You will write a personal reflection of 800–1000words which creatively responds to the prompts below. This reflection will be posted on your individual Mediafactory blog.

1. consider in what ways you hope your final work engages its audience and communicates a key concern of the studio? Draw upon your experiences from attending the studio exhibition.
2. outline the singular most successful and singular most problematic aspect of your process/finished work
3. imagine you are going to keep working on that media piece, what would be the core things you would want to improve and extend and why?
4. outline one key thing you’ve learnt from your studio experience that you will take into your future thinking and practice
5. what’s one key takeaway about working collaboratively?
6. include at least 3 x references to readings from the course/individual research to support your reflection

1. Consider in what ways you hope your final work engages its audience and communicates a key concern of the studio? Draw upon your experiences from attending the studio exhibition.

Studio Question: What are the creative possibilities and challenges of multi-camera production and what is the role of this mode of production in the contemporary screen media landscape?

In the contemporary screen media landscape, multi-camera production is frequently undervalued and dismissed in comparison to its single-camera counterpart. This perception overlooks both the creative potential and historical significance of multi-camera productions. Far from being a relic of the past, the format offers a distinct set of constraints that can drive innovation and opens space for redefining what constitutes “quality TV.”

As Dwyer (2019) outlines, multi-camera television emerged from early efforts to replicate the cinematic experience within the technological and spatial limitations of a live studio production. These constraints, such as lighting for all angles, live vision mixing, and limited camera movement forced creatives to develop unique techniques. Technological and economic limitations in multi-camera production continue to pose real challenges, but these pressures are not a burden, but a form of structured creativity. This spirit of ingenuity still defines multi-camera production today.

These constraints became central in our own project, Pretentious Pleasantries. Particularly the use of live vision switching which required us to think carefully about lighting, spatial arrangement, and transitions. One of the most creatively satisfying solutions was using lighting both to set the mood and to transition between scenes. For instance, in the moment when Count Robespierre was revealed dead, we cut the lights briefly (acting as lightning that caused the lights to flicker momentarily) and brought them back on to find him slumped over the table. This allowed us to achieve a comedic and surprising effect without needing to film the “death” itself. Another challenge we faced was the 180-degree rule. Because crossing the line would disrupt continuity and reveal the studio setup, we arranged the characters in a semi-circle around the table rather than a traditional seated configuration. This ensured that all guests remained visible to the cameras while maintaining the illusion of natural conversation.

When it comes to discussions about “quality TV” multi-camera productions are often left out. Yet, as Mareike (2018) argues, streaming platforms like Netflix are reshaping these boundaries. The platform’s support for both traditional and experimental multi-camera formats such as One Day at a Time demonstrates that meaningful, socially engaged storytelling is not exclusive to single-camera productions. These shows tackle complex themes like immigration, addiction, and identity, all within the framework of a laugh-track sitcom. Their success illustrates that substance is not dependent on format. Therefore, the definition of quality television should evolve. When multi-camera productions are deliberately used to challenge conventions, highlight social issues, or experiment with new formats they more than meet the bar for quality.

Multi-camera production is an adaptable mode of storytelling with creative potential. While the format brings constraints, these often serve as catalysts for innovation, encouraging media creators to rethink form, staging, and audience engagement. In today’s screen media landscape, defined by hybridity, platform diversity, and cultural renegotiation, multi-camera television has a role to play. It deserves recognition not only as entertainment but as a legitimate, evolving form of quality screen media.

2. Outline the singular most successful and singular most problematic aspect of your process/finished work

The most problematic aspect of our production was timing and performance delivery. Watching the final piece, I noticed that the dialogue had an uneven flow. This was partly due to the writing, which could have been tighter in places, but it was also a result of the actors not fully knowing their lines. At times, the pacing felt awkward as the scenes dragged or lacked energy, even when they weren’t intended to. This disrupted the comedic rhythm and made some moments feel unintentionally uncomfortable. With more rehearsal time and script refinement, the production could have felt more polished.

On the contrary, I think the most successful aspect of our finished work was the execution of the EVS and the visual style it enabled. In particular, the opening credits were a standout. They were aesthetically striking and effectively set the tone and setting for the show. They captured the overly “pretentious” atmosphere we were aiming for right from the start. I also felt the inclusion of the fake advertisements was a strong creative choice. Not only did they provide humorous breaks between scenes, but they also tied back into the narrative in a satisfying way by the end, adding an extra layer of cohesion and satire to the piece.

3. Imagine you are going to keep working on that media piece, what would be the core things you would want to improve and extend and why?

If I were to continue working on Pretentious Pleasantries, the two core areas I’d want to improve are the aesthetics and character development. I loved the concept of a 1920s murder mystery and thought the opening EVS captured that atmosphere well. However, due to production limitations, our set, costumes, and overall visual design didn’t fully live up to the theme. Strengthening these elements would enhance the viewing experience and create a more immersive, historically playful setting. 

Character development is another area that needs expansion. With only two episodes and six characters, it was difficult to explore their dynamics in depth. Adding backstories would help build richer relationships and heighten the comedy like Madame Tussles eating Count Robespierre’s pet cow, which was an absurd way of revealing their rivalry. It would be great if more characters shared similar layered histories. This would also give emotional weight to each death, making the audience feel something, whether sadness or satisfaction. Finally, developing Agatha’s motivations, particularly her hatred of the wealthy, would strengthen the narrative.

4. Outline one key thing you’ve learnt from your studio experience that you will take into your future thinking and practice

One key lesson I’ve taken from my studio experience is that media is an ever-evolving landscape, and as a creative, I shouldn’t limit myself to a single role or category unless by choice. Working on Pretentious Pleasantries exposed me to the many overlapping responsibilities involved in production from producing and floor managing to communicating across departments and problem-solving on the fly. This experience showed me that versatility is not just valuable but often necessary in media practice. This juggling of multiple roles is common across the media industry, including among television hosts, who “while often playing the role of reporter, they also served as catalyst, mediator, teacher, preacher, counselor, confessor, or ombudsperson in the midst of contesting views and personalities on their shows.” (Timberg & Erler, 2010, p.13). This quote resonated deeply with me during production, as I often found myself juggling creative vision with logistical concerns, navigating conflicting team dynamics, and supporting others. Moving forward, I’ll carry this understanding with me: that to succeed in contemporary media, one must be adaptable, collaborative, and willing to take on diverse roles.

5. What’s one key takeaway about working collaboratively?

As a producer for Pretentious Pleasantries, I was responsible for liaising between various teams. This role taught me that even with clear messaging, things can still fall through if people are overwhelmed, distracted, or unclear on direction. One of the biggest challenges I faced was a lack of responsiveness from certain individuals. While it was frustrating at times, I reminded myself that everyone is juggling personal commitments alongside the project. That said, there were also moments when different teams were completely in sync, and those instances highlighted how much smoother the process can be when people communicate openly and meet deadlines. Ultimately, collaboration requires a balance between leadership and compromise, and a successful project depends on having team members who are not only reliable but actively engaged.

References

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

Mareike Jenner. (2018). Netflix and the Re-invention of Television. Cham Springer International Publishing Palgrave Macmillan.

Timberg, B. M., & Erler, R. J. (2010). Television Talk. University of Texas Press.