Ready Camera One – Readings/Class Content Reflection

Looking at how Late Night with Seth Meyers is constructed in the article “Behind the scenes with Seth Meyers: Breaking news, last-minute Kanye jokes: How to make late-night TV in the Trump era”, particularly regarding the fast turnaround of each episode, was instrumental in informing the development process of the scripts for both of the episodes of “3AM with FiCo”. We constantly were adjusting each script and creating new material to better suit each respective episode’s core elements.

Figuring out how to relate each aspect of the show to each other forced us to readjust our focus, as well as consider what would work best at what point in the timeline of the two episodes. Rearranging aspects of the episode – placing a specific joke in the monologue for example – led to a more streamlined and entertaining experience for the audience. (Izade, E., 2018)

More importantly, we had to work collaboratively to ensure the best final product. Reading the script to each other gave us ample time to gauge how long each segment would roughly be, as well as a feel for how the dialogue flowed and which jokes landed. This was also aided in rehearsals, as our crew’s reaction helped to iron out any issues with dialogue or jokes. (Izade, E., 2018)

Rehearsals also allowed for us to perfect any camera moves or cuts necessary, particularly within the first section of the first episode. Rehearsals also helped to work out how the script flows and works in regards to the host and co-hosts chemistry, as well as adding any particularly noteworthy improvised moments into the script. (Izade, E., 2018)

These ideas were most utilised in our final work, however upon reflection, my groups were already actively doing most of it, as it was most efficient at producing the type of show we aimed for. However, it is fairly clear that the methods of production utilised on Late Night with Seth Meyers would likely be ineffective and ultimately harmful in other types of production. With a more script heavy show, this style of loose production would be harmful to the development of the program.

The reading for week three, “Understanding Media Production” by Paul Dwyer, proved to be invaluable throughout the semester and particularly in our final project. The fundamental ideas presented in this text, particularly that of ‘dominant design’, informed our work through not only which rules to follow, but also which rules to break for maximum effect.

Throughout production, our goal was to appear similar to a standard talk show, almost lulling viewers into a false sense of security. In doing so, we had to carefully adhere to specific formats and formulas, which were established in the early eras of television broadcasting. (Dwyer, P. 2019) However, we also had to make a conscious effort at subverting them in order to convey the core concept of the show to the audience.

This idea of ‘dominant design’ played into each aspect of production, and is similar to the idea of genre theory, in that each respective type of production utilises its own generic conventions. We utilised this mostly within our EVS clips, as they allowed us to experiment with multiple different styles, such as vox pops, skits and ‘to-camera’ pieces.

Moreover, the idea of dominant design being utilised to draw out creativity within our production was core to the concept of the show. As Dwyer (2019:197) states, ” While dominant design establishes an overall production task, […] media producer[s are] required to exercise creativity in the way they apply the skills and knowledge routines they possess.”

As a result of our show relying on our talent’s improvisational skills, the crew is encouraged to adapt to the scene and be creative in how they capture a given scene. This means that we will utilise a standardised format in order to provide a solid baseline for each department to experiment and apply their unique perspective to the shoot.

Reference list:

Dwyer, P. (2019), Understanding Media Production, Taylor & Francis Group

Izade, E (29 May 2018) ‘Behind the Scenes with Seth Meyers: Breaking news, last-minute Kanye jokes: How to make late-night TV in the Trump era’, The Washington Post. Accessed 20 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/

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