Paragraph #1: The GFX list proves to be helpful to me. The role of GFX is to give the graphic operator and assistant director a sense of how GFX is being played  during the show. Reflecting on our run sheet in the game show, I must reinstate the importance of a GFX list.

When I analyze the mock GFX list, there are some concepts that I conclude about: first of all, the description of the graphic, and second, the additional notes. It is interesting that the description should compile supportive information about the GFX. For example, what is this GFX about, where are we locating this GFX, the size, the font, the format, and so on. It is principally because the graphic operator and producer/writer need to format the content of the GFX to their desires. For example, in the director-booth video of the show “JEOPARDY”, the questionnaire graphic was formatted to be in sync with the overall concept. Looking at the color and the font format of the questionnaire graphics – in blue color and professional, acknowledgeable letter looks.

We will see how they calculate the different alternations of graphics. At first, it was a full-screen question graphic with a voice-over from the host, which might serve two reasons: one, for a break before a transition, and two, to fix any camera angles or errors. Since this game show is live and not pre-recorded, the full-screen graphic might be a sneaky way to hide the studio. The lower-third question bar is showcased during the overview screen of the whole stage. 

The additional notes are significant for the AD to indicate when and where the graphic is shown. They converse with a graphic operator on the placement of graphics (we do not want to see the blocks of graphics on the screen). In addition, for example, if I want to show an OTS graphic while the host is talking, the AD and director should acknowledge it in the GFX list so that they might set up the appropriate camera framing.

Paragraph #2: The history of SNL and its roots in popular culture illustrates the dividend role of inspiration in creative making. I never think of the extensive range that SNL in particular and the general comedy-variety format has historically changed our way of entertainment. The variety format is rooted in the vaudeville concept, which shows a variety of separate acts unanimously (Marx et al. 2013). A new format was adopted in the early radio format history: a general theme with a fictional setting, and controlled variations for the weekly installment (Marx et al.2013). As far as the emergence of pioneering historical and social contexts follows (ie. the transition to TV), it welcomes new styles of entertainment. However, the segregation that sets SNL apart is that it is a live-to-tape production, different from major pre-recorded shows prior in the history. It is adventurous to be exclusively liveness, especially with a show “predicated on the idea of bringing new talent with a countercultural flavor” (Marx et al. 2013). SNL includes a shifting roster of guest hosts, ensemble comedy with sketches/one-liners, and live performances of contemporary artists. It is an interesting tactic for the NBC directors to keep the show updated to change audience biography. The fact that they are still relevant for a long time should be regarded as a great success, retaining relevant ideas and replacing unnecessary ones. It gives me a new insight into the possibilities a live variety show might be operated. If we stay with the old format, keeping recurring characters and the same sketch of comedy, we are no longer adapted to the competitive market. I am thankful that the reading “Saturday Night Live and American TV” shows me historical records of ups and downs in television. It helps me understand how and why the right mindset, flexible to uncertainty, wins the test of time.

Paragraph #3: This game-show assignment enhances two integral aspects of live-to-tape production: the coherence in the team’s communication, and the importance of polishing pre-production. I raised expectations for this assignment when our team was formed on assignment briefing day. A substantial part of this is that the members are comprised of talented and insightful people who spent an impactful amount of time complementing the content and script. Based on the role division, I am not wholly involved in the developing content process. However, I skimmed through the script and run sheet the prior day to shooting and everything is pretty detailed. They write two separate scripts for the host and the fictional co-host, Dave the Dropout (in the EVS). There is no rigid transition between two different narratives in which each dialogue explains and continues the prior one. I am thankful this time that the team briefs the host about the content and prints out a deck of questionnaire cards for the host to follow. Therefore, we will not challenge him to read content out of Autocue throughout the show. 

(Below is the screenshot of our script and explanation)

I am satisfied that the guys put sound effects on the track – it anchors an interesting tweak from the simple narratives. However, we can do more with this aspect. Neglecting the accident of sounds occasionally not playing in sync with the screen, I think we could put intensively rampaging or nerve-racking theme sounds on round 1 – the revision or maybe lightning round 3. It might catch more attention from the audience, and segregate this round’s theme from general-question round 2.

(Look out for the screen switching at 1:55 – the sound plays)

The crew does an exceptional job at GFX. Great thanks to Jamie for pulling out fantastic graphic designs for the show 

(Some of our GFX do not make final cuts)

The time sheet is different as since we agree to discard the intro sequence at the outing. However, the presence of GFX before the EVS of Doug the Dropout explains the rule passed without any checks. I am confused when I double check on the title placement (ie. GFX in the name of EVS). This grave mistake does not pay us a massive consequence since I quickly put on the EVS of Dave at the right time after the host finishes the introduction

(As you can see, in the run-sheet, there is supposed to be the showcase whiteboard EVS before the Dave EVS. I maintained to put all EVS files in order without acknowledgment it not going to be used. Refer to 2:40)

https://drive.google.com/file/d/1GtBswVd366ylZH-_9dgeY726pWCTERCV/view

It is our mistake of not doing several checks on all the documents before the show. It should be better if, in the next shooting, we spend a considerable amount of time skimming through the errors, and correcting everything before the official run to avoid these mistakes.

Reference list:

Nick M, Matt S and Ron B (2013) Saturday night live & American TV, Bloomington : Indiana University Press.