Production Professionals

The Academy of Television Arts & Sciences Foundation Presents

02:26

Tabs

Highlights

Bernie Oseransky on being an Executive in charge of production; on what that job entails; on the difference between that and Production Executive

01:17

Joseph M. Wilcots on how the Star Trek transporter effects were created in post-production

03:19

Stewart MacGregory on the difference between a unit manager and a production manager

01:53

Abby Singer on the duties of a unit production manager

03:36

Ben Wolf on shot composition

02:44

Ira Skutch on the craft of staging managing for television, and on stage managing Hour Glass

05:41

Who talked about this profession

John Bartley

John Bartley on the responsibilities of a Director of Photography

02:45

John Bartley on the importance of the camera operator (and other camera crew)

01:21

Wade Bingham

Wade Bingham on working with CBS News correspondents and producers when shooting a story

02:40

Wade Bingham on the job of a camera operator/cinematographer on a news program or documentary series

03:25

Wade Bingham on starting to use multiple cameras for news stories

04:23

Frank Biondo

Frank Biondo on going to school for TV production

05:45

Frank Biondo on the types of cameras he worked with in TV production in the 1960s and working in early color television

02:53

Frank Biondo on the types of camera shots on Sesame Street Christmas specials and Sesame Street

06:11

Frank Biondo on what he enjoys about being a camera operator

01:47

Haskell Boggs

Haskell Boggs on new filming techniques that came about during the run of Bonanza

01:14

Haskell Boggs on learning to deal with the smaller sized television screen during his time was director of photography on Bonanza

01:45

Haskell Boggs on acting as director of photography for the Bonanza episode "Bushwhacked, and on the importance of a director of photography knowing the script

03:31

Haskell Boggs on dealing with the weather and daylight when working on location on Bonanza

01:49

Haskell Boggs on how cinematography techniques changed during his time on Bonanza and moving to the Warner Bros. set

01:23

Haskell Boggs on the differences between shooting for television and shooting features and on working with Bing Crosby and Bob Hope

02:57

Haskell Boggs on advice to aspiring directors of photography

02:21

Robert Caminiti

Robert Caminiti on the difference between stage managing and being an assistant director

04:56

Robert Caminiti on assistant directors editing footage

01:14

Robert Caminiti on how technology has impacted Saturday Night Live and the job of assistant director

02:09

Robert Caminiti on advice for aspiring television production professionals

04:05

Robert Caminiti on advice for aspiring assistant directors

03:50

Charles Cappleman

Charles Cappleman on his duties as a stage manager, and on working on Climax! and Playhouse 90

05:58

Charles Cappleman on his duties as assistant director of design and production operations at CBS in the 1960s

01:33

Charles Cappleman on managing the production electronics department at CBS

04:39

Charles Cappleman on the technological innovation he oversaw at CBS as manager of production electronics

01:50

Charles Cappleman on the role CBS executives like Frank Stanton played in technological innovation while he was manager of production electronic, and on its impact on news gathering

06:42

Charles Cappleman on how new technology impacted the CBS coverage of political conventions

05:07

Charles Cappleman on his duties as director of special projects at CBS

03:14

Charles Cappleman on his duties as director of program production services at CBS

01:32

Gerald Perry Finnerman

Gerald Perry Finnerman on dealing with the color scheme on Star Trek, and on the visual style of the show

03:17

Gerald Perry Finnerman on making the Enterprise lurch forward or stop short on Star Trek, and on the challenges of lighting the interior

03:46

Gerald Perry Finnerman on the equipment used to shoot Star Trek, and on the special effects of the show

03:19

Gerald Perry Finnerman on dealing with the budgets of Star Trek as the cinematographer

00:58

Gerald Perry Finnerman on being director of photography for Police Woman, being signed to work at Columbia Television, and working with different types of film stock

09:05

Gerald Perry Finnerman on the challenges of doing cinematography for made-for-television movies

01:30

Gerald Perry Finnerman on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"

08:03

Gerald Perry Finnerman on the cinematographer's relationship with the director, and on what he looks for in a gaffer

04:20

Frank Inn

Frank Inn on the keys to his success as an animal trainer

04:21

Frank Inn on advice to aspiring Hollywood animal trainers

01:35

Frank Inn on the specific talents an animal trainer must possess

05:50

Frank Inn on his technique training animals

02:43

Frank Inn on the difference between training male dogs and female dogs, and on his animals getting awards

01:31

Charles Floyd Johnson

Charles Floyd Johnson on being a production coordinator at Universal Studios

02:03

Stewart MacGregory

Stewart MacGregory on the duties of a stage coordinator

04:22

Stewart MacGregory on how the advent of color affected his job as stage coordinator

03:51

Stewart MacGregory on the technical aspects of being a unit manager on Wide Wide World

05:32

Stewart MacGregory on the difference between a unit manager and a production manager

01:53

Kent McCray

Kent McCray on the craft of being a production manager

06:00

Kent McCray on the importance of keeping things light with his crew

01:30

Barney McNulty

Barney McNulty on how he became involved with The Ed Wynn Show, where he first wrote out cue cards

05:48

Barney McNulty on the physical aspects of cue cards

05:26

Barney McNulty on the logistics of writing out cue cards and working with performers

02:28

Barney McNulty on dealing with emergency situations with cue cards and on the need to be quick on your feet

06:02

Barney McNulty on perfecting his cue card system over the years and on his competition

01:18

Barney McNulty on dealing with shadows from cue cards and getting actors to not look like they're looking at the cards

01:15

Barney McNulty on using shorthand on the cue cards or using key words

02:06

Barney McNulty on how he got his cue card assignments and on his cue card company Ad-Libs

04:19

Barney McNulty on cue card professionals dealing with censorship

01:24

Barney McNulty on working with actors reading cue cards, including an initially reluctant Bette Davis

02:55

Emily Meisler

Emily Meisler on starting to work for The Ed Sullivan Show in 1963 -- on her job duties as a production secretary, including writing down lyrics for songs that would be performed

03:06

Bernie Oseransky

Bernie Oseransky on deciding he wanted to work on the production side of television while he was still an usher at CBS studios in the 1950s; on his duties as an usher

Bernie Oseransky on what he learned as an usher at CBS Studios early in his career

01:17

Hector Ramirez

Hector Ramirez on being staff vs. a freelance camera operator

03:17

Hector Ramirez on how shooting in front of a live audience changes what was done in rehearsal

01:38

Hector Ramirez on his start as a camera operator for CBS

01:44

Hector Ramirez on qualities a good camera operator has

03:06

Hector Ramirez on what makes a good camera operator

01:36

Hector Ramirez on the elements of good composition and his visual style

03:04

Ed Resnick

Ed Resnick on advice to aspiring cameramen

03:27

Thomas Del Ruth

Thomas Del Ruth on his style of communication and his early projects as a cameraman

01:50

Thomas Del Ruth on what a director of photography does and working with directors

04:41

Thomas Del Ruth on acting as director of photography on various made-for-television movies and on the technical aspects of the job

03:54

Thomas Del Ruth on his visual style

02:32

Thomas Del Ruth on the most important developments in television cinematography

01:40

Thomas Del Ruth on his advice to an aspiring cinematographer

02:26

Abby Singer

Abby Singer on the duties of a unit production manager

03:36

Abby Singer on what makes a good production manager

02:38

Abby Singer on the main responsibilities of a production manager/executive, and a typical work week

02:41

Abby Singer on advice to people getting into production management and his influence in the business

02:02

Ira Skutch

Ira Skutch on the craft of staging managing for television, and on stage managing Hour Glass

05:41

Ira Skutch on becoming a stage manager for NBC

02:10

Ira Skutch on his duties as a stage manager

04:02

James Wall

James Wall on being the first African-American stage manager on Broadway

03:46

James Wall on the basic role of a stage manager for television

03:03

James Wall on the importance of collaborating with the director as a television stage manager

11:07

James Wall on how television stage managers are assigned jobs

03:02

James Wall on how a stage manager is different from an assistant director in television

01:36

James Wall on advice to a young television stage manager

01:31

James Wall on how Vaudeville, nightclubs, and the Army prepared him to be a television stage manager

03:41

Joseph M. Wilcots

Joseph M. Wilcots on the challenges of lighting Roots

03:53

Joseph M. Wilcots on depth of field and selective focus when shooting; on the use of filters

05:47

Joseph M. Wilcots on technological innovations during his career and on working with a crew

05:46

Joseph M. Wilcots on advice to an aspiring cinematographer

01:04

Joseph M. Wilcots on becoming the first Black member of the cinematographers union

04:09

Joseph M. Wilcots on the cinematographers union not being quick to welcome Black members

06:05

Ben Wolf

Ben Wolf on how the television cinematographer works with the lighting director

01:55

Ben Wolf on advice to someone starting out in the cinematography business

02:32

Ben Wolf on how cinematography has changed

01:42

Ben Wolf on then-recent technological developments for cameras and then-current cinematography

02:16

Ben Wolf on the role of a cinematographer in television

05:06

Ben Wolf on the television cinematographer working with the director

03:37

Ben Wolf on cinematographers working with assistant directors and stage managers

02:27

Ben Wolf on cinematographers establishing a look for a show with lighting directors

02:19

Ben Wolf on shot composition

02:44

About

"I decided I wanted to be someone in production. And be able to put it all together, planning and budgeting and supervise all of it. I mean, I knew I wasn't an actor and I knew I wasn't creative. I wasn't a writer. But I felt I could do the production side of it. And that's what I shot for.” - Bernie Oseransky, Production Executive

This category consists of technical professionals involved in the production. These include: camera operators, cinematographers, directors of photography, lighting designers, and lighting directors, as well as dialogue coaches, location managers, medical consultants, stage managers, production coordinators, technical directors, trainers, and unit production managers.

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