You're the Boss. Now What?

	You're the Boss. Now What? Here's a place to start by Charlie White

	Now it's time to learn how to produce. Of course, lifetimes have been spent learning how to produce television and video productions, and thick, unwieldy books have been written about it. But in this easy-to-read tutorial, DMN's Charlie White will attempt to boil it all down for you, teaching you the basics of this highly complex occupation in just a few pages. No matter what you came in here with, you'll leave thinking like a producer! First of all, what the heck is a producer, anyway? Let's compare it to baking a cake. In a television or video production, the director is the one who actually bakes the cake, the executive producer buys the ingredients for the cake and tastes it when it's done, but it's the producer who decides which kind of cake will be baked, which ingredients will go into it, and what it will look and taste like. But on many productions, it's not that cut-and-dried. For example, the best situation to be in if you're producing is to also be the executive producer, because that way you have nearly complete creative control, without someone looking over your shoulder all the time. And, the ultimate control freak might also want to direct, but on a large scale production that might be too much for one person to handle. There are also situations where the director needs more guidance, so the producer might step in and suggest specific shots or angles, or ask that takes be re-done. On a TV shoot, usually, it's the producer who gets final say about whether takes are good enough to keep or not. There are other situations where the producer has to take a back seat, both literally and figuratively. A good example of that would be on a live newscast, when something goes wrong and the director has to properly situate the cameras for the next event -- not a good time for the producer to attempt to take control. Many of these duty delineations have to do with the specific personalities involved. Of course, some producers are stronger and more well-respected than others -- many times I've heard the director berating and scolding the producer, where on other shoots that sort of thing would never happen. But most of the time, the producer is the one who is ultimately responsible for what's being done, so is in a position to command the situation. [an error occurred while processing this directive] When a production is just beginning, the most important thing to remember is that if your subject matter isn't interesting or important, you might want to consider another topic. I know this sounds pretty basic, but I've been stuck with quite a few productions that I thought never should have been done. Think carefully if your idea has been done many times before, isn't interesting, has no value, or is just plain dumb. If it is, abort. I know, that's a basic concept, but it's important and often overlooked. It's crucially important to start with quality, or else you'll end up polishing the dreaded turd, a substance in which none of want to find ourselves knee-deep. Once you've decided to go ahead with the project, first, fight for the biggest budget you can get your greedy little paws on. I think anybody can produce a great-looking show with $200 million. Sure, you probably won't get that much money, but the closer you can get to that, the better your show will look. Take your fistful of cash and start your list of things to do, and items to get. As producer, you'll always be working off lists, so devise an organized system in which your list will reside. In the old days, I used a clipboard, where I organized pages full of information in order of importance, and removed items that were taken care of. On that clipboard I'd have all necessary contacts, storyboards and specs, along with those ubiquitous lists. As technology has improved, I now use a Palm for the same things, but if you like paper, it'll work just as well. It will also help you as a producer to have some good local contacts. For example, people who know good locations can be invaluable. Have some good contacts for actors and models, food service, lighting and equipment rental, set design and anything else you might need. Once I had a contact I thought I'd never need -- a wheelchair-rental guy. I'd never be able to use his services, right? Wrong. Sure enough, I was doing a low-budget music video and needed a tracking shot so I borrowed one of my buddy's wheelchairs, sat my cameraman down in it and presto! -- instant low-angle tracking shot for free. With these contacts, you'll need to develop the skill of haggling. Try to talk them down, get a deal, add something extra. Cajole them -- don't be shy -- you never know what you might be able to get unless you ask for it. You're a producer, remember? The best producers can get their hands on anything, anytime, anywhere (well, almost). Tell them if they'll just deliver those 25 potted plants to your studio for one afternoon you'll put their name on the credits, and thousands (if not millions) of viewers will see the name of their establishment on TV. Use the power of television to your advantage. 1 2 3 Next