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The Many Roles of a Producer in Television and New Media, Summaries of Media Management

The different roles of a producer in television and new media. It describes the five stages of production, from idea to wrap, and the tasks that a producer often performs in each stage. The document also highlights the power of a producer to educate, entertain, and emotionally move an audience. It is a useful resource for students studying media production, film studies, or television production.

Typology: Summaries

2021/2022

Available from 09/17/2023

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III. The Many Roles of a Producer
Many producers started off as writers or directors or actors who had an idea for a
project they wanted to see actualized. They wanted to brand their idea with their own
unique voice, and because they wanted that voice to be heard, they refused to
relinquish control over the development of the idea. They chose to become producers
so they could protect that idea’s vulnerability and actualize their original idea
The producer in television and in new media has the power
to:
Educate
Entertain
Emotionally move an audience
The Five Stages of Production: From Idea to Wrap
Stage One: The idea (project development):
Your idea might be a full-length script or a simple one-paragraph treatment.
The producer often (not always):
Writes or finds material to option, or obtains all rights to found material
Evaluates the project’s initial costs, funding sources, and likely markets
Develops the idea, first into a story synopsis and then into a formal proposal, or pitch,
for getting funds
Oversees the development of the idea
Develops a rough estimate of the budget
Pitches the project
Raises network or client interest
Obtains financing that covers the project’s initial development or that spans the entire
project.
Negotiates and obtains contracts for licensing fees and other legal aspects of the
project’s distribution or broadcast
Selects, interviews, and hires a director who shares the project’s visions and can
deliver on schedule
Selects and hires a writer or team of writers
May consult with and hire additional producers, associate producers, and/or a
production manager
Not every project requires a director; often, the producer may fill this role.
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III. The Many Roles of a Producer

  • Many producers started off as writers or directors or actors who had an idea for a project they wanted to see actualized. They wanted to brand their idea with their own unique voice, and because they wanted that voice to be heard, they refused to relinquish control over the development of the idea. They chose to become producers so they could protect that idea’s vulnerability and actualize their original idea

The producer in television and in new media has the power

to:

  • Educate
  • Entertain
  • Emotionally move an audience

The Five Stages of Production: From Idea to Wrap

Stage One: The idea (project development):

Your idea might be a full-length script or a simple one-paragraph treatment. The producer often (not always):

  • Writes or finds material to option, or obtains all rights to found material
  • Evaluates the project’s initial costs, funding sources, and likely markets
  • Develops the idea, first into a story synopsis and then into a formal proposal, or pitch, for getting funds
  • Oversees the development of the idea
  • Develops a rough estimate of the budget
  • Pitches the project
  • Raises network or client interest
  • Obtains financing that covers the project’s initial development or that spans the entire project.
  • Negotiates and obtains contracts for licensing fees and other legal aspects of the project’s distribution or broadcast
  • Selects, interviews, and hires a director who shares the project’s visions and can deliver on schedule
  • Selects and hires a writer or team of writers
  • May consult with and hire additional producers, associate producers, and/or a production manager Not every project requires a director; often, the producer may fill this role.

Stage Two: The plan (preproduction):

The idea can provide a kind of blueprint for the research and hiring of the essential crew members The producer often (not always):

  • Is the principal point person for the financing and/or distribution group
  • Is involved in negotiations, contracts, rights, and union discussions
  • Secures rights and permits for locations, music, and other elements
  • Breaks down a script or treatment into a rough budget estimate
  • Continues consulting with the director on aspects of the script and production
  • Hires and consults with the cast and crew
  • Supervises the completion of the shooting script.
  • Scouts and approves all locations
  • Consults with the production designer on the overall look of the production
  • Consults with the DP and director on the shooting format
  • Breaks down the shooting script to prepare the overall shooting schedule, call sheets, and production report forms
  • Negotiates with appropriate unions on contract and fee agreements
  • Prepares all contracts and deal memos, or oversees them after the unit production manager has compiled them
  • Signs off on the final budget

Stage Three: The shoot (production):

The producer often (not always):

  • Is on set or on call, always available
  • Consults with the writer(s) and supervise any changes
  • Works closely with the line producer
  • Works with the production designer and approves all aspects of the project’s overall look, tone, and mood Consults regularly with the director, talent, production designer, and other key department heads
  • Screens the dailies with the director
  • Prepares, balances, and/or approves the daily or weekly cost estimates
  • Stays on top of any press or publicity material generated and supervise what’s appearing in the media about the project

Stage Four: The final product (postproduction):

The producer often (not always):

  • Screens and logs all footage
  • Supplies the editor with a “paper cut” that acts as a script for the editor, with notes, time-code references for footage, and reel numbers and logs. lists all graphic elements and audio components
  • Research the legal requirements like copyrights, contracts, deal memos, and other forms of negotiation that can protect your idea and the whole project

Creativity, Clout, and Control

  • Every producer works toward some kind of payoff, which can be financial, creative, or experiential; ideally, it’s all three
  • That payoff is more likely to occur if the producer uses the components of creativity, clout, and control. Creativity: Inspiration and Creative Skills
  • Your idea is the creative essence of your project
  • You may write it yourself, or you have found an idea that’s been originated by someone else
  • After you’ve legally secured it, you develop it and flesh it out, and finally, you make it come alive
  • Your team may be small or large, but it’s a vital creative component
  • This team brings together the writers, actors, directors, crew, and production designers whose visions are aligned with yours
  • You’re creating and building a team of talented people who share your passion, reflect it in their work, and bring positive creativity and energy into the process Clout: Networking and Contacts Skills
  • You can research opportunities to meet people at various events, such as festivals, school clubs, or charity events
  • If nothing currently exists, exercise your producing skills by putting on networking events or organizing film/TV festivals
  • Create an online presence, write a blog
  • You can sharpen your producing skills when you know who’s who, and who does what best
  • You can follow the trends in television and new media, and research who’s financing them and in what ways the projects are financially viable
  • When you keep on top of media industry news, follow smart blogs, and observe the ebb and flow of current trends, you are stockpiling your own clout Control: Business Skills
  • You can research the legal requirements like copyrights, contracts, deal memos, and other forms of negotiation that can protect your idea and the whole project that revolves around it
  • You can master the numbers when you fine-tune your skills in breaking down a script, budgeting, costing out, rough estimates, and daily costs
  • Research budgeting software, and research online sources for shortcuts and hints on budgeting
  • You also want to understand and know your audience, both domestic and global
  • In this era of technological revolution, research the changing equipment in production and postproduction