Run the show.
Cut the clips.

Set, guest prep, run of show, and the short clips. Plan the episode and the marketing in one place.

The episode

family meal, ep. 07. our host cooks the pre-service staff meal with a guest chef and they talk while they cook. one real kitchen.

The set

3 cameras: the pass, a wide, a handheld. lav plus a boom over the table. the room has to match the diagram.

The clips

tag the best stories and the cooking beats live. the editor cuts verticals from the tags.

✦ Run of Show

Family Meal — Ep. 07

Two chefs cook the staff meal they’d make for their own crews and talk through it, in one real kitchen, three cameras, ninety unhurried minutes.

The block

Cold open at the stove. The cook-along. The sit-down. The clip moments tagged live for the edit.

The set

Three cameras (pass, wide, handheld), lav plus a boom over the table. The room matches the floor plan.

Three steps. Then you are ready to shoot.

Plan the set

Drop the floor plan and the gear list onto the canvas: cameras, audio routing, lighting. The room you walk into matches the diagram.

Family Meal — set plan

ref_01The pass, after lunch

ref_02The table, set

Cameras

Pass, wide, handheld. One floats, two locked.

Audio

Two lavs and a boom over the table.

Prep the guest

Keep the guest research, your questions, and intro notes in one folder. Share a read-only one-pager with the guest the day before, and walk in.

✦ Guest One-Pager

Guest — one-pager

Who

Their story

Don’t miss

Plan the short clips

Tag moments on the run of show as clip candidates. The editor opens a folder per platform (vertical, square, widescreen), and the marketing plan ships with the episode.

Plan the short clips

9:16

Vertical · ×4

1:1

Square

16:9

Trailer

A run of show, a guest one-pager, and a clip plan the team works from.

One canvas covers production, host prep, and marketing. The episode releases with the short clips ready, not as a Monday-morning scramble.

Run of Show

Family Meal — Ep. 07

Two chefs cook the staff meal they’d make for their own crews and talk through it, in one real kitchen, three cameras, ninety unhurried minutes.

The set

One real kitchen, after lunch, before the dinner crew comes in. Three cameras: one locked on the pass where the cooking happens, one wide that holds the whole room, one handheld that floats for the faces. Two lavs and a boom over the table so nothing in the talk gets lost under the hood fans.

The room you walk into matches the floor plan on the canvas. Camera positions, power, where the guest stands, where the food lands. No figuring it out on the day.

The conversation

We open cold, at the stove, mid-prep, no intro. The host and the guest cook the staff meal they would make for their own crews, and the talk comes out of the work: how they learned, who they fed, the service that nearly broke them. Then they sit and eat what they made, and that is where the guest opens all the way up.

It is ninety minutes of real time, cut to forty. The cooking is the spine. The story rides on top of it.

The clips

We tag the best stories and the cooking beats as they happen, live, on the run of show. By wrap the editor already has the vertical pulls marked. The marketing ships with the episode, not the Monday after.

Cameras

Three: the pass, the wide, the handheld. One operator floats, two locked.

Audio

Two lavs and a boom over the table. The kitchen is loud. Plan for it.

Guest

Confirmed two weeks out. Research, their dishes, and the one story we don’t want to miss, all in their folder.

Runtime

Shoot 90 minutes real time. Cut to 40 for the episode, plus the clip pulls.

Run of show