When you say the words “TV Production,” I get a little giddy. A zing goes through my body and I have visions of glowing lights, camera setups and what else…the director calling action! Ever since I was a kid, I wanted to work on a TV set and work with actors on fun and exciting concepts. Whether it was a commercial, music video or a show, I wanted to be a part of it. (I still think I’ll work on an SNL skit with Justin Timberlake and Jimmy Fallon someday, but who doesn’t…right?)

Image credit: Absolute Marketing Group

In my college TV Production classes, I was that girl. You know the one who would come up with the concept, call the location, get the actors together, run the camera and act, if needed. I did it all. It was fun seeing our vision come to life, but it was also a lot of responsibility being in charge of all the moving parts.

Many people are hip to the ways of TV and how it all works behind the scenes, but what many don’t realize is how quickly it can fall apart if the pre-production isn’t handled well. It’s like being the project manager on “The Celebrity Apprentice” and your ass is grass if it doesn’t go well. Oh, and Gary Busey is on your team.

Today, as a Writer/Producer/Talent Coordinator I wear many pre-production hats and figure out answers to questions like: Who’s getting that together? Who decided that? Where are we going again?

1. From the Get Go

Pre-production starts with knowing the client’s requests from the beginning. If you get confusing or conflicting information or, even worse, midstream changes, how will you be able to get it all together to execute? Certain clients are very specific about who and what they want representing their brand and should almost come with a rider. Like in show biz, performers have a rider or list of technical and hospitality demands the venue’s crew is to locate before a show. Similarly, designers and writers reference Brand Etiquette as a guideline for marketing, so it would only make sense to have a list of client guidelines to follow when pre-planning for TV.

Imagine writing and organizing a very large video production – including going through the casting process – only to find out later: the client wanted a different set location, an actor with a different hair color and are having second thoughts on the already approved script. If you change one element, it can throw a wrench in the entire production.

At times, it works out for the client to assist in the pre-production process, by either casting their own talent or scouting the location. But it’s only truly helpful when they consider all the elements for the crew. Paying attention to the details – like the acting direction in the script or the costuming  - are the keys for a successful production. Every client is different and every production is different. So it’s even more important to communicate with the client in these situations for the best outcome.

2. Use Your Words

Knowing the script is probably the most important piece of the pre-production process. This coming from a writer, of course. But, truthfully, everything starts with the concept and the content of the script. To be prepared, the production crew should know the script front to back and side to side. If you don’t know what the script calls for, how will you plan the camera set ups or be ready to direct the actors?

As a side note, money talks, so knowing what your client is willing to spend long before you write the script is an important piece of the puzzle. Know the capabilities of your crew and their resources available. If you write about flying helicopters in a tornado, and the client goes for it, you better have the ability to do it.

3. Picture This…

Drawing out each camera shot or storyboarding is essential to the success of every commercial shoot. Having it ready for the client to approve in advance is even more helpful; about a month to two weeks ahead of the shoot date is suggested. It allows the client to envision the layout of the commercial, and also helps the Producer with all the crew and actor questions, before and during the shoot.

In my experience, more questions come from actors than any other individuals on the TV set. And why shouldn’t they have a million? After all it’s their likeness on the line, and your client’s reputation reflected through them. Actors have a ton of pressure on them. The more information you can prepare ahead of time, the better. When your production crew is on their game, then the actors will be more relaxed and on their game, and the shoot will go more smoothly.

4. Talent and Costumes and Props…Oh My!

Talent can be fun, but talent can also be a beast. Not only do you have to follow photo release rules, you also have to contend with agents and buy out fees, asking your talented friends to work for you and, of course, worrying about the client liking your final choices.

In my experience, everyone wants a piece of the casting couch pie, but they also want a bottomless well of options, which doesn’t always occur in a smaller market. Personally, I’ve been active in theatre in this area for 15 years, so I’ve built connections with talented friends I can call upon. Even so, there are times where I still have to dig to find the gems that satisfy all parties.

The hardest part of any pre-production will always and forevermore be selecting the talent. One major lesson I’ve learned is: You cannot depend on a resume to reflect experience. If your client is willing to pay for the time, set up auditions so you can preview the talent on camera or at least to review their look and line delivery. If you can’t schedule auditions, get a video clip of any past work or performances.

Costumes and props are next, and inevitably fall to the Art Director’s vision. Typically the first questions from your talent are, “What should I wear?” “Should I bring anything else?” It’s best to tell your actors to bring a few clothing options to the shoot. It never fails: you’ll say “look natural” and the actors show up spray-tanned with acrylic nails and gobs of makeup on. If they bring options, you can at least dress them up or down as needed.

Get the props list figured out in advance. I like to avoid last minute running around, especially if your local stores don’t carry unique items or you need to rent equipment. Getting everything lined up ahead of time simply reduces stress and promotes smooth sailing.

5. Cruise Director

From my experience, there are generally too many cooks in the kitchen when it comes to directing. I’ll blame it directly on MTV…why not? Everyone craves the experience of being Ashton Kutcher, admit it. But really, there is a nugget of truth to that statement. I think the best directors are those who have been actors, because in order to know how to direct, you should know how to act.

Acting is a pressure spot. In order to get the best out of your actors, you should know how to coach what you want out of them. Most of this comes from knowing how to interpret a script and create emotion from it.

Master of Ceremonies

On any production, you’ll have the doers and the directors….and you may even have a few Gary Buseys to deal with. But if you have clear lines of who is doing what and who is in charge, you will have the makings of a successful production.

I still go gaga over a TV production project. I still love seeing it all come together, and in the end all of the planning ahead is worth it. Always remember that you’re on a team. Everyone is there to help each other through the process. No one person is the star. When it comes to pre-production, your job is to let your client “stand still look pretty” and give them what they want: a stellar final product.