PRODUCTION MANAGEMENT IN TV

Let’s dive right in! Meet your expert instructor and receive an overview of the class structure, assignments, and what to expect from this course.

• Introduce instructor
• Overview of class structure
• Assignments
• Expectations & outcomes

Welcome to the vibrant world of TV. In this class, you will explore the role of a production manager and the different departments that help make the magic happen on and off set. You will also delve into how production management integrates with creative and logistical processes. 

• What is a TV Production Manager?
• Overview of departments 
• Project types 
• Current TV production landscape
• Q&A: Share your interests, what you want to focus on, and/or what you need

Assignment #1: 
Read the pilot script for 24 Legacy before the next class.

How does a TV pilot get green-lit? Dive into the key phases of TV production, the critical milestones in each phase, and how the different departments work together.

• The studio’s position and role
• Goals, studio expectations, and intentions
• Translating script/outline into practical considerations
• Workshop: Using the provided script, identify the production requirements, key elements, driving factors, target budget number, etc. 
• Getting green-lit: The how, why, and next steps 

Assignment #2: 
Review the pilot script’s key elements (such as potential location ideas or action scenes). List at least 3 important elements and briefly describe potential production challenges in creating those elements.

Scheduling is the backbone of your production. Learn how to analyze a script or treatment for budgetary needs, differentiate between types of budgets, and calculate basic production costs.

• Macro production calendar
• Shooting schedule, one-liner, and DOOD 
• Case study: Creating a prelim shooting schedule
• Contingency plans, crisis management, & rescheduling
• Aspects that affect production
• 1st AD, their role, & relationship with UPM

Dive into budgeting techniques in Movie Magic. You will get a live demonstration of how to create a preliminary budget for a sample production, considering key cost factors and constraints.

• Demo: Movie Magic Scheduling
• Capstone project introduction

Assignment #3: 
Begin capstone assignment: Create a preliminary schedule for our TV series pilot based on what we have discussed and ‘prepped’ in class to this date. 

In this class, you will learn about the legal components of TV production, from legal requirements for hiring, firing, and working with unions to identifying necessary documentation for compliance. You will also evaluate health and safety risks in TV production and apply OSHA regulations to ensure safe working conditions.

• Studio policies: Human Resources & Legal
• Hiring and firing legally & unions and guilds 
• Child actors requirements
• Mandatory documentation
• Safe work conditions & OSHA 
• Insurance & studio safety 
• Workshop: Risk assessment - review various scenarios, identify & address potential health & safety concerns

The next stage: Learn to evaluate departmental needs, including technical equipment. You will also learn to analyze rental agreements, negotiate with vendors, and set up accounts for equipment, housing, transportation, and catering while maintaining budget targets.

• Q&A: Capstone progress - scheduling questions
• Types of technical equipment
• Specific departmental needs
• Rental agreement: Production office & stage facility
• Vendors & suppliers: Negotiation & account set-up
• Equipment, housing, transportation, & catering

This is where it all begins to materialize. Class 9 will teach you to understand the director’s creative vision and differentiate between set construction and shooting on location. You will also explore the Art Department’s structure, roles, and responsibilities.

• The director’s creative vision
• Location scouting 
• The set list: Build vs. on location
• Stages & facilities
• Guest Speaker: Art / Set Construction creative and physical processes
• Art department overview 

Assignment #6:
Break down the pilot script and create the set list based on that script. Differentiate between what should be shot on location and what should be shot on set.

Learn to negotiate deals with crew and agents, balance departmental priorities, and manage studio requirements. You will also get to put what you learn into practice in a hands-on negotiation workshop.

• Hiring crew & closing a deal
• Agents & representation
• Studio requirements & different departmental priorities
• Box rentals & union scale
• On-Production vs. Off-Production
• Demo/Workshop: Closing a deal in class

The secret to keeping production running smoothly? Communication. Learn to manage your team from assigning tasks strategically and facilitating effective communication across departments to conflict resolution. You will also learn how to lead staff meetings and implement the prep schedule to optimize workflow and team coordination.

• Production office staff & their roles 
• Distribution, daily reporting & update meetings
• Delegating & supervising
• Interdepartmental communication & conflict management 
• Staff wellbeing & mental health 
• Prep meetings & the prep schedule 

Assignment #7: 
You will be given 2-3 ‘set scenarios’ and have to solve the problems. Answers should be in paragraph or bullet-point format describing how you’d solve the problem and why you chose that solution.

Lights, camera, action! Discover what a day on set looks like, how to oversee on-set operations, manage daily production reports, and ensure smooth communication between departments.

• A day in the life on set
• 1st AD & key crew members 
• Maintaining shoot schedule
• Managing departments through filming & video village
• Workshop: Reading and understanding a One-Line schedule, call sheet review, and production report tutorial
• Daily reports

Gain an inside perspective of the average day of a UPM. Dive into daily responsibilities, interpreting call sheets, evaluating time management challenges, applying DGA requirements, and assessing workload distribution to ensure efficient production management.

• A day in the life of a UPM
• Key 2nd AD: Call sheet review
• How many hours did you just work?
• And there’s still more paperwork 
• DGA requirements of a UPM 

Assignment #8: 
You will get a preliminary call sheet for the next day’s work. Based on the one-line schedule, complete the section of the call sheet where all scenes for the day are to be listed.

Explore the roles and responsibilities in the accounting department, crew paperwork, and the relationship between the UPM and accounting staff. You will also learn to read a timecard and other important documentation.

• Accounting & payroll departments 
• Start paperwork & deal memos for crew
• Non-union crew members & confidentiality agreements 
• Production accountant & payroll accountant
• The timecard, approval process, & daily time sheet
• Purchase orders, invoices, quotes & cost reporting

Assignment #9: 
Fill out a mock timecard for yourself based on a scenario given. 

Now for the finishing touches… Delve into the post-production process, from editing to sound, learn to coordinate different post-production departments, and explore potential copyright issues and how to respond. 

• What happens in post-production?
• Editing, graphics, and sound
• Editorial department positions 
• Studio clearances & legal rights
• Copyright & seeking permission for use
• Workshop: Identifying copyright violations in various examples and deciding on responses

We’ve reached the finale – what now? Explore different career pathways, working freelance or for a studio, and receive top tips on building your portfolio and CV. You will also touch on the DGA training program and its advantages.

• Freelance vs. for a studio
• Industry associations & pathways
• Freelancer professional relationships 
• Suppliers and contractors list
• Where is TV production headed?
• Portfolio, CV, interview advice, & DGA Trainee Program

Capstone Assignment: 
Using Movie Magic Scheduling, create a prelim schedule for our TV series pilot based on what we have discussed and ‘prepped’ in class.