeting
– review of all production arrangements and the director’s concepts – the AD reads through the script scene-by-scene (no dialogue) and not by the one-liner – every department discusses with the director their specific requirements – it is an open discussion about the show – it is usually the last time anything can be asked for by the director
13. The Shooting Schedule (1st Assistant Director)
– the show information (individual elements) is put into breakdown pages for distribution to crew
14. Stock Shots -"B" Roll -Second Unit -Video Playback (Dailies) -Photographs and or Inserts
15. Line Producer and Expectations with Director Once all the pieces are in place, creative planning gets serious and finalized. Each department works with the line producer to break down what each field needs to properly execute the director's vision. This is also where creatives finalize the sound design for the auditory experience of the TV series opening, closing credits and even finalize some musical scores in preparation for the production phase. After pre-production is complete, shooting can commence. Shooting time varies between projects, and the type of TV series being made (Half-hour or full-hour-length) will determine the length of the production phase.
In film
Main article: Filmmaking Pre-production In filmmaking and video production, pre-production formally begins once a project has been greenlit. At this stage, finalizing preparations for production go into effect. Financing will generally be confirmed and many of the key elements such as principal cast members, director and cinematographer are set. By the end of pre-production, the screenplay is usually finalized and satisfactory to all the financiers and other stakeholders.
During pre-production, the script is broken down into individual scenes with storyboards and all the locations, props, cast members, costumes, special effects and visual effects are identified. An extremely detailed shooting schedule is produced and arrangements are made for the necessary elements to be available to the film-makers at the appropriate times. Sets are constructed, the crew is hired, a financial analyst for financial arrangements are put in place and a start date for the beginning of principal photography is set. At some point in pre-production there will be a read-through of the script which is usually attended by all cast members with speaking parts, the director, all heads of departments, financiers, producers, and publicists.
In music
In the music industry, pre-production is the planning phase for the entire album. It's a process whereby a recording artist spends time creating and refining their musical ideas. The artist thus produces a song's demo recording, or rough draft, in order to pre-establish the song's creative premise. This reduces the time and money spent in expensive studios. The goal is to enter into the major recording phase of production with the basic and most promising ideas having been already established. For a music video based upon the artists same song there's a heavier but different focus on Pre-production. Pre production roles within a music video will be identified and has to happen before a music video shoot. A lot of different people are involved in the processes of a music video production. The primary roles of people are commonly identified and summarized as follows:
1. Planning the story
- Director – The main responsibility of production lies with her/him. A music video director is involved at every stage of the production process, helping and guiding others to do their job.
- Screen Writer – They are responsible for coming up with a concept that fits the budget of production. They will then write down all that is going to happen in the video into a script.
- Storyboard Artist – They sketch key frames of the video from the provided script onto a sheet of paper, so that others in the production team have a better understanding of the flow of the story.
- Casting (Director) – In small productions casting is done by the Director himself, whereas in bigger productions, there are specially appointed Casting Directors to cast the talent that will be used in the video.
2. Art Department
- Art Director – Looks after and finalizes the visual side of the video.
- Set Director – Looks after and finalizes the build of set and placements of objects in line with the script.
- Conceptual Artist – When there is an out of ordinary element in a video, its look and feel is thought out by the Conceptual Artist. Conceptualizing visually can include the decision to use an example of whether or not the same color scheme trumpets should be either silver or gold. Will they have three gold trumpets and matching gold harmonicas around their necks to play from or will those harmonicas be silver to contrast?
3. Finance
- Executive Producer – Pays for the entire cost of the video.
- Producer – Purchases everything needed for the shoot, carefully picking the right brands.
