SLM 206 Combined

MADHU BALA INSTITUTE OF COMMUNICATION &
ELECTRONIC MEDIA
(Guru Gobind Singh Indraprastha University, New Delhi)
BACHELOR OF JOURNALISM & MASS COMMUNICATION
BA (JMC): 2017-18
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UNIT 1 BA (JMC) 206

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UNIT 1: Understanding the Medium

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LESSON 1
Brief Historical Background of Television in India
LESSON 2
Characteristics and Importance of Television
LESSON 3
Various Formats of TV programmes
Lesson 4
Stages of Programme Production

Lesson 1 Brief Historical Background of Television in India
STRUCTURE
1.0 Objectives
1.1 Introduction
1.2 Brief Historical Background of Television in India
1.3 Characteristics and Importance of Television
1.4 Various formats of TV programmes
1.5 Stages of Programme Production
1.6 Assignments
1.5.1 Class Assignments
1.5.2 Home Assignments
1.7 Summing Up
1.8 Terminal questions
1.9 Suggested further readings
1.10 Keywords
1. Understanding the Medium
In Unit 1 of the Course ‗Television Programming & and Production‗, we shall discuss
the history of television as medium, television program formats and writing skill for
fiction and non- fiction programmes. Over the four lessons in this unit we shall try to
understand the nature and language of television, different types of TV formats and
all stages of Production of fiction and non-fiction formats.
In the present lesson we shall study the nature and language of television and
contemporary trends in TV broadcasting.
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1.0 Objectives
After going through this lesson, you should be able to:
 Learn about history of Television history in India and societal influence on the
medium.
 To understand the characteristics of the medium.
 To understand various formats of the Television programmes.
 Understand briefly all three stages of production of a non-fiction and fiction
programmes.
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1.1 Introduction
"Art has operated in the gap between what we know and what we dream. The gap is
closing quickly: what we dream is often what we see. Television will serve to bridge
the gap and to guide the way toward a more successful environment. The eyes
replace the me's and we arrive at a condition where what we show becomes what
we say. "EDWIN SCHLOSSBERG
Modern age is an age of science. It serves much more than newspapers, radio sets
and other means of mass communication. It has now become an indispensable part
of our life. Television is one of the greatest wonders of modern science and
technology. Television is a compound word consisting of two Latin words –
‗tele‗ and ‗vision‗. Tele stands for far and ‗vision' is for visuals. It means seeing the
visuals coming from a distance.
Television produces both picture and sound that are seen and heard at the same
time. It was invented by and English scientist called John Baird in 1926. Television is
the most modern means of communicating our thoughts and ideas. It‗s like a stage
on which we can see the performers and their doings and hear their Talking‗s.
1.2 Brief Historical Background of Television in India
Television started in India on an experimental basis on September 15, 1959 with a

limited transmission of three days a week. The scope of programmes was restricted
to educational broadcasts for a limited area around New Delhi. One hundred and
eighty tele clubs were set up within the range of 40 km of the transmitter. Every club
was provided with a television set by UNESCO. All India Radio provided the
engineering and the programme software. Government of India took initiative to start
TV on an experimental basis mainly because two purposes. 1. To train personals in
this new technology 2. To discover what television media can do to achieve
community development. Television, at this initial stage, was not considered to be a
medium of entertainment but primarily an education tool. The Government of India
supported the television project financially. In 1961 television programmed for
teachers were started. Regular broadcasting of television programmes began in
1965. A daily one hour service started during this year. 1972-1982 The period
between 1972 and 1982 saw the rapid expansion of the medium. In 1972 television
services were extended to Bombay. By 1975-76 the Satellite Instructional Television
Experiment (SITE) brought television to 2,400 villages in backward areas of Andra
Pradesh, Bihar, Karnataka, Madhya Pradesh, Orissa and Rajasthan. This project has
been described as one of the largest communication experiments in the world. In
1976 television broadcasting was delinked from All India Radio and was put under an
independent organisation called Doordarshan. AFTER 1982 Doordarshan switched
over to colour transmission on August 15, 1982. Besides, this year witnessed the
introduction of a regular satellite link between Delhi and different transmitters. The
major impetus for these developments was the Asian Games held in New Delhi in
1982. After 1982, television facilities have been rapidly expanding and during certain
periods, the country got a new transmitter each day. The number of transmitters and
programme production centers has increased significantly over the years. On
November 19, 1984, a second channel was launched in New Delhi. Later, on April 1,
1993 the Metro entertainment channel was started. At present, Doordarshan
telecasts programmes on 19 channels. DD-1 is the primary channel, the flagship of
Doordarshan.
SATELLITE INSTRUCTIONAL TELEVISION EXPERIMENT (SITE) Indian

Television programming has been consistent with social, agricultural, economic and
political aims of the government right from its inception in 1959. Taking their cues
from Indian politicians, programming executives put aside the entertainment value of
television in favour of its instructive and educational usefulness. This bias for
wholesome, practical and educational television became far more evident in 1975
when Doordarshan, still a part of AIR, launched the Satellite Instructional Television
Experiment (SITE), one of the most ambitious experiments in television history. SITE
was the brain child of Vikram Sarabhai, the brilliant physicist and chairman of the
Indian Atomic Energy Commission. Sarbhai persuaded the Department of Atomic
Energy (DAE) and the U.S. National Aeronautics and Space Administration (NASA)
to work together to bring satellite-based television to India. He also signed an
agreement that provided India access to NASA‗s Application Technology Satellite
(ATS-6) to conduct the one year experiment. From August 1, 1975 to July 31,
1976, Doordarshan used ATS-6 satellite to beam farm, health and hygiene, and
family planning programmes 4 hours each day to 2400 villages in rural India. SITE
was also used to telecast entertainment programmes, consisting chiefly of rural art,
music, and dance. For the most part, since very few people had their own sets,
they watched SITE programmes in communal areas where TV sets were
specifically set up for viewing purposes. SITE‗s primary agenda was not only to
educate people about solutions to the country‗s problems, but also to unify the
diverse and multilingual audiences country by exposing them to one another‗s
cultures. SITE programmes were produced at production centres in New Delhi,
Hyderabad, and Cuttack with the help of university teachers, social workers, and
other experts. Some of the programmes were also produced by the Indian Space
and Research Organization (ISRO), a wing of the DAE. ISRO was also responsible
for installing and servicing the television sets used for the experiment. These sets,
for the most part, consisted of ordinary television sets that were each provided with
a front-end converter and a chicken-mesh antenna for receiving satellite signals.
SITE‗s results were more modest than its designs. According to a 1980 report by
Krishan Sondhi, the farm programmes did not have the expected impact. Farmers
in SITE viewing areas were not more innovative than farmers who were not
exposed to SITE programmes, possibly because they had already learned about
the innovations from AIR‗s farm bulletins and programmes. Another weakness was
that the farm programmes were not adapted to the widely differing farming
practices in the SITE viewing areas and consequently were not of much use to the
farmers. The health and family planning programmes did not result in significant
improvements either.
PRASAR BHARATI Doordarshan was Government-controlled organ right from its

inception. In 1959, when India witnessed the first experiments in television
broadcasting, Doordarshan was only an appendix to All India Radio. Although
Doordarshan was delinked in 1976 from All India Radio, it came under the direct
control of the Ministry of Information and Broadcasting, Government of India. The
various Governments at the Centre not only controlled the electronic media but
made use of them to promote the ruling party‗s hidden agenda. According to I.B.
Singh, ―Political leaderships have abused All India Radio and Doordarshan
(television) for blatant partisan and personal ends mainly in order to crush dissent
and promote personality cults‖. This has been true with regard to every Government
that assumed office in New Delhi. The demand for autonomy for the broadcast
media was gaining increasing support. The National Front Government led by Mr.
V.P. Singh introduced the Bill in the first Parliamentary session in January 1990 to
grant autonomy to the broadcast media in the country. But the Prasar Bharati Act
was kept dormant for seven years. Finally the Act came into force on September 22,
1997. The Prasar Bharati Board was formed paving the way for granting autonomy
to Doordarshan and All India Radio.
According to BI-2016 survey, which was undertaken to ascertain the TV

universe and viewing habits in India, the number of TV homes in the country
has gone up by 19 per cent to 183 million from 154 million. While the urban-
rural split of TV homes
was 50:50 earlier, rural India has 17 per cent more TV homes now. Urban
India currently has 84 million TV households, while TV-owning homes in rural
India stand at 99 million, it said.
Source: Business Standard
1.3 Characteristics and Importance of Television

Audio Visual Medium
While radio has sound, television content includes both sound and visuals.
This audio visual character of television makes it a magic medium which
allows us to watch the world from our drawing rooms. This powerful visual
nature helps television to create vivid impressions in our minds which in turn
leads to emotional involvement. The audio visual quality also makes television
images more memorable.
Domestic Medium
To watch television, we need not leave your drawing room. No need of going
to the movie theatre or buying tickets. We can watch television in the comfort
of our home with our family. This is why television is generally regarded as a
domestic medium. It provides entertainment and information right inside our
homes and has become an integral part of our everyday lives. It can actually
pattern our daily activities. The domestic nature of television makes it an
intimate medium. This makes the viewers experience a sense of closeness to
the Television.
Live Medium
The important characteristic of television is that it is capable of being a live
medium. This is because the live. If we are watching a cricket match in a
television channel, we can almost instantly see the wicket hit by our favourite
player. On the Television allows you to witness events which happen
thousands of miles away.
Mass Medium
All of us know that there are a large number of people who cannot read or
write. Such people may not be able to read a newspaper, but they can watch
television. Anyone with a television receiver can access the information
shown on television. This makes it an ideal medium to transmit messages to a
large audience. In a country like ours, with a huge illiterate population, this
characteristic of television makes it an ideal instrument for transmitting social
messages. Television also has a very wide output, range and reach. It is truly
a mass medium.
A Transitory Medium
Television programmes are not easy to be recorded by viewers. It may be
practically impossible to record every programme which appears on your
television. Therefore, television is generally identified as a transitory medium.
Needs no literacy
Watching TV does not require a person to be literate. Print media and new
media require people to have a basic understanding of language and
operating a computer vis a vis. TV relies on the visual an dual language which
is understood world wide.
Grabs attention
TV grabs the viewer by the collar and makes him sit still. There is no action required
and there is no scope for it as well. TV needs your full attention and the only other
option is to switch it off.
Medium of close ups

TV relies on close ups. It is not wide, so as to allow shots of the scenery and show
large spaces. The details would go amiss if such shots are used in abundance. Thus
TV has to stick to close ups most of the time, thus accentuating action.
Variety of options
A news lover can watch news, and information junkie has another channel catering
to his needs, music enthusiasts have a particular channel to tune into, sports lovers
get blow by blow action update through it.
Round the clock

TV gets you minute by minute update as it is running 24 * 7. One does not need to
wait till next morning, or next bulleting for the update.
Limitation of Television
Expensive Medium
There is need to large amount of machinery and expertise needed to run a television
station. It requires lots of money, machinery and experienced people. Broadcast
media in general and television in particular involves complex technology and
organization.
Transitory Medium
Content is not on pen and paper, it stays on for only a while.
No imagination required
TV has enticing visuals. Does not require the viewer to think.
Requires complete attention

It requires full attention of the viewers. One cannot keep driving or doing
house hold chores while watching TV.
Delayed feedback
TV provides no direct feedback. The viewer has to write to, call or mail the
channel for him to be heard.
1.4 Various formats of TV Programmes
Television has changed the way we live. Television has become the main
source of Information & entertainment for many people. It is also an important
form of communication since many people watch news shows, political
shows, commercials, etc. People use TV's for three main things: advertising,
entertaining, and giving information. Thus, we have two broad formats of
television programmes which we shall discuss here.
Fiction programmes: Almost all the fiction programmes that depend on

imagination and dramatization are meant for entertaining the audiences.
Drama/ soap operas like Humlog, Ghar ek Mandir, Kyunki saas bhi kbahi
bahu thi, Sasural Simar Ka, Uttran, Balika Badhuare ongoing, episodic works
of fiction.
Non-fiction programmes: Apart from different serials and other entertaining

works of fiction, you must have watched programmes on television that
provide a lot of information regarding various events that take place in our
surroundings and also impart education on contemporary issues. Let us now
discuss the various non-fiction programmes available on television.
Non Fiction Programme

News shows
Shows specifically dedicated to relaying news from across the globe in one
bulletin are called news shows. There are special news channels as well
which have hourly bulletins, delivering news blow by blow.
TV news is more credible as it is supported by the visuals which makes it
much more impactful and credible.
Many times, stations will do extended or special programming live at a particular
location. In many ways, the program will look like a regular newscast, in that there
are anchors delivering the news and introducing the taped segments, but going live
on location gives the news a somewhat different look and feel. It sends a subtle
message to the audience that this is special and not the routine newscast done
every day in studio.
Though producing live shows is a difficult task but doing the news from a fair or an
important pilgrimage site is an effective public relations tool.
Selecting an appropriate panel is the first duty of the producer in these situations and
the most appropriate panelist may not always be the most exiting speaker.
Roundtable or Studio Discussion

It usually involves people sitting around a table discussing a certain topic. Ideally, it is
a discussion between a half-dozen prominent people on an important issue It may be
with or without audience. This type of news program has several advantages,
including the fact that it‗s relatively cheap to produce if there is no audience involved.
The show is also fairly controllable, because it usually takes place in a studio, is
taped before airing, and can be edited. But there drawbacks too, Like it or not,
entertainment has become a big part of news business, and audiences expect a
sophisticated and engaging program. However, the roundtable is merely a
discussion, and depending on the topic, that can get excruciatingly dull.
Talk Shows
Talk shows are a good way for a station to gauge the audience feedback on a certain
news topic. Though the format is much like the roundtable, in that prominent
newsmakers will discuss an important issue, but the emphasis in this show is more
on audience input and interaction. Audience members will have the opportunity to
give their opinions or make direct contributions to the show. Given that so much
television news is now geared towards interactivity, this format can be very effective
way of engaging a news audience.
The main difficulty with a talk show is its unpredictability. The producer faces the
following difficulties in producing a talk show, First of all assembling a panel of
appropriate guests who are exiting speakers too is not an easy task. Then gathering
an informed talkative audience is difficult if not impossible all together.
Phone-Ins
Though this format is much more common in radio, but some TV channels also use
this format. A phone-in program emphasizes the interactivity that has become so
important in today‗s media environment and allows the viewers to directly express
their opinions. Generally, a moderator will lead discussion on a certain topic and then
open the phone-lines for feedback. It‗s cheap and easy to put together but is
extremely unpredictable and hart to control. There‗s also the danger that these type
of shows are more suited to radio and are not enough to keep a television audience
interested.
Phone-ins provide a chance for audience feedback.
They create the illusion that Audio-Video medium is a two-way medium.
They also verify that the station or channel has an audience and that this
audience is capable of understanding and responding to the message which
the station transmits.
Debate
Most debates follow a very strict format, which usually includes a moderator.
The moderator is the most important person in the debate, in that he or she
controls the topic for discussion, who is speaking, and how much time the
speaker has. The moderator must also keep control of the debate and not let
the participants shape the direction of the discussion. One of the keys to
producing a successful debate is finding a good moderator.
In a sense the moderator is like a producer, controlling such things as the
time, content, and flow of the program. If the debate has a good moderator,
the program producer actually does very little. The program itself is not
scripted, except for a few introductory and closing remarks.
Interview There are three ways to gather information for your story research,
observation and interviewing. Of these, interviewing is clearly the most
important. It can be done in person, over the phone, and live with the
interviewee. It can be extensive or just a few questions. In whatever form, it is
the key to the stories.
Vox pops
The term "vox pop" comes from the Latin phrase vox populi, meaning "voice
of the people". The vox pop is a tool used in many forms of media to provide a
snapshot of public opinion. Random subjects are asked to give their views on
a particular topic and their responses are presented to the viewer/reader as a
reflection of popular opinion. For video and television vox pops, the
interviewer approaches people "in the street" and asks them simple questions
about the topic. These people will be new to interviews and will often be
nervous, flustered, giggly, etc. It's therefore important to make them feel
comfortable and relaxed. When asking people to participate fast is best - don't
give them time to worry about how they look or what their friends will think.
Use a short, sharp standard question such as "Would you mind answering a
couple of quick questions about genetically modified food for TV3 news
tonight As always, ask open-ended questions and avoid leading questions. At
the same time, you must be specific enough to obtain brief answers. Camera
shots are usually framed as an MCU or close up. It's important to think about
the guest's looking direction, and get an equal number of left-facing and right-
facing subjects. These can then be alternated in post-production. Some
producers go so far as to get all answers with a particular opinion facing one
way, and answers with an opposing opinion facing the other way. Whether or
not you think this is effective is up to you — you may feel that it is too
contrived.
Documentary
The term ‗documentary‗ stems from the verb ‗to document‗ – to convey information
on the basis of proof and evidence to support it, according to the Merriam-Webster
dictionary. In the realm of films and cinema, a documentary is a film that is an
attempt, in one fashion or another, to show reality as it really is. Another way of
defining documentary is the necessity to capture life as it is – as it naturally appears.
It needs to be filmed surreptitiously, while the goal is to capture life‗s unawareness
and natural beauty. A documentary explores a factual subject in depth. It not only
shows, but illuminates. It attempts not merely to inform, but to provoke deeper
thought and understanding than a cold presentation of facts would do. A
documentary is a creative work. Sometimes this creative responsibility rests with one
individual; the producer/director. In that instance, and in the broadest television
sense, he is author; the dominant creator of the program. The documentary producer
usually undertakes a considerable amount of preliminary research, and in addition is
in close contact with his subject through the lengthy stages of filming and editing.
The television documentary is an adaptable form of nonfiction programming that has
served various functions throughout the medium's history: as a symbol of prestige for
advertisers and networks, a focal point for national attention on complex issues, a
record of the human experience and the natural world, and an instrument of artistic
and social expression.
Documentary film is a broad category of visual expression that is based on the
attempt, in one fashion or another, to "document" reality. Although "documentary film"
originally referred to movies shot on film stock, it has subsequently expanded to
include video and digital productions that can be either direct-to-video or made for a
television series. Documentary, as it applies here, works to identify a "filmmaking
practice, a cinematic tradition, and mode of audience reception" that is continually
evolving and is without clear boundaries.
The Importance of TV Documentary

Every film is a documentary. Even the most whimsical of fictions gives evidence of
the culture that produced it and reproduces the likenesses of the people who perform
within it. In fact, we could say that there are two kinds of film: documentaries of wish-
fulfillment and documentaries of social representation. Each type tells a story, but the
stories, or narratives, are of different sorts.
Documentary give a sense of what we understand reality itself to have been, of what
it is now, or of what it may become. These films also convey truths if we decide they
do.
Documentary engages with the world by representing it, and it does so in three
ways. First, documentaries offer us a likeness or depiction of the world that bears a
recognizable familiarity.
Second, documentaries also stand for or represent the interests of others.
Representative democracy, in contrast to participatory democracy, relies on elected
individuals representing the interests of their constituency
Third, documentaries may represent the world in the same way a lawyer may
represent a client‗s interests: they put the case for a particular view or interpretation
of evidence before us. In this sense documentaries do not
simply stand for others, representing them in ways they could not do
themselves, but rather they more actively make a case or argument; they
assert what the nature of a matter is to win consent or influence opinion. Docu
Drama Docu-Drama is a format which adapts the best from fiction and
documentary formats. For example: Crime Petrol.
Fiction Programmes
TV series or Serials: Entertainment productions of a fictional nature, including
dramatizations of real events. They must be comprised primarily of (i.e. more
than 50%) dramatic performances like Great laughter Challenge, Comedy
Night with Kapil. Some such forms are:
a) On-going dramatic series- Yeh Hain Mohabbatien. Thapki Pyar ki, etc
b) On-going comedy series (sitcoms)- Bhabhi Ji Ghar Par Hain
c) Specials, mini-series, and made-for-TV feature films; Emotional Attyachar,
Yeh Hai Ashiqui, Stories by Rabindranath Tagore
d) Theatrical feature films aired on television;
e) Animated television programs and films (excludes computer graphic
productions without story lines); Meena
f) Programs of comedy sketches, improvisations, unscripted works, stand-up
comedy; and
g) Other drama, including, but not limited to, readings, narratives,
improvisations, tapes/films of live theatre not developed specifically for
television, experimental shorts, video clips, continuous action animation (e.g.
puppet shows).
Telefilms: Short films produced for the purpose of screening only for TV.
For eg. Star Best Sellers
Advertisements: Mostly depicting a fictional scenario, TV ads are also staged
and shot and edited as fiction programs.
Music videos: Short film or videotape productions or concert excerpts (clips)
not produced primarily for the particular program in which they are presented,
which normally contain one musical selection with visual material.
Variety: Programs containing primarily (i.e. more than 50%) performances of
mixed character (e.g. not exclusively music or comedy performances)
consisting of a number of individual acts such as singing, dancing, acrobatic
exhibitions, comedy sketches, monologues, magic, etc. Like. India‗s Got
Talent.
Reality TV
These are programs primarily about the world of entertainment and its people.
These programs include celebrity profiles that may use promotional footage,
talk or interview shows, award shows, galas and tributes. They also include
entertainment-oriented magazine shows; fund-raising shows which include
entertainers (i.e. telethons); human interest programs consisting of live or live-to-tape
footage without significant portions devoted to in-depth analysis or interpretation; and
coverage of community events such as carnivals, festivals, parades and fashion
shows.
Talent Shows: Programs comprised primarily (i.e. more than 50%) of live or pre-
recorded performances of music and/or dance, including opera, operetta, ballet, and
musicals. The performance portion excludes video clips, voice-overs or musical
performances used as background like Indian Idol, Sangeet Ke Sitare, Sa Re Ga Ma
Pa etc.
Game shows: Programs featuring games of skill and chance as well as quizzes like
Kaun Banega Crorepati (KBC).
Reality television: Programs that present unscripted dramatic or humorous

situations, document actual events and typically feature ordinary people instead of
professional actors. This type of programming involves passively following
individuals as they go about their daily personal and professional activities.
Though this type of programming may be factual, it lacks or has very minimal
amounts of in-depth critical analysis of a specific subject or point of view that is the
key defining element of Long-form documentary programming. Eg. Big Boss.
Infomercials, promotional and corporate videos: Programming exceeding 12 minutes
in length that combines information and/or entertainment with the sale or promotion
of goods or services into a virtually indistinguishable whole.
Filler programming: Programming, in no case longer than 30 minutes in duration,

the purpose of which is to fill in the time between the presentation of the major
programs broadcast by the licensed pay services and those specialty services
authorized to distribute filler programming, and includes material that promotes the
programs or services provided by the licensee.
Genres of TV Programming
Genres are basically the mood or the flavour of the program. They have a typical rule
book which they stick to while following a particular genre.
Some major genres in TV programming are: Drama, action, comedy, adventure,
Romance, Horror, Suspense, Thrillers, Supernatural etc.
1.5 Stages of Programme Production
The Production Process

The production process refers to the stages (phases) required to complete a
media product, from the idea to the final master copy. The process can apply
to any type of media production including film, video, television and audio
recording. The stages in each medium vary; for example, there is obviously
no storyboard in an audio recording. However the same general concepts
work for any medium.
The three main stages of production are:
Pre-production: Planning, scripting & storyboarding, etc.

Production: The actual shooting/recording.
Post-production: Everything between production and creating the final master
copy.
Pre-Production
Pre-production is a fairly loose term which refers to the tasks undertaken
before production begins. Exactly what is included in this stage depends on
the medium and situation.
For a small video company, pre-production may refer to everything that happens
before shooting begins, for example, meeting with the client, research,
storyboarding, location planning, etc.
For feature films, pre-production is more specific and only begins when other
milestones have been met such as financing, screenplay, casting and major staffing.
In this case pre-production includes:
Location scouting
Prop and wardrobe identification and preparation
Special effects identification and preparation
Production schedule
Set construction
Script-locking (semi-finalisation of the script)
Script read-through with cast, director and other interested parties
Production
In film and video, production refers to the part of the process in which footage is
recorded. This is what most people imagine when they think of a film being made —
actors on sets, cameras rolling, etc. The production phase is also known as principal
photography.
In large feature films the beginning of the production phase marks the "point of no
return", i.e. the point at which it is no longer financially viable to cancel the project. At
this point it is almost always cheaper to continue until the project is finished than to
deal with the financial fall-out of cancelling.
The goal of principal photography is obviously to record all required shots, however it
is fairly common to shoot "pick-up" shots in post-production. Pick-up shots may be
required when a mistake is noticed, a script change is made (this is unusual), or
even if a performance is deemed to be unsatisfactory.
In music, production usually refers to the creative direction of a project. Unlike a film
producer who is more of a manager, a music producer has a very hands-on role in
the creative development.
Post-Production
Post-production is the third and final major phase of the production process. It is
often referred to simply as post, e.g. "We can sort that out in post".
There are many things which can happen in post-production. Common tasks include:
Editing video footage
Editing the soundtrack, adding sound effects, music, etc.
Adding titles and graphics
Colour and exposure correction
Adding special effects
Re-shooting certain scenes if required ("pick-up" shots)
In some cases post-production is relatively straightforward, consisting of
choosing and arranging footage in the correct sequence. In most cases
however, post-production is a time-consuming job taking longer than the
actual production phase.
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1.6 Assignments
1. Write a note on brief history of Television In India.
1. What are various formats of Television Programmes? Describe each with
examples.
1.7 Summing Up
In this chapter, we learnt about history of television in India, formats of TV
programmes, Characteristics of Television as a medium and briefly about
stages of TV production.
1) Describe the various programme formats of television.

2) Write difference between fiction vs. Non- fiction.
3) What is Documentary? Explain.
4) Write short notes on:
i. Debate
ii. Talk Show
iii. Phone-in
iv. Vox- pop
1. Herbert Zettl, TV production Handbook, Thomas Wardsworth Publishing
2.0 Keywords
Format: The way in which something is arranged or set out.
Discussion: The action or process of talking about something, typically in order to
reach a decision or to exchange ideas.
Debate: A formal discussion on a particular topic in a public meeting or legislative
assembly, in which opposing arguments are put forward.
Documentary: A movie or a television or radio program that provides a factual
record or report.
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UNIT 2 BA (JMC) 206

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UNIT 2: Pre-Production
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LESSON 1
Ideation, Programme Brief, Objectives, Synopsis, Research - Recce and

Treatment
LESSON 2
Scripting a Programme: Story Boarding and Script Breakdown
LESSON 3
Maintaining Continuity, Make-up, Set-designs, Costumes, Props, Floor

Plan
Lesson 4
Budgeting
Lesson 1 Ideation, Programme Brief, Objectives,
Synopsis, Research - Recce and Treatment
STRUCTURE
2.0 Objectives
2.1 Introduction
2.2 Ideation
2.3 Programme / Video Brief
2.4 Objectives of programme
2.5 Synopsis
2.6 Research
2.7 Recce
2.8 Treatment
2.9 Assignments
2.10 Summing Up
2.13 Keywords
Ideation, Programme Brief, Objectives,
Synopsis, Research - Recce and Treatment
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This lesson highlights the steps of first stage of Production and importance of each
from idea to write the treatment.
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2.0 Objectives
 Understand each step of pre-production stage.
 To understand how to undertake research for any kind pf TV production.
 How to write Synopsis and Treatment
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2.1 Introduction
Have you ever thought what goes behind any television programme production? Or,
have you ever noticed the names of the people involved in production process that
appear on television after the programme ends? You may not have bothered to look
at all the names which appear on the television screen at the end of the programme.
But you must know that a whole range of personnel and equipment are involved in
making a television programme.
While watching television, as viewers, we are largely unaware of the production
complexities. But professional television production, regardless of whether it is done
in a television studio or in the field is a complex creative process in which many
people and machines interact to bring a variety of messages and information to a
large audience.
2.2 Ideation
Ideation is the creative process of generating, developing, and communicating new
ideas, where an idea is understood as a basic element of thought that can be visual,
concrete, or abstract. Ideation comprises all stages of a thought cycle, from
innovation, to development, to actualization. As such, it is an essential part of the
design process, both in education and practice.
This is where you develop your story, its structure, and plot points. Ideas often are
drawn from personal experiences or ripped from the headlines. Maybe it‘s a story
you were told as a child, or a product of your own wild imagination. At its most basic
level, a concept should be able to be communicated in three sentences — the
beginning, the middle, and the end,
The TV Writers Vault is our industry's first online marketplace to bring "ideas" from
people outside the Hollywood system to production and global broadcast.
TV Industry Leaders confirm that "ideas" are the fuel that drives the
entertainment industry:
"There are sectors that make up the business. It is not just producers selling
finished content. It is all about the beginning of the process, the idea stage."
Rod Perth - President CEO, National Association Television Program
Executives | January 21, 2016 Broadcasting & Cable
"The idea is king. Plain and simple. But it has to be made well, and it needs
many elements to succeed. I always say a good game needs to have both
sizzle AND the steak. The steak is the solid format. The sizzle is what makes
it a television show and not a board game."
- Phil Gurin - Executive Producer "Shark Tank", "Weakest Link"
TV Writers Vault Interview
Understand the importance of "idea" and how it fuels the potential of your
show being sold:
First, let‘s talk TITLE. Unlike film titles that may be more ambiguous to serve
some underlying theme or the character's plight, television is a title driven
medium unlike any other. It's the first message delivered to viewers to
provoke interest. It's often a play on words, and rolls easily off the tongue. A
title can be a great sales tool if it confirms something we haven't seen before
and inspires the imagination, allowing the executive to see the potential for
the series.
Ask yourself these critical questions when conceptualizing an idea for a TV

show or a documentary: What will actually happen in the film? Is the premise
too familiar, or is it something that hasn't yet been explored in television? Are
the characters compelling? The Creator must take a hard look at what they're
actually proposing.
Often what is great in theory falls flat in reality. That said, and assuming your
idea is highly original, you absolutely need to invest your time in developing
the pitch so that the premise and path of the show is communicated for the
executive to see its potential. Look for irony in the world or subject you're
proposing.
Viewers want to experience things in a way that they don't expect. Keep in
mind that this is television, so no matter the subject, you want to propose
personalities that are polarizing. We want to experience a heightened level of
the human condition, and it takes strong characters with interesting
perspectives to portray that. The setting, the circumstances, the agenda and
plight of the people involved are all major components that need to be fresh
and crystal clear. Continue revisiting your logline as the touchstone that all things
are derived from. In fleshing out your pitch you may see that the logline needs to be
modified, and hopefully becomes more clear and clever.
Process of Ideation
 What topics do you find yourself thinking about or talking about over and over
again?
 What topics or ideas make you tingle with excitement, frustration, anger or
intrigue?
 Is there something that completely fascinates you?
 Are you completely baffled / puzzled by why something is the way it is?
 Is there an injustice happening in the world that you want to try and make
right?
Write down what you're passionate about.

Topics which deeply important to you
Social justice issues that have the power to change the world, according to you.
For ex – History of your own community, Health challenges in a particular
community
2.3 Programme / Video Brief

The first step in this process is writing a video brief to aid developers in creating a
dynamic, engaging product that will exceed expectations. A well-written brief can
save you time, money and trouble along the way, as well as let designers know just
what it is you‘re looking for. But how do you go about creating the perfect video
brief? Below we‘ve listed the essentials to ensure your brief is its very best.
Remember to Keep It Brief, Literally

First things first. Being thorough with necessities and expectations of the video
doesn‘t require its own novel. Focus on being concise and brief with the proposal,
just as the name suggests. A short paragraph for each essential item or a list of
main ideas will do just fine.
Provide Necessary Background Info

In order to create the best final product, developers must understand your brand or
business. It is essential to include a link to your website, relevant background
information, your brand‘s message, and important facts. Answer questions like:
What does your company do? Are you a start-up or established business? Focus on
key elements and important milestones in your company‘s history.
Name The Must-Haves
A few bullet points will do the trick here. Determine who your target audience
is — be it current or potential customers, stock holders, employees— and
state what message you are trying to get across. Be wary of incorporating too
many ideas in one video. The result often has an adverse effect and leaves
viewers confused.
Consider Style
Providing examples of other videos is a good way to let videographers know
what tone to use when developing your video. What is the personality of your
brand? Do you want the current brand‘s style to be translated in your video, or
perhaps you would like to try something new? How do you want it to be
narrated? Developers may also suggest styles that could best fit your brand
and objective.
Create A List Of Expectations

Creating a list of details that the final product should include and what you
would define as success will help guarantee good results. What are the goals
of the video? Communicate with the developers to make your desires known.
If it is your first time creating a video, let them know, as they can help to guide
you in the video-making process.
The production of documentary is similar to the production of soft news video
package. The crew for documentary production is small, similar to the crew
size for the soft news video packages. The person whom a documentary is
usually conceived and created is the producer. A documentary producer can
be a part of a larger organization such as the news department of a television
newscast or may be simply an independent producer or documentary
freelancer. The producer oversees all facets of the video production.
Format of Video Brief:
Title ―A DROP OF SUNSHINE‖
Programme Format Non-Fiction / Documentary
Duration 5 min
Language English
Target audience Youth (18 -50 Years)

Objective To spread awareness about an uncommon
mental illness – schizophrenia and with
support of doctors, family and friends,
how it can be healed.
It takes a controversial and contrarian view

Log Line (Description towards recovery from schizophrenia,
less than 40 words) proposing that the only treatment that can
work is one where the so-called ‗patient‘ is
encouraged and empowered to become an
equal partner in the process of healing.
Research Primary Sources: Doctors, patients,

parents, other medical professionals.
Secondary sources: Books, Journals,
Magazines, Newspaper articles
Budget Rs.1,60,000/-
Shooting location Delhi
2.4 Objectives of programme
Objectives give your brief focus by clearly identifying your objectives from the start.
The key question to ask yourself at this stage is what do you want your video to
achieve? Are you looking to drive sales of a new product, encourage employee
engagement with a new business concept or celebrate success at your AGM? Is
your video a stand-alone entity or part of a wider campaign with multiple
approaches?
Creating a bullet point list of your objectives will give you clear goals and allow your
production company to help you achieve them.
This is probably the most important part of the brief, and it‘s essential that you think
through your strategy and objectives completely before you get the project
underway. Why do you need this project? What are you hoping to achieve with it?
What are your goals? Is there a problem you‘re trying to solve? How will you
measure success? For example, if you‘re developing an eBook, you might
measure success by the number of downloads. These details will help the
designer understand your goals and come up with solutions that address
them.
2.5 Synopsis
First off, what is a synopsis and why write one? Professionals in the film
industry – those intrigued by your concept, won't always ask to read your
script. Why? They simply do not have the time so instead, they ask you to
send over or leave a synopsis or one-sheet. A synopsis hits on all the
important beats, moments, or elements in your screenplay.
The good news is that being able to write a synopsis is crucial when it comes
to leaving a one-sheet if your pitch is successful. One-sheets are usually no
more than a page in length and have more than just your synopsis on them
but the synopsis part is definitely one of the most important elements
contained on it aside from your contact information.
Knowing how to write a synopsis is part of the trade. A writer definitely limits
themselves if they do not have this ability. In fact, consider this ―how-to‖ as
the first step in becoming an expert at writing a synopsis... Read more articles
and experiment with different techniques until you feel both comfortable and
confident that your synopses are doing their job. Becoming an expert comes
with practice.
A great exercise is to pick a few of your favorite films and write out both a
logline and synopsis for them.
A synopsis is really nothing more than a short description of your screenplay.
The typical synopsis consists of a plot summary of the screenplay on one side
of a sheet of paper and usually contains no more than 400 words. It highlights
your main characters and what they go through during your story.
A good synopsis will focus a lot of attention to conflict and resolution.

Many synopses are written after completion of the screenplay but it's often a
good idea to write out a synopsis before you even begin with FADE IN on
your screenplay especially if you're trying to sell an idea to a producer ahead
of time.
A good synopsis a very good tool to help writers develop an idea for a
screenplay and eventual movie.
A synopsis does not try to tell the whole story... Rather, it focuses on a few
characters and the most important parts of the story. A good synopsis makes
the person who reads it want to see the movie.
Elements to be aware of when writing a good synopsis...
• Limit your synopsis to one page or less.
• Include a sentence or two about your beginning scenes.
• Describe where the story happens and at least the major character.
• Other characters can be introduced, but don‘t make the synopsis too detailed.
• Include the most important conflict or events in the story.
• Use the present tense except for events that come before the story.
• Link synopsis paragraphs to one another in a logical way – so they flow.
• Write your synopsis paragraphs so anyone can understand your story.
• Try to convince your reader that your story is interesting and would make a great
movie.
• Include a sentence or two about your ending scenes.
• Let your voice or style come through in your synopsis.
• Always proofread your synopsis for correct style, grammar, and usage.
The test your synopsis, ask yourself the following questions...
• Does my synopsis give a producer an accurate view of my story?
• Based on my synopsis, could a producer easily pitch my screenplay to others?
• Can my synopsis be easily understood or is it too complicated of a read?
• Is my synopsis bogged down with too many unimportant or unnecessary details?
If your synopsis does not answer each of the above questions with a definitive ―Yes,‖
then it is very likely your synopsis needs more work. Always consider having your
synopsis critiqued by the same people you share your script with before going out
with it. Get feedback and tweak as necessary.
Begin your synopsis by expanding on your logline and actually turning it into a three-
act story. In other words, tell it as a story and follow the same order as your
screenplay if you've already written it. If you're using a synopsis as a screenplay
development tool, it would be handy to have your outline at this point – assuming
you use one. If so, use your outline to begin telling your story as defined above. If
you're using this synopsis as a way to get people in the business to request your
screenplay, stay focused on that aspect as your write it out.
Give the person reading it a clear idea about what your story is about by providing
them with clearly defined characters and a solid story that contains a beginning,
middle, and end.
2.6 Research
Documentary research is the use of outside sources, documents, to support the

viewpoint or argument of an academic work. The process of documentary research
often involves some or all of conceptualising, using and assessing documents. The
analysis of the documents in documentary research would be either quantitative or
qualitative analysis (or both). The key issues surrounding types of documents and
our ability to use them as reliable sources of evidence on the social world
must be considered by all who use documents in their research.
Every film, especially a documentary, has a ‗value‘. This could be social,
political, historical, philosophical, artistic or of some other kind. The amount of
research a scriptwriter puts in is directly related to the ‗value‘ of the film. In the
rush to get started, many people often skim over the research process.
Especially in films that involve subjects of a personal nature; for example: a
person‘s journey within his own family to explore social dynamics.
A scriptwriter could be instructed to write a script on a live event that was shot
some time ago, like a riot, or for a film on the thoughts and feelings of a
celebrity already captured in detail on camera. He might ask himself, ―How
can I possibly add anything more to the subject information?‖ Even in films
that seem straightforward and detailed information has already been given to
the scriptwriter, there is always room for more research. There are simply no
shortcuts that will provide the quality of a well-researched film.
Suppose a scriptwriter has the footage of a live riot, shot by the filmmaker,
along with a detailed log of the events that took place before, during and
afterwards, the filmmaker‘s personal thoughts about his experience and on-
camera interviews with people on both sides about their views. He may think
he has enough information to write a fairly comprehensive script and he
would be right. However, what if he did a little study on the political, historical
and social reasons why that riot may have taken place for some extra context,
or if he spoke to a few more people who were involved on that day and who
may have seen something he didn‘t know about. Perhaps he could visit the
riot site, or meet an expert on riots and get his perspective on what happened
and even collect the newspaper coverage of that riot and think about the role
of media in that event. He could even go so far as to place himself in the
middle of a riot (highly unadvisable) to get a first-hand perspective on the
experience. In the end, he may or may not use any of the so-called ‗extra‘
information he gathered, but his in-depth knowledge on the subject would be
extremely valuable in creating an insightful and engaging script.
Quantity Vs Quality:
One of the more important questions that scriptwriters have is, ―How much
research is enough?‖ The quality of research is far more important than the
quantity. After all, if you were a writing a script for a film on the First World
War, you could spend a lifetime studying the subject and never meet that
script deadline. One of the more important skills of the scriptwriter is to
segregate relevant information from the irrelevant. This can be done by
having detailed and on-going communication with the filmmaker at all times.
The focus of the film and the subject matter it is dealing with must be kept in
mind at all times. Any information gathered or lead followed must first be put
through a ‗relevancy test‘. The scriptwriter must ask himself: · Is this information or
source of information directly related to the subject of my film? · Is it necessary for
the audience to know this information? · Will this information add to the overall
quality of the film? · Even if it is relevant and will add value, is it more relevant than
all the other information I have gathered so far? · Will I be able to incorporate this
information into the script even if it is relevant to the subject?
The ‘Strategy’
Almost every scriptwriter starts off with a research strategy. After all, it‘s extremely
inconvenient to be in the middle of writing a script when a new piece of information
crops up. It‘s important to think about and list down every approach and every
source you will use to gather information needed for research. The all-important
question that usually crops up is, ―Where do I look?‖ Each scriptwriter has his own
sources and approaches for gathering information and many use the same tried and
tested ways throughout their careers. A few places to start are: ·
Print Research:
There are millions of places to look in print: Newspapers, books, magazines,

journals, digests, reports, archives, diaries…the list is endless. The scriptwriter must
decide which one will be suitable for subject-related information gathering and then
physically get hold of the required publication. The usual places to go for finding print
material are libraries, bookstores, institutions and organizations with archives and, of
course, the internet. Other places could be antique book stores, publishing houses
and academic institutions.
People also keep print material in their houses and that out-of-print, obscure thesis
you were looking for could be lying in your neighbour‘s house so it never hurts to ask
around. Unless your film is about something extremely specific, chances are you‘ll
have a stack of a hundred relevant publications lying in your house waiting to be
read. Chances also are you‘ll probably not have enough time to read all of them. The
art of scouring through large amounts of print material quickly can only be picked up
over time, however a novice scriptwriter should try and train his eye to skim over
words and stop to read bits of text which occur to him as something he could put in
his script or which sounds interesting and should be kept aside.
It also helps to keep a look out for ‗keywords‘ or words that strike a chord because of
their meaning. These words can be used later on in the script, if you are going to
write narration. In addition, you may be exploring the idea of including visuals of print
material in your film as well, in which case you must select and isolate this material
carefully for filming later.
Field Research : Since film is a visual medium, it is integral that a scriptwriter get an
accurate picture of the visual information in the film. He could go to the various
locations in which the film will be shot, or to locations where events took place
earlier or will take place in the future.
The scriptwriter could attend related events or even put himself into places
where the people in the film will be or would have been. He could even go to
museums, art galleries or any kind of public viewing space where he could
gather information. The ‗field‘ exists only in relation to the subject of the film
and therefore the options are endless and should be visited upon the
scriptwriter‘s discretion. Once the writer reaches a location, it is important to
look out for things which might be relevant to the script. You could track
events as they happened or look for clues that could reveal facts much like a
detective. How to gather field material when on location is subjective to the
film, but the scriptwriter must keep a look out for all things visual that can be
incorporated as images within the script.
The culture of the area should be learnt, the people met, the details noted.
Once you gather this knowledge, you must keep it aside for future reference.
It also helps when on a shooting location, to note things like where the
sunlight comes from at what time and what the sounds are heard around the
area. These little details will help you design the script in a more artistic and
insightful way. ·
Interview Research: Nine times out of ten, a scriptwriter will be called upon
to write a script about something he knows nothing about. Factual knowledge
can usually be easily attained from print and field research; however the
scriptwriter must also gather perspective. Not one but many. The best way to
gain perspective is to speak to people directly and indirectly connected with
the subject. Films are a medium for people, by people and therefore a human
perspective is imperative for any film. Interview research, which is basically
meeting people and asking them questions, is a must for every film.
The scriptwriter must first decide whom to speak to and what to ask them.
Normally, the first person or people to seek out are the experts on the subject
at hand. They can provide the scriptwriter with not only knowledge but the
benefit of their experience. If there are specific events in the film, then the
scriptwriter can speak to people who were involved with the events, directly
and indirectly. The selection of people should be varied to get different, even
opposing, types of information from each. The questions to ask them should
cover a range of ideas and should typically include factual and emotional
elements as well as opinions and insights. These conversations should be
recorded carefully and relevant points should be kept aside. It always helps to
listen to any ideas they may have about how you can ‗treat‘ the film
conceptually, irrespective of whether you incorporate their opinions into the
script or not. Who knows? Somebody may give you a gem of an idea
2.7 Recce
Recce is media production term in the UK, Australia, New Zealand and South Africa
which refers to a pre-filming visit to a location to determine its suitability for shooting,
including access to necessary facilities and assessment of any potential lighting or
sound issues, and is closely related to location scouting. A "wildtrack" is soundtrack
sounds recorded without images for use in post-production at a later point. In the
US, the term "site survey" or "tech scout" is commonly used with the same meaning.
"Recce" is borrowed from the military expression of the same name, which derived
from "reconnaissance" in the noun sense and "reconnoitre" in the verb sense.
The more ambitions your video production requirements are, the more likely you‘re
going to find yourself in need of specific locations to produce your films. Before you
can start filming, it is not uncommon to visit the location to make sure it meets your
production requirements from both a creative and practical point of view. Here are
six things to look out for when performing a location recce. Even if you‘re not
officially part of the production team, it is handy to know what to keep your eyes out
for.
It‘s not always easy to arrange a recce before the shoot day.
With shoots arranged at short notice you might be limited on time and, depending on
the location, there may be access restrictions. With the fast paced demands of
modern video production, recces have become something of a rarity. But like
London buses all coming at once, this week we‘ve had recces two days in a row for
two different projects! And they‘ve been worth their weight in gold.
So what are the benefits of arranging a recce?
Safety
It might seem obvious, but it doesn‘t mean it shouldn‘t be taken seriously.
A risk assessment should be carried out on filming locations. For the safety of crew
and any client staff that may be in the vicinity, this is the perfect chance to assess
potential hazards. It could be potential hazards for crew posed by on-site equipment
or restricted space, or potential hazards created by filming equipment that on-site
staff should be aware of. Whatever it is, you‘re much better placed to do this
effectively before a shoot than running around making notes an hour before filming.
Logistics
One of the biggest challenges of video production without a recce is that video
teams have no idea what they might face. Together you might attempt to counter
this by ensuring security are aware of crew arrival to avoid delays, or share photos
of the filming space so crew know what they‘ll be working with, but it‘s pretty rare
that there isn‘t at least one surprise.
With a recce the video team have the opportunity to do a dry run of the journey,
assess the location access and introduce themselves to security so they know what
they‘ll be doing and when. Power supplies can be checked to ensure they can take
the load of any high powered lighting that may be used. Finer details like
natural light and sound can be considered, and adjustments can be made to
kit spec to counter any issues with either of these.
2.8 Treatment
When creating a video project (particularly for a client), one of the best of the
things you can create is a treatment. The treatment is considered a standard
part of the development cycle for most film and television productions. The
truth is that all kinds of video producers can benefit from creating a treatment.
The goal is to write a single document that defines the videos concept and
summarizes the creating approach to be taken. Usually this can be as short
as a single page. The best part of making a treatment is that is formalizes the
creative process for the video producer. The major benefit here is that the
document can then be shared with others as you work with other creative
professionals, get approval from a client, or even seek funding or approval for
the project.
Following approach can be adapted to develop a treatment:
Define the Goals and Set Parameters. What is the core message you are
trying to convey in your video. Who do you want to watch the video? Whats
the desired outcome youd like to create (volunteering, purchases, political
change, or a good laugh?) Whats your budget and how long will the video
run.
Whats the Concept? You‘ll want to be able to quickly summarize the theme
and objective for the video. Describe to others the core message and frame
its delivery method.
Whats the Approach? Nows the time to lay out the specifics. This is
generally a narrative summary of the journey the audience is going to take. In
a way, it might resemble a book report you wrote in school. A clear summary
that reveals all of the important details which will be presented to the viewer.
Describe specifics that will elicit response by the audience including music
choice, shooting style, and editing approach. Describe the emotions you will
solicit along the journey and how the audience will feel at the videos end.
Formatting Your Treatment
Aim for two-five pages. Adjust the length based on your audience and the
script.
Aiming for two pages keeps things simple and focused, while five pages is a
maximum to stay under. Keeping it short makes it more likely that someone
will read the whole treatment. Some people write treatments that are 30-40
pages long, but the chances of it being read increases if you keep it under five
pages.
A possible page breakdown is one page for basic information like the title, logline,
characters and plot summary, one page or less for each of three acts, and an extra
page to spare.
Write sentences that are one line or less. As you describe your script, use details
and good description, but keep it brief. Read the sentences aloud to see if they are
easy to read. If you have to take a breath partway through the sentences, it‘s too
long.
Aim for sentences that are 15-18 words long, or less. This is a guide, because at
times it may be necessary to write longer sentences.
For example, ―Gene strolls down the sidewalk, and he stops to gaze at a trinket in a
store window.‖ This sentence shows action but is short and streamlined.
Keep the paragraphs short and direct. Trim your paragraphs down to three to five
sentences. Always avoid writing large blocks of text because your reader will lose
interest. Vary the number of sentences depending on what part of the plot you are
describing.
If your sentences are only eight words long, put more like 8-10 sentences in the
paragraph. You don‘t really want a paragraph that‘s barely two lines long.
Proofread the treatment carefully. It is absolutely vital that you check the
treatment a few times before you give it to someone important. Have a friend or two
read it over carefully to catch what you miss. It may even be worth having a
professional proofreader take a look at it.
The content is not the only thing that matters. A reader will catch your errors and it
will turn them off to your script even if the story is great.
How to write a Treatment:

Put the working title and your name at the top of the treatment.
Make the script title and your name easily visible and obvious. This information is
how the filmmakers will refer to the treatment, so it‘s important. Put it in the top
center of the first page of the treatment.
For example, write ―Luca‘s Milestone by J.C. Lacey.‖
Titles for feature-length movies should be italicized or left in regular font. Do not put
them in quotes.
Create an interesting and developed logline.
Write a one to two sentence summary of your script. Include a description of
the main character, the goal they are pursuing, and the main conflict they
face. This is the reader‘s first insight into your script, so make it count.
Think of this as the simplest way you could possibly describe the full story of
your script.
For example, for the well-known story To Kill a Mockingbird, you might write
this logline: ―A young girl faces the prejudices of small-town America as her
father acts as a lawyer for a black man accused of indecent relations with a
local white girl.‖
Introduce the main characters.

Start with your protagonist, or main character. Describe their appearance, as
well as their main character traits. Discuss the characters they interact with
most throughout the main arc of the story. Be sure to include the primary
antagonist, if there is one.
You don‘t need to include a full list of every person who appears in the story,
but describe the ones that are important to the main story.
You have freedom with your character descriptions, but aim for two to three
sentences that are full of detail for each character.
Expand on the logline in five to ten paragraphs.

Describe your script in the way that makes the most sense to you. Tell the
story chronologically from beginning, to middle, to end, or describe the key
plot points first and the smaller parts second. Don‘t include subplots in your
treatment.
In a three act format, act one establishes the characters and basic setup, act
two brings in a major conflict, act three intensifies and then resolves the
conflict.
Be sure to include the climax and the resolution. You may want to save the
big finish for the screen, but this is not the place to hide it. Give the treatment
reader the ending.
Write for your audience.

You may write the treatment for a producer, director, or even an actor.
Because of this, write it for that person. Adjust the content and the way you
present it based on who it is for. Also adjust based on if you know the reader
personally or not
For a director, you might focus more on the way each scene looks and what
set pieces are involved.
If you‘re writing for an actor you‘d like to play a role, give more attention to
their role than to the other characters.
Make the treatment connect emotionally.
No matter what genre you‘re writing the treatment for, it has to hit the reader with
some real emotion. Make them feel fear, sadness, or joy by the way you describe
the characters and the story. This is the hook that forces the reader to connect with
the story.
Don‘t present something that is different from your script. Use the emotion that is
part of the story and bring it out in the treatment.
Convey emotion by showing how characters react. Write, "He turned his face away,"
which shows he is ashamed or hiding something. Describe a character looking at a
photo for just a few seconds before they start crying.
Write the story in present tense.

Your treatment should read as the audience will see it. Describe everything as it
happens, not as if it has happened already or will happen. This can be tricky,
because it‘s not always your first instinct. Check your writing over for tense shifts.
For example, write, ―Devon walks to the door hesitantly and looks through the
peephole.‖ Don‘t write, ―She stopped and thought about her day,‖ because that shifts
to past tense.
2.9 Assignments
1. What is difference between synopsis and treatment?
What is recce? What is its importance in pre-production?
2.10. Summing Up
In this chapter, we learnt about how to think of an idea, how to write video brief and
synopsis. Also, importance of location scouting and research in adding value to the
production.

1) What is a treatment?
2) How to do research for making a video production?

2.13 Keywords
Recce: a pre-filming visit to a location to determine its suitability for
shooting, including access to necessary facilities and assessment of any
potential lighting or sound issues
________________________________________________________________
Lesson 2 Scripting a Programme: Story Boarding and Script
Breakdown
___________________________________________________________________
STRUCTURE
2.0 Objectives
2.1 Introduction
2.2 Scripting
2.3 Story Board
2.4 Script Breakdown
2.5 Assignments
2.6 Summing Up
2. Scripting a Programme: Story Boarding and
Script Breakdown
A step forward, scripting stage also plays an important role in Pre-Production.
___________________________________________________________________
2.0 Objectives
 Write story in script format
 Concept of story board and its process
 The process of Script Breakdown
2.1 Introduction
Fiction and non-fiction are two of the main forms of writing. Fiction is the
creation of a story from the director, producer or writers imagination, and is
not based on real events or people, though it may reference real events or
people. Fiction stories are not true stories, though many have elements of
truth in them. Fiction is by far the most popular form or literature, and you can
find a fiction story in any genre. If you want to create your own work of fiction,
all it takes is a little time and creativity. Often in our real lives, ideas and
emotions, mind and passion, revolve in different spheres altogether. On film, if
we see a dead body, we react immediately with emotion, perhaps even
pondering the waste of life and questioning our own existence. However, if we
were to see a dead body on a street as we drove by, our immediate reaction
may be shock, even revulsion.
2.2 Scripting a non-fiction

A well-written film script is an instrument through which you
can create emotion and epiphany at will. That is one reason why it is possibly
the mostcritical aspect of the filmmaking procedure.
The script is also, often, the most underrated aspect of the documentary
process. A school of thought suggests that the documentary-making process
should be fluid and organic, whereby the filmmaker experiences the film as he
makes it. Many filmmakers write a ‗paper-edit‘ after shooting in place of a
script. This process has and does work with many types of films. Especially
when the filmmaker is recording events beyond his control like political rallies,
events, natural disasters, riots and demonstrations etc. However, in most
films, the filmmaker will find himself asking the question, ―What should I
shoot?‖ Here, it is imperative to start out with a well-written script, whether or
not things change during the shooting process. Often preparing a script
beforehand can make the difference between a bad film and a good film. Or,
at best, a good film and a great film.
There are two stages of documentary scriptwriting:
(i) The Pre-shoot or Shooting Script
(ii) The Post-shoot Script
A pre-shoot or shooting script is like carrying a map when you set out on a road trip.
You may stumble across many unseen barriers or unexpected surprises. You may
discover wonderful, uncharted areas off the beaten track. You may decide to go in
one direction or the next or perhaps even a third. A map helps you on your way and
prevents you from getting lost. A shooting script is a conceptual map for your
shooting journey. It consolidates research and outlines the film‘s story, providing a
visual guideline for the shoot. It uses the same format and elements as a post-shoot
script and can be as comprehensive or generic depending on the information
available to the scriptwriter at that stage.
A shooting script should not be confused with a shot list. A shot list is a production
tool which contains shot numbers, descriptions and transitions along with production
details. Even though some director-scriptwriters often combine the shooting script
and shot list, the two are separate entities. A shooting script rarely delves into
detailed aspects of production unless integral to the story. It is more conceptual in
nature; descriptive, but leaving room for interpretation. The post-shoot script is the
final version of the shooting script. This is often a modified or re-written version of the
shooting script and is created between the shooting and editing processes of the
documentary. The post-shoot script combines conceptual elements along with audio-
visual information gathered at the production stage and may also include any new
knowledge gathered along the way. It then weaves it all together into a cinematic
story, which is used by the filmmaker to edit the documentary. The post shoot script
often includes descriptions of shots and actions and is quite comprehensive. Again,
the post-shoot script should not be confused with a paper-edit, which contains
detailed shot and production information. Even though the two are often combined
by director-scriptwriters, they are separate entities. The paper-edit is a tool for the
editor to cut the footage and includes elements like time-counters, tape numbers,
shot in-points and out-points etc. The script is conceptual and descriptive of action
but should leave some room for creative interpretation at the editing stage. Both the
pre-shoot and post-shoot scripts are time-specific versions of the same entity. The
same elements and technique can be used to create both depending on the amount
of information available at that time.
WRITING FOR FILM AND WHY DOCUMENTARIES ARE DIFFERENT

Writing for film, fiction or non-fiction, is quite different from writing for print. There are
a few unique features of film that a screenwriter must consider:
Film is visual.
The words that a screenwriter writes will never be read by anyone. They will only be
seen and heard as images on a screen. The most important skill of a screenwriter is
that he must be able to write visually. Theorizing or explaining a concept in a script is
pointless; if the audience can‘t ‗look‘ at the theory, it‘s not worth writing. A
screenwriter must think, ‗Is what I‘m about to write visual in nature? If not, then how
can I make it visual?‖
Film shows motion.
Most of the images you see on screen have action. It‘s what separates
moving images from photographs. Stories for film must be translated by a
screenwriter into active images.
Film reveals what the eye often can’t see.

A tiny cell in our bodies, a country we‘ve never been to, details that we would
normally miss. The screenwriter must bring things to life for the audience who
may have never before experienced what they see on screen.
Film transcends time and space.

A film doesn‘t adhere to our dimensions of time and space. Once made, it
continues to exist in a little bubble of its own, transcending the limits of our
present lives. A screenwriter must understand that writing for a film means
creating a being that should have a life of its own long after the writer has
moved on from it.
Film is Subjective.
By simply pointing the camera in a specific direction, a subjective choice has
been made. The very nature of film, like our eyes, is to focus on what is
considered to be the object of interest and eliminate what lies beyond the
lens, thereby losing all sense of objectivity.
Film chooses audience.

The screenwriter must always keep in mind that each film chooses its own
audience depending on how he chooses to tell the story. By varying a script,
he may be showing the film to very different people in the end.
Film emphasizes and emotionalizes. Films can evoke different kinds of

reactions in the audience, from grief to anger. They can make the audience
think and send powerful messages across to them.
When it comes to documentaries in particular, there are a few more things to

be kept in mind before starting to write a script. Documentary scripts do share
many common elements with scripts for fiction films, shorts and features alike.
However, they also have their own specific considerations:
Documentary deals with fact, not fiction.

Most importantly, documentaries delve into a non-fictional world with real
events, real issues, real conflict, real people and real emotions. Everything
seen and heard on screen is grounded in accuracy and has no element of
fiction.
Documentary is flexible.
Unlike fictional films, documentaries have no fixed visual and conceptual guidelines
per say. It‘s impossible to concretize events or decide one way or the other about
how the film will turn out eventually. There are fewer ‗rules‘ to be followed, which
reflects the fact that there are few rules in the real world as well. This makes it more
challenging but infinitely more exciting.
Documentary inspires movement and action. At the very heart of documentary,

there is an issue and a message at hand. The passing on of this message to the
audience is usually the reason that the film was made in the first place.
Documentaries have long been used as an instrument to inspire change in their
audience, be it social change or inner change.
Documentary involves less control. Unlike fiction films, documentaries must be

shot in the real world and show real events happening. Often, the filmmaker is
unable to control the event he is shooting as well as the circumstances surrounding
the event. It‘s difficult to think about lighting when in the middle of a sniper shootout!
There is less control over the subject in documentary; however this unmodified,
improvised element is often the very charm of non-fiction films.
Documentary subject is paramount. Documentaries are inherently bound to their

subject matter. Since their purpose is so issue-specific and their circumstances are
non-fictional, the subject is the most important aspect of documentary films and is
given precedence over other aspects, for example: entertainment value. In fact, until
recently filmmakers scoffed at the idea of a documentary being entertaining. This
attitude has, of course, changed now but subject still remains the dominant element.
Credibility is key in Documentary. The emergence of the documentary as a

recognised cinematic genre in the 1920‘s inherited the trust of the audience in the
veracity of the image as an authentic representation of the real. Today, we are much
more sceptical, even with documentaries. Audience trust, once lost is gone forever
so a documentary, in this day and age, must always provide credible information and
sources to put a suspicious audience at ease.
Format of writing a script

The script model is based on three columns generally, the actions (image) appear on
the left and the sounds to the right and duration. An optional third column is one with
the estimated duration. I find this particularly useful because when filming I can
control better the footage for every sequence and also estimate the number of
scenes needed. But everyone writes script according to their preference. Some
people prefer video column before the audio one.
See the following example of a two column script.
2.3 Story Board

A storyboard is a tool for sketching out how a video will unfold, shot by shot. It
looks like a comic strip.
Each square represents a single shot. It shows who or what is in the scene,
what‘s being said, and any text or graphics that appear on the screen. As you
read through a storyboard, you should be able to ―see‖ the video playing in
your head.
A good storyboard serves two main functions: planning and communication.
Planning
When you storyboard a video, you‘re creating a plan for production. It's tempting to
just pick up a video camera and start recording, but without a road map you‘ll waste
time, money and energy.
A storyboard forces you to visualize the shots you‘ll need, the order in which they‘ll
appear, and how the visuals will interact with the script. It‘s much easier to hash out
the details during pre-production than it is on location, when the clock is ticking on an
expensive production team (or worse, after everything‘s been shot!).
Communication
Another challenge of team productions like video is communication. With a
storyboard, you can show a client or production crew exactly what you have in mind.
No more wordy explanations or charades!
The storyboard will change as team members offer feedback and the project
evolves. It's an essential tool for making sure everyone involved is on the same
page.
Shots and Cuts
After cameras and lenses, every video storyteller has two essential
tools: shots and cuts. These two tools are much, much more important than the gear
you use.
A shot is a clip of video. It has a beginning and an end, but beyond that it can be any
duration of time (so long as it is unbroken) and contain anything you like. Shots
choice is the fundamental expressive tool of video storytelling, and there are many
different kinds of shots you can make. How you make your shots is the main signal
your audience to feel a certain way when they watch your video.
A cut is the end of a shot. Cuts are your essential narrative tool. The way a shot
ends, and then how the next one starts, is the main way that video tells a story.
Good cuts create continuity and cohesiveness, and keep the audience engaged with
the story. You decide when to make a cut twice: once when you are recording your
original video clip, and again in post-production when you trim down and edit your
clips together.
Making good shots and cuts is harder than it sounds! It's especially hard to do them
well without a plan.
How To Make a Storyboard

A storyboard doesn't have to be an elaborate work of art. Here‘s how to make one:
Step 1: Create a Template
Draw a series of rectangles on a piece of paper, as if you were creating a comic
strip. Make sure you leave room for notes or lines of script under each rectangle.
Step 2: Add the Script
Under each rectangle, write the line of script or dialogue that corresponds to that
scene.
Step 3: Sketch out the story
Don‘t worry if you‘re not an artist - simple stick figures will do the trick. You
can indicate movement with an arrow. A bad drawing is better than no
drawing! If you don‘t want to sketch the shots by hand, you can use
photographs or images cut from a magazine. There are even storyboarding
tools online where you can select characters and settings, add speech
bubbles and text blocks, and even record audio. Be warned, though – they‘re
tons of fun, and you can waste a lot of time!
Step 4: Add Notes
Finally, add in any notes about each scene. This might include a description
of what‘s happening, camera angles or movement, and any special effects.
Don‘t forget about audio like music or sound effects.
Storyboarding Tips
Draw quickly and sloppily if you feel inspired and need to get your ideas down
on paper. You can go back and work on your storyboards. Have fun with your
storyboards, they're the perfect tool for letting your imagination work.
Here are a few more storyboarding tips:
 Use rectangles that are the same aspect ratio as video, 16:9.
 Number each rectangle for easy reference in discussions.
 Bone up on the standard shot types used in video before you start.
 Think in 3D. Make subjects/objects in the background smaller, so they appear
further away.
 Cut up and recombine your storyboards to play with sequencing and
narrative.
 Use the finished storyboard to create a master shot list. This way nothing will
get overlooked during production.
2.4 Script Breakdown
A script breakdown is an intermediate step in the production of a play, film, comic

book, or any other work that is originally planned using a script.
In film and television, a script breakdown is an analysis of a screenplay in which all

of the production elements are reduced into lists. This process is a very tedious and
complex task, and is usually the responsibility of the Assistant Director or first or 1AD
within the production staff of any given production company. However, many film
directors, film producers and screenwriters have knowledge of breaking down a
script.
Script breakdown is an important filmmaking process that allows you to identify all
the elements needed to be prep, scheduled and budgeted for in your film production.
By doing the script breakdown, you will determine the technical and creative
requirements and considerations for each department.
In particular, literally breaking down the script is a very a thorough and detailed
creative analysis of dramatic action in filmmaking, highlighting the reciprocal
struggle, theme, and design elements of a screenplay. Which is to code the entire
cast, extras, props, special effects, stunts, wranglers, picture cars,[1] wardrobe,
make-up and hair stylists, special equipment and or cameras, ADR, Foley, film
scores and soundtracks etc., which are all broken-down with different colored marker
highlights within a shooting script.
After which, these highlights are then organized and broken-down into strips to
organize the production schedule within the actual physical production board. This
process is more easily done nowadays utilizing a computer than done manually, with
features inside Final Draft called tagger, or utilizing tagging mode inside Movie Magic
Screenwriter, another effective computer program.[2] This information can easily be
imported over to Movie Magic Scheduling to create a digital production board, and
then easily imported over to Movie Magic Budgeting to create the entire production
budget.
Process:
1. Read the script as if you were a viewer
Before you mark anything on the script, read the script from an audience‘s
perspective. You only have one first impression of the story, so give yourself a
chance to connect to it.
Beyond the emotional connection, the more familiar you are with the story, the more
likely you will be to identify all the elements once you begin marking the script.
Marking the script
The producer usually completes a simple script breakdown first in order
to create a preliminary shooting schedule and budget. The 1st AD then
conducts a more comprehensive script breakdown to create the stripboard,
scene breakdown, and production shooting schedule.
The DP marks the script to generate a shot list and equipment requirements.
Other department keys (i.e. production design) will do their own analysis as
well.
2. Scan for formatting errors in screenwriting software

After you have read the script all the way through, read it once more, this
time scanning for any formatting errors that may cause hiccups when
importing the script file into scheduling software such as Movie Magic
Scheduling or StudioBinder.
THE MOST COMMON FORMATTING ERRORS TO LOOK OUT FOR:

o Scene locations should be phrased consistently throughout the script.
o Character names should be consistent as well.
o Scene headers should be formatted only as INT or EXT (interior or
exterior).
o Scene headers should be formatted only as D or N (day or night).
o Scene numbers have been generated.
o These changes should be saved in the screenwriting software.
Afterwards, you should be able to import the new script correctly in
scheduling software. Learn more about How to Properly Format a
Script Before the Script Breakdown.
3. Start breaking down your script into 8ths
Marking 1/8s of a page is exactly like it sounds. Divide every page into
eight, 1 inch parts. This measurement is used to estimate the screen time
and shooting time for a scene.
Just make sure that you and your scripty (script supervisor) are on the
same page. All puns aside, it‘s important that both of you measure scenes
in exactly the same way.
On a typical dialogue-heavy indie production, you can expect to shoot
roughly 5 pages per day where one page equals one minute of screen
time.
4. Mark your script elements using coloured highlighters
The purpose of marking a script is to identify all the elements in a scene so they can
included in the script breakdown sheet, shooting
schedule, and then prepped prior to production. Marking a script is tedious and
careful work.
If you‘re doing this lo-fi on a physical script, it‘s common to use multiple highlighters
and pens to identify specific element types. If you‘re marking the script using
software, Movie Magic Scheduling, Final Draft Tagger, and StudioBinder all support
element tagging. You can find ―typical‖ script breakdown colors below. If you‘re using
custom script breakdown colors, include a color legend with your script breakdown
sheets.
5. Create the shooting schedule
Last step is to make a shooting schedule or shooting script in which we
know which actor, prop, vehicle is require on which day.
2.5 Assignments
1. What is a story board and why is it important to make it?
1. What is a script breakdown?
2.6 Summing Up
In this chapter, we learnt about script break down and its process, story boarding
process and format of script writing.
2.7 Terminal Question

1. Describe script break down with examples.
2.8 Suggested Further Readings

1. Herbert Zettl, TV production Handbook, Thomas Wardsworth
Publishing\
LESSON 3 Maintaining Continuity, Make-up, Set-designs, Costumes,
Props, Floor Plan
______________________________________________________________
STRUCTURE
3.0 Objectives
3.1 Introduction
3.2 Maintaining Continuity
3.3 Make-up
3.4 Set-designs
3.5 Costumes
3.6 Props
3.7 Floor Plan
3.8 Assignments
3.9 Summing Up
3.10 Terminal Questions
3.12 Keywords
3. Maintaining Continuity, Make-up, Set-designs, Costumes, Props,

Floor Plan
___________________________________________________________________
This lesson deals with understanding various elements of actual production part.
___________________________________________________________________
3.0 Objectives
 Understand the importance of continuity in film production.
 Make – up requirements
 Set –designs from simple to complex
 Props
 How to draw a floor plan
___________________________________________________________________
3.1 Introduction
In production, the film is created and shot. More crew will be recruited at this stage,
such as the property master, script supervisor, assistant directors, stills
photographer, picture editor, and sound editors. These are just the most common
roles in filmmaking; the production office will be free to create any unique blend of
roles to suit the various responsibilities possible during the production of a film.
3.2 Maintaining Continuity
Film continuity is described as shots taken from different angles and composition at
a single location must have the same position of characters, properties, objects,
costumes and even dialogs. It is one of the biggest errors which amateur or
professional filmmakers often make. Film continuity is very easy to understand yet
very difficult to maintain.
Film continuity is very important in filmmaking. The basic purpose of making films is
connecting audience with your story. When you start telling stories in visual
form/films the audience gets connected to the content and they focus on the
continuity of the events. Bt there is a film continuity error, audience get distracted
and it takes a lot of time for them to connect back to the story which no filmmaker
wants.
Acting Continuity
Actors need to do the same

action and say the same line
in different shots and
different takes. I love to
demonstrate this in Film Class.
We get actors to play a scene a certain way in the master shot. The actor may
pick up the glass with the right hand and then wave with their left hand. Then
we shoot a Close Up where the actor picks up the glass with the left hand
and then waves with the right hand. Then we edit the two shots and see how
bad the scene cuts. Now we do this on purpose for demonstration purposes.
However, so many film makers make this very mistake with their actors on
important film projects with detrimental results to one‘s film.
Make sure that your actors are trained or are exceptionally aware of
continuity. Motivate the actors by letting them know if their continuity is
exceptionally good , its means that their close ups get more screen time.
A good Continuity Person will pick up when an actor has digressed from
important actions or has forgotten key lines in their speech. They are worth
their weight in gold. Good acting continuity differentiates the amateur film
maker from the professional film maker.
2. Costumes:
Another area that can be challenging to the emerging film maker is costume
continuity. Generally, the wardrobe department will keep tabs and photos of
all costumes worn by the actors. However, on a micro budget film, the film
maker may not have a wardrobe department. In this case, you need to keep
very good photos of the actor before you shoot the first take in your scene.
What this means is that you can refer to this photo as you shoot the scene. If
the actor goes to lunch and takes off his tie, it is reasonably easy for the actor
to forget to put the tie on for the afternoon shoot. This can cause very bad
continuity issues.
Also, when the next scene in screen time follows the previous scene,
continuity becomes very important. What if you are not shooting the next
scene for a week. Who is going to remember what the actor was wearing?
Often the actor will forget.
However, if you have a photo of what the actor is wearing, the correct
costume can be found and the next scene can be shot with the actor in the
correct clothes rather than an embarrassing continuity error.
3. Props Continuity
It is a very important to get prop continuity correct. When you start shooting a scene,
you may start with the master wide shot. At this point take photos of the whole film
set and exactly where everything is. Later when you are shooting the Close ups, it
may be necessary to move the table and the props. Then at a later point you have to
shoot another shot that shows the table again in shot. You will have to put the table
back exactly where it was with the exact same props. This can be difficult if you have
forgotton to take a photo at the start of shooting the scene. This can be another
source of continuity errors. So take the photo of the set at the start of shooting the
scene.
Also, if there is action such as a fight, props may be moved and then have to be
replaced for the next take.
4. 180 Degree Line

Now what about the 180 Degree Line. This one is always a challenge for the
emerging filmmaker. Place the camera on the correct side of the line and you will
never make the worst continuity mistake of all continuity mistakes. In film making, the
180-degree ruleis a basic guideline regarding the on-screen spatial relationship
between a character and another character or object within a scene. By keeping the
camera on one side an imaginary axis between two characters, the first character is
always frame right of the second character. Moving the camera over the axis is
called jumping the line or crossing the line; breaking the 180-degree rule by shooting
on all sides is known as shooting in the round.
3.3 Make-up
The use of makeup is
divided into three categories:
Basic - designed to
compensate for undesirable
changes in appearance introduced by the television process.
Corrective - designed to enhance positive attributes and downplay flaws.
Character - which introduces major changes in appearance.
>> Although people might think that makeup is reserved for people "who just
want to look better" on TV or in film, in actual fact, makeup may be required to
just retain a subject's normal appearance.
This is because the television and film processes to some degree can
introduce (or make obvious) undesirable attributes to skin tones and features.
>>As we noted in the information on digital camera setup, modern digital
cameras have skin enhancing setup options that can reduce, but generally not
eliminate, the need for makeup.
In particular, they can appreciably smooth out wrinkles and conceal minor
blemishes.
A make-up artist or makeup artist is an artist whose medium is the human
body, applying makeup and prosthetics for theatrical, television, film, fashion,
magazines and other similar productions including all aspects of the modeling
industry. Awards given for this profession in the entertainment industry include
the Academy Award for Best Makeup and Hairstyling.
Makeup artists aren‘t usually something that you consider when you‘re
watching a movie or a TV show, which just goes to show how well they are
doing their jobs. Makeup artists are absolutely essential when it comes to TV
and film as they can make the audience believe that what they are seeing on
the screen is real. If viewers don‘t believe or buy into what they are watching,
they will usually lose interest pretty fast.
For example, if you were to watch a drama that involved extreme violence,
seeing a character with a ketchup-like substance smothered across their face
or arms without any cuts or bruising isn‘t exactly going to make you believe
the storyline or trigger any of the emotions that the director was trying to
create in the first place. No matter how well the actors play their parts, you
need to be visually persuaded in order to really trust the storyline.
Makeup artists that work in television and film help to communicate the
personality of the characters to the viewers. They use makeup as a way to
improve, enhance or alter the appearance of the actors and the actresses to
ensure that they are suitable for the scene they are about to play out.
Makeup artists need to be trained to deal with all types of briefs. They may be
asked to create different appearances for a character, such as a black eye,
wrinkles or bloody wounds. To ensure that they are doing their job to the best
of their ability, makeup artists often analyze characters, do research and
confer with both the director and actors in order to create the perfect look for a
specific character.
The artist usually works closely with the costume designers and production
hairstylists so that they can coordinate colours and styles. One of the most important
and impressive skills that a TV and film makeup artist must hold is being able to
recreate makeup so that a characters appearance remains consistent regardless of
out-of-sequence filming. Out-of-sequence filming is
pretty much inevitable when it comes to filming either a movie or a TV show as it can
be hard to stick to a schedule when there are so many different fundamentals to
consider. This can include lighting, positioning and acting.
Makeup artists must communicate with everyone on set in order to keep everyone
happy and do their job well, not just the costume designers and hairdressers. This
means liaising with producers, directors and performers, which can be a full time job
in it. Usually makeup artists don‘t just turn up on the day of the shoot, they spend a
fair amount of time researching and designing the makeup that is required for the
production. This could mean using elaborate makeup and wigs for costume dramas,
horror films or sci-fi movies or using materials to alter the shape of a face or create
realistic scars.
The makeup artist doesn‘t only do everything from making Cameron Diaz look
completely flawless to turning Arnold Schwarzenegger into a Terminator, some even
deal with special effects using prosthetics, latex and animatronics. Makeup artists
are such an essential part of the entertainment industry because they are able to
breathe life into a character by making them more three dimensional.
When it comes to a TV or film set, there is usually a team of makeup artists, not just
one individual. This team is often made up of a chief makeup artist (also known as a
makeup designer), a makeup supervisor, a makeup artist and a makeup assistant.
Who attends is usually dependent on the scale of the production.
The role of the chief makeup artist is to oversee makeup and hair applications during
the production process, provide working designs, organize pre-production makeup
and hair and research designs for characterizations for each actor. The chief
makeup artist is fundamentally in charge of the entire makeup department and will
assign an individual makeup artist to apply the designs.
The makeup supervisor will have the job of hiring and managing the hair and
makeup team as required, check and order the stock, arrange makeup try outs as
well as wig and facial hair fittings and oversee the continuity of projects. As a
supervisor it is this makeup artist‘s job to negotiate and work within budgets and
timescales.
The makeup artist is the one who will undertake responsibilities as delegated by the
supervisor. This includes preparing artists for makeup application, performing
makeup and pastiche processes on cast members and following the departments
guidelines to ensure continuity.
A makeup assistant will be on stand by to carry out checks and make adjustments.
They will usually be asked to do anything from preparing artistes, applying and
removing makeup and undertaking research. The assistant will assist the general
running of the department, helping to take some of the strain off the makeup artist.
3.4 Set-designs
Scenic design (also known as scenography, stage design, set design, or
production design) is the creation of theatrical, as well as film or television
scenery. Scenic designers come from a variety of artistic backgrounds, but in
recent years, are mostly trained professionals, holding a B.F.A. or M.F.A.
degrees in theater arts. Scenic designers design sets and scenery that aim to
support the overall artistic goals of the production.
Set Designer
A designer looks at the details searching for evidence through research to
produce conceptual ideas that‘s best toward supporting the content and
values with visual elements. The subject of, ―How do we generate creative
ideas?‖ is a very legitimate question. The most consuming part of expanding
our horizons toward scenic concepts is much more than witnessing creativity,
and creative people. It starts with us opening our mind to the possibilities. To
have an attitude toward learning, seeking, and engaging in creativity and to be
willing to be adventurous, inquisitive and curious. Our imagination is highly
visual. Whether outside or inside, colorful trees or concerts, star lit skies or the
architecture of a great building, scenic design is a process of discovery.
Discovering what will best clarify and support the story being told.
The scenic designer works with the director and other designers to establish
an overall visual concept for the production and design the stage
environment. They are responsible for developing a complete set of design
drawings that include the following:
 basic ground plan showing all stationary scenic elements;
 composite ground plan showing all moving scenic elements, indicating
both their onstage and storage positions;
 section of the stage space incorporating all elements;
 front elevations of every scenic element, and additional elevations or
sections of units as required.
All of these required drawing elements can be easily created from one accurate 3-D
CAD model of the set design.
Collaboration
The production designer doesn‘t work in a silo, making isolated decisions about the
direction of the film. Instead, they are in constant contact with the director and work
in a collaborative environment to create the ultimate vision.
Lighting technicians, wardrobe designers, carpenters, prop masters and many others
on set collaborate with the set designers to finalize each project. Being open to new
ideas and flexible with your vision is a necessary quality to have a set designer.
Research
To be accurate in their depiction of different periods in time, a set designer must
conduct historical research.
If a scene in a movie is set in a house from the 80s for example, the production
designer would research the interior and exterior of a house in the 80s and truly
understand and appreciate the unique features of that era.
If a production designer doesn‘t take this step, anyone who grew up in or is familiar
with that era will notice the inaccuracies and take the film less seriously.
Sketching
Once the set designer has gathered enough research and information from the other
crew members, he will place his vision on paper.
I always think of the Oscars when they give out the awards for set design, they show
the original sketch first, and then show how it was transformed into reality.
Those moments are a constant reminder that it all starts with pencil and paper, not
hammer and nail.
The budget needs to be kept in mind during this process. Don‘t design higher than
you can afford.
Some sets will be easy to create, where only one room and some props are needed,
and others might ask for a whole construction to take place.
Scenes that take place in nature can also be quite easy to set up if the season is
right.
When the director approves of the sketches, then the build begins.
Production design is a crucial part of any movie, TV show or theater performance,
showing off the creativity of the crew and the vision of the production. The crew
involved in the design and implementation of the set are often the largest department
in the film crew.
3.5 Costumes
Costume design is the investing of clothing and the overall appearance of a
character or performer. Costume may refer to the style of dress particular to a
nation, a class, or a period. In many cases, it may contribute to the fullness of
the artistic, visual world which is unique to a particular theatrical or cinematic
production. The most basic designs are produced to denote status, provide
protection or modesty, or provide visual interest to a character.Costumes may
be for a theater, cinema, or musical performance but may not be limited to
such. Costume design should not be confused with costume coordination
which merely involves altering existing clothing, although both create stage
clothes.
Four types of costumes are used in theatrical design: historical, fantastical,

dance, and modern.
Design process
The costume design process involves many steps and though they differ from
genre to genre a basic method is commonly used.
1.) Analysis: The first step is an analysis of the script, musical composition,
choreography, etc. Costume Parameters for the show are established and a
rough costume plot is created. A costume plot outlines which character is in
which scene, when the actors change, and what costumes are mentioned in
the script.
2.) Design Collaboration: An important phase in the process where all of the
designers meet with the director. There must be a clear understanding of
where the show is headed. The designers get on the same page with the
director in terms of themes for the show and what message they want the
audience to get from the show.
3.) Costume Research: Once the director and designers are on the same
page, the next step is for the Costume designer to gather research. Costume
designers usually begin with world of the play research where they find
research to establish the world where the play takes place. This helps the
designers establish the rules of the world and then in turn understand the
characters better. The designer will then go into broad research about each
character to try to establish their personalities though their costume.
4.) Preliminary Sketching and Color Layout: Once enough information is
obtained, Costume designers begin by creating preliminary sketches.
beginning with very quick rough sketches the designer can get a basic idea
for how the show will look put together and if the rules of the world are being
maintained. The Costume designer will then go into more detailed sketches
and will figure out the specific costumes and colors for the character.
Sketches help see the show as a whole without them having to spend too
much time on them.
5.) Final Sketches: Once the Costume Designer and the Director agree on the
costumes and the ideas are fully flushed out, the designer will create final sketches.
These are called rendering and are usually painted with watercolors or acrylic paints.
These final sketches show what the designer wants the character to look like and the
colors of the costume.
Production process
Once the show is designed, it is necessary to plan where the items will be sourced.
There are four options. Garments can be:
 Pulled, which refers to searching through a costume shops stock

 Rented
 Shopped
 Constructed, or also known as made to order.
There are two ways a garment can begin to be constructed; either pattern drafted or
draped, and many times both methods will be used together. Pattern
drafting begins by using a set of basic pattern blocks developed from the actor‘s
measurements. They are drawn out on paper first, then transferred to fabric, and
sewn together to test fit.
Draping involves manipulating a piece of fabric on a dress form or mannequin that
have measurements closely related to the actors. It is a process that takes a flat
piece of cloth and shapes it to conform the fabric to a three-dimensional body by
cutting and pinning.
The role of the costume designer is really quite simple: costume designers design
the people in the movie. Our contribution to the story is more profound than providing
the clothes for a production. The word ―costume‖ works against us. The word is
vulgar when what we do is incredibly refined. ―Costume‖ is invariably associated with
Halloween, fancy dress, parade, theme park, Mardi Gras, carnival, and the clothes in
fantasy and period films. To costume designers, ―a costume picture‖ means nothing
more than our next project. Adding to the confusion by the industry and the public
about our role is an uncertainty about the fundamental purpose of costume design.
Film costuming serves two equal purposes: the first is to support the narrative by
creating authentic characters (people); and the second is composition, to provide
balance within the frame by using color, texture, and silhouette.
Costumes are one of the tools a filmmaker has to tell a story. A designer‘s
challenge is to realize the director‘s vision and to bring that script (and that
moment) to the screen. No script, no set, no costumes. A designer‘s work is
inextricable from the theatrical context and collaborative interrelationships in
which they work—the dialogue, the actor, the cinematography, the weather,
the season, the time of day, the choreography of movement and a dozen
other dilemmas all present challenges.
3.6 Props
The art department is responsible for visual aspects of filmmaking. This
includes everything on a set, as well as the set itself. The department is
supervised by the Production Designer.
Throughout filming, sets must evolve. Either they are adjusted, or new sets
are constantly built. Many members of the art department are on standby, in
case any changes must be made. The positions are incredibly creative and
require immense amount of skill and attention to detail.
Property Department
The property department, or Props, is responsible for all practical movie
props. These are not including in the set dressing or costume department, but
rather used by an actor in a scene. This includes food, firearms, swords, or
specific items like a proton pack or custom vehicle.
Props Master
As the chief of the property department, the props master is in charge of
finding or making practical props. If the film is a period piece, they are
responsible for making sure that the props are accurate to that era.
Prop Maker
The artist or technician that creates custom props. This can includes creating
any type of casings, or wiring electronics to make a functioning prop.
CATEGORIES OF PROPS
Props can be divided into several categories, which may make the realm of
props less overwhelming. Because of the diversity of traditions and practices
in the hundreds of theaters that put on shows, a props person may not be
responsible for some of these categories. This is also not meant to be an
exhaustive list of all the duties of a props person, rather it is a list of all the
kinds of props (For example, in union houses and many other theatres, the
props department is responsible for sweeping the stage. I haven‘t added that to this
list).
The props in the different categories come from different places. Many of the hand
props come from the text, or are requested by the stage manager or director during
rehearsals. The set designer is usually asking for the set props, trim and set
dressing. Often, actors themselves will ask for certain props, particularly personal
props. Let‘s look at some of these categories:
Hand – Hand props are any props manipulated by one or more actors on stage. A
book, a gun, and a wine glass are all hand props. Hand props can be consumable or
perishable prop, which means they need to be replaced every night, such as food
which is eaten or a letter which is torn up. We can also look at costume (or personal,
or ―propstume―) props like purses or belts as a subcategory. These require special
consideration with the costume department to determine who is responsible for both
providing and paying for them. manual/special effect, practical
Set - Set props include all the furniture on stage, and any other ―objects‖ which are a
part of the set. It also includes furniture-like objects, such as rocks which are sat on.
The lines between ―set‖ and ―props‖ are the most blurry in this category, as some
sets have ―built-in‖ furniture, and more abstract or metaphorical sets have less
reference points for determining what is ―prop or not‖.
Trim – Trim props hang on the walls, like curtains, blinds, or pictures.
Set dressing – The set dressing is the items and objects on the stage which the
actor doesn‘t handle. The easiest way to think of this is in an apartment set. The
floor, walls, doors and windows are the set. The furniture is the set props. All the
knick-knacks on the dresser, books on the shelves, and plates in the sink are the set
dressing. If an actor picks a set dressing item up, it becomes a hand prop and is
treated differently. The set dressing can include practicals, which are electrical props
(like lamps, chandeliers, and wall sconces) that actually work. Also included here are
rugs, carpets, and other floor coverings. Set dressing is used more to flesh out the
characters and setting rather than push the narrative forward. While it is up to the set
designer to describe and lay out what the set dressing is, it is often left to the props
master to choose and arrange the individual items. Set dressing is an art and a craft
of its own, and in some cases (especially in film) can be a person‘s exclusive job on
a production.
Personal – A personal prop is a prop an actor carries to develop their character.

Sometimes these are called for in the script, but often it is the actor who is
requesting it. A pipe, a cane, or a fan can are examples. Some actors are notorious
for picking a prop or two at the very first rehearsal to play with.
Greens - Whether real or artificial, the props department is oft responsible for
plants, leaves, bushes and flowers. Obviously, if the set calls for a life-sized
tree to fill the stage, the props department can defer to the scenic department
for its construction.
Manual special effects – Bursts of smoke, remote-controlled rats, artificial

fires in fireplaces, or any other manual special effect is generally the
responsibility of the props department, though depending on the scope or
means of achieving said effect, there may certainly be overlap with any
number of other departments. Breakaway props may also fall in this category.
3.7 Floor Plan
Floor Plan and light plan

It is scaled graphic blue print of the studio. It indicates the position and the
size of the studio, the overhead view of positioning of the set, the location of
various fixed technical points. For example, cable connections, plug points,
the number of the participants, position of camera etc. The main elements to
be featured in a floor plan are:
1. Stage: The type of set, the shape and the size of everything required for a
set including the type of furniture etc.
2. Equipment: The lighting and audio arrangements (if boom mic is to be
used), placement of the back projection, the slide projector, monitor etc. The
floor plan acts as a planning document to the lighting engineer.
3. Camera: Camera placement including their movement.
4. Participants: Where will they be sitting or standing, what will be their
movement, if any. Demonstration of any particular equipment or chart and its
position.
Why a floor plan is required?

a) Everything will be set for execution: It clearly suggests all the different
requirements for a particular program. In short, it shows the geographical
dimensions as well as physical location of various technical things like
lighting, plug and cable point, cyclorama etc. Thus everything is well set for
execution.
b) Workability and Feasibility may be tried out, whatever you have in your
mind can be worked out in advance on paper, and the precious studio time
and crew time is saved. You are clear about the alternatives and have
decided upon the most feasible plan.
c) Placement of cameras and the shot to be taken from different position can
be planned and settled before the producer enters the studio.
d) The producer and the other members of the crew know in advance what to
do and how to achieve it.
e) Everyone works independently and finishes the job without waiting for the
producer to come.
For example, the set designer can create the set; the lighting director can light up the
set. The audio engineer can complete the audio arrangement and other properties
required.
f) Special effects related to lighting or stage can be worked out in relation to the
particular shots planned.
In short a Floor Plan is sure and full proof communication between one and all
involved in a production. It gives a complete picture of what studio would be like at
the time of recording or telecast.
3.8 Assignments
What is a continuity in context of filmmaking?
What is a floor plan?
3.9 Summing Up
In this lesson, we learnt about importance of continuity in filmmaking, set design,
importance of costume, make-up and props in detailing of the film craft.
Describe production elements like costume, props and set-design.
1. Herbert Zettl, TV production Handbook, Thomas Wardsworth
Publishing
Lesson 4 Budgeting
_________________________________________________________________
STRUCTURE
4.0 Objectives
4.1 Introduction
4.2 Budgeting
4.3 Assignments
4.4 Summing Up
__________________________________________________________________
___________________________________________________________________
This lesson deals with understanding budget making in a tabular format.
___________________________________________________________________
4.0 Objectives
 Understand the relevance of correct budgeting.
 Understand the process of budgeting.
___________________________________________________________________
4.1 Introduction
No single production can be possibly made in its most effective manner without
budgeting. Budgeting helps the filmmaker to sustain himself or herself for future
projects.
4.2 Budgeting
It is the producer‘s responsibility to figure out the cost of producing a video.

He should have a knowledge of the equipment rentals, wages of various production
personnel, and transport costs on a kilometer basis.
Budgeting for a video becomes easy when the exact requirements are known. This
helps in dividing the budget for the pre-production, production, and post-production
stages of the video.
The client will ask for a summary of costs to get an overall idea of the cost of
production.
When preparing the budget it is best to be realistic.
Underestimating our costs just to win the contract is likely to land us in financial trouble.
Or client will know beforehand and will not give the project.
The thumb rule is to show about 10 per cent more than our actual costs.
A well thought-out budget is a clear plan for making a film. And a good budget reveals a
lot about how a film is going to be made, what kind of story you'll be telling, what kind of
crew you plan to use and what sort of equipment you've selected. But how do you
prepare a budget that fits your documentary? This article provides a nuts-and-bolts
primer on documentary budgeting.
Preparing to Create a Budget
It is often said that there is a triangle of quality in production: the story itself, the
production schedule and the production budget. Changes to one of the three "corners"
of this triangle affect the other two. Thus, before you can think about your budget, you
must think about your story.
Common Budget Format

4.4 Assignments
1. What is budgeting? What is its relevance?
1. Describe difference between budgeting of production and post production.
4.5 Summing Up
In this unit, we learnt importance an technique of budgeting of a non-fiction format.

1. Describe importance of budgeting in filmmaking.

___________________________________________________________________
UNIT 3 BA (JMC) 206

___________________________________________________________________
UNIT 3: Production
___________________________________________________________________
LESSON 1
Steps involved in production and utilization of a TV programme.
LESSON 2
Production Personnel: Role and Responsibilities in Studio & Location Shoot
LESSON 3
Single Camera Shoot
Lesson 4
Multi Camera Shoot

Lesson 1 Steps involved in production and utilization of
a TV programme.
STRUCTURE
3.0 Objectives
3.1 Introduction
3.2 Steps of Production
3.3 Managing Video Equipment
3.4 Blocking, Rehearsing and Shooting
3.5 Reviewing the shots
3.6 Assignments
3.7 Summing Up
3.9 Suggested Readings
Steps involved in production and utilization of a
TV programme.
________________________________________________________________
This lesson highlights the steps of the production and and utilization of a TV
programme.
___________________________________________________________________
3.0 Objectives
 Understand each step of production stage.
 Scope of work in each step.
___________________________________________________________________
3.1 Introduction
Production is the actual taping of the TV show or shoot. Cast and crew are assembled,
and the director will orchestrate the taping and work to shoot as quickly as possible.
Production may take place in a studio or on location. Location shooting is almost always
more work, as production equipment needs to be brought to the location along with the
cast and crew. Most TV shows prefer to use established sets since this makes the
production process easier.
3.2 Steps of Production: The Shooting Stage
The success of this phase of a video production is entirely dependent on how well we
have planned it. It will be director‘s responsibility to see that every piece of equipment
and human resources is well in place before the actual shooting begins.
Although he role of each production personnel is well laid out., each one of them may
be required to pitch in as per requirement on location. Team members should know that
they may be required to play a bit beyond the role chalked out for them.
As producer/director, it will also be our responsibility to check for all the last minute
details like transportation, video memory cards, talent, properties and even snacks. As
the captain of the production, the producer is the creative head. But it is also the
producer‘s responsibility to check that all members if the prodction team are well geared
for the shooting phase of the production.
Irrespective of whether we are travelling by public transport (train, flight, or even state
transport buses) or by hired taxi, it is safe to insure the equipment we are carrying.
Probable checklist for an outdoor production
Camera Location List

Camera microphone Shooting Schedule
Microphone Mount Research Material
Lapel Microphone Transport
Lapel Microphone batteries Water Bottles
XLR cables, short and long Clothes
Batteries Extra Cash on production assistant
Video memory cards
Tripod and Spreader
Light Kit and cables
Power Extension board (s)
Reflectors
Script copies
The producer/director is ultimately respnsible for every frame and every bit of audio that
goes into the programme. Viewers are not interested in empathasising with our
production-related problems. All they want to see is a good video. And to produce a
good appreciable video, it is important that ell eqiupment are taken good care of.
Some rules and advisable suggestions to follow in production stage:
 Always keep all pieces of equipment clean and tidy.

 Do not expose equipment to extreme weather conditions. Do not place them
sources of heat, or extreme cold, rain or water.
 Carry all equipment in their respective cases before and after use. Plan the
shooting schedule to include packing time.
 Take count of the equipment everytime there is a shift of location. Cross-check
them with the checklist.
 Always carry memory cards in their cases.
 Protect memory cards from excessive heat, humidity, cold, smoke and dirt.
 Recharge batteries fully after a day‘s shoot.
 Do not drop batteries.
 Avoid using the LCD screen on the camera to prevent excess battery usage.
 Hold the camera firmly to shoot without a tripod. Hold the camera little away from
the chest, as breathing may result in camera shakes.
 Use tripod whenever possible.
 Check the spirit level every time there is a shift in the camera position.
 Hold each shot at least for 5 seconds before and after pans and tilts.
 Do not stop recording during pans and tilts or zoom.
 Always try to achieve the sharpest image possible.
 Ensure enough headroom, noseroom and balance in the frame.
 Use rule of thirds.
 Shoot interviews at eye level. Place the camera at least 30 degrees to the
interviewee.
 Avoid interviewees looking directly into the camera.
 Try out different viewpoints. They add perspective and variety to the shots.
 Change camera height and angle appropriately.
 Maintain 180-degree rule.
 Press record button only if sure about the composition.
 Shoot as many cutaways as possible. They help in post-production.
 Shoot reaction shots during a full-length interview, though these may not be
required if shooting sound bites.
 After perform white balance before shooting in a location. Also do it when
shifting from outdoors to indoors and vice versa.
 Use reflectors outdoors or artificial lights for better picture quality.
 Advise talent to avoid white clothes where possible.
 Do not shoot with the talent against light i.e. in front of a bright light source.
 Always use an appropriate microphone to record sound like lapel for interviews.
 Maintain appropriate microphone distance.
 Have enough microphone cable lengths. Have enough number of cables too.
 Check for batteries if the microphone uses one.
 Always carry microphones in their cases or pouches. Protect them from dust and
heat.
 Switch off fans and air-conditioners during interviews.
 Always use a headphone while recording.
3.4 Blocking, Rehearsing and Shooting
Because we would have done a detailed recce of the location before we actually begin
shooting, we would have fair idea of where to place the camera to get the best possible
angle. However, having a shooting plan, helps us in blocking and rehearsing our shots,
particularly when we are shooting fiction. If we are shooting non-fiction, we will of course
not have the necessity to rehearse our shots.
Some aspects to consider before shooting:

 What and Where am I shooting?
 What camera position and height will give me the best shots?
 What additional shots will I require to provide a context?
 How do I breakup the scene into different shots?
 What kind of sound is required during the scene?
 What lighting is required during the scene?
We need to be physically and mentally present on the set at the time of shooting. We
may not want any subjects in the background while shooting. Even a fast entry and exit
of a unwanted person in the frame can ruin efforts. Retakes are important to get the
right shot. But too many retakes may exhaust the crew members.
When you start-off on your own, you would do well to first analyse the strengths and
weaknesses in terms of the story, the equipment, the locations, the performers, and the
most importantly, budget. You may plan a great crane-up shot but may not be able to
afford a crane on rent.
Your idea must be a ‗story‘ and an interesting one at that, with a fabulous beginning, an
interesting middle and a bang of an end. Do not leave anything to chance. Do not tell
yourself you can manage the camera placements on the locations that your production
manager has checked out. Do not plan unattainable locations in the first place. Plan and
fix shooting schedules well ahead of time. Work everything out on paper and distribute
copies to all the members.
3.5 Reviewing the shots
At the end of the day‘s shoot, review the material you have shot during the entire day.
Reviewing tapes helps you identify any missing shots so that you can shoot them later.
They also help you in evaluating the quality of the shots much before you actually return
to your base.
3.6 Assignments

1. What important things to remember in terms of equipment care while production?

1. What do you understand by blocking of camera while production?
3.7 Summing Up
In this lesson, we learnt important things to be kept in mind during production stage.

1. Elaborate the steps of Production of a TV programme.

2. Vasuki Belavadi, Video Production, Oxford University Press
Lesson 2 Production Personnel: Role and
Responsibilities in Studio & Location Shoot
STRUCTURE
2.0 Objectives
2.1 Introduction
2.2 Roles and Responsibilities
2.4 Assignments
2.5 Summing Up
Production Personnel: Role and Responsibilities
in Studio & Location Shoot
________________________________________________________________
This lesson defines the roles of production personnel and their functions.
___________________________________________________________________
2.0 Objectives
 Identify the various personnel involved in a production
 Understand their roles and responsibilities
___________________________________________________________________
2.1 Introduction
A good video production requires services of and co-ordination among a large number
of people. While the scale, nature and complexity of the production will decide the
number and the specific kinds of people, these are nevertheless bound to be sizeable.
These are basically two kinds of people required for a video production – talent (actors
portraying characters, and people on camera for real-life events) and production
personnel (people who work behind the camera with a lot of equipment like lights,
microphones etc.) As mentioned before, the more complex the production, the more the
number and the nature of people required.
2.2 Production personnel in a video production

The above figure shows a chart of the various personnel involved in a complete video
production. The arrow marks indicate that utmost co-ordination is a must between and
among members in the production team. After all, video production is team work and
the director relies on a number of specialized people to achieve the programme
objectives.
2.3 Roles and Responsibilities
Executive producer: An executive producer (EP) is the boss of a production team and
supervises one or more producers in charge of various productions. As the
administrative head of the team, the EP is appointed normally for a series of
programmes on a particular theme.
It is the EP‘s responisibility to oversee funding and production arragements and keep a
check on the ratings of the show.
Director/ Producer: Depending o the scale of the production, the producer is the one
who actually approves a script and commissions top-level personnel, suoervises
production planing, and decides locations. In smaller productions, the producer and
director may be the same. The producer / director is also in charge of interpreting and
visualising a script and exercicsing a huge team of scriptwriters, camerapersons, music
composers, lighting directors, costume designers, set designers, ad property managers.
As the creative head of the production, the producer is in charge of the technical and
aesthetic aspects of a production. Auditions, casting decisions, and approving
rehearsals are among the ther responsibilities of a producer. In fact, the producer is
responsible for every frame and every bit of audio that is finally seen on the screen. The
producer drects everybody on the set before, during, ad after the shooting and post
production. This is a demanding job and requires a lot of patience, perserverance, and
leadership qualities. In short, it is the producer who shouts ‗lights, roll camera, action‘ on
the sets.
Scriptwriter: The scriptwriter writes the script for the production and is responsible for
coming up with creative ideas and translating them into words that will be used in the
making of a video. Strong presentation skills and constant update on the happenings in
society is a must. The scriptwriter may be assisted by a team of researchers in case of
non-fiction. An essential requirement of this role is the ability to convey ideas in fresh
ways, tailor concepts to suit production requirements, and more importantly, meet
deadlines. In the case of fiction, based on the storyboard and / or synopsis, the
scriptwriter pens the dialogue. Sometimes, the scriptwriter is also required to adapt from
existing literary work and write a script for video. In smaller productions, the scriptwriter
is also given the additional responsibility of providing the shooting script. This requires
extensive coordination with the producer and production manager.
Production assistant: The production assistant assists the producer/director in all his
tasks. The PA is in charge of making sure that the script, talent, the production crew,
and everything else is in the place before the shooting actually begins. Other
responsibilities include holding rehearsals, organizing on location, and co-coordinating.
In smaller productions, the PA also readies the crew on location, maintains the
director‘s notes on retakes, etc., and checks for continuity when the shooting is in
progress. Most productions, have more than one production assistant and they co-
ordinate between/among themselves and report to the producer/director. Larger
productions also designate some Pas as continuity supervisors.
Production Manager: Working in close co-ordination with the producer/director and

production assistants, it is the responsibility of the production manager to take care of
production and all logistic support for the production within the budget; in other words, to
ensure that equipment, transport, talent, crew are in place for the shoot. A stressful job,
it means handling a number of administrative responsibilities in terms of managing the
crew in a production and also hiring equipment and personnel for the post-production
stage. He/she normally hires an assistant to take care of finances, but in smaller
productions is in charge of paying various crew members, talent, vendors, suppliers,
etc. Bigger productions have more frequently and work in co-ordination with each other.
A PM is required to be diplomatic in situations that require negotiation between different
artistes and production staff who are particular about their roles in a production. In some
cases, the PM is also involved in promotion of the video in the market.
Cameraperson: The cameraperson works with the lighting director and set designer to
get the right mood and picture for the video. A cameraperson composes and reflects the
mood that the director desires for a shot. She may or may not actually operate the
camera in big-budget productions, which entrust the camera to the camera operator.
The cameraperson is in charge of all equipment related to the camera – camera
supports, lenses, filters, other accessories and raw stock. In big-budget productions
requiring more than one unit, the cameraperson also supervises camera and personnel
requirements.
Set designer: A set designer has a number of people working with her to designs sets.
In some cases, the SD may want to make minor changes to an existing location or even
erect a complete set to simulate the actual location. For example, the SD may make
minor changes in an existing office or even erect an entire office set to suit the
production. The SD takes charge of procuring the right kind of material to erect sets,
decides on the place and size of the sets in accordance with script requirements, and
directs people in erecting them to satisfaction of the director, and is also responsible for
the furniture used in a production.
Lighting Director: The Lighting director is in charge of rigging up and condoling all
lighting equipment. Working with a number of assistants (also called gaffers) and
electricians, LD makes sure that the set is well lit up as per the technical and aesthetic
requirements of the shot. The LD uses a variety of lights and light filters and works in
close co-ordination with the cameraperson, the set, and the costume designers to
create the right mood for the scene.
Make-up artist: The make-up artist designs and applies make-up to all artistes. The
make-up artist is helped, in the case of a bigger production, by assistant make-up artists
and hairstylists. The make-up artist is also in charge of developing schemes in case of
special requirements. For example, a makeup artist commissioned to work on a science
fiction will need to work out how each character in the series looks. The work gets
complicated when they are required to work with prosthetics. Prosthetics means
sculpting, moulding, and creating faces or other parts of the body using silicon and
similar other material.
Costume designer: The costume designer (CD) designs costumes for all talent in a
production and also commissions designers on bigger productions. The CD makes
notes on the brief of every character in the video, to research into what costumes best
suit a character. The CD then procures all the material required for the costumes.
Working with an entire crew of specialist tailors, the CD produces costumes for a
production. Costume assistants then help the characters wear costumes. They also
keep a logbook of what costumes are required for a particular day‘s shoot. In some
cases, the CD takes instructions from the director and works in close-co-ordination with
the set designer, the cameraperson, and the lighting director. In smaller productions, the
CD is also required to manage properties.
Choreographer: He/she is in charge of composing dance sequences in a production.

Working closely with the director, the choreographer‘s responsibolity is to compose
dance sequences that refelect the ood of the situation. Often working with a number of
assistants, the choregraphes is the diretor-in-charge during the filming of dances in a
production, working in close co-ordination with the director, the music composer, set
designer, cameraperson, and lighting director to get best results. Earlier,
choreographers were handed over music tracks and asked to compose for the tracks.
These days, they are involved right at the music composition stage. They offer tips and
suggestions to the music composer to include elements that would makethe dance
sequence click.
Properties manager: Once the script and characters have been finalised, the
properties manager comes into picture. The PM procures and maintains all the
properties required for a production – be it a pen used by an actor portraying an
executive or a sword used by a talent acting out the role of Tipu Sultan. The PM
ensures that the properties required on the set for each character are ready before the
shoot and maintains an inventory of the items for stock keeping.
Audio Engineer: The audio engineer works with a few audio assistants who rig up
required cables and microphones on a set where playback and recording is required.
She is in charge of overall sound levels, balance, and tonal quality. The audio engineer
is also involved in post-production activities during dubbing, mixing of tracks etc.
Electrical Engineer: He/she is in charge of all power requirements for a production and
procures and manages all equipment, right from a power generator to cables and
connectors. The EE‘s responsibility is to ensure that there is power on the sets for
smooth production.
Music Director: Also called the music composer, the music director is in charge of
music requirements for a production and composes original tracks or uses available
music with permissions.
Graphics engineer: Graphics needed for a video production are designed and created
by the graphics engineer, often using a combination of computer software to do so. If
the story requires a character to morph into a staff and then into a snake and then
simply vanish into smoke, it is the GE who most likely sees it. In complex productions,
the GE attains great significance where immense graphic work is involved. In such
situations, the GE works with a number of assistants. Since it is a highly specialized job,
the GE is involved right from the pre-production stage.
Video Editor: The VE is the person who operates post-production equipment –the
linear and non-liner editing machines. The VE works in close associations with the
director in making creative decisions in shaping the production. Once the shooting is
over, some directors prefer to leave it to the editor to shape the video from the available
rushes (unedited source material from a shot). However, in most cases, the editor takes
directions from the director. She is in charge of the safe-keep of the rushes cards,
directing the logging assistant to make log sheets, and actually editing the video. The
VE is also responsible for editing promotionals and smart packaging of the programme
and break bumpers. In smaller productions, the VE also creates graphics. In large
productions involving complex graphic work, the VE‘s role is clear cut since the editor is
required to integrate the complex graphic works into the video.
Talent: Actors who are playing a role or those who appear in front of the camera as
themselves – newscasters, anchorpersons, interviewers, etc. or personalities like
interviewees, audience, contestants, and so on are broadly referred to as talent.
As mentioned above, production personnel are normally classified as above-the-line

and below-the-line personnel. All those involved in non-technical activities like the
producer/director, scriptwriters, set designers, production assistants, production
managers, make-up-artists, property managers, music composers etc. fall in the above-
the-line category.
Other technical crew members like camerapersons, lighting director, audio engineers,
electrical engineer, and video editor are below-the-line personnel. In small budget
productions, roles often overlap. For example, the cameraperson may be in charge of
recording sound and lighting up the sets. However, the moot point is to remember the
roles and responsibilities one is assigned and carry them out efficiently. Remember that
each member of the production team is equally significant; whether they are just set
boys or the director who sits in a chair and gives out commands.
2.4 Assignments

1. What are role and responsibilities of audio engineer and electrical engineer in Tv
production?
1. What are role and responsibilities director and Talent?
2.5 Summing Up
In this lesson, we learnt about roles and responsibilities of various production personnel.

1. Define role and responsibilities of director, talent, costume designer and set designer
in TV production.

Lesson 3 Single Camera Shoot
STRUCTURE
3.0 Objectives
3.1 Introduction
3.2 Single camera shoot
3.3 Single Camera Shoot Techniques
3.4 Assignments
3.5 Summing Up
Single Camera Shoot
________________________________________________________________
This lesson highlights the process of Single Camera Shoot.

___________________________________________________________________
3.0 Objectives
 To understand the aesthetics of single camera production
 Plan a single camera shoot..
_______________________________________________________________
3.1 Introduction
The aim of any video production is to translate an idea into meaningful video
programme. Creative inputs, technical and personnel requirements, coordination, and
finances are unique to each kind of video programme. Once a decision has been made
to make a video with a single camera, we need to prepare ourselves for the various
stages of production.
In single camera shoot, we record a shot and stop. We then shift the camera position
and begin to shoot again. In short, we shoot discontinuously. We shoot different
segments on different memory cards. We then cull the best of the shots and shape
them into a video, in what is an elaborate post production activity.
Single camera shoot are useful to produce a full-fledged programme or segments of a

multicamera programme. We may want to use the single-camera method either within a
studio or on location. Take for example a news magazine. While the stories for the news
magazine are shot with a single camera on location, the anchor portions for the
magazine are shot within studio in controlled conditions. The various stories are then
linked by the anchor portions and assembled together to produce a news magazine for
telecast.
The use of single camera for news gathering purposes is called electronic news
gathering (ENG). ENG has little scope for planning because news or real life events can
hardly be planned abnd are required to be shot as and when they develop. Shooting a
planned event (for example, a seminar talk, or even fiction i.e. shooting a ‗story‘) is
called electronic field production (EFP). An EFP has to be planned well in advance.
Taking production out of studio provides a great number and variety of settings to
choose from. Field productions, however, have have both advantages and
disadvantages.
Even the most sophisticated television production equipment and computer interfaces
will not replace you in the television production process; you and those working with you
still reign supreme at least so far. The equipment cannot make ethical and aesthetic
judgments for you; it cannot tell you exactly which part of the event to select and how to
present it for optimal communication. You make such decisions within the context of the
general communication intent and through interaction with other members of the
production team the production staff, technical crews, engineers, and administrative
personnel.
The single-camera production is a method of shooting films and television programs. A

single camera either film or video is employed on the set and shots are often taken out
of order. It is often contrasted with the multiple single camera either film or video is
employed on the set and shots are often taken out of order. It is often contrasted with
the multiple-camera setup, which uses three or four cameras running simultaneously.
The single-camera setup gives the director more control over each shot, but is more
time-consuming and expensive than multiple-camera. The choice of single-camera or
multiple- camera setups is made separately from the choice of film or video. That is,
either setup can be shot in either film or video.
Single Camera set up Multiple camera set up
The single-camera set up is a method of The multiple-camera set up is a method

shooting television programs. In this set of shooting television programs where
up only one camera is used. more than one camera is used
simultaneously.
The single-camera setup gives the In the multiple camera set up, more than
director more control over each shot, but one camera is being used the camera
is more time-consuming and expensive men are briefed beforehand as the
than multiple-camera. director cannot control and watch over
all the shots taken by various cameras.
While shooting with single camera set up The advantage of using multiple
the only one shot is taken at a time, and cameras is that there is more than one
to shoot the same scene from various view, multiple shots are taken
angles the scene has to be recreated simultaneously, so there is a lot more
which might create problem with footage to choose from. Another
continuity. advantage is that, all the shots are taken
at once from different angles so nothing
goes out of place, shots are taken
sequentially.
Camera Placement
One important aspect of filming with a single-camera setup is camera placement.
Examine the set you have to work with, and find an angle that fits the mood or tone of
the scene. For example, if you are shooting a dramatic conversation, find a camera
angle that can capture the body language of the actors, as well as any important props
in the scene. Place the camera where you have a clear line of sight to the action you
are filming. Also, looks closely through the camera to ensure no unwanted debris or
clutter is in the background, or anywhere else is in the shot.
Multiple Takes
In some instances, you may need to shoot a scene several times from different angles.
This allows you to edit different camera angles into a scene, even though you are only
using one camera. It is important for the actors to perform the scene as identical to
other takes as possible, so the final cut looks like it was filmed at the same time using
multiple cameras. It is also important that all wardrobe, makeup and lighting be identical
throughout each take.
Fixed vs. Moving

Single-camera shoots might involve fixed cameras or moving cameras. For example,
you might follow actors with a moving camera, on wheels or hand-held, if the actors are
walking or in motion. If the actors remain in the same area for the scene, you probably
want to use a fixed camera that doesn't move. However, you can use a hand-held or
moving camera as well; it all depends on your shooting style and vision for the scene.
Suggestions
When shooting scenes with a single-camera setup, you will probably shoot scenes out
of the order they appear in the script. Shoot all scenes with specific actors, especially
the highest-paid actors, as close together as possible to be time-efficient. Also, shoot all
scenes in a specific location or specific set as close together as possible, so you do not
have to set up and take down the set multiple times.
For more than a century, Hollywood has been making a single film camera look like the
work of several cameras working simultaneously.
Like many things in Hollywood, it's actually a bit of movie magic.
At first, film directors didn't have a choice; there was no way to synchronize multiple film
cameras on a single scene. Although this started out as a seeming limitation, it actually
turned out to be a creative advantage. The difference is based primarily on how film is
shot. In film-style production each scene and camera angle is setup and rehearsed until
the director is satisfied. Actors, lighting directors, makeup artists, audio people, etc.,
only need to concentrate on one scene at a time.
Although it's a time-consuming and tedious process, it provides the opportunity for
maximum technical and artistic quality.
 One of the additional advantages of single-camera (film or video) dramatic
production is that scenes don't have to be shot in sequence. In fact, seldom does
a script's chronological sequence represent the most efficient shooting order. The
final sequence of scenes is arranged during editing.
 In order of importance, the following should be considered when planning the
shooting sequence of a single-camera production:
 All shots involving specific talent/actors (starting with the highest paid) should be
shot as close together in time as possible, regardless of script sequence
 All shots at a particular location should be shot at the same time
 All shots requiring specific production personnel should be shot at the same time
 All shots requiring specialized production equipment, such as special cameras,
lenses, microphones, and generators should be shot at the same time.
3.4 Assignments

1. What do you understand by single camera shoot? What are its benefits?
1. In what situations, single camera setup is helpful to use?
3.5 Summing Up
In this lesson, we learnt about details of single camera shoot.

1. What is single camera shoot? How is it different from multi camera shoot?

Lesson 4 Multi Camera Shoot
STRUCTURE
3.0 Objectives
3.1 Introduction
3.4 Assignments
3.5 Summing Up
Multi Camera Shoot
________________________________________________________________
This lesson highlights the process of Multi Camera Shoot.

___________________________________________________________________
4.0 Objectives
 To understand the aesthetics of multi camera production
 Plan a multi camera shoot..
_______________________________________________________________
4.1 Introduction
The multiple-camera setup, multiple-camera mode of production, multi-camera or simply

multicam is a method of filmmaking and video production. Several cameras—either film
or professional video cameras—are employed on the set and simultaneously record or
broadcast a scene. It is often contrasted with single-camera setup, which uses one
camera.
4.2 Multi camera shoot
Multiple-camera setup, it uses three or four cameras running simultaneously. The

advantage of using multiple cameras is that there is more than one view, so there is a
lot more footage to choose from. Another advantage is that, all the shots are filmed at
once from different angles so nothing goes out of place. As opposed to single camera
set up there is no need to recreate the scene to shoot again and again. By setting up
multiple cameras to record events such as panel discussion, guest interview, talk
shows, sporting events and such, the videographer can create a completed project right
there on the spot, ready to duplicate or broadcast. No more post-production delays,
since you are actually editing as you shoot.
Generally, the two outer cameras shoot close-up shots or "crosses" of the two most
active characters on the set at any given time, while the central camera or cameras
shoot a wider master shot to capture the overall action and establish the geography of
the room. In this way, multiple shots are obtained in a single take without having to start
and stop the action. This is more efficient for programs that are to be shown a short time
after being shot as it reduces the time spent in film or video editing. It is also a virtual
necessity for regular, high-output shows like daily soap operas. Apart from saving
editing time, scenes may be shot far more quickly as there is no need for re-lighting and
the set-up of alternative camera angles for the scene to be shot again from the different
angle. It also reduces the complexity of tracking continuity issues that crop up when the
scene is reshot from the different angles. It is an essential part of live television.
The multiple-camera method gives the director less control over each shot but is faster
and less expensive than a single-camera setup. In television, multiple-camera is
commonly used for sports programs, news programs, soap operas, talk shows, game
shows, and some sitcoms. Before the pre-filmed continuing series became the
dominant dramatic form on American television, the earliest anthology programs (see
the Golden Age of Television) utilized multiple camera methods.
Multiple cameras can take different shots of a live situation as the action unfolds
chronologically and is suitable for shows which require a live audience. For this reason,
multiple camera productions can be filmed or taped much faster than single camera.
Single camera productions are shot in takes and various setups with components of the
action repeated several times and out of sequence; the action is not enacted
chronologically so is unsuitable for viewing by a live audience.
Most films also use the single-camera setup. In recent decades, larger Hollywood films
have begun to use more than one camera on set, usually with two cameras
simultaneously filming the same setup; however, this is not a true multicamera setup in
the television sense. Sometimes feature films will run multiple cameras, perhaps four or
five, for large, expensive and difficult-to-repeat special effects shots, such as large
explosions. Again, this is not a true multicamera setup in the television sense as the
resultant footage will not always be arranged sequentially in editing, and multiple shots
of the same explosion may be repeated in the final film—either for artistic effect or
because the different shots can appear to the audience to be different explosions since
they are taken from different angles.
4.3 Multi camera shoot techniques
While the thought of setting up a multicam shoot can be daunting to producers/directors

who have never done it before, knowing how to do it right has some massive benefits.
Not only do multicam setups help keep time on-set to a minimum (and therefore also
keep the budget down too), but they can also provide creative freedoms that aren‘t
otherwise offered by single camera environments. For instance, if you are directing a
comedy and want to allow your actors to improvise, a multicam setup would be ideal so
that you can catch all of the spontaneity, while also having enough coverage to cut
together the scene cohesively in post.
Camera Placement
The very first thing you need to address with your multicam set up is the placement of
your cameras themselves. If you want to achieve professional level results with your
shoot, you need to make sure that you are optimizing your coverage. In other words, if
you are shooting a scene with two actors and you have 3 cameras on them – you
probably want a close up on each actor, and then a wide/medium master shot. As you
might imagine, when it got time to edit the scene it was extremely difficult for the
filmmakers to cut together all three angles as they often were too similar looking to
intercut. This doesn‘t mean you can‘t get creative with your multicam setups, but rather
that you make sure you are never doubling up on coverage, regardless of the creative
choices that are made.
Lighting
The manner in which you and/or your DP approach your lighting setup also needs to
change drastically from what you may be used to in single camera situations. When
shooting with one camera, your setup naturally only matters for the particular angle and
take that you are executing, and when you go in for coverage you can make small
adjustments to your lights (such as walking in a key or fill) as needed. With multi-
camera lighting though, everything changes. The easiest way to get the look that you‘re
after while maintaining visual consistency is by setting up your lights much in the same
way that a stage play or a sitcom is set up. or example, lighting from above (by rigging
lights to a ceiling or grid) would be hugely preferable over lighting using traditional
stands. The reason of course being that when rigged to the ceiling, the lights are
completely out of the way and you can shoot in nearly any direction that you want.
Lighting your set this way will inevitably take more time up front – so be prepared for
some extra time pre-lighting, but in the end it will completely balance out as you will
save loads of time once you start rolling.
Matching The Cameras

Amongst the most common and problematic issue that arises on multicam setups
(particularly on low budget indie films) are mismatched cameras. In many instances,
small productions don‘t want to rent two or three identical cameras, so they mix and
match various cameras that they have access to in order to supplement their
multicamera setup.
In an ideal world, you want every camera to be the exact make and model, or at the
very least the same brand. For example a Canon 5D MK II and a Canon 7D will match a
lot better than a 7D and a Lumix GH4 since Canon and Lumix use completely different
firmware and color science.
Even if you are shooting on identical cameras, you still need to be extremely diligent
when it comes to your settings (camera profiles, shutter angle, white balance, etc.) as
any slight difference in your camera settings can increase effort and time in post
production.
4.4 Assignments

1. What do you understand by multi camera shoot? What are its benefits?
1. In what situations, multi camera setup is helpful to use?
4.5 Summing Up
In this lesson, we learnt about details of multi camera shoot.

1. What ismulti camera shoot? How is it different from single camera shoot?

___________________________________________________________________
UNIT 4 BA (JMC) 206

___________________________________________________________________
UNIT 4: Post Production

___________________________________________________________________
LESSON 1
Video Editing: Concept and Process
LESSON 2
Basics of Continuity Editing
LESSON 3
Idea to Screen
Lesson 4
Pretesting and Evaluation: Tools and Techniques

Lesson 1 Video Editing: Concept and Process
STRUCTURE
1.0 Objectives
1.1 Introduction
1.2 Concept of Editing
1.3 Process of Video Editing
1.4 Need of editing
1.5 Non-Linear Video Editing
1.6 Assignments
1.7 Summing Up
Video Editing: Concept and Process
________________________________________________________________
This lesson deals with understanding the evolution of the video editing and its concepts.
___________________________________________________________________
1.0 Objectives
 Understand basic idea of video editing and significance of the technique
___________________________________________________________________
1.1 Introduction
―Video editing is the process of manipulating and rearranging video shots to

create a new work. Editing is usually considered to be one part of the post production
process — other post-production tasks include titling, colour correction, sound mixing,
etc.‖
1.2 Concept of Editing
Shooting in many single-camera or multi-cam productions happens in a non-sequential

manner. Scenes are often shot many times and from many angles. Video editing is
about stringing them in such a manner so as to ‗construct‘ a story for the viewers.
Almost all programmes you see on television have been edited in some way. Although
editing equipment and techniques change almost from day to day, the basic editing
functions remain the same.
• Video editing is similar to editing and designing a publication to give it shape and form
with good content.
• We write the content (shoot the rushes), edit the copy (arrange video and audio in
comprehendible manner), and design (add special effects, balance and sweeten audio,
add graphics/titles), and print the publication (publish it on tape or a CD/DVD).
Video editing is used to structure and present all video information, including films and
television shows, video advertisements and video essays. Video editing is one of the
most important phases in single-camera post-production. We may have the best shots
on tape or memory card, but unless they are ‗well organised‘, into a programme, they
remain useless.
Actually, the editing process begins even as we are shooting. We shoot different shot
sizes and camera angles keeping in mind what these are shots would convey when
joined together. There is an inextricable relationship between shooting and editing,
which has a vital impact on the end product and, in turn, on the audience. While live
multiple-camera productions involve a spontaneous and simultaneous selection or
switching between shots, non-live single-camera or multiple-camera productions involve
painstaking choice from the material available which is known as post-production
editing.
There is always a need for enhancement and fine-tuning during post-production. Video
editing has been dramatically democratized in recent years by editing software available
for personal computers. Video editing includes cutting segments (trimming), re-
sequencing clips, and adding transitions and other Special Effects.
Video Editing or Non-Linear Video Editing is the process of taking video that is raw,
meaning untouched or newly recorded, and taking away clips of that video that are not
necessary to your story or point of the video. This taking away of footage is called
cutting.
Tools used in Non-Linear Editing include a recorder to initially record the video, a
digitizer to convert the video to a digital format that can be used by a Non-Linear editing
program, and a Non-Linear editing program, and a computer to run the program.
There are many options to choose from for these four categories. Whichever options of
tools you use only matters as far as the quality of the final piece will be concerned.
1.3 Process of Video Editing

We use the word editing to mean any of the following:
• Rearranging, adding and/or removing sections of video clips and/or audio clips.
• Applying colour correction, filters and other enhancements.
• Creating transitions between clips.
• Multiple-camera productions involve a spontaneous and simultaneous selection.
Single camera production involves script based shot material. There are many reasons
to edit a video and your editing approach will depend on the desired outcome. Before
you begin you must clearly define your editing goals.
The general definition of video editing, however, can just be summarized by the
following: it is the process of manipulating and modifying video images to create
something new. Manipulation and modification include cutting segments, re-sequencing
video clips, adding audio clips, applying enhancements, creating transitions between
clips and adding special effects. It can be as simple as stitching together different
scenes and shots with simple video transitions, and can become as complicated as
adding different computer-generated imagery (CGI), audio and tying together different
elements, which may take years, thousands of man-hours and millions of dollars to
accomplish, as is the case with big-budget motion pictures.
1.4 Need of editing
The editing process often begins with the author's idea for the work itself, continuing as
a collaboration between the author and the editor as the work is created. As such,
editing can involve creative skills, human relations and a precise set of methods.
Shooting in many single-camera or multi-cam productions happens in a non-sequential
manner. Scenes are often shot many times and from many angles. Video editing is
about stringing them in such a manner so as to ‗construct‘ a story for the viewers.
Almost all programmes you see on television have been edited in some way. Although
editing equipment and techniques change almost from day to day, the basic editing
functions remain the same.
Without editing, you‘ll be left with a complete mess. It‘s true that all roles of video
production are important. Without a good cameraman, your shot is ruined. Without a
good director, your scenes are disorganized and confusing. But without an editor, all of
the other aspects of video production can no longer come together to create the
masterpiece that you‘re trying to create.
Video editing is important because it is the key to blending images and sounds to make
us feel emotionally connected and sometimes truly there in the film we‘re watching. It‘s
a safe assumption to say that video editing is among the most important jobs in the film
industry. With professional video editing you can create an emotion-evoking
masterpiece, and it can make or break your film, which is why it‘s just as important to
choose the right video editor as it is to choose the right camera equipment. Editing, at
its most basic, can help you put all your shots into the proper sequence. You use editing
tools to weed out or fix any mistakes made during the production process. It can be
used to trim the video to the length you want and it can also be used communicate the
right aesthetic to the audience.
1.5 Non-Linear Video Editing
A non-linear editing system (NLE) is a video (or audio editing) digital audio workstation
system that performs non-destructive editing on source material. The name is in
contrast to 20th century methods of linear video editing and film editing.
Video footage is recorded (captured) onto a computer hard drive and then edited using
specialized software. Once the editing is complete, the finished product is recorded
back to tape or optical disk.
Non-linear editing is the most natural approach when all assets are available as files on
video servers or hard disks, rather than recordings on reels or tapes—while linear
editing is tied to the need to sequentially video and audio. Non-linear editing enables
direct access to any video frame in a digital video clip, without needing to play or
scrub/shuttle through adjacent footage to reach it, as is necessary with video tape linear
editing systems. It is now possible to access any frame by entering directly the timecode
or the descriptive metadata. An editor can, for example at the end of the day in the
Olympic Games, easily retrieve all the clips related to the players who received a gold
medal.
So instead of going in a set order, you are able to work on any segment of the project at
any time, in any order you want. In nonlinear video editing, the original source files are
not lost or modified during editing.
Digital/Computer (Non-linear) Softwares

• Windows Live Movie Maker (Microsoft)
• Pinnacle Studio (Pinnacle Systems)
• Premiere Pro (Adobe)
• Vegas Pro (Sony Creative Software)
• Apple iMovie (Apple)
• Final Cut Pro (Apple)
• Corel Video Studio Pro
• Movie Edit Pro (Magix)
Video editing is one of the most important components of the entire video and film
production industry. It is no coincidence that there is an Academy Award category for
editing in film, and it can drastically alter and improve the quality of the entire project.
Editing is the assembly of clips filmed placed in the order on video editing software‘s
timeline specified by the director to tell a story. Post production is very important. It is
the final polish of a process that may have taken a long time to put together. It is the
magic and seamlessness of sound and image bits, shot and running simultaneously,
that form the smooth flowing visual story presented to an audience.
Name of the video Basic layout of editing software
Programme Monitor
Editing software
Source or
Preview Monitor
Timecode
Audio level
Project files monitor
window
Timeline
Imported files
Video track Audio clip

Editing toolbar
Video clip
Audio track
1.6 Assignments

1. What is video editing? Describe the process.
1.6. 2 Home Assignments
1. What is non-linear editing?
1.7 Summing Up
In this lesson, we learnt about the basic concept and process of Video Editing?

1. What is video editing? Why do we need to edit any video and describe the process?

Lesson 2 Basics of Continuity Editing
STRUCTURE
2.0 Objectives
2.1 Introduction
2.2 Meaning of continuity and its importance
2.3 Rules of continuity
2.4 Assignments
2.5 Summing Up
Basics of Continuity Editing
________________________________________________________________
This lesson explains the concept of continuity in editing and its significance.
___________________________________________________________________
2.0 Objectives
 Understand why continuity is important to be followed in video editing.
 Understand the application of the carious rules of continuity while shooting and
editing.
___________________________________________________________________
2.1 Introduction
Continuity in shooting and editing is the practice of ensuring that details in a shot are
consistent from shot to shot within a video film. When there is continuity between shots,
then audiences have a greater suspension of disbelief and will be more engaged in the
video film.
2.2 Meaning of continuity
Continuity editing is the predominant style of film editing and video editing in the post-
production process of filmmaking of narrative films and television programs. The
purpose of continuity editing is to smooth over the inherent discontinuity of the editing
process and to establish a logical coherence between shots.
Continuity editing is the dominant editing technique found in narrative feature films,
television shows and web content. It is used to unify a series of disconnected shots into
a scene that plays out in a logical fashion. Movies and television are relatively new
mediums of storytelling completely different from anything we've ever seen before. Part
of what makes them so unique is that editing allows the viewer to see a wide shot cut to
a close up--something our eyes don't see in real life. This could make a story hard to
follow, but continuity editing combined with solid narration allows the viewer to easily get
immersed in the story.
on tape or memory card, but unless they are ‗well organised‘, into a programme, they
remain useless.
2.3 Rules of Continuity
Action Match Cut – One sequence shot from two angles and merged in one so that it
provides continuous flow of the actions and story.
Entire scenes and montages can move between time, but the shots that compose the
scene should have temporal continuity. An individual scene needs to feel as if it is
happening right now in real time. The most common way of maintaining this illusion is to
cut your shots on actions so that they match up to each other.
For example, let's say that we're editing two shots together of a man throwing a football.
We can start with the close up where he begins to throw the ball and then cut to the
wide shot where we see the ball leaving his hand and traveling across the field. We
would want to cut the two shots together so that they meet at a point when the man's
arm is in the same position. This way the action appears to be seamless when edited
together.
Cutting on action or matching on action refers to film editing and video editing
techniques where the editor cuts from one shot to another view that matches the first
shot's action.
A common example is a man walking up to a door and reaching for the knob. Just as
his hand touches the knob, the scene cuts to a shot of the door opening from the other
side.
Although the two shots may have actually been shot hours apart from each other,
cutting on action gives the impression of continuous time when watching the edited film.
By having a subject begin an action in one shot and carry it through to completion in the
next, the editor creates a visual bridge, which distracts the viewer from noticing the cut
or noticing any slight continuity error between the two shots.
180 degree axis - An imaginary line called the axis connects the characters, and by
keeping the camera on one side of this axis for every shot in the scene, the first
character is always frame right of the second character, who is then always frame left of
the first.
The first rule that any filmmaker needs to learn before he picks up his camera is the 180
degree rule. Adherence to this rule is necessary to maintain continuity in your scene.
What you do is create an imaginary line across your set that you will not cross with the
camera. This way if the actor is on the left side of the frame and the actress is one right
side in the master shot, they will stay in those established positions throughout the
scene as the medium shots and close ups are editing together.
If the camera crossed the line and the actress appeared frame left and the actor frame
right, then this would cause the audience to become disoriented because the
established spatial continuity had been violated. Once the spatial distance and positions
has been established, you should not violate it if you want to maintain continuity.
Audio Continuity – Maintaining a smooth flow of the audio. It can be ambience sound
or dubbed audio or narration.
Audio Continuity Problems
Audio continuity problems can be caused by a wide range of factors including shot-to-
shot variations in:
background sound
sound ambiance (reverberation within a room, mic distance, etc.)
frequency response of mic or audio equipment
audio levels
In single-camera production most of these inconsistencies may not be easy to detect on
location. It's only when the various shots or takes start to be assembled during editing
that you discover the problem. As you cut from one scene to another you may discover
that the talent suddenly seems to move closer or farther away from the mic, or that the
level or type of background sound changes (passing traffic, the hum of an air
conditioner, or whatever).
Some problems can be helped with the skilled use of graphic equalizers or
reverberation units. Changes in background sound can sometimes be masked by
recording a bed of additional sound in the audio. This could be music or street noise. As
in most of life, it's easier to avoid problems than to fix them -- assuming there even is a
way to fix them.
 Things to Be Alert For

First, be aware that mics used at different distances reproduce sounds differently. This
is due to changes in surrounding acoustics, as well as the fact that specific frequencies
diminish over distance.
Although some expensive directional mics will minimize the effect of distance, most
mics exhibit proximity or presence effects.
A good pair of padded earphones placed on top of a set of well-trained ears can detect
these differences.
With the increased reliability of wireless mics many production facilities are equipping
actors with their own personal mics. The distance of the mic -- it's generally hidden in
the person's clothes -- can't change, and because of the proximity of the mic,
background sounds tend to be eliminated. Some of the things we talked about in using
personal mics should be kept in mind here.
Finally, you need to watch for changes in background sounds. For example, the sound
of a passing car or a motorcycle may abruptly appear or disappear when you cut to a
shot that was recorded at a different time.
Even if an obvious background sound doesn't disappear, its level may change when you
cut from one person to another. This may be due to differences in microphone distance
coupled with the level adjustments needed to compensate for the different strength of
voices.
Continuity Issues in Background Music

Music can smooth the transition between segments and create overall production unity.
Background music should add to the overall mood and effect of the production without
calling attention to itself. The music selected should match the mood, pace and time
period of the production.
Vocals should be avoided when the production contains normal (competing) dialogue.
Ideally, the beginning of a musical selection should coincide with the start of a video
segment and end as the segment ends. In the real world, this almost never happens, at
least without a little production help.
To a limited degree you can electronically speed up and slow down instrumental
segments with digital editing equipment, especially if the music is not well known.
Because a kind of continuity issue arises when music has to be faded out "midstream"
to conclude at the end of a video segment, you can back time the music. If the music is
longer than the video, during editing you can start the music a predetermined amount of
time before starting the video. You can then fade in the music as the video starts. This
will be less noticeable if the segment starts with narration and the music is subtly
brought in behind it.
Story Telling continuity – Series of sequences to tell a continuous story without

breaking or disrupting the events or narrative. Most narrative videos or film is made with
the goal to construct a clear and coherent event structure so that the viewer can readily
understand the sequence of events depicted in it. Film continuity is managed in the
service of telling a story and thus creating a sense of continuity and discontinuity of
events within the story world. To this end, directors rely on formal devices for editing
together the distinct camera shots that make up a film. Some of these devices are quite
dramatic, such as the fade-out, fade-in, or dissolve, and are intended to signal a shift in
scenes. However, approximately 95% of editing boundaries are cuts (Cutting, 1995),
which constitutes the splicing together of two camera frames. The juxtaposition of the
content of two edited frames can be jarring and contain little feature overlap, but most
often, a cut is intended to convey a continuous flow of events and be ―invisible‖ to
viewer. Some authors have argued that cuts are invisible because they correspond to
visual interruptions that occur naturally due to the movements of the eyes, in particular
blinks and saccades.
Continuity editing is important for the management of perception of spatial and temporal
ellipsis. Films rarely depict all of the sub-events that make up a larger event. For
example, one shot may show an actor approaching the stairs of a building and the next
shot may show the actor entering that building. In such cases, viewers are intended to
perceive these events as being roughly continuous in space and time. The editing
technique most likely to be used in this situation would be the cut. In contrast,
filmmakers may use fade-ins, fade-outs, or dissolves across shots to indicate that there
is a significant amount of missing narrative time between the two shots.
Light continuity - Lighting for Time, Date, and Location

You may use lighting to indicate time, date, and location as a more subtle but important
consideration when designing and editing a scene. Early morning and late afternoon
light is different from that at high noon. The colours are different (early and late in the
day, the light is warmer, redder), and the angle of the light is lower. Winter sun is bluer
and colder; the lights of summer, fall, and spring each have their own colours and
contrast levels.
Intercutting scenes from cameras with noticeably different colour characteristics (colour
balance) in a dramatic production will immediately be apparent to viewers.
To alleviate this problem all cameras should be carefully colour-balanced and

compared before a production. Once cameras are colour balanced and matched,
an electronic test pattern with all of the primary and secondary colours is often
recorded at the beginning of the recording. This has traditionally been used to
colour balance the video playback. However today, many systems can
electronically adjust color from the recording's integrated colour reference signal.
2.4 Assignments

1. Define continuity in video editing. Why is it significant?

1. What is difference between story continuity and 180 degree axis rule in editing?
2.5 Summing Up
In this chapter, we learnt about maintaining continuity while shooting and editing
through various set of rules being applied.
1. What is continuity? Why is it significance in video editing?

6. What are different rules of continuity in editing? How can it improve the quality of the
video product if applied correctly?

2. Video Production, Vasuki Belavadi, Oxford Publication
Lesson 3 Idea to Screen
STRUCTURE
3.0 Objectives
3.1 Introduction
3.2 Writing the Proposal
3.3 Researching a Topic
3.4 Constructing a Budget
3.5 Writing the Pre-Production Script
3.6 Structuring a Programme
3.7 Storyboard
3.8 Video recording and editing
3.9 Assignments
3.10 Summing Up
Idea to Screen
________________________________________________________________
This lesson is a revision of the entire process of video production in brief.
___________________________________________________________________
3.0 Objectives
To learn Developing programme briefs
To know about researching the topic, Programme Resources, Style and format,
structuring the programme.
3.1 Introduction
The production of documentary is similar to the production of soft news video

package. The crew for documentary production is small, similar to the crew size
for the soft news video packages. The person whom a documentary is usually
conceived and created is the producer. A documentary producer can be a part of a
larger organization such as the news department of a television newscast or may be
simply an independent producer or documentary freelancer. The producer
oversees all facets of the video production.
3.2 Writing the Proposal

Continuity editing is the predominant style of film editing and video editing in the post-
production process of filmmaking of narrative films and television programs. The
purpose of continuity editing is to smooth over the inherent discontinuity of the editing
process and to establish a logical coherence between shots.
The proposal is a document consisting essentially of the following items:

 A treatment
 A proposed budget
 A video format or video script
 Proposed production schedule
The more thorough the proposal, the better the chances of the documentary being
approved. Yet before undertaking the proposal another step is required i.e.
research.
3.3 Researching a Topic
Research usually mean good library. Currently with high tech computer searches
for topics, research is easier and faster than ever, but good research is timeconsuming.
One of the best ways to do quality research is to organize. If a producer organizes the
topic carefully from the beginning, the whole organization of further research, the format
or outline of the documentary, the pre-production script, and the order of videotaping the
production will be created at the same time. Quality research can also reveal potential
locations for videotaping, available prerecorded videotape and film, the acquisition of
still photographs, contact persons, and potential interviewees, besides the content
nature of the topic itself.
Scouting the Location Site
Scouting out a location for production of a programme or at least searching out the
place to interview the spokespeople should at least follow adequate research into
the subject of the film or the documentary. A producer may have to pay for the
scouting trip beforehand and recoup the expense later in the proposed budget.
Writing the Treatment
The treatment portion of the proposal is a verbal description of the suggested

topic or subject of the documentary. The content of the treatment should cover
the topic and why it should be the focus of the documentary. It should also contain
a proposed title, the proposed length, and the goals and objectives of the
documentary. It is helpful to include the target audience and the reasons for targeting
them and suggested production values to reach the audience. Once the producer has
set goals and objectives for the documentary, a production statement can be written to
accurately define in an emotional or rational few words the rationale for the
documentary.
Most budgets are a matter of organizing essential expenses both from producing
personnel and from the projected costs of the production and postproduction. The
basis for much equipment and facility costs can be obtained from a rate card,
which most production facilities and equipment suppliers make available to the
potential clients.
A story can be told in different ways depending upon the budget. Each variation
will yield the same story, but it will be designed differently. To use an analogy, a
house can be built with $100,000 or $1,000,000. Both variations will be a house,
but the designs will be different based on budget constraints. The builder with
$100,000 can afford a modest house, while the builder with $1,000,00 can afford a
mansion with all the extras. Similarly, a documentary's budget defines how the
story is told in terms of variables such as locations, characters, special effects, etc.
If a story can be told with 10 locations, why use 20? If it can be told with a cast of
6, why use 12? Are elaborate lighting setups and camera moves adding to the story
or are they just burning up the budget and pulling down overall quality? You must
ask these hard questions.
One reason filmmakers refuse to be economical in terms of equipment and story
variables is that they fear a rough, low quality look. The truth is economy does not
mean low quality. It means telling a story within one's means. This results in
higher production values because every penny is put on the screen.
When you try to a make bigger movie than the budget can support, you spread
resources too thin. As money runs out, you may take short cuts and foolish
chances. This results in lower quality.
With research completed and format for the production finished, a pre production
script is not difficult to write at this stage. It is to be kept in mind that a script at
this stage is only a pre production step and not a final production script. Yet with
the advantage of research and information leads from research, a script is
advantageous at this point. Major elements to be included in the pre production
script are topic lead, proposed interviewees, bridges between segments,
proposed video, proposed cut-away, internal summaries and final summary.
Designing the Production Schedule
With the pre production work completed, the producer can now design a
production schedule on the basis of available locations and available interviewees
and travel arrangements. Production schedule information should include the
following:
 Dates of each individual videotape shoot
 Place for travel
 Transportation plans
 Crew accommodations
 Location sites
 Interviewee names and titles

Once the shoot has been done for the programme and the producer has the shoot
tapes ready, the producer has the perform following duties to give a structure to the
programme:
 Reviewing rushes and recording editing work sheets- Even though location log
sheets were kept during production, it is necessary for a producer to preview all
tapes as a prelude to editing. This step allows the producer to study video and
audio responses from location talent. This is the first step in the editing process
deciding what might be used in the programme and what will not be used. It is
also the beginning of the final script of the programme.
 Writing the final script for the documentary- although the pre production script
has served an important service, it gives way to the final script. It can still serve
as a frame of reference and a basic framework for the final script, but with the
dynamics of location shoot and interviewing, many elements first considered
important give way to new elements of ten more important or creative.
 Coordinating editing cue sheets with the final production script- after each tape
has been reviewed, work sheets completed, and the final production script
written, the producer can spend quality time apart from the tapes and video
monitors and, with the final script.
 Editing or supervising the editing session- with the majority of editing decisions
already made on the editing cue sheets and with the editing work sheets to aid in
swift recovery of videotape segments from the source tapes, editing can begin.
 Adding music and effects and mixing the audio channels- after the master tape
has been edited, and assuming the most synchronous audio bites are also edited
with the video, the second audio track is ready for voice-over tracks, location
ambience tracks, music or sound effects. This means that audio channel
1dialogue track and audio channel 2 music and effects will have to be mixed
down to one channel track. Adding titling and credits-after the master tape is
complete, and then titles and credits can be matted on the video. Some
producers may matte the character generator copy in editing suite over the
proper video images, as they are being edited master through a studio control
room switcher. This can also be done while the two audio tracks are being mixed
down.
 Final script transcription for the programme-many documentaries sponsoring

organizations may wish to have a transcribed copy of the final documentary for
legal purposes in addition to a videotaped dub of the master. If the organization
or some interviewee were granted editing rights in lieu of their participation in the
documentary, then they would require a copy of the final audio text of the
documentary from which to make corrections or revisions to the text of the
documentary.
3.7 Storyboard
Storyboards are graphic organizers such as a series of illustrations or images displayed
in sequence for the purpose of previsualizing a motion graphic or interactive media
sequence. A storyboard is essentially a large comic of the film or some section of the
film produced beforehand to help film directors, cinematographers and television
commercial advertising clients visualize the scenes and find potential problems before
they occur. Often storyboards include arrows or instructions that indicate movement.
Today's nonlinear computer editors are capable of just about any effect you can
dream up. Because of this, it's tempting to try to impress your audience with all the
production work you can manage.
But, whenever any production technique calls attention to itself, especially in dramatic
productions, you've diverted attention away from your central message. Video
professionals - or maybe we should say true artisans of the craft - know that production
techniques are best when they are transparent; i.e., when they go unnoticed by the
average viewer.
However, in music videos, commercials, and program introductions, we are in an
era of where production primarily editing techniques are being used as a kind of "eye
candy" to mesmerize audiences. To make your videos enjoyable for everyone, video
editing is essential. Videos that were before just a collection of disconnected ideas will
become meaningful, even powerful. You may even find that you enjoy video editing and,
after you have revamped your own video collection, opt to edit for others.
Video Editing is the process of re-arranging or modifying segments of video to
form another piece of video. The goals of video editing are the same as in film editing —
the removal of unwanted footage, the isolation of desired footage, and the arrangement
of footage in time to synthesize a new piece of footage.
3.9 Assignments

1. Explain the process of Idea to screen in Tv production.

1. What steps are to be followed to write a proposal for a tv programme?
3.10 Summing Up
In this chapter, we briefly about the entire process of TV production.
1. What is the process of structuring a TV programme?

2. What is research? How a good research can enhance the quality of a video
programme.

Lesson 4 Pretesting and Evaluation: Tools and Techniques
STRUCTURE
4.0 Objectives
4.1 Introduction
4.2 Television Pilot
4.3 Types of pilot
3.7 Storyboard
3.9 Assignments
3.10 Summing Up
Pretesting and Evaluation: Tools and
Techniques
________________________________________________________________
This lesson explains the pretesting and evaluation techniques for a TV programme.
___________________________________________________________________
4.0 Objectives
 To understand the significance of pretesting and evaluation of a TV programme.
4.1 Introduction
Testing materials before they are used in live examinations allows us to make certain
our exams are accurate, fair and reliable. An advance or preliminary testing or trial, as
of a new product.
4.2 Television Pilot

A television pilot (also known as a pilot or a pilot episode and sometimes marketed as a
tele-movie) is a standalone episode of a television series that is used to sell the show to
a television network. At the time of its creation, the pilot is meant to be the testing
ground to gauge whether a series will be successful, and is therefore a test episode of
an intended television series. It is an early step in the development of a television
series, much like pilot studies serve as precursors to the start of larger activity. In the
case of a successful television series, the pilot is commonly the very first episode that is
aired of the particular series under its own name.
A "back door pilot" is an episode of an existing successful series that features future
tie-in characters of an up-and-coming television series or film. The purpose of the "back
door pilot" is to introduce the characters to an audience before the creators decide on
whether they want to pursue a spin-off series with those characters or not. After seeing
this sample of the proposed product, networks will then determine whether the expense
of additional episodes is justified. Most pilots are never publicly screened if they fail to
sell a series. If a series eventuates, pilots are usually—but not always—broadcast as
the introductory episode of the series. Since the networks work on the same shared
schedule, directors, actors and others must choose the best pilot to work for with the
hopes that the network will choose it. If it is not chosen, they have wasted their time
and money and may have missed out on better career opportunities.
Once they have been produced, the pilots are presented to studio and network
executives, and in some cases to test audiences; at this point, each pilot receives
various degrees of feedback and is gauged on its potential to advance from one pilot to
a full-fledged series.
4.3 Types of pilot
 Standard Pilot
 Presentation
If a network is not completely sold on a potential series' premise but still wants to see its
on-screen execution, and since a single pilot can be expensive to produce, a pilot
presentation may be ordered.
Depending on the potential series' nature, a pilot presentation is a one-day shoot that,
when edited together, gives a general idea of the look and feel of the proposed show.
Presentations are usually between seven and ten minutes.
Occasionally, more than one pilot is commissioned for a particular proposed television
series to evaluate what the show would be like with modifications. Star Trek: The
Original Series and All in the Family are famous examples of this presentation-to-pilot-
to-series situation.
Broadcast
Pilots usually run as the first episode of the series, and more often than not are used to
introduce the characters and their world to the viewer. However, the post-pilot series
may become so different that it would not make sense for the pilot to be aired.
Multiple airings
The majority of TV pilots are aired twice (typically in September and December), while
some have aired more times.
Demo
Since the mid-1990s, television producers and networks have increasingly used
presentation tapes called "demos" in lieu of full-length pilots. These demos tend to be
substantially shorter than a standard episode, and make limited use of original sets and
post-production elements. The idea is merely to showcase the cast and the writing.
These types of pilots are rarely broadcast, if ever, although the material is sometimes
partially fitted onto a future episode of the resulting series. A demo prepared at an early
stage, normally using amateur equipment, is also known as a sizzle script.
Backdoor pilot
A backdoor pilot is a movie or miniseries that serves as a proof of concept for a full
series, but may be broadcast on its own even if the full series is not picked up. The term
may also be used for an episode of a currently running show that serves to introduce a
spin-off. Such backdoor pilots commonly focus on an existing character from the parent
series who is to be given his or her own show.
4.4 Assignments

1. Explain the significance of pretesting technique of TV programme.

1. What are different types of Pilot?
4.5 Summing Up
In this chapter, we understood the pretesting and evaluation techniques.
1. What is a pilot? What are its various types?

2. Explain significance of Pretesting process of a TV Programme.


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MADHU BALA INSTITUTE OF COMMUNICATION &

BACHELOR OF JOURNALISM & MASS COMMUNICATION

UNIT 1 BA (JMC) 206

UNIT 1: Understanding the Medium

Brief Historical Background of Television in India

Characteristics and Importance of Television

Various Formats of TV programmes

Stages of Programme Production

Television started in India on an experimental basis on September 15, 1959 with a

SATELLITE INSTRUCTIONAL TELEVISION EXPERIMENT (SITE) Indian

PRASAR BHARATI Doordarshan was Government-controlled organ right from its

According to BI-2016 survey, which was undertaken to ascertain the TV

Source: Business Standard

1.3 Characteristics and Importance of Television

Medium of close ups

Round the clock

Requires complete attention

1.4 Various formats of TV Programmes

Fiction programmes: Almost all the fiction programmes that depend on

Non-fiction programmes: Apart from different serials and other entertaining

Non Fiction Programme

Roundtable or Studio Discussion

The Importance of TV Documentary

Reality television: Programs that present unscripted dramatic or humorous

Filler programming: Programming, in no case longer than 30 minutes in duration,

The Production Process

The three main stages of production are:

Pre-production: Planning, scripting & storyboarding, etc.

1.8 Terminal questions

1) Describe the various programme formats of television.

UNIT 2 BA (JMC) 206

Ideation, Programme Brief, Objectives, Synopsis, Research - Recce and

Scripting a Programme: Story Boarding and Script Breakdown

Maintaining Continuity, Make-up, Set-designs, Costumes, Props, Floor

Ask yourself these critical questions when conceptualizing an idea for a TV

Write down what you're passionate about.

2.3 Programme / Video Brief

Remember to Keep It Brief, Literally

Provide Necessary Background Info

Create A List Of Expectations

Format of Video Brief:

Title ―A DROP OF SUNSHINE‖

Programme Format Non-Fiction / Documentary

Target audience Youth (18 -50 Years)

It takes a controversial and contrarian view

Research Primary Sources: Doctors, patients,

Shooting location Delhi

2.4 Objectives of programme

A good synopsis will focus a lot of attention to conflict and resolution.

Documentary research is the use of outside sources, documents, to support the

There are millions of places to look in print: Newspapers, books, magazines,

So what are the benefits of arranging a recce?

Following approach can be adapted to develop a treatment:

Formatting Your Treatment

How to write a Treatment:

Introduce the main characters.

Expand on the logline in five to ten paragraphs.

Write for your audience.

Write the story in present tense.

2.11 Terminal questions

2.12 Suggested further readings

2.2 Scripting a non-fiction

WRITING FOR FILM AND WHY DOCUMENTARIES ARE DIFFERENT

Film reveals what the eye often can’t see.