While the process may sound simple, it is anything but that. A television producer in an agency must combine technical skill and judgment with meticulous administration, financial acumen and considerable tact, particularly when working with the agency creative team. Whereas the idea is theirs and the producer is working in an advisory capacity, he or she almost certainly has greater technical knowledge and experience than the creative team and may well have to point out sequences which won't work and suggest modifications or changes. The producer may have to insist that Production Company A is more suitable to make the film than Production Company B. Perhaps because of the show-business nature of producing for TV, creative teams can want to take charge which can prove a disaster. Directors, the people in charge of actually shooting the film, prefer to receive instructions from one person, the producer. They can complain about anything, even about the writer's script. Unless the producer has the respect and friendship of the creative team, matters like these can be very tricky to handle, with an emotional uproar and wasted time and money all around. Equally, with the account group, the producer must work in an atmosphere of trust and cordial relations. Because the account group is accountable to the client, it must be satisfied that things are going smoothly and are within budget. The producer is a catalyst between account group, creative team and media department who have allocated the client's money to a particular schedule. All these people should be kept in touch with what is happening during the various stages of production.
What are these stages? An experienced producer at a major London agency was recently asked to list them for the benefit of newcomers. She listed 56, although it is only fair to record that the 56th read: 'Have nervous breakdown-client doesn't like film.' So there are some 55 items which can go wrong with serious consequences. Television producers need iron nerves and considerable stamina.
Initially, the problems concern money. Having found out how much money the client has to spend, the producer must study the creative team's script and storyboard and work out whether it can be made for the money available. A cast of thousands may have to be cut to seven. A location in the Bahamas may have to become Bournemouth. The script also has to be submitted to the ICTA for approval. Only when the agency is satisfied that they have a film which can be made for the money and will be allowed on air should it be shown to the client. If it is approved, the producer and creative team can then choose a production company and director, brief them and obtain a quote which the producer will go over with a toothcomb, obtaining alternative quotes from other companies if necessary.
When the quote is agreed and the production confirmed by letter, meetings take place between the production company, the producer and the creative team to discuss casting, location, set designs and music. Accurate notes need to be taken. A casting session is then arranged and the location viewed if this is thought to be necessary. If the client's product is to be shown, special labels to show up better on film may need to be ordered.
Finally, all these details together with an up-to-date shooting script are collated for the pre-production meeting at which the client must agree casting, wardrobe, set drawings, shooting script, special packs and any other relevant matters.
The shoot takes place accompanied by the inevitable sequence of bacon butties, coffee, tea and cakes. There is tension in the air-to run over time means spending more money. Every detail must be watched. Failure to notice an imperfection could mean an expensive re-shoot later.
After the shoot the agency team will see 'rushes', that is all the film that was shot. When sequences are similar the team will indicate their preferences so a rough cut can be made by the editor, who joins all the desired sequences together and cuts the whole thing to the exact time. In the meanwhile the producer is arranging to record voices and music. These have to be mixed and dubbed onto one magnetic film. 'Opticals' like titling mixes and dissolves are then put in hand and added to the 'double head' as it is called when vision and sound are still on separate film.
At this point it should be seen by the ITCA, interested people at the agency and the client, as it is still possible to make alterations. Sound and vision are then 'married' onto one roll of film and graded, perhaps several times, to correct colour imbalance. You then have your final or 'Answer print' ready to be transferred to video tape and sent to the stations to go out on air.
Concurrent with this program of activity, there are dozens of administrative jobs to be done. Apart from arranging all the necessary meetings, there is plenty of paper work concerning the actors' pay and repeat fees, details of music and musicians to be passed to the Performing Rights Society, a post-production script (what really happened) to be compiled or film to be transferred to tape, which is the way all commercials are now transmitted.
In contrast to television, radio may seem a simple matter. The main difference is that there is no director. Commercials are cast, the producer arranges a session with a recording studio, having previously chosen music and ordered any sound effects from the studio library. The session will be attended by the creative team and the producer, who will act as a director. The writer is very necessary as scripts often need to be re-vamped on the spot if they are running over time or don't sound right. The finished tape is then sent to the agency to be heard by all interested parties.
Television departments vary in size and complexity from agency to agency. In the bigger agencies much of the routine administration is undertaken by progress or traffic people. Producers probably will have Personal Assistants (PAs) who are trained to do the jobs for which the producers themselves haven't time.
Everyone seems to want to get into television to claim their share of fame and fortune. For this reason, if you are lucky enough to get the chance to become a PA, because of the number of people trying to get started, you'll find pay isn't brilliant to begin with. But according to your ability and initiative, you could well transfer to a production company or become a producer yourself. Then possibly comes that share of fortune if not fame. But remember: it is a very exacting job. Hours are punishing, especially when you are shooting. You are often out of your office so your desk tends to be piled high with papers when you return. You must have a head for figures, a flair for administration, a grip of the technicalities and be able to follow new technical developments. Keen awareness of new production companies, directors, jingle and music houses is vital and you need to tell your creative colleagues about them. You should be interested in the cinema, television and music, anything and everything that stimulates, entertains, and provokes enthusiasm among people.
What are the rewards? A lot of interest and variety in your life. The occasional trip to Barbados, Hong Kong, even Sheffield. The chance to meet your favorite TV idol. And if you have what it takes and can stand the pace, a jolly good salary. In fact, you could then easily say 'hello' to that Porsche and a lot of other luxuries.
