Dramatic feature produced for broadcast television — typically 90–110 min, lower budget than theatrical, faster shooting schedules. Broadcast specs locked in postproduction.
You shoot for television, not cinema — this changes your entire workflow from day one. A telefilm is not a cheap feature film, but a distinct form of production with its own rules. The runtime is typically between 90 and 110 minutes, which is not coincidental: the broadcast slot must account for commercial breaks or programming bumpers. The budget is one-third to half that of a comparable feature film — which forces efficiency into every aspect of planning.
On set, you notice it immediately: shooting schedules are condensed, shooting days are often 10–12 hours instead of the usual 12–14 for cinema. Lighting setups need to be faster, which is why many TV films use broader, less specific illumination. This isn't bad, but pragmatic — and good camera technology compensates for it. You often choose lenses based on their speed rather than artistic subtlety. Moving rigs, flat lighting plans, and quick adjustments are standard.
Post-production differs significantly. The editing often follows a different rhythm — faster cuts, fewer long takes, more concise transitions. Color grading considers that your film will be watched on small screens, often in living room lighting; contrast and saturation need to be more pronounced for technical reasons than with cinema DCPs. You compress for broadcast codecs and compression during mixing — not just at the end. Audio is critical: TV viewers listen through small speakers, so dialogue clarity takes precedence over subtle ambience.
A special characteristic of telefilms is planning hygiene. While feature films allow room for improvisation on set, TV productions work with detailed storyboards and meticulously calculated shooting schedules — deviations cost immediately. While the technical equipment is top quality (camera, lenses, lighting), the set complexity remains manageable. Multiple scenes per day are the norm, not the exception. You learn to develop a visual language that says more with fewer resources — framing, timing, editing instead of lighting spectacle.
Broadcasters and platforms dictate formats: ARD expects a different look than Netflix, traditional television different aspect ratios than streaming. You must factor these requirements into your camera list before you even look through the lens.