This week’s class delved into Paul Dwyer’s “Understanding Media Production” on “Friends.” The author conducted an in-depth analysis of the shooting scenes and pre-production details in the series, giving me a whole new understanding of the production process behind successful television shows. Through Dwyer P’s (2019) exposition, I understood the differences in production between radio drama and television programs, especially the challenges of shooting time and photographic techniques involved in television programs.

In television program production, directors, cinematographers, and other production staff must collaborate to ensure each scene achieves the expected effect. They face various challenges, such as how to complete the shooting within a limited time and how to utilize photographic techniques to present visual effects. These challenges require advanced technical skills, creativity, and good teamwork to cope with emergencies and overcome various obstacles. I will apply these concepts to my A1 project to ensure the smooth recording of our program.

In the rehearsal of the talk show on Friday, I took on two key roles: visual switching and lighting technician. As a visual switcher, my responsibility is to ensure that the overall visual effects and presentation of the program reach the best state. I need to pay close attention to the composition, lighting, and images of each shot, ensuring that they vividly present the content of the program and coordinate with other shots and the theme of the program.

Holland P (2017) mentioned that lighting is one of the most important factors in television program production, which can affect the visual effects and atmosphere of the program. Lighting technicians typically manipulate the intensity, positioning, and color temperature of the lighting to capture optimal shots and convey the program’s atmosphere and emotions. In my role as a lighting technician, I must calibrate the brightness, positioning, and color temperature of the lights based on the diverse scenes and moods within the program, effectively portraying its emotional depth and ambiance. I meticulously oversee the shooting outcomes of each frame to guarantee that the lighting faithfully represents the expressions and sentiments of the hosts and guests, facilitating a deeper audience engagement with the show.

 

Reference:

Dwyer P (2019) Understanding Media Production, Routledge, New York.

Holland P (2017) The New Television Handbook, Routledge, New York.