183 blog posts found matching keyword search for: TV Production in New York
by featured blog contributor, Jeremy PinckertIf you thought that joke fell flat, welcome to why most people who think they can produce "Funny", at best usually only make "Kinda Cute". Or at worst, make "My Friends Think It's Hilarious." This means you and your friends are the only ones laughing. The even worse version of the last option, "My Mom Thinks It's Hilarious", needs no explanation.Learn tips on how to direct comedy, and get real laughs in the process.
by featured blog contributor, Jeremy PinckertYou’ve collaborated on the storyboards, you've charmed on the conference call, you've nailed the pitch, and now you've won the job! It's Monday morning, and for once you're actually looking forward to making the harrowing commute...Starbucks is pulsing through your veins and you're ready - no you're stoked - to embark on that big-brand TV shoot. And then your phone interrupts your pump-up music on the BPM channel. Your apologetic producer is on the line and gently breaks the news: you don't have the money in the budget for that gorgeous steadicam shot you built into the boards. The steadicam shot that left you so inspired to direct this project in the first place. The buttery smooth eye-pleasing delicacy you were going to build your reel around. Options quickly flood into your brain: You could cash in the 401k, or even worse, call in favors from those famously curmudgeonly, hard-working steadicam operators just to get a shot like the famously long, intricate, and beautiful steadicam shot in Martin Scorcese's "Hugo" below:
Even though Breaking Bad has come to an end, it seems everyone is still trying to hold on. (We're one of those people.) So we decided to get an interview with the man who made sure our beloved characters always showed up crystal clear week after week, colorist, Tom Sartori.Q: As a colorist for Breaking Bad, what was a major post-production challenge you had to deal with? A: A constant challenge was to maintain stamina throughout the eight-hour session budgeted for final color. Some 500 or more shots had to be perfected within this timeframe, so the procedure, in very rapid succession, was always: identify the game plan, execute, verify color match, and then move on to the next shot.
I recently attended the 20th annual Real Screen Summit in Washington D.C. This mid-winter convocation has become the pre-eminent gathering of buyers, distributors and producers of reality TV, documentaries and other non-fiction programming in the Americas. Consequently, it also attracts hundreds of producers working in these genres eager to distribute finished or nearly finished programs, and to pre-sell projects in varying stages of development.
Today’s reality TV productions are ambitious in their size and tight broadcast schedules, requiring a multitude of impressive engineering feats. When not tracking every move of a housewife, psychic medium or celebrity, other shows such as Hell’s Kitchen, America’s Got Talent or The Voice closely follow the progress of contestants and are broken up into segments: the documentary portions that tell the back stories of contestants, the behind-the- scenes shots that show the contestants preparing for the competition, and then the (sometimes live, sometimes not) actual competition portion itself.
If you're a fan of college football, you've more than likely watched or at least heard of Auburn University. Think Cam Newton. Imagine what it's like to capture video of all of the crazy game plays and touchdown passes. And how exactly does all of the amazing footage end up on your TV screen? Weston Carter, Director of Video Services, Auburn Athletics Department, answered a few questions about the whole process.
by featured blog contributor, Jeremy PinckertMost Super Bowl ads are exquisitely planned, taking months of pre-production involving the best creative minds in the business. They also are blessed with stratospheric budgets. But what happens when your client calls you to produce something for the big game, and it’s only weeks away? Put down that Ambien, there’s no need to fret - this survival guide can help you rise to the challenge! The University of Notre Dame found out they needed an “institutional message” to air during college football’s BCS title game. This title game was expected to draw over 30 million viewers, becoming the highest-watched sports game in history outside of the Super Bowl. We received a call to see if I could direct the crew and if my company, Explore Media, could produce the entire spot. The caveat? This happened on a Tuesday morning. They needed to shoot by Friday of the same week! If we wouldn’t have had the background tips I’m going to share in this guide, I don’t think there’s any way we would’ve achieved the results.
We had a chance to interview 1st AD Alex Stein to discuss the anatomy of a call sheet. In this article (and video), Alex Stein will break down all the components that should be included in a standard call sheet for film and television.
The production industry is always evolving, from new ways to film to breakthroughs in production technology, with many women spearheading initiatives that impact the industry and set changes in motion. For the second year in a row, we are thrilled to present a few of our favorite "Women to Watch" — women who are constantly inspiring and reaching new ceilings in an industry that was previously male-dominated.
In our exclusive Q&A with Visual Effects Director Alexis Haggar, of London-based VFX house Lexhag, he talks about his work regarding the main title sequence for “Riviera,” Sky Atlantic’s new 10 part drama series starring Julia Stiles as the wife of a billionaire who uncovers the dark truth behind her opulent lifestyle.