PRODUCTION, PRODUCTION PROCESSES AND REALISATION / DIRECTING OF A MAJOR TELEVISION PROJECT

The diploma thesis entitled The Role of the Director in Different Phases of Production Processes of a Major Television Project is an overview of multi-camera television production. Written for all those entering the television world who have an interest and desire to gather basic information about television production, work with outside broadcast vehicles (OB) and other processes within a television organisation. Let me state clearly at the outset that I am describing experiences with production at one of the five largest television stations, which is not commercial, and the processes differ from production and realisation at the three largest national programmes SLO1, SLO2, POP TV … due to the interests of the owners and financial investments in realisation.

Problem

The diploma thesis entitled The Role of the Director in Different Phases of Production Processes of a Major Television Project is an overview of multi-camera television production. Written for all those entering the television world who have an interest and desire to gather basic information about television production, work with outside broadcast vehicles (OB) and other processes within a television organisation. The diploma thesis is based on fifteen years of experience in the field of television production across most of the so-called phases of the multimedia field.

Solution and Method

Let me state clearly at the outset that I am describing experiences with production at one of the five largest television stations, which is not commercial, and the processes differ from production and realisation at the three largest national programmes SLO1, SLO2, POP TV … due to the interests of the owners and financial investments in realisation. The production team I work with has extensive production experience, but less from typically commercial projects. Financial perspectives – budgetary resources for programmes of this format are very high, which enables the project creators to collaborate with various authors of texts, presenters, actors, scriptwriters, directors, lighting designers, graphic designers, camera operators …

In such financially well-supported projects, there is an enormous degree of responsibility and, of course, motivation, which all creators are fully aware of. During the period of operation, I observe the great importance of rationalisation or reduction of resources for this type of television production. This is a logical consequence of the openness of the Slovenian media market, the owners' aspirations for greater profit, which in turn means the possibility for technological and content development, which is necessary for the continued existence and operation of a media house.