Reality shows are visually and logistically complex and require dozens of cameras. To incorporate all that takes forethought and planning; basically, it takes a director.
The 13-episode season of American Family, an entire 75-day television shoot (intentionally scheduled like a film production), was shot using a 24P HD three-camera setup.
James Signorelli, who directs SNL's film and commercial parodies, and Beth McCarthy-Miller, who directs the live segments, discuss the challenges and pleasures of putting together 90 minutes of comedy a week.
The daytime drama has proven to be one of the most popular and enduring forms of entertainment since its inception nearly six decades ago with many technological advancements that have impacted how these shows are made.
Suzanne Smith is the only woman directing pro football and NCAA basketball. She credits DGA mentors with helping her to reach her goal.
Feature stories about the craft and challenges of directors and their teams in episodic television, movies for television, daytime drama, reality, sports, news, variety, childrens, commercials and other television genres.
With rapid-fire dialogue and complex visual schemes, The Newsroom was no easy assignment for director-producer Alan Poul and his team of directors. But no matter how big the stories, it's always about the characters.
Director-producer Joe Chappelle and a fine-tuned directorial team balance some of the biggest, most daring visual effects on TV with everyday human drama on Chicago Fire — and all this in the dead of winter.
As characters drop like flies in the hit TV series The Following, director-producer Marcos Siega and his team create an authentically tense and scary atmosphere. Even the blood is directed.
In an extraordinarily creative environment, director-producer Tim Van Patten and a team of highly skilled veteran directors recreate the glamorous, seedy and seductive world of Prohibition-era America in Boardwalk Empire.
In sitcoms as in science, timing is everything. On The Big Bang Theory, director Mark Cendrowski carefully calculates how to make the jokes work—and has fun doing it.
Executive producer-director Brooke Kennedy and her team of directors smoothly manage to find the sly humor and elegant look of The Good Wife. That’s what makes it more than just another legal drama.
Jay Sandrich modestly credits quality scripts and talented casts for the success of such beloved TV series as The Mary Tyler Moore Show, The Cosby Show and Soap. But it took a great director to put all the pieces together.
House of Cards is Netflix's first original series. But the real difference is that David Fincher and a team of five directors are calling the shots.
Most people in the industry agree the number of female directors in episodic TV is appalling. We asked showrunners, network executives and DGA members to weigh in on how to solve the problem.
Jean de Segonzac and a host of directors have kept Law & Order: Special Victims Unit fresh, fast-paced and inventive for 14 seasons. It may be familiar but it’s never routine.
Even in an election year, with more details, graphics and odd characters to worry about, The Colbert Report's director Jim Hoskinson never misses a beat.
With handheld cameras and a subjective style that gets under your skin, Michael Cuesta has turned Homeland’s cat and mouse game into a suspense-filled ride. Voyeurism never looked so good.
Battling "wesen" and solving mysteries in the wilds of Portland, may not be for everyone. But in Grimm, director/producer Norberto Barba makes it look easy.
With a distinctive visual style and lots of locations, Breaking Bad is a challenging show for directors. Fortunately, a great team is in place to help them.
Working at a breakneck pace and with creative solutions, directors have made the everyday humor and documentary style of Modern Family seem like real life—only funnier.
With hundreds of extras, elaborate stunts, and numerous locations, the directorial team on the cop show Blue Bloods has plenty to think about. Making sure the subway is running on time is the easy part.
Greg Yaitanes has directed 30 episodes of House, M.D., more than anyone else. Along the way he has streamlined shooting and coming up with creative solutions to production problems--right up until what might be his last show.
Two directors--Tom Cherones and Andy Ackerman--helped make Seinfeld one of the most influential shows of time.
Gary Goldman has been the 1st AD on Entourage since the TV series started. We asked him to keep a diary for the last show of season seven.
How do you incinerate a vampire at sunrise, and twist a head 180 degrees? These and more otherworldly challenges are met head on by directors on the gothic TV series True Blood.
With its single-camera sensibility on a multi-camera show, How I Met Your Mother has tons of moving parts. Director Pamela Fryman relies on her talented team to help her put all the pieces together.
Directors and their teams on Friday Night Lights find some novel solutions for shooting at a breakneck pace.
UPMs and location managers cover the waterfront—and every other part of New York City—to find unique sites for the three long-running Law & Order series. The trick is keeping it fresh and not tripping over each other.
Child actors working on TV comedies just want to have fun. It's the 1st and 2nd ADs who make sure they get the job done.
The Quarterly brings together six of the most accomplished sitcom directors to discuss the creative and commercial side of making funny shows.
Capturing the intense emotion but limited movement of therapy sessions in HBO's In Treatment presents a challenge to the show's directors. Here's how they solve it.
With the demand for higher quality programming, more and more TV directors are becoming producer/directors. And the studios like what they see.
As David Chase's 80-hour tale of crime and punishment comes to its grand finale, we look at the contribution of its unsung heroes-the directors.
With TV getting bigger, better and more competitive, pilot directors have a lot at stake.
It's not just about balancing books. UPMs on one-hour episodic television have to be nimble balancing a multitude of duties. And the job's not getting easier.
Few television shows enter the public awareness as brazenly as HBO's The Sopranos. Directors Timothy M. Van Patten, Henry Bronchtein and John Patterson discuss their experiences on the show.
The directors of Sex and the City, in its sixth and final season, bare all.
The verdict is in on Judging Amy, and the show is guilty — of being a television show that treats the issue of on-time script delivery as a serious mandate.
Many cinematographers said it was impossible to film multi-camera before a live audience. It just couldn't be done. But that was not a phrase in Desi Arnaz' vocabulary.
This HBO hit has brought the concept of working without a script into the TV mainstream, transforming its creator and star Larry David from the man behind the genius of Seinfeld to the butt of every self-inflicted joke on camera in Curb.