Our final live recorded game show, ‘Budget Buddies’ 

Week 6

Reflecting on our Budget Buddies game show project, I was genuinely proud of what our team accomplished, both technically and in terms of entertainment value. The graphics looked polished and cohesive, our host was charismatic and engaging, and the sound effects complemented the energy of the show perfectly. Our director and DA worked smoothly together, maintaining a strong rhythm and supporting the team through any hiccups during the live taping.

One of the biggest strengths of our group was our collaboration. Everyone supported one another and stayed focused, even when things got slightly off track. Although I couldn’t rehearse vision-switching beforehand, I familiarised myself with the switchboard setup before we went live, which helped me feel more prepared. For the most part, our communication flowed well, but there were some minor issues. For instance, during the cue for the EVS video, there was a miscommunication: the director told me to cut to a graphic, and I mistakenly hit the wrong button on the switchboard, switching to GFX 1 (a black screen) instead of the EVS. Thankfully, our studio leader Ruth quickly stepped in and corrected it. Another hiccup happened during the bonus round, when we had to wrap up quickly—there was some confusion with sound cues, and we ended up playing the ‘thinking’ music instead of the ‘winner’ music.

Going forward, I’ve learned that clear communication is absolutely essential in a live multi-camera environment. In the future, we need to clarify beforehand who is communicating with whom, particularly between the director, camera operators, and the vision switcher. This would reduce confusion and create a more smooth workflow. Overall, this project was a valuable learning experience in technical coordination and collaborative teamwork. It also reinforced the importance of adaptability under pressure, especially when working in a live studio context.

Group folder: Jess, Chloe, Kiara, Tess, Phoebe, Breht, Bella

Week 4 blog: https://www.mediafactory.org.au/chloe-roussy/2025/03/29/ready-camera-one-blog-post-4/

Week 5 blog: https://www.mediafactory.org.au/chloe-roussy/2025/04/05/ready-camera-one-blog-post-5/

Week 6 blog: https://www.mediafactory.org.au/chloe-roussy/2025/04/12/ready-camera-one-blog-post-6/

Week 5

This week we got into our groups for our game show assignment, and thankfully, my team member (and now director) Kiara already had a clear concept in mind: Budget Buddies—a game show based on grocery shopping and the cost of ingredients. I was assigned the role of vision switcher, which I’m actually excited about since it’s something I haven’t tried before. Because vision-switching can’t be rehearsed until we’re in the studio, most of my preparation will involve supporting my group members during the pre-production process and making sure I understand the run sheet and flow of the show inside-out.

Our group has been actively communicating through a group chat and regularly updating each other on our progress. Jess has been busy designing all of our on-screen graphics, and multiple team members have been refining the script and run sheet to make sure everything runs smoothly on shoot day.

In relation to this, Holmes (2008) discusses the idea of a quiz or game show’s “repertoire of elements,” a concept we’ve been keeping in mind throughout our planning. These elements include the setting (a stylised studio space), characters (our host and 2–4 contestants), narrative (a clear, goal-oriented structure), iconography (visual cues associated with the game show genre), and style (the overall visual and narrative structure of the show). Understanding these components has helped us stay on track and build something that feels genre-appropriate while still being original. As we move closer to production day, I’m becoming more aware of how each team member’s contribution shapes the final product, and how important it is to stay communicative in a collaborative environment like this.

It’s been great to see how this theory from class directly connects to what we’re producing, and I’m looking forward to seeing how it all comes together during the taping next week.

Reference/s:

• Holmes, S., 2008. Quiz Show, Chapter one: Genre and the Quiz Show, Edinburgh University Press.

Week 4

This week in class we discussed the concept of nostalgia, which I thought was really interesting when looking at that in terms of camera setups in Television shows. I initially thought single-camera shows created a certain intimacy with the viewer, as if inviting us into a more personal or realistic world. However, after our discussion, I realised that the traditional multi-camera sitcom format cultivates a deep sense of nostalgia. As Winckler (2024) puts it, “television’s repetitive, reliable and ritualistic rhythms allow viewers to reconnect with a pre-modern sense in which time was experienced mostly as a cycle of seasons and festivals.” This helped me understand why shows like WandaVision are so effective. By mimicking the aesthetics and structure of classic sitcoms, the show taps into an aesthetic that is both comforting and familiar.

We also explored the use of laugh tracks and how they may or may not work against the genre, and how it feels inauthentic and authentic at the same time. On one hand, they contribute to the nostalgic atmosphere by reinforcing genre conventions that audiences associate with older shows. On the other, they can feel artificial, breaking the illusion of realism. This made me think more critically about how stylistic choices influence audience perception, both visually and emotionally. In another example that we watched in class, Kevin Can F**k Himself, the jump from stylistically sitcom-esque to drama-esque visuals demonstrates how lighting and the number of cameras can drastically change the mood and interpretation of a scene. From comedic and lighthearted to serious and emotionally raw, and highlighting the contrast between the protagonist’s public and private realities.

This discussion has made me more aware of how we might approach future studio projects. I think it’ll be important to consider how certain elements such as laugh tracks, lighting and camera angles shape the tone, mood and interpretation of the the production. Whether we choose to evoke the feeling of nostalgia or to disrupt it, being aware of these tools can help us to create a more emotionally resonant content.

Reference/s:

• Winckler, R. (2024). Sitcom as refuge, sitcom as prison: Nostalgia, anti-nostalgia, and the embedded multi-camera sitcom in WandaVision and Kevin Can F**k Himself. The Journal of Popular Culture, 57(4), pp.221-232. https://doi.org/10.1111/jpcu.13337Links to an external site.

Reflection #1: https://www.mediafactory.org.au/chloe-roussy/2025/03/07/ready-camera-one-blog-post-1/ 

Reflection #2: https://www.mediafactory.org.au/chloe-roussy/2025/03/15/ready-camera-one-blog-post-2/

Reflection #3: https://www.mediafactory.org.au/chloe-roussy/2025/03/22/ready-camera-one-blog-post-3/

Week 3 Reflection

Our final production^

By this week, we felt much more comfortable in our roles and successfully filmed our first talk show. Reflecting on Dwyer’s approach to studio production, I considered how its structured, almost formulaic nature influences both creative and technical decisions. This experience made me appreciate the balance between restriction and innovation, and how limitations in space and editing can actually push us to be more intentional in our planning, framing, and execution.

Going into our first live chat show, I felt nervous due to the limited time for planning and preparation. Since editing is not a significant part of live studio shows (Dwyer, 2019), I understood that much of the success would rely on thorough pre-production. Our biggest strength was our teamwork. We took an equal role in the planning process, discussing everything from the show’s title to the key questions we wanted to explore. Additionally, we made sure to communicate with our interviewee, Phoebe, in advance so she had time to consider her responses, preventing her from feeling put on the spot. This preparation ultimately worked in our favour, as the conversation flowed naturally despite being pre-planned.

As the director’s assistant, I really enjoyed collaborating with Sasha (our director) on camera angles, shot composition, and overall visual decisions. Having a second opinion throughout the process was invaluable, and I believe this teamwork gave us more confidence in our choices.

In terms of challenges, I think we could have done more in the pre-production stage to make our show feel more creative and distinct. Our set design was completely unplanned before arriving at the studio, which left us scrambling for props that fit our topic of concerts. With better preparation, we could have brought in additional items or even designed a logo to place on the table. Additionally, our introduction and outro could have been more unique to the show, to create a more established look. Moving forward, I want to focus on refining these elements to enhance our overall production quality.

Reference/s:

• Dwyer, P. (2019). Understanding Media Production, [Chapter three: Producing Studio Shows], Routledge.

Our group’s shared production folder:

Sasha, Chloe, Jaguar, Tess, Kayiu, Sam

Week 2 Reflection

One of the key points that really stuck with me from the set reading this week was the key perspectives of studio shows. Studio shows are generally viewed from three perspectives: as inferior to ‘quality’ single-camera TV, as embodying an ‘elite’ production aesthetic that reflects an ideology of liveness, or as products of an assembly-line style of production (Dwyer, 2019). I am aware of how TV in general is not taken as seriously as cinema, but I had not yet realised that studio shows are taken even less seriously. This made me reflect on how multi-camera productions, despite their efficiency and ability to capture real-time performances, are often dismissed as simplistic or formulaic. The association of “quality” with single-camera TV highlights how industry and audience perceptions are shaped by its visual aspects rather than just content. It also made me consider my own viewing habits. I consume a lot of sitcoms including some multi-camera productions that I find funnier due to their lower-budget appearance, so I do think this works really well depending on genre.

I also found the concept of dominant design (Dwyer, 2019) particularly interesting, as it deepened my understanding of how to effectively use the studio space. Since we’re still in the early stages of working in the studio, it’s crucial to be aware of the unique purposes and constraints of studio shows. The reduced emphasis on editing means that pre-production plays a vital role in ensuring a well-planned and polished final product. This makes instincts essential for everyone involved, as there’s little room for drastic changes once the production goes live.

At the same time, I’ve been reflecting on the limitations of studio production. The confined space and controlled lighting create a reduced sense of depth, establishing clear boundaries that we must work within. This makes set design a critical factor in maximising the minimal space available, which is another factor I will consider before we film our first talk show next week.

Reference/s:

• Dwyer, P. (2019). Understanding Media Production, [Chapter three: Producing Studio Shows], Routledge.

Week 1 Reflection

Going into this studio, I had preconceived notions about multi-camera production, primarily associating it with sitcoms. While I was familiar with the studio setting and multi-camera format, I lacked a deeper understanding of how these shows were filmed. Krampner (1991) discusses the three-camera setup and how its not only cost-effective and time-efficient, but also revolutionised television with the use of different angles and perspectives. Although modern talk shows have evolved, I was surprised by how many foundational systems remain because they continue to be effective.

Watching the behind-the-scenes footage of the Super Bowl halftime show was eye-opening. The level of planning and synchronisation with the rhythm of the music fascinated me, especially as someone with a background in music theory and an interest in how audio enhances film and TV. Seeing the crew work together so seamlessly was inspiring and made me eager to step into the studio.

I was surprised by how quickly we were introduced to the studio environment. Though initially overwhelming, learning the rules and crew roles in a hands-on way helped us engage with multi-camera production immediately. I took on the roles of audio operator and assistant director, and after a few rounds, I felt excited to contribute to our filmed segments. What I enjoyed most was the teamwork—coordinating with others to ensure a smooth and visually engaging production.

One of the biggest lessons was understanding the instinctual decision-making required in live media. Every role involves quick thinking—choosing the best camera angle based on dialogue and reactions, deciding the right moment to cut, and selecting the most effective transitions. Since live media lacks post-production editing, everything happens in real-time, encouraging experimentation and the ability to anticipate the edit before it unfolds. This aspect excites me, and I look forward to further developing my skills in this studio.

Reference/s:

• Krampner, J. (1991, July 29). Myths and Mysteries Surround the Pioneering of 3-Camera TV Broadcasting. Los Angeles Times.

Final Essay Film:

Mahjong for Dummies

Documentation:

https://docs.google.com/presentation/d/1AglboujfYa9VfXAK9GxZ1WmQ3yQBHia3NLnqT_seZ_g/edit?usp=sharing

Prompt #1 – Videos

Prompt #2  – Essay Film Treatment

I wish to make a genre-hybridised essay film based upon the Chinese tile-based game of Mahjong. It’ll be set around a group of four mahjong players, will include narration about how to play, and switches to script during the game.  I am also very keen on including some or all Cantonese script with subtitles as this is something underrepresented in Western media.

Tonally, the story will switch between the genres of drama and instructional video to tell a story through the process of a game of mahjong. I will set this up into 3 parts: 1st part – the setup, preparing the game, 2nd part – the game, 3rd part – everyone waiting for the final tile they need to win.

Upon consulting my mood board, I noticed something that all the inspiration images had in common. In terms of colours, there was a lot of greens, yellows, soft colours that evoke comfort and are complementary of the mahjong table and tile colours. Colour is also very symbolic in Chinese culture, with colours such as jade, red and gold being prominent and often representing luck, royalty and beauty. 

In terms of audio, I was very inspired by the Wong Kar Wai film In The Mood For Love, with long instrumental notes and plucking sounds in Yumeji’s Theme. This created quite an intimate and slightly ominous atmosphere throughout the film and it is used consistently which is why it sticks out as an audience member.

Prompt #3 – Reflection

Through the 15-30 second micro videos we have done to practise our personal essay skills, I have realised how short this really is in conveying a message without it feeling rushed. I found that I would over-explain my message when my photos were enough, which I think took away from the nuance of the story I was trying to convey. I really want to be able to tell a story with more use of show, not tell. This is a skill I struggled with when crafting a voiceover for one of my videos. I found myself overdoing the explanation and not leaving wrong for the visuals and music to tell the story. Hence, I tried to focus on audio and music to convey my message.

Through this studio I have learnt a lot about the variety and freedom of the essay film. Astruc (1948) discusses how the medium, which he calls camera-stylo, allows for the artist to “express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel,”. I’ve also thought about cinema as a “means of expression,” and the forever evolving nature of it. With this, upon reflection, I have noticed how less stigmatisation over certain issues over time has led to more creative freedom and thus more chances for one to express a feeling, mood, or thought in an essay film.  

The spontaneous nature of the essay film has continued to intrigue me over the course of this studio, and as seen through Gibson’s (2021) unplanned works. A lot of cinema and video production requires meticulous planning and preparation, yet the essay film can be found to be quite random in its conception. Inspiration can strike at any moment and upon further investigation an essay film can be made. I think this has made the micro films difficult for me as I am used to video production when there is a script and everything is planned out. In order to think of short ideas that I could implement in a timely manner, I had to scroll through my phone’s camera roll and think of my own thoughts and feelings associated with certain times. For example, when I was going through my family’s photo album, I had to fill in gaps with my own knowledge of my family’s experiences. It made me think of camera rolls now, and their place as a modern photo album. We have so much more footage of our lives now as it has become so accessible. Although this topic isn’t what my essay film is going to be about, I did think this was a very interesting concept that I would like to investigate further in the future.

As Richter (2017) describes it, “documentary film is given the task of visualising notions of the imaginary,” and through showing how something happens, not through telling. My micro films did have a documentary aspect to them, showing a genuine photo album of my family and part of my family’s story. I did use the two micro films as a way to try storytelling through pictures and music. Self-expression and visuals are a major part of storytelling through documentary essay film. The “new and great artistic possibilities” of documentary essay film has really drawn me in as this studio leads up to our final project, as it is what has inspired me to genre-hybridise my idea.

References

• Astruc, A. (1948), The Birth of a New Avant-Garde: La Camera-Stylo https://www.newwavefilm.com/about/camera-stylo-astruc.shtml 
• Bentley, S. (2021) head_phone_film_poems: interview with Ross Gibson https://www.acmi.net.au/stories-and-ideas/head_phone_film_poems-interview-with-ross-gibson/ 
• Richter, H. (2017), Essays on the Essay Film, 6. The Film Essay: A New Type of Documentary Film, https://doi.org/10.7312/alte17266-007