Reality TV workflow!!

[Herb Sevush]

Mark –

Just for my edification, from someone who is NOT trying to get a job in reality TV but has had over 30 years experieince in editing – what’s the difference between a “stringout” and an “assembly”?

Herb Sevush
Zebra Productions

[Ron Lindeboom]

[Ed Dooley] “I don’t think that credits in any way should be required to be able to criticize TV”

Thanks for the follow-up, Ed, it is appreciated.

I never said that credits should be required to criticize TV. But the reason that I demanded them from you was that you did cross the line into taking things personal and attacked the man as much as you attacked the medium. That’s where the train jumped the tracks.

Personally, when I see series like “Invasion,” “Jericho,” “Dark Angel,” “Surface” and “Firefly” die after just a single season or two — largely due to their costs compared to replacing them with cheaply produced reality shows — I am even less a fan of reality TV. Sure, I like to occasionally watch shows like “Dangerous Catch” because it is interesting to see how it’s done, but after a few episodes, so am I. Done, that is. ;o)

But one thing I am a fan of, and that is making a living and putting food on the table for your family — especially in these trying times. If reality TV pays your bills, then “more power to you,” I say. It’s a tough world right now and keeping your family fed and cared for in a good thing.

While I may not think much of it, I also understand that my tastes are my tastes and the world is full of people that do not agree with my choices in TV nor with the way that I wear my hair or the clothes I wear.

Absolutes are far better reserved for weightier things than the shows we watch.

Thanks again, Ed.

Best regards,

Ron Lindeboom

Remember: Burt Bacharach lied. What the world really needs now is an undo button.

[David Roth weiss]

Ed,

Whether you like Reality TV or not, it’s a major factor in the media business and it drives a huge part the way the television business is conducted by the six companies that own TV. That’s a fact.

Also a fact is all that Mark said about the company he works for. Out here on the left coast they a indeed quite well-known for “pioneering” many of the techniques and workflows that are known nowadays as Reality TV.

They figured out the method of producing and post-producing a running unscripted storyline, shot with multiple cameras, and using whatever primitive tools they could scrounge up to get the work out the door at the time. Many of the tools, such as multi-cam probably wouldn’t exist without them.

His company has nearly 200 FCP systems, has numerous series on television, and employs about zillion “preditors,” as producer-editors are often referred to nowadays, who make it all come together in post. And, Mark runs that end of things. Suffice it to say, he knows a little about this subject.

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

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[Anders Haavie]

I totally agree with Mark with the workflow. I have been working on alot of realityshows in Norway (bachelor-age of love – bigbrother etc) and the editor is extremely important. A good editor, that works without being told to what to do all the time, is absolutely necessary. Since there is so much material and short deadlines, the editor is more or less a co-director. I think alot of the hardcore realityshows are MADE in the editing suite. Other realityshows that are closer to script is more of a directors job.

Just an opinion. Survivor was first made in sweden, and is in my opinion not as “reality” as other concepts more true to life.. (alot of my friends have worked at “european” survivor and its more like a fabric that anything else. Many countries shooting at the same time)

Anders

Xraid-Xserve-Xsan-Xeverything

[Chris Borjis]

sounds like that book in the classifieds should be just right for you.

[Ed Dooley]

I’m aware of the “mine is bigger than yours” school of credibility David. 🙂
I never argued that reality TV isn’t a fact, sadly it is (just my opinion), I see it everywhere. I produced a horrible indy film 10 years ago that starred some b-list people, I had a great time while doing it, I would never do it again, but I got paid for it, so I’m not coming from a high-horse position by any means. As you can see from other posts, not everyone agrees that Real World created a new genre, and that’s a fact. 🙂
Once again, sorry to Mark. Maybe someday I can tell him all the embarassing things I’ve done in my life that I’m mortified about (and should apologize for). 🙂
Ed (not holier than thou Ed)

[David Roth Weiss] “Whether you like Reality TV or not, it’s a major factor in the media business and it drives a huge part the way the television business is conducted by the six companies that own TV. That’s a fact.

Also a fact is all that Mark said about the company he works for. Out here on the left coast they a indeed quite well-known for “pioneering” many of the techniques and workflows that are known nowadays as Reality TV.

They figured out the method of producing and post-producing a running unscripted storyline, shot with multiple cameras, and using whatever primitive tools they could scrounge up to get the work out the door at the time. Many of the tools, such as multi-cam probably wouldn’t exist without them.

His company has nearly 200 FCP systems, has numerous series on television, and employs about zillion “preditors,” as producer-editors are often referred to nowadays, who make it all come together in post. And, Mark runs that end of things. Suffice it to say, he knows a little about this subject.
“

[Sean Oneil]

Do reality TV editors still get paid slave wages? Or has that changed?

Sean

[Shane Ross]

[Sean ONeil] “Do reality TV editors still get paid slave wages?”

If you calculate it hourly…yes. HA! In my experience, wages have gotten better. But it is based on the network. Survivor editors can get between $3000 and $5000 a week. While the “I LOVE NY” guys get $2000 to $2500 a week. And that counts working Saturdays (that I still won’t do on a regular basis…I enjoy life) and long 10-12 hour shifts. Work that out hourly and you might be better off flipping burgers.

Hee…I exhaggerate…of course.

Shane

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[Walter Biscardi]

[Eron Otcasek] “hey…thanks that’s really helpfull…what is your relationship with producers, or writers during the post process???”

Depends on what you’re cutting. Some Producers drop off the scripts, tapes and tracks and leave us alone until the rough cut is done. Some like to sit here in the suite and oversee the entire process.

We prefer to be left alone for at least the first cut and then we collaborate from there.

Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.

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[Walter Biscardi]

[Shane Ross] “And that counts working Saturdays (that I still won’t do on a regular basis…I enjoy life) and long 10-12 hour shifts. Work that out hourly and you might be better off flipping burgers. “

12 hours shifts is definitely something I plan to keep to an absolute minimum around here if we do this series. 10 hours is pretty normal if you count a lunch hour, but continuous 12 hour shifts are no good for anybody.

Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.

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Read my Blog!