Here they are. And hey, if you’re one of those people who stood in line outside a store for three days to get $100 off on a TV I wanna hear from you.
Allan V starts us off: I absolutely adored M*A*S*H, but what did you think about it running for 11 seasons? Was that about right, or should it have stopped sooner? I think eleven years is too long for practically any series, even a classic one.
Charles Emerson Losechester wonders: How does a multi-camera show that's shot on film work? Specifically, on CHEERS. Are they making literally three different films with the multiple cameras, with massive splicing edits later on to keep the action continuous, or does it all go through some sort of main control panel where the camera changes happen on the fly?We had four film cameras shooting continuously. Originally the editing was done on film. In later years the film was transferred to tape and all the editing was done off the tape. An editor could sync all four cameras and switch back and forth building his cut. Now everything is done digitally.
However, there is a cut of the show that is being built on the fly as the show is taping. This is for the studio audience to watch on the monitors. A special editor is hired to do this real-time edit. I’m actually amazed at how good some of these guys are.
From Powerhouse Salter: Question about sitcom camera angles: What purpose is supposed to be served in a two-person dialogue scene when the camera is set up behind one of the actors and all we can see is the static back of his or her head? I mean, what's the point of no head movement whatsoever and not even a hint of profile to suggest that we're looking at the actual actor (or the actor's stand-in) and not at what might as well be a floor mop with a wig on it? If I understand your question correctly, you’re referring to a close up of someone talking and the head and shoulder of the person he’s talking to. This is called an “Over.” When I shoot dual conversations I do two passes. On one I do singles and the other I do overs. “Overs” help the audience tie the two yakkers together. And they provide variety. You’re not just ping-ponging back and forth for four minutes. That gets very annoying.
VP81955 went to a recent taping of MOM and asks: Ken, what's the longest lag time you've ever had between episode filming/taping and episode airing? Because the second-season debut of "Mom" was delayed a month, the episode that aired Thursday was its third of the season. Friday's filming was for episode 12, so it won't air until January. Infinity. There are plenty of shows that are taped and NEVER air. There have been whole series that are in the can but never aired.
For the second season of ALMOST PERFECT, we shot ten episodes. The show as cancelled after only four had aired. The other six never made it to CBS. Fortunately, the series went into syndication twice – once on USA and once on Lifetime – so those episodes were eventually broadcast.
David and I have written episodes of JOE AND SONS, THE PRACTICE, and BRAM & ALICE that never aired.
Midseason shows are often filmed in the summer and early fall. Networks sometime delay their premiers to March, May, or even the summer.
The first six episodes of SEINFELD sat on the shelf for a year.
On the other hand, I’ve been in situations where we shoot a show one week and it airs the following week. Lots of late nights and overtime when that scenario arises.
What’s your Friday Question? And don’t over-eat this weekend.