Chapter 24
Specifically Television
INTRODUCTION
In many respects, making a movie is making a movie is making a movie. No matter which form it takes, many of the steps we take and the guidelines we follow to achieve a viable finished product are the same, whether it’s a show being projected on a big theatre screen, a home television, a computer monitor or a tiny cell phone. But there are considerable differences in each format, and in this chapter, I’ll touch on a few aspects of television production, which in themselves, are quite varied.
I did quite a bit of episodic television and movies for television early in my career and one reality pilot a handful of years ago, and I can tell you that working in television can be considerably more challenging than working on moderate-to high-budgeted films. You’re working within the confines of a locked budget and schedule, which is much tighter and shorter than most features. When you’re on a series, in particular, the writing, prepping, shooting and post is all occurring on different episodes — all at the same time. TV is its own three-ring circus, and churning out shows takes multitasking to a whole new level. It’s similar to low-budget filmmaking inasmuch as those involved, like it or not, learn to be more efficient, resourceful and creative with what they have to work with. Although it’s sometimes challenging to lose the label of being a “TV person,” it’s been my experience that if you do well in television, you’ll usually do well in features, because it’s a great place to perfect your craft.
A lot of talented people choose to work on television series in particular, because it often gives them longer stretches of employment. It frequently allows them to sleep in their own beds at night and stay closer to their families; because unlike features, episodic television doesn’t usually shoot on distant locations (although some reality shows do). If you can get on a series, and it runs for a while, you’ll know when you’re going to be working, and when you’ll have time off. If your show’s been picked up for a another season, it’s time off you can enjoy, because you know that you’re going to be going back to work when the hiatus is over. You probably won’t make as much money, but you’ll have an easier time of planning your life. Some of the best shows I’ve ever been on were series, because TV crews that work together for long periods of time tend to become close and create their own type of family bond.
SHOWRUNNERS
Unlike features, where in most instances, the director is the one who holds the creative power — on a TV series, it’s the executive producer, also known as the showrunner, whose vision reigns supreme. Showrunners exist in every facet of television, but a few examples from the world of episodic dramas would include David E. Kelley (Ally McBeal, The Practice, Boston Public, Boston Legal), Alan Ball (Six Feet Under, True Blood) and Shonda Rhimes (Grey’s Anatomy, Private Practice). A good example of a reality showrunner would be Mark Burnett (The Apprentice, Survivor, Shark Tank). More than a producer, head writer, casting director, person in charge of physical production, the showrunner is responsible for all creative aspects of the show as well as its day-to-day management. Many (but not all) create the shows they helm, pitch and ultimately sell to a network. And it’s to the network that they answer to, receive script notes from and stay connected to throughout the life of the pilot and/or series.
When individuals with good series concepts don’t have the clout to even get to bat with a network, many will make their pitch to an established showrunner, who will (if it’s their kind of show) run with it — bringing the creator on as the co-executive producer. Networks will also sometimes team less-experienced writer/producer-types with better-known showrunners before ordering a pilot.
TV DIRECTORS
With two-hour cable movies and mini-series being exceptions, and possibly multicamera sitcoms that may use the same director throughout an entire season, directors on most television series are brought in as (for lack of a better word), “guests,” to direct individual episodes. They’re not part of the staff unless they also happen to be the executive (or co-executive) producer, creator and/or a staff writer. They work within a fixed structure, a template of sorts, and have little or no input on the overall style and essence of a show — unless they’ve been hired to direct a pilot, in which case they’re much more likely to be instrumental in creating the look of a show. When brought in on an existing series, however, the crew, the cast of characters, the look, the sets, the tone and basic location of the show have already been set, and the guest director has to find a way to meet the needs of the show while still bringing his or her own personal touch and creativity to the table.
Directors who have done features are sometimes hired to work on episodic television (on pilots and cable series in particular, where creative input is more welcomed) and are hired again if they can handle the differences and demands of television. It can be quite a challenge to not only work within the constraints of much tighter budgets and schedules than what they’re accustomed to, but to also work in an arena where they’re not in charge.
Directors are often chosen because of their past track record with a certain show or sometimes because of their body of experience. Selection is also often based on matching a director’s individual strengths to the needs of a particular show, whether it’s someone who’s decisive and fast, a master at action sequences, great at working with performers, technically adept or someone who has the creative talent executive producers and/or networks look for when choosing someone to direct their next pilot or episode.
Some executive producers and/or writers are also directors, and as part of their deal on a series, they’ll often by contracted to direct a certain number of episodes per season — maybe even the pilot. Once a series has been established, promising new directors are sometimes given a chance, and it’s not usual for a number of directing slots to be awarded to select members of the cast and/or crew (oftentimes, the DP and 1st AD).
When it comes to navigating the routine, the personalities and the politics of any particular show, guest directors have to rely heavily on guidance from their 1st assistant directors. The 1st AD (who knows all the ins and outs of the show) will help the directors stay on track — a chore made even more of a challenge when the script is delivered late and prep days are rushed beyond an already tight schedule. But regardless of how much help is given, guest directors need to do their homework and be meticulously familiar with the visual aspects of the show, the storylines and the characters, so each episode (no matter who the director is) has the same look and feel as the others, and there’s continuity in the performances.
Additional photography and reshoots can a bit of a problem for TV directors, in that it’s typically not determined that additional shooting is even necessary until after the director is off the show. In many cases, the director isn’t able to come back — either because of other commitments or because the production doesn’t want to or can’t afford to bring him or her back for another day of work. It’s an issue the DGA is trying to resolve.
CABLE MOVIES
Most cable networks are well-oiled machines that oversee every aspect of some of the best quality programming on the air. Movies made for cable networks are most like working on a feature, but their shows have to fit into a box — a box with a very fixed budget and schedule. Budgets range from approximately $6 to $15 million (depending on the network, union and guild affiliations and where they’re being shot). And as with features, state and country rebates and tax incentives play a large role in deciding where a show is shot. Cast salaries are commonly capped at $1 million. Shows generally have an eight-week prep, take 30 to 35 days to shoot and stick to an 18- to 20- week post schedule. It’s a good formula that’s been working well for a long time.
THE ONE-HOUR DRAMA
Overview
Production is run in much the same way as it is on a feature, but everything moves at an accelerated rate. And on the frequent occasion when scripts are delivered at the last minute, pre-production is handled at warp speed. Episodes are prepped, shot and shepherded through post, all at the same time. In spite of the tight schedules, both directors and DPS are challenged to leave their creative marks. It takes competent organizational skills, some quick thinking, creative problem-solving and a cohesive team effort to get quality shows out and delivered to the networks on time.
A new series starts with a pilot episode that’s been “picked up” by a network. Pilots are generally shot in the spring and have double the budget and shooting schedule of a standard episode. They’re also judged to have enough story potential for 80 to 100 scripts, which is required for it be sold into syndication later on down the line. (Syndication is the sale of the right to broadcast television shows to multiple independent stations.) As a rule of thumb, the second episode is a lot like another version of the pilot, in that it reintroduces the storyline and characters (ideal for those who didn’t see the pilot). The second and third episodes are geared toward continuing to hook an audience, and it typically takes three or four episodes until the viewing pattern of the audience is known. I’m sure you’ve noticed, however, that sometimes a network will pull an underperforming show before it even gets to the fourth episode, even though some of the most successful shows in the business took time to find their audiences — Cheers being a prime example. For series that do continue after the first few episodes, more often than not, it’s those first several episodes that are more expensive and better looking than are the ones to come (often forcing producers to spend less on the episodes shot toward the end of the season).
The executive producer will assemble a team of writers to work together to determine the season’s storylines, and then the writers are assigned to write individual episodes. There’s a good chance that the EP will also be writing some of the episodes, especially if he or she is the creator and/or wrote the pilot. Some shows will accept scripts from outside writers, and all scripts not written by the EP are polished by the EP. Notes are also received by the network and/or studio, some of which result in changes. A lot has been written on the topic of network notes, including articles on the political tightrope showrunners have to walk when dealing with network executives and their notes — some of which prove to be insightful and helpful, others of which totally miss the mark. There are also times when these infamous notes become a source of satirical material, as is the case with the very funny book A Martian Wouldn’t Say That!! complied by Diane L. Robinson and edited by Leonard B. Stern (Tallfellow Press).
Most one-hour pilots shoot for 13 or 14 days, and once the show is picked up, overlapping prep and shoot schedules are the identical number of days — seven to nine days on average. Crews range from 70 to 100, and six to eight (script) pages are shot each day to stay on schedule. To help keep shows on schedule — most one-hour drama series are budgeted for two cameras — the second (or “B camera”) often being a Steadicam (for stable and fluid handheld shots). Splinter units (small units that shoot concurrently at the same location while the main unit operates elsewhere) are frequently used to shoot inserts, and if needed, a full but smaller second unit is used to shoot pickups, accommodate overlapping schedules or just to catch up.
Episodic shows employ alternating first assistant directors, so one can be prepping while the other is shooting. On larger shows, there might even be a third 1st AD to handle second unit, green screen, reshoots, etc. Depending on the continuity demands, there might also be two script supervisors — each receiving two and-a-half days of prep per show. Some series hire alternating DPS as well. And when that occurs, it only works if both are in sync as to the look of the show. Alternating DPS prep with respective directors, which makes for a more cohesive shoot once they get on set.
One-hour episodic dramas are shot on film or HD and are delivered on both HD and videotape elements. As for the post process, there are normally three editors and two assistant editors who alternate shows, and more often than not, work on Avid editing systems. The editor’s assembly is usually completed within four days after a show has been shot, and then four days are taken for the director’s cut. The producers take four to five days to make their changes, and then the picture is locked. Post schedules run from 21-plus days on the high side to fewer than seven days when critical airdates have to be met. Post production schedules are made at the beginning of a season and are based on predetermined air dates.
From a production standpoint, pre-production and principal photography on a drama series is like making shorter movies in a fraction of the time with a fraction of the budget. And because of the situation these days where studios own networks and networks own studios (NBC-Universal, CBS-Paramount Television, Disney-ABC, etc.), the production personnel on a series are apt to be dealing with executives from both a studio and network. In fact, when a series is being produced by a studio, it’s likely to be subject to mandated salary guidelines and box rental rates, which will be provided by the show’s respective production executive. Competitive bids also have to be submitted on all equipment packages. For series that have permanent sets housed on a studio lot, the production is almost always required to use/rent the studio’s set lighting and grip packages when shooting on stage. Outside lighting/grip truck packages from another vendor can usually be used when shooting on location.
If the series is being produced by a studio, then the network pays the license fee to the studio for the right to broadcast the show, and this fee is renegotiated each time the show is renewed for a new season. (Traditionally, as a show moved into a second and subsequent seasons, the budgets went up and the crew frequently received small raises. Now, it’s as likely that the budgets will stay the same or even go down a little, and much to the disappointment of the crew, salaries will stay the same.) Although the more popular the show, the higher the license fee, it’s never enough to cover the entire cost of producing the series. So the studio absorbs the deficit financing and hopes to make good on their investment when the show goes into syndication and entire seasons’ worth of episodes are released on DVD and other ancillary markets. In some cases, a network may own a series they broadcast and totally fund it themselves. In those situations, syndication, DVD sales and any other revenue generated from the series would revert solely back to the network.
Airdates
The time span between the start of prep and the premiere of the first/pilot episode is typically three or four months, and that span decreases with each subsequent episode. Airdates are spread over an approximate 34-week period, and because there are fewer episodes than weeks in the schedule, preempts (postponements of episodes from given airdates) are slotted in at strategic points to complete the remainder of the schedule. Shows will naturally be preempted for the airing of events like election results, the Olympics, Super Bowl and World Series. And when those types of big events are broadcast on another network, that’s the perfect time to air reruns. The holidays are another traditional time to air reruns.
Another significant scheduling consideration are the sweeps weeks, of which there are four — one in November, February, May and July, although the November and February sweeps are typically considered the most critical. It’s during these weeks that higher-profile episodes are aired to attract big Nielsen ratings. Taking everything into consideration, the objective is to run enough first-run episodes at the beginning of the season to hook an audience, not to air too many reruns in a row, to wow them during sweeps week and leave them wanting more by the end of the season finale — making it to the end of the schedule with enough time in-between airings to get all 22 episodes completed on time.
Titles
Having primarily worked in features the past many years, I find TV credits incredibly confusing — especially when it comes to producer titles. There’s a wide variety of credits used on different types of television shows, but few are carved in stone and many are somewhat arbitrary. The following are some of the credits you might find on a one-hour drama.
The executive producer (EP) is at the top of the hierarchy as described earlier in the chapter and may be the creator and may have written the pilot episode. A coexecutive producer may be the creator or co-creator of the show, a director or staff writer, but more importantly, this person reports to the EP and is responsible for all creative operations related to the show.
When you see a “Produced by” credit, it denotes someone responsible for all of the physical logistics of the series — from pre-production through delivery. A similar job is that of the line producer, but that person’s physical production duties usually don’t reach as far as post production.
Someone who gets a producer credit is often a staff writer. A co-producer can also be a writer — possibly one who has moved up from story editor or a deserving associate producer who’s been given a better title. Those receiving a supervising producer credit denote individuals who make significant creative contributions to the show and/or have a proven track record of producing. And a coordinating producer can be another title for a supervising producer, or it could be a credit given to a UPM who deserves more recognition.
A creative consultant may be someone who helped create the show but is no longer involved, or as it relates to comedies, it’s likely to be someone (not on staff) who comes in to “punch up” the script and make it funnier. A consulting producer also refers to someone not on staff — most often a writer who comes in occasionally.
An associate producer almost always refers to someone who oversees all aspects of post production and delivery. If you see the titles post production producer and visual effects producer, these individuals very likely to have started out as post and visual effects supervisors and have a proven track record of outstanding work.
A Prep Schedule
The following is what a very basic eight-day prep schedule might look like.
Day #1: There’s no director. Assuming the final shooting script is ready on time, the 1st AD starts breaking down the script and working on a tentative shooting schedule. Other departments start prepping as well.
Day #2: The director starts and is joined by the producers, writer, 1st AD and editor for a Tone Meeting, which lasts about two or three hours. During this meeting, the story and characters are discussed as well as the important beats of the show and critical production issues and concerns. At this time, the director also discusses his concerns. The Tone Meeting is then followed by a Concept Meeting, attended by the director, writer, producers, 1st AD, the production manager and all key department heads. During this meeting, the script is discussed from a production standpoint and questions are brought up. And although there may not be answers to all of the questions at this point, the meeting allows everyone to at least start moving in the right direction. It usually lasts about an hour and a half. Both of these meetings present opportunities to bring the two very distinct worlds of Creative (the EP and writers) and Production (the line producer, UPM, 1st AD, production coordinator and production accountant) together — the one team that conceives of a story and the other team that has to figure out how to actually make it happen.
This is also the day that location scouting and casting begins. Often, though, both of these processes have already begun, as the line producer has been able to pilfer information about the script before it actually materializes. Additionally, this is usually the day that a director new to the show will be introduced to the permanent sets.
Days #3, #4 and #5: Location scouts, the casting of guest roles and departmental meetings ensue. Department heads will usually turn in their preliminary budgets to the UPM, the budget continues to be tweaked and the construction of swing sets starts as soon as possible.
Day #6: Tech scout.
Day #7: Department heads turn in their final budgets, and a full production meeting is held.
Day #8: This is the day that many shows have a cast read-through with writers, producers, co-producers, cast, UPM/LINE producer and network executives in attendance. It’s held during lunch, so the cast can attend. This is also the day that the budget is locked and sent to the studio or network for approval.
Also during this prep period, construction/painting, set dressing and the prelighting of swing sets is taking place (unlike the permanent sets used throughout the entire series, swing sets are short-term sets are built for specific episodes). Costume fittings are scheduled as soon as each of the episode’s guest cast is set; music prerecords, video preshoots and still preshoots are scheduled as necessary. Before the first episode of each new season, make-up, hair and wardrobe tests as well as camera and lighting tests are also planned as needed.
Keep in mind, too, that while all of this is happening, another episode is being shot and others are in post — keeping certain members of the staff and crew constantly jumping from one meeting and decision to another.
Also during this prep period, the showrunner will receive script notes from the head of Current Drama at the studio or network. The script is also reviewed by Standards & Practices. Unlike a feature, all scripts (as well as product placement deals) are also subject to review by network Broadcast Standards and Practices.
Budgets
Because of the singular nature of pilots, they’re budgeted the same as features. Once a pilot is picked up, however, a new series will have three basic budgets, which are:
• The Pattern Budget, which is a template for what one episode will cost. For a one-hour drama, first-year show, pattern budgets tend to run between $2.5 and $2.8 million. High-profile shows that have been on the air for a while can cost upward of $4 million an episode.
• The Amort Budget (short for amortization), which reflects the costs associated with general prep and wrap of the series, permanent sets, facilities and other costs not associated with specific episodes. Examples would be the construction and dressing of permanent sets, creating a basic wardrobe for series regulars, wigs that will last the entire season and setup time for the departments. These expenses are amortized (spread out) throughout an entire season.
• The Episodic Budget, which — having used the pattern budget as a jumping-off point — reflects the specific costs associated with each episode.
The Cast
Unlike features, lead cast members rarely have personal assistants or their own wardrobe, hair and make-up people — unless it’s a single-star show.
When the show features an ensemble cast, then favored nations is commonly used when it comes to negotiating contracts for cast regulars, recurring and guest roles. Favored nations means that no one gets more of or better than anyone else; what’s denied to one performer is denied to them all. I was on a series once that starred two rather well-known female leads. The world almost came to an end the day one of them discovered that the other had a dressing room trailer that was three inches longer than hers. A favor or perk for one meant that we had to grant a like-favor or perk to the other (even if she hadn’t yet asked). I’d never seen such competition and can’t imagine what it would be like with an ensemble cast of seven to twelve high-profile performers on one show without favored nations.
On another series I worked on, there was an actress who had a regular supporting role — she wasn’t even close to being one of the leads (and the leads, by the way, were both lovely people who appreciated everything and anything that anyone did for them). For this one young actress, however, no matter what we did for her, no matter how deferential — it was never enough. She acted like the Queen of Sheba, and did nothing but complain, demand and seek attention. I ended up going to my friend Phil Wylly, who was the UPM on the show, and I suggested that perhaps he might ask the producer to have a talk with Her Highness. I don’t remember if the producer ever talked to her, and I don’t remember her having changed in the slightest, but what I do remember is Phil telling me is that if it wasn’t for her and the rest of the cast, we wouldn’t have a job.
That statement is even more appropriate when a series is carried by one high-profile actor. When that’s the case, expect plenty of perks and “personals” (assistant, hair, make-up, wardrobe, etc.) This actor’s contract may also stipulate how many hours a day he or she can work and may include a day off every so many weeks. When an entire show revolves around one person and that person gets sick or injured — or even disgruntled — everything slows down or stops, so great lengths are taken to keep that actor healthy, happy and safe.
The HD Factor
One-hour dramas were traditionally shot on film, and most are now shooting on HD. One might assume that it’s cheaper to shoot on HD as opposed to film, but the cost difference isn’t significant. Though film stock and lab processing costs are out of the picture, HD cameras, support equipment and labor tends to be pricey.
Sets take a little longer to light when shooting on HD, and they’re lit differently. Lights are positioned after looking into a monitor opposed to a light meter, and the balancing is more tricky. As high definition photography produces a high-resolution picture — an image with tremendous clarity, more care must taken with the painting of sets, wardrobe, make-up, anything that appears in front of the camera — because every flaw and blemish now shows. And when shooting exteriors, the lighting has to be even, so incredibly large silks and scrims are often used to diffuse bright light and create shade, because HD can’t handle contrast as well as film. Also, film has been a known format for about a hundred years, but HD technology is continually evolving, and no one HD camera is right for all cinematography situations.
Another significant change from a film shoot comes by way of the camera department, and now, instead of a film loader, there exists a DIT — a digital imaging technician. DITS are more expensive than loaders, have more equipment and need more time to drag their equipment around from one setup to another. They prepare and format digital capture media (be it hard drives, cards or digital tape), implement camera settings, oversee any problems with the camera, convert raw footage files for offline editing and back up all data files (captured footage) from the shoot. They also ensure that the look of the tapes and camera consistently match. Often, a digital utility person is hired to assist the DIT in setting up and moving the complex and cumbersome digital equipment array.
There are two HD record stations (also referred to as “video villages”) on set, and a utility person is needed to help set up the equipment. Among the other gear, each video village contains a large HD monitor and colorcorrection equipment for image quality reference (being able to color-correct on set saves a lot of time in post).
Some Differences Between Broadcast Network and Cable Shows
Take away the screen credits, commercials and network promos, and a one-hour episodic drama airing on a broadcast network runs between 41 and 44 minutes long. Onehour premium cable series (produced for HBO and Showtime) run approximately 50 to 60 minutes, because they don’t have commercials. (Other cable networks such as TNT, TBS, FX and AMC have commercials.)
Established series airing on broadcast networks (CBS, NBC, ABC, Fox, CW, etc.) commonly receive an order for 22 episodes that will air within a 34-week span — the traditional September through May television season. A new show may only get an order for 13 episodes (including the pilot) but another nine are often tacked on later if the show does well in the ratings. A cable series (airing on HBO, Showtime, AMC, Bravo, TNT, Lifetime, FX, USA, etc.) on the other hand, will only offer 12 or 13 shows per season, and that season may start at anytime throughout the year.
You’ve probably also noticed that broadcast networks have more stringent regulations governing the use of strong language, ethical and social issues than do cable networks. These regulations are administered by Broadcast Standards and Practices as well as the FCC. Standards and Practices departments vary a bit from network to network, but they’re all vigilant about reviewing scripts, script changes, product placement deals and rough cuts in order to stay on top of all moral and legal implications relating to the programs they air. Cable shows, on the other hand, tend to lean more toward shows that are edgier, more explicit and frequently use more colorful dialogue. Additionally, you’ve probably have noticed that broadcast networks impose content restrictions based on the time a show is aired — the earlier in the evening, the more restrictive. Cable networks impose fewer limitations.
REALITY TV
Reality as a Genre
Talk about fast and furious. I don’t know if commercials have anything on the frenzied pace of reality TV. I’ve only worked on one reality (or what’s called a nonfiction show), which was a pilot that was never picked up, but I’ve had my taste. I found the terminology, paperwork and crew slightly different than what I was used to, and it reminded me of low-budget guerrilla filmmaking — a kind of fly-by-the-seat-of-your-pants operation that’s very unstructured. My friend Matt Kutcher calls it “controlled chaos.” By its very nature, you can schedule and prepare for only so much in advance. Whether contestants are placed in everyday situations or in foreign environments, they ultimately find themselves dealing with extraordinary circumstances. An extreme rivalry is created, and the conditions they’re thrust into spontaneously evoke the best and the worst in their natures, including an entire range of consequences and emotions (tragedy, comedy, drama, frustration and/or triumph). This might make for popular television, but it becomes almost impossible to predict, script or plan for what’s going to take place or when those pivotal moments are going to occur. One can script some portions of some reality shows, and producers can create situations that will provoke specific outcomes, but there will always be unknown variables (those “ah-ha!” moments) that can’t be anticipated until they happen.
There are different categories of reality shows. Among the most popular are the competition shows like Survivor, American Idol and Dancing with the Stars. Then there are the docudramas like Super Nanny and Extreme Makeover, which center around a slice-of-life scenario as you watch people react to circumstances created by the show’s producers and/or by their own life. There are shows that are docudramas within a competition, which makes for even more drama, like The Biggest Loser. Also included under the umbrella of Reality are game shows, talk shows, court shows, variety and award shows. You’ll find game show elements introduced into several other types of shows, and almost all of them have some scripted elements or are set up as improv with storylines.
Each program follows a different formula, and because they’re all so different, schedules vary widely — the easier game shows typically taking less than a day to shoot (some productions are known to shoot up to eight game shows in a day), yet another show might require 100 hours of shooting, or possibly a week. Some are shot on a standing set on a sound stage and others on remote locations throughout the world. Most are shot on HD, and though certain shows will require one camera crew, others will employ multiple camera crews — all shooting at various times of the day and night. The hours are long and salaries tend to be lower in comparison to other television shows or films. Budgets are also typically lower than traditional episodic television shows, and for a one-hour show, they generally run anywhere from about $400,000 to $2.5 million.
Casting
On a cast-heavy show, a fair amount of the budget will go into securing the ideal competitors, family, team, people; and casting departments tend to be rather large. The ability to create the show’s characters by finding just the right personalities and being able to predict relationship dynamics is a lot different than casting or selecting particular actors for specific scripted roles. It takes a specialized talent to be able to cast the right people in a reality show, and you’ll note that on some shows, the person doing the casting will receive a Casting Producer credit at the end of the show.
Participants in the show are either paid to appear or receive compensation for the loss of their everyday salaries for the time during which they appear on the show.
Insurance Considerations
Certain types of reality shows are prime targets for lawsuits and insurance claims, so if you’re working on one, make sure to get a copy of all related network guidelines and talk to your project attorney about securing all necessary releases (including confidentiality releases from all cast and crew members). And expect background checks to be part of the process when selecting individuals to be on the show. As for your insurance package, when there’s a greater risk of injuries occurring, premiums could run a few thousand dollars more than they would on a traditional hour-long television show.
Product Placement
In association with major advertisers, product placement is big business in the world of reality. There seems to be a greater acceptance of brand names when they show up in realistic settings opposed to scripted scenarios. There’s such a preponderance of product integration deals these days, I found countless articles on the topic as well as a Nielsen study of broadcast TV shows with the most product placement — nine out of ten of them being reality. They also cited a list of the ten most effective product placements on brand opinion.
On-air product integration is low-cost exposure for advertiser’s products, whether it’s the prizes given away on game shows, the Coca-Cola sitting on the judges’ table during contestant performances on American Idol or the Sears appliances being donated to the families appearing on Extreme Makeover: Home Edition. Entire shows have been paid for by sponsors, and every day, thousands of products are being fully integrated into shows — used, consumed, worn and mentioned.
Product placement/integration is a great way to offset production costs, but it shouldn’t be done without the involvement of the shows’ respective networks to make sure that “payola” laws and/or broadcast standards aren’t being violated and that it won’t affect potential syndication deals down the line.
Staff and Crew
At one time, reality shows typically used nonunion crews, but as more union and guilds are creating new contracts to adapt to this type of production, more and more reality shows are signing union and/or guild agreements.
Crews are a bit different than the ones I’m used to on features. Instead of a gaffer (or chief lighting technician), there’s a lighting director. Each show has a technical director, who works out of video village or in a control room and is in charge of setting up all of the electronic equipment. And a video operator’s job includes “painting the cameras” — matching multiple cameras on the fly so that the look (colors, brightness, etc.) are the same if shot in a studio setting. You have a production manager whose prime responsibility is lining up both the equipment and crew. It’s the production supervisor who functions in a capacity similar to that of a script supervisor — working with the ADS, timing out shows, matching continuity, keeping track of the action, and in some instances, taking notes for the editors.
A number of reality shows entail a great deal of planning, logistics and traveling, and it takes a wellorganized staff and crew to make it all happen with as few hiccups as possible. As on other kinds of television programs, the executive producer is at the top of the totem pole with the ultimate authority for managing all aspects of the show. Other members of the production staff might include the following:
• Supervising Producer: this slot might be occupied by a line producer, although in recent years, some shows have given the title of supervising producer to a line producer whose position has become more creative. So even though this person is still involved with budgets and schedules and is the one who approves time cards and invoices, he oversees producing teams, features producers, associate producers and PA/loggers; develops stories with producers; assists producing teams with bookings, helps pre-produce the stories being shot in the field and works closely with the senior producer to make sure shows are edited and delivered on time.
• Senior Producer: oversees field producers; manages producer teams; helps to develop story content; oversees paper edits (that’s when an edit is created on paper based on time code; it’s a blueprint of sorts that identifies where specific shots and story beats are going to be introduced) and full edits with editors, helps to preproduce the stories shot in the field and to structure episodes; oversees producers, associate producers and feature producers; makes sure that shows are edited and delivered on time; compiles tape and air schedules with the executive producer and consults with and obtains all necessary approvals from the legal department.
• Producer: supervises the associate producer and PA/logger; works closely with the field producers to conceive, structure and oversee shots and story edits; screens and prepares editing notes for shows; conducts pre-interviews and gathers necessary research; works on show scripts; stays on top of all show-related legal issues; prepares releases relating to the show and guests and answers to the executive producer.
• Features Package (or Segment) Producer: generates new ideas for feature stories; coordinates with Graphics to brand segments and create regular features; prepares releases pertaining to the show and guests; clears locations for field shoots and secures location releases; maintains necessary paperwork to track all features and ensure that the bumpers (brief previews of stories to be covered later in the program) that are usually placed between a pause in the program and a commercial break are diverse in each episode.
• Field Producer: works with the senior producer to produce and deliver tape packages (complete, individual pieces of footage) and inserts for producing teams; helps to schedule outside crews; paper edits and coordinates and supervises all edits for story packages.
• Associate Producer: if there’s no casting director/producer on the show, it’s the AP who will usually book guests. He or she will also conduct pre-interviews, gather necessary research and material under the supervision of an assigned producer; supervise PA/loggers; assist producers with all elements of pre-and post production; coordinate photos and home videos with the senior producer; clear locations for field shoots and secure location releases; coordinate the travel of guests and field producers with the travel coordinator and assist the producer with legal matters.
• Production Associate/Logger: assists the associate producer and producer; helps with research; logs and transcribes all of his or her team’s field tapes; compiles show folders with all the necessary paperwork to file after a show is completed and returns all photos and documents to guests after taping.
• Travel Coordinator: handles all travel arrangements for guests and field producers; maintains completed booking sheets; maintains a computerized guest list after the show is completed; creates a schedule of guest/field producer travel; works with coordinating producer to determine correct amounts to assign to each producing team’s segment budgets and helps out with legal issues.
Post Production
Post production supervisors on reality shows have their work cut out for them, and post schedules range anywhere from three to ten weeks per episode, depending on the show. Post budgets are likely to be hefty, because these are the types of shows that are made in Post. It’s in the editing process (actually called story editing) that a good narrative story arc is created — full of just the right amounts of conflict, tension, humor, victory, defeat and heart.
Summing It Up
Speaking for myself, I think this style of production is best managed by young people with endless reserves of energy and a tremendous amount of resiliency. To produce this kind of show, you also have to be a “big picture” type of person and not get too caught up in the small details, or you’ll miss the all-important moments. Because you can’t be everywhere at once and there is no time to micromanage others, you have to build a strong support team and trust the people around you to do their jobs. You have to have an assertive personality, be able to make reasonably sound spur-of-the-moment decisions, have good communications skills and be able to roll with the punches.
Reality shows have been quite popular for the past several years and show little sign of disappearing. They’ve provided substantial job and advancement opportunities for many and are ideal for those who find the frenetic pace and unknown nature of the work challenging and exciting. Reality TV certainly has the ability to provide those so inclined with some fairly intense adrenaline rushes — behind the cameras as well as in front of them.
HALF-HOUR SITCOMS
Half-hour situation comedies have been traditionally shot in front of a live studio audience, enhanced with the help of a laugh track and shot with three cameras — thus referred to as three-camera shows. These types of shows now, more often than not, use four cameras and are more commonly referred to as multicamera sitcoms. The style of production and staging dates back to the “I Love Lucy” days and includes classic comedies such as Cheers, Frasier and Friends.
Another type of sitcom is the single-camera show; examples are The Office, 30 Rock and Curb Your Enthusiasm. These shows are more expensive than their multicamera counterparts, there’s no audience, shooting is done on practical locations as well as in a studio, laugh tracks aren’t used and their style of production and shooting is more like that of a one-hour drama series.
When you remove the commercials, credits and network promos, a half-hour sitcom (no matter how it’s shot) runs 21 or 22 minutes long.
A multicamera show has a five-day-per-week schedule that’s pretty much carved in stone, and they usually run Monday through Friday (although some run Wednesday through Tuesday). For the following explanation of a typical work week, I’ll use a Monday through Friday schedule.
Monday (or Day #1) starts the week off with a new script, a production meeting and a table read, as the crew preps for the new show. On Tuesday and Wednesday (Days #2 and #3), the script is tweaked, rehearsals ensue and the prepping continues. Thursdays (Day #4) are set aside for blocking, rehearsing on set and preshooting anything that’s necessary for playback on Friday. Then Friday (Day #5) is shoot day. The set has been prelit during the week (with the lights hung above the set), and prior to shooting, the show is rehearsed in front of camera. It’s then shot twice (in sequence) in front of two different audiences — the first called the dress show, and the second the air show. While each of the four cameras captures a different angle, scenes are shot from beginning to end and in sequence — much like a play.
On a multicamera show, only one episode is in production at any one time. Some shows use multiple directors, and others may use only one director for an entire season. Shows are shot on HD video, and episodes are edited in about a week. Three episodes are typically shot over a three-week period of time, with the fourth week taken off (so the writers can work on scripts) before returning for another three. The camera crew isn’t needed for more than the last two days of each shoot week, neither is Sound, Hair or Make-UP. The DP, on the other hand, comes in throughout the week for run-throughs. Casting and set construction issues are dealt with the week before. And something I find interesting (and different) is that scenes are designated by letters instead of numbers.
There’s also something called a hybrid series — one that’s partially shot in front of a studio audience but may also shoot one day on location or on a backlot. It’s a mix of multicamera and single-camera shooting styles. When a location or backlot is required, exterior scenes are shot a day or two before the rest of the show, edited and then screened for the studio audience attending the dress and air shows, so their reactions can be recorded.
Single camera sitcoms are shot on film (usually Super 16mm) or HD with one camera, although it’s not unusual for a second camera to be budgeted for two days during principal photography. These shows are generally given five days to prep, although sometimes, a final script isn’t ready for distribution until the third, fourth or fifth day, making for a pretty hectic prep. Shooting schedules are generally five days, and while a great deal of it usually occurs on a set, exterior locations are used as well.
A million thanks to producer Bob Del Valle, who helped me with this chapter. For anyone serious about working in episodic television, I enthusiastically recommend his book The One-Hour Drama Series — Producing Episodic Television (Silman-James Press).
I’d also like to thank my pals Keith Raskin, Jerram Swartz, Richard Wells and Ginny Nugent for their contributions to this chapter.