Wednesday - This
is day one of a show on Frasier. Overnight the swing sets from
last week have been struck and the new sets (if any) are being
constructed on the stage. The first production meeting for the
new show is held in the morning in the upstairs conference room.
All the department heads are required to attend. The special requirements
for the particular show are clearly laid out during the meeting.
This is the first time most of the staff has seen the script.
Till now, only the writers have been involved. Now the
script is laid on the table for everyone to see. Later that day
the cast read thru is held. This is the cast's introduction to
the new script. The script is read aloud by the cast (with laughs
interjected by the writers) and timed by our script superviser.
It used to suprise me that the writers would laugh so hard at
thier own jokes. Soon I realized that they were doing it for timing,
both comedic timing (so the cast can get a feel for the jokes)
and actual running time for the show. After the read thru the
script is discussed by the writers, cast, and producers.
Thursday - The swing
sets are dressed early in the morning to prepare for the on set
rehearsals later that day. The lighting may also be roughed in
this morning if the sets are far enough along.
Keep
in mind that the only permanent sets on Frasier 
are
the living room and radio station. All the other sets you see
are crammed into the empty 1/3 of Stage 25 and changed every week.
The cast's day begins with a "table reading" on stage.
This brings everybody up to speed with any script changes that
were made overnite, and there are always script changes. After
the reading the director begins blocking. This is when the director
decides who goes where and says what when. After blocking, its
"Run Through" time. The script is acted out with the
new action in front of the writers and producers. What always
amazes me is the amount of interaction between the cast, director,
writers, and producers. Every day the script is read and every
day somebody has an idea how to make it better. These ideas are
immediately incorporated into tomorrow's script.
Friday - Big lighting
day. Now that the sets are done and the Gaffer has seen a rehearsal,
the Set Lighting and Grip Departments can light the new sets.
This is usually done in the morning so that the Cameraman, Kenny Lamkin,
and Gaffer, Jack Harmon, can see a rehearsal with the new lighting.
The director and cast do another "table read" (new script
changes remember), another blocking rehearsal and another run
through for the producers, after which we may stay to tweak the
lighting if necessary.
Monday - Camera
Blocking.
Today is the first day the camera and sound
crews are on the set. Most sitcoms are shot on either Tuesday
or Friday. This way the camera and sound departments can work
on two shows simultaneously. Frasier is filmed with four cameras
using 35mm film. This is the most expensive way to make a sitcom,
and ensures the highest quality final product. Camera blocking
is defined as the process of deciding where the cameras will be,
when, and what shots each will be responsible for. Needless to
say this involves a lot of homework by the director. Each camera
takes three people to operate.
The camera operator is the guy who looks through the
viewfinder. He is responsible for framing, or composing, each
shot. During camera blocking he takes notes indicating at who
or what the camera should be pointed. The first assistant
is
responsible for the focus and zoom controls as well as loading
and reloading the camera with film during the show. The first
assistant takes measurements during camera blocking to ensure
accurate focus, and writes these down on his pad. The third man
on each camera is the dolly grip. His job is to move the
camera to its assigned position at the correct time, as well as
adjust the height of the camera on the camera dolly. Sometimes
these moves happen "on camera" so smoothness and precision
are a must. The dolly grip marks the floor with masking tape to
indicate the position of his dolly at various points in the script.
Sometimes, when most of the show takes place in one set, the tape
on the floor gets pretty thick! The dolly moves are coordinated
by the camera coordinator. He follows the script and gives
cues to the dolly grips when their moves should take place.
The sound department has much the same chores. The boom
operators must make sure all the dialogue is covered by a
mic, so its a matter of deciding who gets what and when. After
camera blocking the cast does yet another run thru for the producers
and writers.
Tuesday - Show Day. Today
everything comes together. The first thing I used to notice on
show day are all the strange faces. The extras are here!
Extras, more properly called "Background Artists" are
hired for one day to fill in the chairs in the Cafe Nervosa or
walk through the background in the Radio Station etc. They are
subjected to a quick orientation by the first or second assistant
directors after which their wardrobe (which they bring themselves
usually) is O.K.'d by the wardrobe department. Show day usually
starts late, around noon, governed by the fact that we can't get
an audience until this evening and the producers hope to avoid
excessive overtime. 
The entire show is rehearsed
twice, with cameras, lighting cues, special effects and everything.
This takes about four hours. Then its dinnertime! Beginning at
about two o'clock the caterers have been setting up out on the
lawn adjacent to Stage 25 in whats called Lucy Park. 
(What
is now Paramount Studios used to be Desilu and RKO studios) Starting
at four o'clock the cast and crew are treated to a full catered
meal while we would wait for the audience to assemble. Shortly
before seven o'clock, the audience is in, and the warm up guy
starts. This guy has the toughest job in show business. He has
to keep the audience interested, and entertained throughout the
sometimes laborious filming process. The audience is recorded
during the filming, and a bored audience is bad news. Each scene
is filmed at least twice, and with costume changes, and allowing
for flubs the filming can go 'till eleven o'clock. After wrap
is called the set lighting, grip, set dressing, and prop departments
strike the swing sets. At midnight, the construction crew comes
in to strike the walls and tomorrow the whole process starts over
again.
 |
THE FRASIER SCRIPTS |
 |
An authorized companion to the award-winning television series provides capsule descriptions of the first sixty-eight episodes, behind-the-scenes anecdotes, and background information on the actors and characters. |
|
What's Your 'Frasier' IQ: 501 Questions and Answers for Fans Fans of television's popular show Frasier
will delight in a comprehensive collection of trivia, matching
tests, fill-in-the-blanks, and other quizzes about the show, as they
explore every aspect of the life of Dr. Frasier Kane. |
|
|
Cafe'
Nervosa: The Connoisseur's Cookbook |
|
GOODNIGHT,
SEATTLE The
Unauthorized Guide to the World of 'Frasier' This book puts Frasier through some intensive therapy, laying the series on the couch and listening to its innermost secrets. From Niles's unrequited romantic clinch with Daphne on the dance floor to Martin's telescopic flirtation with the woman in the skyscraper next door, every aspect of the programme and its history is covered in this detailed and loving guide to the world's smartest sitcom. |
|
GOODNIGHT, SEATTLE: The Unauthorized Guide to the World of 'Frasier' A sequal to the book above, This item will be published
in January 2003. You may order it now and Amazon.com will ship it to you
when it arrives. |
|
|
Music From the TV Series Frasier Original Soundtract from the TV series |
What did you do
on Frasier anyway? - I was the lighting board operator.
All the lights on stage are controlled by a computerized lighting
console. This allows different "looks" to be pre programmed
and brought up on stage at the correct time. For example Living
Room day uses different fixtures and levels then Living Room night. I controlled what lamps went on and when. I left Frasier
after four seasons in 1997 to pursue other interests, including
"Yanni
at the Taj Mahal", "The Keenen Ivory Wayans Show",
and "The Magic Hour".
Whats the difference
between film and videotape? - If you look carefully
at a piece of film you'll see a row of holes that run down each
side, videotape doesn't have those.
What is a Gaffer?
- A Gaffer is the head of the Set Lighting department on a given
show. Gaffer is an archaic term, the more modern term is C.L.T.,
or Chief Lighting Technician, but the old ways die hard in Hollywood.
The C.L.T. works closely with the D.P. (Director of Photography)
to light the various scenes. Our Gaffer on Frasier is Jack Harmon.
What is a Best
Boy? - A best boy is the assistant to the head of
the department. Nowadays, the politically correct designation
is A.C.L.T., or Assistant Chief Lighting Technician.
What is a Key Grip?
- The Key Grip is the head of the Grip department on a given
show. The term "Key" is often used to indicate department
heads.
Whats is a Grip?
- O.K. I saw that one coming. Without grips nothing would happen
on the set, or any set for that matter. In addition to being
responsible for on set saftey, grips are usually in charge of
anything that has to do with mounting or stability of the camera,
including dollys, dolly track, cranes, and platforms. Grips are
also instrumental in lighting. After a light is set, its the
grips who shape, diffuse, or add shadows. Grips are also in charge
of the reflectors and silks used in day exterior filming.
Are there any books
that will help me be a better Lighting Technician?
- Why yes there are...|
Set Lighting Technician's Handbook : Film Lighting Equipment, Practice, and Electrical Distribution
This text is the "official" manual of Local 728 here
in Hollywood. Written by Harry C. Box |
|
Film Lighting: Talks With Hollywood's Cinematographers and Gaffers Film Lighting by Kris Malkewiewicz is an indispensable guide for anyone who uses lightning, whether for fim, video, or still photography. Lighting is a living, dynamic art
influenced by new technologies and the changing styles of leading
cinematographers. Film Lighting is a unique book that combines a
state-of-the-art coverage of the technology with extensive interview
material from the leading cinematographers and gaffers in the industry
today. |
| Lighting for Film and Electronic Cinematography |
|
Masters of Light: Conversations With Contemporary Cinematographers |
|
Published in 1949 and now put back into print, it is one of the best and most unusual books in the field. Written with good humor and full of helpful diagrams and photographs, it is certainly the most entertaining. Its technological discussions are dated, but Painting With Light remains relevant because its primary focus is on light itself and the many complex ways the camera crew can manipulate it. |
Disclaimer: This page is not condoned by, affiliated with,
or approved by Paramount Pictures, NBC, Viacom, Grub Street Productions
or any other person or entity who, in any way, has anything to
do with the T.V. show Frasier.
Last updated on Friday March 5, 1999