1. Reflect on the feedback your own group received and reflect on one of the other presentations (what was something you found insightful or intriguing there?

• Our group pitch the idea of The Situation Comedy to the class and receive critical feedback from Ms. Ruth and classmates. We take inspiration from non-narrative sitcoms, such as the Seinfeld episode ‘The Pitch’, where Jerry and George pitch the show they’re on to NBC executives, and the overarching association of EVS and live-to-tape narrative. We plan to use the whole studio space for production, to maximize the “absurdist” effect of the narrative. The cuts in-between EVS and the intentional BTS narrative were worth investing in. However, the disadvantage of our presentation is that we are at the beginning stage of narrative development. There are a few crucial discussions before pre-production. First of all, we plan to use the whole studio (control rooms, hallways, sets) but we have not checked the feasibility and limit of technology. For example, are we going to put cameras in different locations at the same time and switch the vision during live taping? Or are we going to make some parts as EVS and cut back and forth the recorded and live tapings? More importantly, we need a detailed script of what we mend to produce, in consideration of the limits we might be facing. 

• I feel intrigued by the presentation of Improv Games. They narrow down the format into specifications of three programs: Thank God You Are Here, Bus Stop, and Concept Clash. They illustrate the rules and how they want to use studio space to split up studio A into three segments for each program. I lean on to the expecting concepts of Thank God You Are Here and Concept Clash. Even though they spin off established game shows, it still creates boundless space for writers to throw in interesting prompts 

2. Reflect on the work in progress in relation to the crew role(s) you have been assigned. What are some of the challenges you are facing? What are the ways you are incorporating feedback from classmates, your studio leader and the studio presentations? How is the collaborative experience informing the work thus far?

• One challenge that I am facing is that I have no prior experience in the role of producer. Initially, it impedes me from conversing with other producers effectively because resource management is not my strength. However, I am thankful that our team of producers has such wonderful and multi-talented people who are willing to receive feedback critically and provide amazing support. I would like to thank Amira, Nicole, Jinli, and Larissa for filling in my experience gap. I appreciate that they cooperate with every crew role, keep up with new updates from each team, and respond quickly to individual demands. For example, I was assigned to be in charge of the EVS production team and the workload of EVS was enormous in the context of the time-limit frame. In total, we have short of a week to source inspirational ideas, and create mood boards, storyboards, and shot lists while waiting for the writer team to amend their episode script. Amira does not hasten us to finish the work in alignment with the set deadline in the checklist and Gantt Chart and gives us full control of creative freedom. Meanwhile, there will be different producers keeping in line with different aspects (GFX, audio, prop/sets, DA/floor manager). Therefore, everyone will play a role in the final product and run down the risk of overburdening with tasks. I incorporate feedback from classmates by showing my professional attitude to the production. I set deadlines for each of the EVS’s production stages and have call meetings with EVS members on the days to check their progress. I also talk to the writers and directors of each episode to pitch our EVS’s ideas, present visual preferences and got their checks before starting the shot list and clip sourcing. I endeavor that people show sympathy to each other by not overstressing the deadlines and having transparent conversations about what we demand to pull the best out of individuals.

3. Reflect on the course readings or ideas/concepts discussed in class each week. You are also encouraged to link these ideas and concepts discussed to your own media making practice; how are these ideas useful in the making of your own multi-camera production?

• I would like to refer to our reading of Week #9, the newspaper article “Behind the Scenes with Seth Meyers: Breaking news, last-minute Kanye jokes: How to make late-night TV in the Trump era” from Washington Post. The article explores the process of producing late-night television shows during the era of political turmoils. It shows the behind-the-scene efforts required to keep up with the constant stream of breaking news and unpredictable content. For example, they show us what happens if a piece of worth-noting news shows up before the air – how the screenwriter follows the news cycle. The highlight of the show is to create humorous content that reflects the political climate; therefore, any last-minute event will be counted in if deemed appropriate. For instance, the first draft of the special segment “Closer Look” “focuses on the Iran nuclear deal and Trump’s colorful former physician, Harold Bornstein” (Izadi, 2018). However, when they sit down for a meeting at 11:00 am, they stumble on Kanye West’s argumentative lines of slavery – and decide to add that for the show tonight. It is worth evaluating that they prepare a handful of political topics and carefully consider which one might be appropriate for each day. The writer Gentile discusses that “it’s worth checking in on America’s Plan B, Vice President Mike Pence” (Izadi, 2018). The article explores two helpful insights into making multi-camera production. First of all, creativity is under discipline. The writer Amber Ruffin refers to her and another writer (Jenny) as “the duo as “little murderers” who can attack a project quickly” and it shows that they quickly pump out the idea of mimicking rap of criticizing Kanye’s hate speech (Izadi, 2018). However, the script has to go under scrutiny and the writer makes sure that the script is communicated thoroughly before approval. Secondly, the first will never be the best. For example, on the day, the news of Ty Cobb’s departure from Donald Trump’s team is discussed to include in the show later. Meyers and his writers will run a rehearsal and test the effects of humor. If the audience does not get it, they will get rid of that joke. There are two details I take notice of one, “Baze listens to the audience reactions and writes a question mark next to jokes that work” and two, “Meyers and his writers huddle on set and race through “Closer Look” edits, marking what to keep and what to cut” (Izadi, 2018). It shows that not every initial line will pass the last check and if it is not working, never feel hesitant to change it for the better when time allows you to do it.
• I would like to refer to our reading of Week #10, the newspaper article “The Big Bang Theory’ is ending, but we shouldn’t let multi-cam sitcoms die. Here’s why” from Los Angeles Times. It discusses the value of multi-camera production in the prospect of contemporary’s higher valuation of single-camera over multi-camera. It highlights the communal experience that multi-camera sitcom offers. Its unique charm shows in live studio audiences and laugh tracks. As a result, these shows create a shared laughter that enhances the comedic timing and energy of the performances. Moreover, the recurring format, characters, and predictable structure of multi-camera sitcoms can provide comfort and escapism for viewers (Lloyd, 2019). Separate from the intense focus on small details to tell a story, multi-camera comedy just “looks at people, at close quarters, talking, talking, talking” and emphasizes the share of space – meaning that everyone can be a part of the story, including the audience (Lloyd, 2019). This whole notion of multi-camera values extends to the theoretical implication of using studio space in media making. Every time we visualize how the show will be in, we had to carefully choose the linear sets for the show – all the sets have to be synchronized and in a together block. Next to that, the camera position is up to the second priority list: how many cameras are suitable for this concept? For example, the article mentions the three-camera traditional setup has been intensively used for a long period. However, there are some exceptions: the show (Mork and Mindy) “led producer Garry Marshall to add a fourth camera to the historical three to keep track of his restless star (Robin Williams)” (Lloyd, 2019). For interviews, we would likely recommend a maximum of three cameras. However, depending on different requirements, a fourth might be put if we want it to track the movement of the host. It gives us the mindfulness to rethink multi-camera is equally creativity-invested as single-camera production

4. How do you hope the final work engages its audience and communicates a key concern of the studio? 

• I hope that the final work will engage its audience with our meticulous devotion to making the most entertaining gameshow. We spend countless hours enhancing the scripts, with consecutive rollout of drafts and feedback from different departments. We work to ensure that the show has a linear flow that places segments into a logical order. Therefore, the result is sensational that it does not show any rigidity in the transition between games. We want the audience to feel the whole show as coherent content rather than fragmented, sporadic shows. It communicates a key concern of the studio: collaboration. I hope that by the end, we present a democratic atmosphere within the crew- which parallels with attentive listening and constructive feedback. As it contains roles and responsibilities, it is challenging to handle thorough communication without individual contribution. It means that every single body looks after each other’s work and raises their voice if he/she needs support. I hope with the live tape of the final show, we can see the outcome of collaboration in the group.

5. If you were going to continue to develop the work (have it screen online or for broadcast), what would you improve or extend upon and why? 

• If I were going to continue to develop the work, I would love to share communication with other departments rather than solely managing my EVS team. As a producer, my task is to cooperate with EVS mates, plan the production stages and manage the deadlines. Although our team successfully created the EVS on time for the show’s premiere, there are some things in terms of quality that I am not fully satisfied with. I expect that my team members should have a meeting with the graphic team to discuss the mutual visuals that we want to put out. For example, what kind of graphics do we want to put in our EVS? Should it be similar to the graphic shown during the live tape? I will love it if every visual aspect synchronizes and matter to each other, rather than the non-related part. 

6. Reflect on collaboration and what you have learned through your experiences in this studio over the whole semester – how did you go and what were the ups and downs? You should devote 200 words to this. 

• I have learned that collaboration is a critical criterion in making a successful product. I have learned from working single-handedly on a project to working alongside different people to project a delicate product. The advantageous side of collaboration is that I get to understand thoroughly the strength and capacity of each individual I got a chance to work with. For example, when I was tasked to be a producer, I do not understand the duties of this role. However, as I mentioned, I got support from people who are better at organizational skills than me and managing resources to finish the brief on time. I learned a lot from my teammates in many ways: how they are intricately detailed in their reports, how they communicate and keep an eye on different tasks, and how they ask out for help and support others when needed. It broadens my consciousness of collaboration. Sometimes things might not be favorite in teamworking and rigidity shows up. As a matter of fact that we come from different backgrounds and commute in variable social styles, so we can misunderstand the tasks. For example, I expected that the EVS script that the writer gives out to us is the narrative for the host in the clip. However, things change on the set they follow another script yet leaving me unaware of which one. In the end, I sort out how to balance internal (within my team) and external (to other departments) communication.

Reference list: 

Izadi E (29 May 2018) ‘Behind the scenes with Seth Meyers’, The Washington Post, accessed 29 May 2023. https://www.washingtonpost.com/news/style/wp/2018/05/29/feature/inside-the-writers-room-with-seth-meyers-how-to-make-late-night-tv-in-the-trump-era/

Lloyd R (29 May 2023) ‘‘The Big Bang Theory’ is ending, but we shouldn’t let multi-cam sitcoms die. Here’s why’, Los Angeles Times, accessed 29 May 2023. https://www.latimes.com/entertainment/tv/la-et-st-big-bang-theory-multi-camera-sitcoms-20190505-story.html