Production Professionals


The Academy of Television Arts & Sciences Foundation Presents

02:26

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Highlights
Bernie Oseransky on being an Executive in charge of production; on what that job entails; on the difference between that and Production Executive
Joseph M. Wilcots on how the Star Trek transporter effects were created in post-production
Stewart MacGregory on the difference between a unit manager and a production manager 
Abby Singer on the duties of a unit production manager
Ben Wolf on shot composition 
Ira Skutch on the craft of staging managing for television, and on stage managing Hour Glass
Who talked about this profession

John Bartley

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John Bartley on the responsibilities of a Director of Photography
John Bartley on the importance of the camera operator (and other camera crew)

Wade Bingham

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Wade Bingham on working with CBS News correspondents and producers when shooting a story
Wade Bingham on the job of a camera operator/cinematographer on a news program or documentary series
Wade Bingham on starting to use multiple cameras for news stories

Frank Biondo

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Frank Biondo on going to school for TV production
Frank Biondo on the types of cameras he worked with in TV production in the 1960s and working in early color television
Frank Biondo on the types of camera shots on Sesame Street Christmas specials and Sesame Street
Frank Biondo on what he enjoys about being a camera operator

Haskell Boggs

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Haskell Boggs on new filming techniques that came about during the run of Bonanza
Haskell Boggs on learning to deal with the smaller sized television screen during his time was director of photography on Bonanza
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
Haskell Boggs on dealing with the weather and daylight when working on location on Bonanza
Haskell Boggs on how cinematography techniques changed during his time on Bonanza and moving to the Warner Bros. set
Haskell Boggs on the differences between shooting for television and shooting features and on working with Bing Crosby and Bob Hope
Haskell Boggs on advice to aspiring directors of photography

Robert Caminiti

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Robert Caminiti on the difference between stage managing and being an assistant director
Robert Caminiti on assistant directors editing footage
Robert Caminiti on how technology has impacted Saturday Night Live and the job of assistant director
Robert Caminiti on advice for aspiring television production professionals
Robert Caminiti on advice for aspiring assistant directors

Charles Cappleman

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Charles Cappleman on his duties as a stage manager, and on working on Climax! and Playhouse 90
Charles Cappleman on his duties as assistant director of design and production operations at CBS in the 1960s
Charles Cappleman on managing the production electronics department at CBS
Charles Cappleman on the technological innovation he oversaw at CBS as manager of production electronics
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
Charles Cappleman on how new technology impacted the CBS coverage of political conventions
Charles Cappleman on his duties as director of special projects at CBS
Charles Cappleman on his duties as director of program production services at CBS

Gerald Perry Finnerman

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Gerald Perry Finnerman on dealing with the color scheme on Star Trek, and on the visual style of the show
Gerald Perry Finnerman on making the Enterprise lurch forward or stop short on Star Trek, and on the challenges of lighting the interior
Gerald Perry Finnerman on the equipment used to shoot Star Trek, and on the special effects of the show
Gerald Perry Finnerman on dealing with the budgets of Star Trek as the cinematographer
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
Gerald Perry Finnerman on the challenges of doing cinematography for made-for-television movies
Gerald Perry Finnerman on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"
Gerald Perry Finnerman on the cinematographer's relationship with the director, and on what he looks for in a gaffer

Frank Inn

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Frank Inn on the keys to his success as an animal trainer
Frank Inn on advice to aspiring Hollywood animal trainers
Frank Inn on the specific talents an animal trainer must possess
Frank Inn on his technique training animals
Frank Inn on the difference between training male dogs and female dogs, and on his animals getting awards

Charles Floyd Johnson

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Charles Floyd Johnson on being a production coordinator at Universal Studios

Stewart MacGregory

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Stewart MacGregory on the duties of a stage coordinator 
Stewart MacGregory on how the advent of color affected his job as stage coordinator 
Stewart MacGregory on the technical aspects of being a unit manager on Wide Wide World
Stewart MacGregory on the difference between a unit manager and a production manager 

Kent McCray

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Kent McCray on the craft of being a production manager
Kent McCray on the importance of keeping things light with his crew

Barney McNulty

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Barney McNulty on how he became involved with The Ed Wynn Show, where he first wrote out cue cards
Barney McNulty on the physical aspects of cue cards
Barney McNulty on the logistics of writing out cue cards and working with performers
Barney McNulty on dealing with emergency situations with cue cards and on the need to be quick on your feet
Barney McNulty on perfecting his cue card system over the years and on his competition
Barney McNulty on dealing with shadows from cue cards and getting actors to not look like they're looking at the cards
Barney McNulty on using shorthand on the cue cards or using key words
Barney McNulty on how he got his cue card assignments and on his cue card company Ad-Libs
Barney McNulty on cue card professionals dealing with censorship
Barney McNulty on working with actors reading cue cards, including an initially reluctant Bette Davis

Bernie Oseransky

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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

Hector Ramirez

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Hector Ramirez on being staff vs. a freelance camera operator
Hector Ramirez on how shooting in front of a live audience changes what was done in rehearsal
Hector Ramirez on his start as a camera operator for CBS
Hector Ramirez on qualities a good camera operator has
Hector Ramirez on what makes a good camera operator
Hector Ramirez on the elements of good composition and his visual style

Ed Resnick

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Ed Resnick on advice to aspiring cameramen

Thomas Del Ruth

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Thomas Del Ruth on his style of communication and his early projects as a cameraman 
Thomas Del Ruth on what a director of photography does and working with directors
Thomas Del Ruth on acting as director of photography on various made-for-television movies and on the technical aspects of the job
Thomas Del Ruth on his visual style 
Thomas Del Ruth on the most important developments in television cinematography 
Thomas Del Ruth on his advice to an aspiring cinematographer 

Abby Singer

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Abby Singer on the duties of a unit production manager
Abby Singer on what makes a good production manager
Abby Singer on the main responsibilities of a production manager/executive, and a typical work week
Abby Singer on advice to people getting into production management and his influence in the business

Ira Skutch

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Ira Skutch on the craft of staging managing for television, and on stage managing Hour Glass
Ira Skutch on becoming a stage manager for NBC
Ira Skutch on his duties as a stage manager

James Wall

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James Wall on being the first African-American stage manager on Broadway
James Wall on the basic role of a stage manager for television
James Wall on the importance of collaborating with the director as a television stage manager
James Wall on how television stage managers are assigned jobs
James Wall on how a stage manager is different from an assistant director in television
James Wall on advice to a young television stage manager
James Wall on how Vaudeville, nightclubs, and the Army prepared him to be a television stage manager

Joseph M. Wilcots

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Joseph M. Wilcots on the challenges of lighting Roots
Joseph M. Wilcots on depth of field and selective focus when shooting; on the use of filters
Joseph M. Wilcots on technological innovations during his career and on working with a crew
Joseph M. Wilcots on advice to an aspiring cinematographer
Joseph M. Wilcots on becoming the first Black member of the cinematographers union
Joseph M. Wilcots on the cinematographers union not being quick to welcome Black members

Ben Wolf

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Ben Wolf on how the television cinematographer works with the lighting director
Ben Wolf on advice to someone starting out in the cinematography business
Ben Wolf on how cinematography has changed
Ben Wolf on then-recent technological developments for cameras and then-current cinematography
Ben Wolf on the role of a cinematographer in television
Ben Wolf on the television cinematographer working with the director
Ben Wolf on cinematographers working with assistant directors and stage managers
Ben Wolf on cinematographers establishing a look for a show with lighting directors
Ben Wolf on shot composition 
About

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.