Roles
Production
POST PRODUCTION & EDITING
PROJECT MANAGEMENT
SCHEDULING
SETTING UP
ADVISING
FOLLOWING UP WITH THE PRESENTER
Project Overview
Challenges
Insights
The Vibe
We chose the location and we suggested it to DRI Lebanon based on criteria (set decoration, logistics, location, facilities, electricity) Regarding the decorations, we suggested a Home Office style. A red brick wall gave a cozy feeling and was visually relaxing, along with books, posters, decorative accessories, and practical and neon lights.
Solution
A unique project needs a unique approach. The project was a hybrid of traditional and digital media. Zaven, who pioneered for decades in conventional media, was now hosting a fully digital show for the first time. Instead of using the traditional media production workflow, we used the process commonly used for producing YouTube shows. We tried to bring the experience of producing an online show to a TV production as much as possible.
How we roll
Each step of the process required a different approach. Our shooting angles were on edge between traditional and digital framing. We used tight frames and low headspace to focus on the host and give a YouTube vibe. We shot a pilot, or episode zero, and got confirmation from DRI to proceed accordingly. That episode was also published.
We used multiple camera setups, a switcher, and shot the episodes live on set. The presenter and DRI Lebanon each received a copy, and the episodes were edited based on their feedback. We chose this procedure since it made the process simpler and faster for us.
The A-Team
Our crew, which comprised of six persons, was modest but quite effective.
Iman Al-Abed, our production manager, coordinated with Zaven and DRI. She was in charge of the teleprompter, the storage of equipment, and ensuring that everyone arrived on time.
Ali Ghader, responsible for the image quality and lighting with minimal resources. As the project progressed, Ali Dakdouk, originally a videographer, became our go-to guy; he fixed things and filled gaps as needed.
Mazen Mekdad, our visual animator and editor, and Fadel Jaber, our sound man.
Finally, Adeeb Farhat served as director, producer, and project manager for the talk show. We worked hard hours and weekends on Nafas Jdeed, our first one-year project, to deliver timely top-notch episodes barely four days after shooting.
The Extra Mile
We pitched in some of our equipment due to a lack of resources. We used some of our lights because the budget only allowed for two. We used our own sound equipment because we needed to be flexible and find solutions quickly when three microphones were running, and sometimes five people were talking. The presenter insisted on using a teleprompter because it makes his job easier; however, it was not budgeted; nonetheless, we made it work and provided it for him.
The program was supposed to be 30 minutes long, but we added 15 minutes to each episode to include young men and women discussing the episode’s content. Each extra was filmed after its respective episode; it was shot in reality show format with similar décor, using handheld cameras with various framing, which were edited and distributed.
Conflicts are inevitable in any project; however, everything can be resolved with good communication skills and flexibility. At the end of the show, we made sure that those who played a part in the project received a gesture for their hard work.
