Can you achieve television-value results with a small videography team?

With the demand for corporate video content continuing to increase in an ever-bustling content scene, we’re taking a look at if it’s possible to achieve the same high production values and end result of a typical 15-20 crew on a traditional film/ television production set with a one or two videographer set up typical of commercial video.

Having worked for a combined total of over 20000 hours on a professional television production set and then in more recent years producing commercial video content I feel I’m uniquely placed to answer the above. For me the best way to analyse this is to look at why so many people are involved in a television drama and what this structure and approach brings to the production. The people on the set are divided into departments, lets break those departments down and explain some of those roles that sit within them.

The Production department

1. The Director. The person who has overall responsibility for bringing the script to life. Most Directors are freelance and when they are given a “block” (usually a weeks’ worth of episodes in a continuing drama) they will be given planning time where upon they would read scripts, visit sets and create a shot plan for the script. They would then instruct the camera department on the shots required and equipment could be booked or hired depending on the intricacy of such. Maybe in another blog we could compare equipment between the two and get lost in that rabbit hole. For me the Director really earns their money by how they interact with the talent (actors). A good Director must be good with people, they need to be able to “direct” an actor and their performance to be representative of the script, story, character they are playing. A Director’s vision needs to be communicated to the actor to ensure their performance is representative.
2. The 1^st AD (Assistant Director). This role is also known in live productions as the Floor Manager, often compared to the conductor of an orchestra. All departments answer to the 1^st AD and he/she is ultimately responsible for the safety of all cast and crew members. A television production set is a busy and dangerous place where not everything may be quite as it seems. I remember working on a set where a false floor had been put in for a stunt scene and unfortunately a crew member walked on this and fell through and was injured resulting in the need for an air ambulance.
3. The 2^nd AD. This role is, as you would imagine, the assistant to the 1^st AD. They usually work off set communicating over radio to the 1^st AD making sure everybody is where they need to be. This includes getting artists to the places they should be such as green room, make up etc. They will also oversee our next role.
4. The 3^rd AD. Also known as the Runner. Sometimes you need more than one person undertaking this role. They tend to be a newer entrant in the TV world looking to progress their career to one of the above-mentioned roles. A good Runner will be in charge of all walk on artists or “extras”. They will make sure the cast and crew have enough welfare facilities. However, probably the most important part of their job is to lock down the area around the production so that no external factors such as noise interrupt filming.
5. The PA (Production Assistant). A role that is a lot more senior than it sounds. This person is best described as a compliance officer. They sit watching the recording on a monitor ensuring the script is adhered too, there are no inconsistencies between different shots and the timings of different takes, and which are usable and accepted by all departments as good. Their notes are then transferred to post production for use.

The Camera department.

1. The Director of Photography (DOP). This person oversees the camera team on set. They are responsible for bringing the Director’s vision to life using their technical knowledge and experience of lighting and cinematography. They interface with the Lighting department on what lights are required and where they should be installed. While filming is taking place, they will sit in the gallery setting exposure levels and recording the action.
2. Camera Operator. Does what it says on the tin, operates the camera. There is only one of these roles, however sometimes more cameras can be used if recording stunts, or the production is a multi-camera set up such as used in Coronation Street or EastEnders. My experience comes from single camera set up which is much more commonly used throughout film and TV. The Camera Operator will spend lots of their time interacting with the Director, Actors and their Camera Assistants.
3. Camera Assistants. Typically, there are at least two people, sometimes more, doing this role. Tasks and responsibilities include rigging, cameras and associated equipment such as a track and dolly. Whilst shooting they can be operating the track and dolly or acting as a focus puller (someone who operates the focus part of the camera) to give the operator one less thing to worry about.

Lighting department.

1. The Gaffer. This person is the head of the on-set lighting team and sits alongside the DOP to ensure all lights are in place or re-rigged in the next position. They must be electrically qualified and will ultimately be responsible for all electrical safety on set.
2. Lighting Technician (Spark). Typically, two or more people will do this role, they must also be a fully qualified Electrician and are responsible for installing and re-rigging lights and associated equipment such as flags on set during and prior to filming.

The Sound department.

1. Sound Mixer. Sat in the gallery alongside the DOP and Gaffer, the sound mixer’s role is to ensure clean, usable audio is recorded at all times. They can speak over talk back to the Boom Operators on set informing the boom op if they are close enough to the sound or if the boom is in shot.
2. Boom Operators. One of the most physically demanding roles on set, they suspend a microphone on a long boom pole high enough to be out of shot but close enough to the actors that the audio is clear and of a sufficient level. There are a minimum of two Boom Operators on set to allow alternate efforts on different takes. Some scenes however may require more than one Boom Operator if actors are positioned at a far distance to each other. The Boom Operator must also be aware of lighting positions to ensure they do not cast a boom shadow on to the set or actors.

Other departments include:

1. The Art Department- responsible for all sets, props and action vehicles. A minimum of three people required on set.
2. The Make-Up Department – they ensure hair and make-up is consistent across scenes which can be shot on different days/weeks.
3. Costume Department - responsible for all costume worn by actors. Note to any actor reading this, when they hold an umbrella over your head in between scenes on a rainy day, it’s to keep the costume dry, not you 😊
4. Pre-Production. This includes, Producers, Production Managers, Researchers, Location Managers, and what I view as the most important role… Writers.
5. Post Production – once footage has been shot, the real magic comes in. What Post Production can do with it. Roles here include Editor, Dubbing Mixer, Special Effects Editor, Motion Graphics Designer.

So, having an appreciation of how many people it takes to produce video content fit for television, can it be possible for just one person to replace all those roles to produce the same standard of video for commercial content? In short, no, there must be trade-offs, the question is where should we make those trade-offs? I frequently see content online that is visually stunning yet has no story and therefore doesn’t perform well. Other times I see a great video which has terrible sound quality, which negatively impacts the viewers engagement and therefore the performance of the video or worse the viewer assumes the company releasing this video does not have the highest standards in all that they do.

Our approach at Bold St Media when producing video content very much comes from my in-depth working knowledge of the broadcast space. We will always consider every role in the above list to achieve an end result with the highest production values possible. We must appreciate that every role on a video production set has an important purpose and if we don’t consider those roles in commercial video production then our content will be lacking. Above all else however storytelling is always king and the planning and writing of this must come before all else.

To find out more about Bold St Media’s services, visit: https://boldstmedia.com/services