Stages of production

Pre-production

Pre-production, as previously stated, is the planning and preparation stage. It's the first step in the process of assembling and organising the elements needed for a successful production. Ideas for the project are generated and decided
upon during pre-production. Creativity is crucial in this situation. Other tasks at this stage include: • forming a production team • determining tasks • establishing timelines

• 
  writing a treatment and/or script • storyboarding – using pictures to visualise the entire film The shots are depicted in a sequential order on storyboards.
  
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  scouting for talent for the show • assembling equipment and props
  
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  locating locations (recce or location hunt); obtaining permits; scheduling (equipment, shooting, personnel); preparing various logs; establishing timelines; determining post-production dates and studios; determining budgets and finance; and planning production and post-production logistics.
  
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  Arrangements for transportation and lodging
  

The programme concept is developed during pre-production, and the script is commissioned and written. In addition, all of the production's personnel, including the entire cast and crew, has been finalised and hired. Props, costumes, and production equipment are chosen, created, purchased, or rented, and a complete production schedule is established. During this time, all final shooting rehearsals are also completed.
The first step in pre-production is to figure out what your video's goals and objectives are. Your target audience must be identified and thoroughly examined. This is crucial, because everything you do after that should be done with your target audience in mind. The tone, pace, actors, style, language, music, length, and other aspects of the production must all be tailored to your intended audience's temperament, attitudes, and interests. You must also consider your budget and make all other decisions in light of it.
The following are the 12 basic steps that must be completed before an elaborate television pre-production can begin.

1. 
   Determine the production's goal.
   

This is the most crucial step in the pre-production process. The goals and purposes of the production are clearly defined during this phase. What is the production's purpose? To educate? To educate? Is it to amuse? Is it to instil pride or to fulfil a social, religious, or political need? The final look of the production will be determined by all of these factors.

2. 
   Examine the demographics of your intended audience
   

The next step is to determine who your target market is. The audience's preferences for programme content will vary depending on their age, gender, socioeconomic status, and educational level. These preferences differ depending on where you are. People in North India, for example, will have different programme preferences than people in South India. The preferences of the rural population will differ from those of the urban population once again.
Demographics are the characteristics of the audience. Regional demographic differences can be seen, in part, due to differences in local programming in different parts of the country — and, in some cases, due to films and network programming that local stations choose not to air.
Knowing your audience is critical to the success of your programme, and failing to do so leads to many failures.

3. 
   Take a look at other productions that are similar to yours.
   

It's crucial to look at previous similar productions to avoid making the same mistakes they did and to learn from their strong points. Consider the following questions: What distinguishes your proposed production from previous successful and unsuccessful attempts by others? Why did they work, or, perhaps more importantly, why did they not work? Of course, because production styles evolve so quickly, you must account for differences in time, location, and audience.

4. 
   Figure out what your product's basic value is.
   

The next step is to determine the production's overall value and convincingly communicate it to a sponsor or advertiser. Sponsors and advertisers, understandably, want a return on their investment.
We must ensure that production costs can be justified in terms of profit or return on investment. You'll need to ask yourself some questions for this. First, how big is the audience likely to be? To do so, you'll need to know whether your show will be a one-time event or if you'll be able to recoup production costs over time by presenting it to other audiences.

5. 
   Come up with a treatment or production plan.
   

Now that the fundamental factors have been identified, it's time to write everything down. At this point, a script outlining the entire treatment is written. As you start writing the script, you'll become more aware of the areas where more research is needed. A script's first version is frequently followed by numerous revisions. Several storey conferences or script conferences are usually held during the rewriting process. Scene revisions are frequently carried out right up until the scenes are shot.
Each new script version is usually issued on a different colour paper in a dramatic film production so that the cast and crew don't mix them up with previous versions. Storyboards are used in many productions.
Storyboards have the advantage of allowing the user to experiment with changes in the storyline for a better and stronger effect. Storyboarding is a time- consuming process that, however, makes the work much more organised and clear. Satyajit Ray, India's greatest filmmaker, was a stickler for storyboarding. Each of his films was completely storyboarded before being shot. Storyboards are now only used for short productions such as advertisements and short films.

6. 
   Make a schedule for production.
   

The next step is to create a rough schedule. A written timetable is created, detailing the amount of time allotted for each production step. The production schedule is usually dictated by broadcast or distribution deadlines.
If you don't plan carefully, you might miss a crucial deadline, rendering the production useless.

7. 
   Identify key members of the production team.
   

The important members of the crew, especially the key creative team members, are chosen in this step. The director, production manager, production assistants, music director, and others are all part of this team. Typically, the technical staff is chosen later.

8. 
   Pick a location.
   

The next step is to finalise the shooting locations. Location scouts or location managers are hired for major productions to find and coordinate the use of the script's suggested locations. Recce is another term for this.
Although shooting in a TV studio may be more convenient, audiences generally prefer the authenticity of "real" locations, especially in dramatic productions. As a result, picking the right location is crucial. Changing the on-location settings is frequently required. Rooms may need to be repainted or redecorated, and visible signs may need to be changed to fit the production's theme.

9. 
   Choose your cast, wardrobe, and sets.
   

After that, talent, wardrobe (costuming), and sets are chosen. Typically, auditions are held to determine casting and to find the best actors for each role. Payments are negotiated and contracts are signed once the people have been chosen.
After you've decided on the talent, you can start looking for outfits. The wardrobe is chosen in accordance with the script's requirements and the theme. A costume designer is hired for larger productions and in cases where the budget allows.
The next step is to create a set. A set designer is initially hired. He or she reads the script and creates a set design plan based on it, which is then approved by the director and put into action.
As the set is being built, the talents begin their rehearsals, which are crucial in ensuring that the talents and camera crew are in sync with the sets.

10. 
    Choose the remaining members of the production team.
    

At this stage of pre-production, decisions are made about the remaining staff and production requirements. The selection and arrangement of key technical personnel, equipment, and facilities are made. This includes both equipment and production facilities rentals.
Then, in case there are any overnight stays, transportation, catering (food and refreshment trucks), and on-location accommodations are made.

11. 
    Acquire all necessary permits, insurance, and clearances
    

Pre-production includes obtaining permits and clearances well in advance of the shoot. You must arrange for access permits, licences, security bonds, and insurance policies, with the exception of spot news and short documentary segments. If this planning is not done ahead of time, serious constraints may arise during the shoot.
Filming permits are required in places like shopping malls. Liability insurance and security bonds may be required depending on the nature of the production, as accidents can occur that can be directly or indirectly attributed to the production.
The controlling agency may restrict outdoor production to specific areas and hours in some locations. You'll need to hire special police for a street scene where traffic will be disrupted.
12 Video Inserts, Still Photos, and Graphics to Choose From
Arrange for videotape and film inserts, still photos, and graphics to be shot or acquired.
Check out existing stock footage in film and tape libraries across the country to cut production costs. This is usually background footage, such as general exterior scenes of a location that will be edited into the final product.
Doordarshan is an example of a stock footage source. If you're making a documentary about the Babri Masjid and don't have access to suitable footage or it doesn't meet your production's needs, you can use archival footage from Doordarshan.

Work on the second unit can also be done at this time. This is production that is done by a separate production crew away from the main location and does not usually involve the main, on-camera talent.

If a dramatic production requires exterior shots of a specific building in Guwahati, for example, a second unit can shoot the exteriors while the primary unit works on interior shots (supposed to take place inside the building) in Shillong, where the actors live.
At this point, you'll want to start thinking about music, including copyright clearances and royalties for music and visual inserts.
So, as you can see from the above discussion, the goal of this first phase, known as pre-production, is to assemble and efficiently organise the elements required for a successful production. Professionals in the television industry attest to its significance. Poor pre-production can add millions to the cost of producing a television series at the network level, making the difference between profitability and ruin.
As pre-production comes to a close, sets and scenery are moved into place on the studio floor or on location, lighting instruments are set, aimed, and focused, and talent (performers) and production personnel finish their rehearsals.
Choosing post-production timelines
Apart from all of the above, many filmmakers overlook pre-planning the post- production schedule, as well as booking the editing studio and editors for offline and online editing.

Last but not least, there's the marketing and advertising budget. Many films languish after they've been completed because marketing costs aren't factored in during pre-production. This is a major stumbling block that must be avoided.