What strategies can you use to overcome unexpected challenges in TV production genres and formats?

Echanger avec des professionnels est toujours source de conseils (bons ou mauvais). Cela permettra d'ajuster si besoin le genre (ou sous-genre) du programme produit. Par exemple, différencier une émission en extérieur avec un présentateur d'un documentaire avec un passeur.

Trying to follow "rules" and putting creative processes like this into a box is something I'd advise folks to lean away from. Rigid boxes ruin the creative process and lead to weak results. Rather than reading this "article" (aka LinkedIn exploiting its user base for free content), I'd recommend those who are curious about the artistic process to read Rick Rubin's book "The Creative Act: A Way of Being." For those curious about production, the No Film School website is an excellent resource. The only "rule" to really follow is - be a problem-solver, not a problem-creator. Artistic pursuits are about discovery not prescription.

Here is a glimpse of our strategy within our production agency: Creative Flexibility: Adjust tone, style, and format while maintaining narrative quality in response to unexpected situations. Open Communication: Foster transparent communication for anticipating changes and adjusting plans accordingly. Strategic Planning: Develop flexible production plans to manage unexpected challenges without compromising deadlines. Versatile Team: Train a team capable of adapting to different genres and formats, minimizing the impact of unexpected changes.

Always put as much effort as possible into pre-production so everyone is on the same page. Strong communication is necessary. Here are 3 things to overcome unexpected challenges: 1. Plan for contingencies - Have a backup plan in place for key aspects of production, such as alternative shooting locations, extra equipment, or additional crew members if needed. 2. Maintain open communication - Ensure that everyone involved in the production is aware of potential challenges and encouraged to share ideas for solutions. 3. Stay Organized - Keep detailed records in all aspects of the production such as schedules, budgets, contacts, shot lists, ect. Anything to keep the production running as smooth as possible.

Flexibility with format is key in TV production. Being willing to adapt to unexpected challenges by adjusting the structure, pacing, or presentation of the show can help maintain momentum and engagement. Whether it's shifting the order of segments in a talk show or altering the narrative approach in a drama series, flexibility ensures that the production remains dynamic and responsive to evolving circumstances.

When 720p and 1080 TV’s came out, replacing original TV safely specs which were more square than rectangular, we learned to shoot in the “safe zone” meaning the TV Commercial or Long Format piece would be acceptable to the viewer and all types of screens without “stretching” the picture or cutting off images. Now we have a large population that watches from smart phones so that is an additional aspect ratio. I always start with the media buy… meaning what media channels will be delivering the final piece and what platforms will it be played on. The bottom line is to get delivery specs for each platform and get them to your editor and on-set video playback tech to make sure you are screen safe and informed about camera resolution needs.

Flexibility with your format is contingent or a few things - budget, creativity, communication skills, and knowledge of the particular format. If you’re trying to pivot a genre in a certain direction, you need to be aware of other attempts in this genre. Then, you need to be aware of the skill set of the crew around you. How creative can you be, and can you help other around you be their most effective and creative selves. Finally, can you pull off the idea that you want within your budget and time constraints. Typically, you can. You just need to focus on what you may need to lose in order to pull off your vision.

Flexibility really is determined more of the available funds you have on hand to do whatever it is you wanna do. More budget, more possible outputs. Lesser budget, go he resourceful and figure things out. A lot of times the best ideas and outcomes start from a lack, and the flexibility to work around it. Also, nobody likes a prude ??

Flexibility and mindfulness can greatly assist in overcoming unexpected challenges. Say your video camera is suddenly not functioning in a documentary production with a very important interviewee you cannot afford to do a re-shoot with, it might be good to just record their audio and perhaps use cut aways and B-roll in the edit. This might not be the best solution but you will definitely have their voice which can, in most instances, assist in driving the objectives of your documentary.

Planning and having backup options is essential for overcoming unexpected challenges in TV production. Anticipating potential issues and preparing alternative solutions ensures that the production can continue smoothly even if things don't go as initially planned. This could involve having backup locations, equipment, or even alternative storylines ready to implement at a moment's notice. By being proactive and having contingencies in place, production teams can effectively navigate unforeseen obstacles and maintain the quality and integrity of the final product.

Always have a plan in mind if things go sideways on location. If its the time of season when the weather is unpredictable shoot under cover somewhere. Then if it rains you are still a go. Can you build a cover on a lift and have that ready. The worst enemy is high winds. A 12x12 suddenly becomes a lethal projectile. Try to triage your shoot. What must you shoot on that location, what tighter angle of coverage could fake back at the studio? First and foremost keep your crew safe and give them a heads up if plan B is up. They can then be pepped and ready to change course and not get caught flat footed. Time is your most precious commodity.

Eine hilfreiche Strategie, um Kommunikation zu st?rken und Produktionsabl?ufe zu vereinfachen, ist m?glichst früh zumindest eine gewisse Planbarkeit zu schaffen. Das kann etwa in Form von festen Daten für Meilensteine geschehen oder durch das Festlegen von Drehtagen. Durch die Kommunikation mit Produktionsbeteiligten wissen Projektleitende diesbezüglich früh, wann was (bspw. Equipment, Skript, Darsteller) ben?tigt wird. Hier geht es nicht darum, Druck aufzubauen, sondern die Planung von Anfang an realistisch und gleicherma?en dynamisch zu gestalten zu k?nnen, sollten zeitliche Hürden aufkommen.

Some less experienced people look at you like you’re stressing or being pessimistic when you go through possible things that might go wrong, when in reality it’s quite the opposite. Working in news , I seldom had others to rely on in the field and things DO go wrong. Are you a videographer in the field with a corespondent that needs an ifb? Split the ifb with the dial up box to yourself. That way you can hear what the director is telling her. If she loses the signal, you will know as soon as it happens. If you give the reporter the passive box, you can reestablish the call quickly. Will that scenario happen? Not usually, but once the do, you need to learn from it so you can deal with it the next time, should it happen again.

Planear, ter plano A, B, C e D. Algo pode correr mal, e em televis?o n?o é possível parar, é preciso continuar de alguma forma. Se morre um ator numa novela, n?o é possível acabar com a mesma, é preciso encontrar um caminho. Encontrar um caminho é como encontrar um lugar num parque de estacionamento: quando todo o parque está cheio e só há um local livre, estacionamos, quando o parque está vazio e há muitos sítios por onde escolher, levamos mais tempo a estacionar. Ter op??es de backup é importante, por vezes n?o há mesmo nenhum lugar livre no parque!

Effective teamwork is crucial in TV production. By fostering open communication and collaboration, team members can quickly address unexpected challenges. Regular meetings, clear channels of communication, and a collaborative environment facilitate problem-solving and ensure everyone is working towards shared goals. This teamwork enables the production to navigate unforeseen obstacles and maintain quality.

TV is the very definition of collaboration. Unless you’re the original writer or showrunner, chances are other people will have worked on aspects of the show before you come aboard. For us directors, most of the time we’re coming in to a pre-established look, feel and tone, and it’s our job to roll the wheel rather than reinvent it. This means utilizing the talent around us and communicating clearly, especially if we want to make our own mark. The irony is that the more singular the vision, the more people required to execute it. As the saying goes, ‘Teamwork makes the dream work.’

The key to solving problems on production as a director is communicating your vision to the team. Planning in advance before you walk on set. This can be storyboarding, or pre vis (depending on the project), visiting the locations beforehand and record or take photos of where you want the camera to be, and working closely with your DP so then what you bring to the table can be handed over to all departments, and giving them enough reference that best visually describes what you are going for. This way you are able stay ahead of the curve, and with a fantastic cast and crew at your disposal the energy on production should move like clockwork with minimal creative problems and stay on budget.

Isto é o mais importante. Uma boa organiza??o da equipa é essencial. Cada elemento deve saber o que fazer, qual a sua responsabilidade no projeto e a quem responder. Quanto maior o projeto, maior a importancia da organiza??o da equipa.

This is kinda a given. If you can’t convey a simple message within your team, how the heck are you going to convey a narrative to your intended audiences through your video? Communication doesn’t just mean talking with each other. Directors need to convey the emotion to actors. Actors need to convey that emotion to the viewer. Production managers need to convey timelines to the team, etc. an open line of communication on set can build a happier set. If you scream and throw tantrums though, that’s also communicating. Negatively. And everyone will think you’re a child. So I’m the wise words of Vanilla Ice, “stop, collaborate and listen!”

Testing and evaluating the product throughout the production process is essential for identifying and addressing potential issues before they become significant challenges. By regularly testing elements such as audiovisual quality, pacing, and audience engagement, production teams can gather valuable feedback and make necessary adjustments to improve the final product. This may involve conducting focus groups, soliciting feedback from industry professionals, or using analytics to gauge audience response. By continuously assessing the product, teams can ensure it meets quality standards and resonates with the intended audience, ultimately mitigating risks and enhancing the overall success of the TV production.

Before committing to a full on feature film, or 20 part series, do a pilot first to test waters. Gather a whole gang of crew, actors, producers, big or small, and do one episode to see what the general response is. If it’s good, keep on going. If it sucks, at least you didn’t kill yourself over something that won’t take off. Some ways you can do a pilot. 1. Friends and family. Why not? At least you know they’ll turn up when forced to. 2. Paid market research through word of mouth of an agency. 3. Focus groups of diverse market segments. 2 and 3 costs, so make sure you’ve got wallets filled to get a screen test.

Testing is critical. If there is budget to do some targeted demographic work, that could be beneficial. In advertising, we would often do an A/B version online to see what resonated. This could be part of the up front promo budget for a TV show. The buy and analytics have a cost, but if you're working on a series, it may be worth it. Having a paid survey for qualitative feedback (even if it's a $10 starbucks card), could help you resonate with your target audience, and thus allowing your project to ultimately be successful.

Learning from experience is crucial in overcoming unexpected challenges in TV production. Reflecting on past projects allows teams to identify what worked well and what didn't, enabling them to refine their approach and develop strategies for handling similar challenges in the future. By documenting lessons learned and sharing insights within the team, members can collectively grow and improve their skills. This iterative process of learning from experience fosters continuous improvement and equips production teams with the knowledge and resilience needed to navigate any obstacles they may encounter.

Cada desafio na produ??o de TV é uma oportunidade de aprendizado. Avaliar os erros e os acertos dos projetos passados é fundamental para o sucesso dos próximos projetos. Essa experiência pode ser adquirida em projetos concretos, oficinas, cursos, estágios. Analisar criticamente as experiências vividas, identificar pontos fortes ou fracos, oportunidades, as solu??es para corrigir um determinado problema. Elaborar conceitos, teorias, modelos e regras obtidas a partir das experiências vividas. E, por último, aplicar esses conceitos e regras em projetos e pilotos. Essas s?o algumas estratégias que podem ser utilizadas com base na experiência.

Fail. Fail hard. Fail spectacularly. Fail gloriously. Fail plentifully. Then pick yourself up and fail again. You will never meet all of your own expectations. So sally forth bravely into failure. It's not that scary after a few times and that's how you learn.

Absolutely, and also ask questions. Never assume you have all the answers. Creativity, inspiration, and insight down come solely from experience. Be open to new and different ways of approaching problems. Actors, writers, tech crew all have unique perspectives. Use their knowledge to better yourself.

Every set is different, yet there are always shades of the familiar. Just as most stories all follow a certain structure, most TV sets and projects face a myriad of similar changes. With this in mind, even bad experiences are good experiences because chances are you’ll find yourself in that situation again. It doesn’t matter whether you’re in front of the camera, behind the camera or watching a monitor in video village, the best artisans in TV are those who can use their experience to foresee problems and foreshadow solutions. You’re always fighting the same limiters of time, resources and precision, so making smart decisions that don’t detract from either of those things comes down to using experience expeditiously.

Don’t forget to enjoy it! This is a business that comes with countless challenges. We know that going in, so don’t lose sight of why you chose this profession. Storytellers and people who help bring them to life are problem-solvers. If there were no problems, there would be nothing to solve and thus no stories to tell. Same as the very stories we create — it’s the friction and conflict that drives the narrative — therefore we’re secretly in love with the struggle that leads to a fully earned payoff. Remember that and you’ll remember to love every minute. :)

Communication is key, when productions have so many moving parts. The more information you can provide to crew or artists, means the fewer questions that may come back to you to have to deal with later. It’s an old record, but transparency goes a long way to make things run smoother.

In TV Production, to overcome challenges, you should be prepared to tackle with unexpected consequences. For Example, If Instrument got broke, you should have another one to quickly replace through.

One thing I’ve found helpful in the unscripted space is to keep extensive field notes. Not only should you cover everything you’ve filmed in one day, but also log what some of your challenges were. Miscommunications inevitably happens between Field and post production teams, so giving the post team a chance not only read the story, but also understand what issues arose during the day will help them understand why things aren’t ever perfect. Many people in post production can only base their opinion of the footage on what they see, and if you don’t fit someone’s preconceived notion of how the footage is supposed to be, then you’ll inevitably be cursed. Noting issues with scheduling or crew helps people in post to appreciate footage.

To overcome any TV production challenge, the individual experiences of everyone in the team are needed. Depending on more intern employees to be able to deliver is not a nice idea. Moreover, you have to be honest and open up to your team by carrying everyone along. Appeal for selfless collaboration. When time or finance is the challenge, review the budget, set priority and outsource. If the problem is logistics, all schedules can be redrawn and contingency activated. Competent technical support should be available for any technical challenge. Innovative production techniques, compelling storytelling and relatable character is required to overcome the creativity challenges and keep your audience always engaged.