My Next Guest Needs No Introduction
- Jared Pietrzak
- Nov 29, 2024
- 2 min read
My Next Guest… combines the elements of studio talk shows, extended podcasts, and field reporting into one long format hybrid production. This slow-paced style creates intimate, meaningful conversations with world leaders, pop culture icons, a-list actors and musicians. At TV Tech, we’re grateful to Netflix and Radical Media for asking us to facilitate the theatrical sessions from the initial design and throughout the first season. And thank you to Zero Point Zero for having us back on the continued run in seasons 2 and 3.
In a regular talk show format, you have 7 or 8 cameras positioned right in front of the set, with little consideration for obstructing the audience. Rather, relay monitors are casually placed above the set in case anyone can’t see over the camera infrastructure in front of them. On the other end of the spectrum you have panel style corporate events, where the audience has a great view and the cameras are inserted as an afterthought. Just there for anyone who couldn’t make it in person. For My Next Guest… Radical Media had the impossible task of reconciling an audience first event with an even more cinematic look than a studio would provide.
The Director of Photography, Declan Quinn established a “slash cam” centric camera plot, which was refined by Cameron Barnett in subsequent seasons. It took the perfect balance of lensing and angles to make it appear as if the camera was right in front of the subject’s face, but in actuality placed about 10 yards off stage right and stage left. High aperture settings were used so the subjects weren’t too out of focus, but the lights were kept relatively dim to not blind the audience. This led to a selection of cameras and workflows that perform well with high ISO. The first season being shot with the Sony PMW-F55, then later switching to the Venice.
As the production was moved between several theaters, we ensured each location had the staging built out to ensure similar sightlines and maintain the overall look. Simultaneously, as the audience would occasionally appear on camera, we took great care to place and dress all the infrastructure discreetly. As if you were on stage at Carnegie hall, just trying to appreciate the renaissance-revival architecture.
Season 3 of the show brought the biggest challenge yet, performing this audience focused production during a pandemic. We had to redesign our infrastructure to shoot in the outdoor Wirrig Pavilion, while undergoing daily CoVID testing for the crew and audience. Essentially, we were one of the first live-audience shows to come back, and the first production of this scale done in the pavilion. Additional truss, lighting infrastructure and a PA system had to be brought in to execute the project outdoors.
This show provided us with a lot of unique and exciting challenges, allowing us to help push the bar of studio television. Thanks again to Netflix, Radical Media, and Zero Point Zero.
More Information:
TV Tech Select Credits
Tech Manager: Brett Dicus
Video Engineers: Greg Kanan, Jake Hartmann
Audio / Mix Engineer: Kevin Hartmann