Content Marketing & Film Resource

Making the Pilot: A No Nonsense Guide to Pilot Production

Erin Hayes October 27, 2015 Creativity, Production, Tips & Tricks Leave a Comment

Pilot production is tough.

There’s a lot riding on the pilot. This single episode needs to present all the unique characteristics of your production and sell sponsors or networks on your idea.

If you are talking to networks, they generally fund the pilot. You would have already attached a director and talent to the production and the network would generally set you up in one of their studios to create the pilot.

To be clear, this blog isn’t about that.

It’s about you.

You don’t have a network budget, but you do have a great idea and some money. And you really believe your show idea can go somewhere.

It’s time to put that script and that budget on the line and get it made. But where do you start?

First, let’s dig a little deeper.

Many show pilots go on to become the first episode in a series. ‘Great!’, you think. ‘One out of the way.’

Well, yes and no. Because of this, there’s quite a bit of pressure to immediately engage and capture an audience.

Now, Netflix released some interesting data this fall that shows the pilot is rarely the episode that hooks a viewer. In fact, according to their data, that magical episode is usually between episode 2 and 8!

However, that doesn’t mean that the pilot can be phoned in. A 22 episode story arc won’t mean anything if the pilot falls flat on its face. Because chances are, you won’t be given the chance to either:

a) produce the remaining 21 episodes or

b) air the remaining 21 episodes.

Another obstacle is that your pilot really needs to look as much like a typical episode as possible.

That means it’s necessary to work as hard as you can to nail talent, locations, costumes, props, lighting and camera all at the same time.

What’s changed about the business is that web series have become the new concept development hot bed.

This means you can make a successful web series and get the attention of anyone from Producers to Network Execs to the actual Agents who are looking for vehicles for their clients.

That’s how “Broad City” came to the attention of Amy Poehler. She stepped in as Executive Producer and got them their deal.

1. When do I know I need to make a Pilot?

When people approach us about producing their show pilot, it’s usually because people have expressed interest in their show idea.

Whether it’s an unscripted or scripted program, they need a pilot to fully pitch a network or sponsor and get the series funded.

Thanks to the rise of online video series, we’ve seen a spike in interest in pilot production in recent years. This is largely due to the fact that the number of outlets has gone from a few to hundreds.

And there is an entire business for branded web series (sponsored original content) outside of any network or distributor.

2. How much does it cost?

That’s always the first or second question people ask us, and we respond the same way every time:

How much does a car cost?

How much does a watch cost?

How much does a stroller cost? (new dad, here.)

It’s absolutely relative. But the important factors are the scale of the production: i.e. the number of days of shooting, locations, props, costumes etc.

What’s important is that your pilot looks like you are invested (read: you spent a lot of money).
Good production is absolutely the key component to making the people who watch your pilot go, “Wow” instead of “Ummm, we’re not interested.”

On our end we do everything on a fixed budget. This means you pay us and you get a guaranteed broadcast quality pilot that you can show to networks and sponsors alike, with no post-production surprises.

In addition, every element of the production will meet broadcast standards. This is critical, because in many scenarios your pilot becomes the first episode of the series.

You don’t want to do this twice. And in most cases, you won’t get that second chance, anyway.

3. What’s involved?

Well, MediaBoss is a production company that produces unscripted and scripted television shows. We have created hundreds of hours of television and we bring that experience to the client. Our pilots are award-winning and have resulted in broadcast programs.

That’s important because making a pilot is a lot harder than shooting an episode that is part of an established series.

Everything is brand new in a pilot: the music, the graphics, the shooting schedule, the actors and crew and their relationship with the director.

It’s really difficult to make it look like this is Episode 100 and not Episode One, or the first time everyone has worked together.

But that’s the job we love and it’s where our experience pays off.

First, you bring in your script and meet the team. The team includes the producer, director, production manager and staff writer.

After a reading we do a script breakdown and figure out what needs to be done to make it happen. That’s where our budget comes from.

5. When does the shoot happen?

The first shoot happens after the budget is agreed on, a production agreement is signed, and a deposit is delivered.

The production agreement will outline the shooting, editing and delivery schedule.

But first, we get into the pre-production stage. Casting, locations, makeup, props, legal clearances are just a few examples of things that need to be locked up before you can start shooting.

Then there’s the conversation with the MediaBoss production team about your show’s “look”.

How will it be lit, shot and edited. The color palette, acting style, production style, etc.

The whole team needs to be on the same page with all of these elements. In the end, that’s what the director is responsible for on set.

So when that’s lined up it’s time to shoot.

6. What’s the shooting like?

It’s hell on wheels. I think the fantasy of the ‘set life’ and the reality are pretty far apart.

Filmmaking is blue-collar work. Period.

You have a job to do and it has to be done to these specs. And it has to be good.

I’ve meet a lot of well-dressed directors on set and I have to say that on a managed budget production, you better see some sweat and a team of people hustling otherwise your not going to make your shot list for the day!

When you are shooting on a tight schedule with a lot of set-ups, you don’t have time to screw around.

You can’t afford one part of the production to hold any of the other parts up.

So, no you can’t take all day to light that cutaway. It needs to be lit and shot in 15 minutes. And you need to move onto the next thing and the whole crew has to be in synch with that.

Sets can go from chaos to ‘We are shooting this now, action!’ in a couple of minutes. It’s so important to have a good experienced crew, because they all know what’s needed and they do it.

The director also needs to get the best out of the actors and that rapport can’t take all day to develop. He also needs to know when to take an alternate shot or move on even thought something isn’t perfect, because time is the enemy and when you run out of that, there is no more production.

That’s not to say that the mood on set needs to be tense.

In fact, it should be the opposite and everyone should feel like they are on the same team working a very long series of days to an amazing goal.

A good director can make that happen, too. If you hear yelling on set, it’s not a good thing.

The best crews just know what to do instinctively.

7. What’s next?

Next is the post-production phase. This where all those pieces are edited together to create a program.

It’s important to remember that post-production is actually the bigger part of your budget.

There are no ‘simple’ edits. Everything needs to be done to the highest standard, from audio to color correction and effects to graphics.

It’s about a 5:1 ratio. Five days of post for every day of shooting. That’s not a fixed number. There are a lot of companies that can spend a month on a :30 second spot. But that’s not the world of pilot production.

Generally people want to start sharing a pilot as quickly as possible.

8. And then what?

And then it’s done!

Now you take meetings, put it online, share it in festivals and try to get the series made.

We are happy that all of our pilot work has been so well received, regardless of budget. When people see a MediaBoss produced pilot the reaction is always, “That looks great!” We never want to hear that someone lost a gig to a poorly produced pilot. And trust me, we have met more than a few people who blew a budget on a pilot that they couldn’t even share with anybody when it was finished. This extends to the network level.

9. How do you prevent that?

Do your research. Find a good team. Manage your budget and be ready to show it to everyone you can.

Ask questions:
Are they insured?
How many things have they done?
What kind of cameras will they be using?
Audio?
What do they use for post-production?
Do they rent or own?
Do they have a studio?

Ask to see a reel of their work.

We have over 400 television shows and nearing a thousand videos under our belt. We pride ourselves on producing award-winning products for our clients. We are fun to work with and we get the job done, on budget.

We’re really proud of what we do and we are dedicated to making each product better than the last.

Check out MediaBoss’ pilot for the show “Partners”.

Creativity Production Tips & Tricks

MediaBoss Television Pilot Partners Wins People's Telly Award

Erin Hayes September 09, 2015 Production, Press, Video Leave a Comment

Original Press Release Published Here

FOR IMMEDIATE RELEASE

Framingham, MA September 9, 2015 - The Telly Awards has named MediaBoss Television as a winner in the 36th Annual People's Telly Awards for their dramedy television pilot titled Partners. In addition to recognition from the Silver Telly Council, the judging panel that selects the Telly Awards winners, the Internet community helps decide the People’s Telly Awards winners. With nearly 12,000 entries from all 50 states and numerous countries, winning the People’s Choice is truly an honor.

Partners follows the career of a female detective in an all-male police station. The pilot was written by Matty Blake and directed by MediaBoss Creative Director & Producer, Ian Barrett. Blake and Barrett are producing partners under their partnership company, Let the Boy Watch. The pair have worked together on several other comedic pilots and a variety of other productions.

Partners was co-produced and edited by MediaBoss Television. A scripted, ensemble concept, the pilot was captured in Framingham, MA in a single day and featured actors, Jimmy Dunn (The McCarthys), R.J. Kelly (Political Animals), Betsy Beutler (Legit, Scrubs), Dan Schachner (Animal Planet) and Matty Blake (Mystic River, Boardwalk Empire).

"Filming Partners with MediaBoss and this cast was a like a writer/actor version of going to Disney World: Pure joy and magic,” Blake says. “We had so much fun but we also worked our butts off. A group of professionals getting together and playing our trade on our terms. Laughs yes, but we cared, we toiled, we strove. It wasn’t frivolous, it was rewarding. It’s the best kind of fun. It’s why we do what we do. We love the process!"

"It was a very fast paced set. We had a ton of set-ups to get through because we only had our cast for one day,” Barrett says. "Everything came together like magic, in the end we had more material than we could use! I can't say enough about how amazing the experience was."

The Telly Awards was founded in 1979 and is the premier award honoring outstanding local, regional, and cable TV commercials and programs, the finest video and film productions, and online commercials, video and films. Winners represent the best work of the most respected advertising agencies, production companies, television stations, cable operators, and corporate video departments in the world.

“The Telly Awards has a mission to honor the very best in film and video,” said Linda Day, Executive Director of the Telly Awards. “MediaBoss' accomplishment illustrates their creativity, skill, and dedication to their craft and serves as a testament to great film and video production.”

To see check out more of MediaBoss’ productions check out their portfolio: http://www.mediabosstv.com/creative-video

About MediaBoss Television
MediaBoss Television is a full-service television and web video production company that produces compelling video content for broadcast, corporations and start-ups alike. MediaBoss Television is based out of an 8,000 square foot converted industrial studio in Framingham, MA.

Please contact Erin Hayes, MediaBoss Television, for inquiries: Erin@MediaBossTV.com or call 508-405-0323

-END-

Additional Resources:

Production Press Video

I'll Write You A Symphony: Behind Jared Dylan's Music Video

Erin Hayes July 30, 2015 Creativity, Production, Video Leave a Comment

By MediaBoss Team

Jared Dylan, 20, is going into his senior year at the University of Miami Frost School of Music, with more than a little bit of rock star credibility.

The aspiring singer/songwriter's music video for the single "Symphony" dropped last week and he's been getting 10,000 hits a day since it premiered on YouTube.

Not too shabby for an independent artist, but there is a lot more to the story than that. The first interesting bit is that he actually wrote "Symphony" when he was 16, and this overnight success has been four years in the making.

When asked about the song’s origin, Jared candidly admits that he wrote it for girl he met only once. [tweet_dis]"She asked me to write her a song and I wrote her “Symphony"[/tweet_dis]. I knew her for a total of 5 hours and she still doesn't know that I wrote the song about her." Dylan admits, laughing.

Inspirations aside, writing a song is one thing, and making a music video is an entirely different animal. When Jared and his manager Jimmy Walorz of Vizion Entertainment, decided it was time, they reached out to video producer Bill Millman (now at Atlantic Records) who tapped Godsmack director Ian Barrett at MediaBoss Television for the job.

The shoot was a whirl-wind two days on location in Miami. Barrett captured the video’s performance shots on site at the University of Miami, including the iconic stage sequence overlooking the fountain at the center of campus. Additional material, specifically the sunset finale and white room sequences were shot at Miami's famous, Trendy Studios.

While the shoot was fast-paced and hectic, Dylan was impressed by how smoothly the process went. "I don’t think there was a difficult part because they worked so well together,” he said of the crew. "MediaBoss is a group of professional veterans who have done it so many times that they knew exactly what to expect. They had it ready to go. We were moving from location to location seamlessly."

That’s not to say that the young artist didn’t have his nervous moments. The white room shots at Trendy Studios were a little out of his comfort zone.

“The entire time, I’m saying (to Barrett), 'You think it’s too weird that I’m doing this? Do you think people are going to respond to this or just think I’m a lunatic?! He just kept yelling over the playback and the next thing I knew I was jumping on chairs and doing karate kicks, it was fun."

In the end, the white room shots are Dylan’s favorite memory from the shoot. He had to put a lot of trust into the direction of Barrett, and according to him, it paid off.

“Ian (Barrett) is a visionary. He is a true artist,” he said. “He was doing things for the video that I just wouldn’t have even thought to imagine. That white room, again all those different costumes and everything, that’s where I think the chemistry between me and Ian really came out. Every one of those shots that we did was a single take."

“I’m so happy with how it came out,” he said of the final edited video. "I cannot express how much I love it, it’s awesome.”

Dylan found inspiration and support from every member of the team throughout the shoot.

“Bill (producer) is probably one of the most fun people to be around. It’s like you never know what he’s going to say next, but it’s going to be hilarious and you just want to be a part of it,” Dylan said, laughing. “He also played a huge part in pushing me throughout the whole process. I was just playing through the song and he was like ‘You gotta give it more than that!’"

“I don’t think the energy of the video would have been nearly as high and as fun without him there."

As for his co-star, actress Rachel Seeker, Dylan says " She's hot." He says reflecting on the beach shot they did together, “And...She’s a sweetheart and so down to earth and easy to talk to, She was there, every second of the shoot,” he added. “She did not leave set, She was alway there to give support...I mean we couldn’t have done the video without her."

Walorz served as the “all-seeing-eye” throughout the entirety of the shoot, according to Dylan. “Having such a seasoned opinion and such a well-versed influence on the video - we owe a lot of credit to Jimmy.”

Every shoot has an unsung hero, somebody who goes 'above and beyond' and this production was no exception. Jared's good friend, Andrea Lopez, became an impromptu 1st AD and started by wrangling shots, talent and locations. She even filled in as actress to play Jared's love interest when a conflict displaced the original girl.

“I don’t know if I want to let her know how grateful I am because she’ll just hold it over me,” he joked. “She is easily one of the most supportive and just selfless and downright, just inspiring people that I could possibly imagine to be on our team.”

The video provides more than a visual asset to a song, it’s also a captured moment of Dylan’s time at Frost Music School at the University of Miami, a place that has been fully supportive of the whole process. Including his fellow students who appeared in the video.

The school assisted by not only giving approval to film, but by agreeing to share "Symphony" with their social media community, “I think the coolest part is the University of Miami is going to share it cause that really shows how much they support the project.”

"The University of Miami is a huge part of who I am right now,” Dylan added. “But specifically, it will be a huge part of who I am forever."

Dylan has great expectations for the “Symphony” video.

“We’re shooting for 50 million views,” he says with his signature smile, “Gotta set the bar high. We’ve got a lot in store."

"Symphony" is available on iTunes and you can view the video here on YouTube.

Creativity Production Video

Branding and Logo Design: Angel City Games

Erin Hayes June 19, 2015 Production, Content Marketing, Design Leave a Comment

Eight years ago our Creative Director, Ian Barrett, was sitting at a patio bar in Los Angeles to kill time before his flight home to Boston.

While he was enjoying his beer he couldn't help but overhear the conversation going on next to him between a husband and wife. They were discussing their toddler boy and a possible upcoming surgery their son needed. Ian slid his chair over and said 'Excuse me, but I couldn't help but overhear ...'

That's how Ian interrupted an anniversary dinner and made life-long friends with Clayton Frech and Bahar Soomekh.

The trio talked for hours at the patio bar about Clayton and Bahar's very active little boy, Ezra.

Ezra was born with one finger on his left hand a leg without a knee cap and fibula. He needed surgery to remove the lower part of his leg so that he could be fitted with a prosthetic leg. Ultimately, he underwent the surgery (at Boston Children's) and the doctors were able to take the big toe from that leg and give him a thumb on his left hand.

Fast forward to today and that active little boy is a very well spoken 9-year-old and talented Adaptive Athlete. Ezra Frech has an appearance on the Ellen Degeneres Show, an interview with Laura Ling and a numerous speaking engagements under his belt.

In January, Clayton reached out to us because he had decided to launch California's first Adaptive Athlete competition, Angel City Games, this year. The competition's mission is to raise awareness and promote competition for Adaptive Athletes.

They needed branding guidance and logo design. Could we design and create logos for the umbrella brand, Team Ezra, as well as Angel City Games? 'Of course!', we said.

Could we lend our expertise and guide their messaging? 'We'd love to!', we said. After several creative meetings with the team, we guided them to the concept of the the True Athlete. It's an inclusive term that aligns with the mission of their games. It's a sound bite, perfect for media consumption and speaking engagements. It's a short hashtag that can be used across their social channels.

The first ever Angel City Games will be held at UCLA today. To learn more about the games and more about Ezra, visit their website. To see the assets we created, scroll on.

If you'd like to talk to us about branding, logo and graphic design, contact us here.