TV cuts costs with shocking camera-less shows using smartphone footage!
Serialization: What the Staff Saw! Weekly Inside story of Television
After leaving TV Tokyo, Nobuyuki Sakuma has seen great success with his own YouTube channel, and his work producing both online and terrestrial TV programs has been going smoothly. He is showing remarkable versatility and activity.“In this show, Hiromi (59), Ken Miyake (45), and Becky (40) conducted a street location shoot in Atami, but surprisingly, the only crew present was the audio staff. There was no camera crew. The street interactions were filmed by bystanders using smartphones, leaving the screen completely dark until the footage was captured. This innovative approach turned cost-cutting into a creative advantage, capturing the industry’s attention.” (A director from the production company)
As reported previously, in response to the TV recession, commercial broadcasters have been significantly reducing production costs. For instance, according to Nippon Television’s financial statement for 2021, production costs had decreased by over 10 billion yen even before the pandemic.
“Other broadcasters have also reduced production costs by 20–30% since before the pandemic. As a result, the number of talents cast in programs has also been reduced by one or two. It’s now not uncommon for prime-time shows (7 p.m. to 10 p.m., when they are expected to have the highest ratings) to have only one scriptwriter. There are many such creative ideas being considered in the industry to counteract budget cuts, but the approach taken in Kuro-mi no Hiromi—producing a show without a camera crew—has impressed many in the TV business.” (A scriptwriter)
The increased quality of smartphone cameras has allowed for footage that can now withstand television broadcast standards, a factor that has been praised as part of the “era of one billion cameramen,” according to a producer at a key network.
“Street shoots save on set costs, which helps cut down on the budget. On the other hand, when asking not to be filmed, bystanders often ignore the request and continue to take photos. So why not just involve the bystanders and ask them to be cameramen? It’s a two birds with one stone approach. Other shows may adopt this idea,” said the producer.
In addition, shows like Yoso no Bangumi Nokkari Quiz Parasite (TV Tokyo), which use previously unused footage to create quizzes, have also become more common. These “SDGs” programs, utilizing material that would have otherwise been discarded, are gaining in popularity.
Emerging talents refers to individuals whose popularity and demand are currently on the rise.
“Especially for late-night programs and pilot versions, low-budget production is required, but experimental ideas are more likely to be approved. Many young staff members and broadcast writers are happy, saying, ‘Even if the pay is low, the work is rewarding'” (Broadcast writer, as mentioned earlier).
There is also a growing demand for talents who can carry a show through just talk.
“The show ‘Ijuin Hikaru & Sakuma Nobuyuki’s Kattē ni Teleto Hihyō,’ which started last year, has the two of them talking about TV Tokyo in a radio-style format in a narration booth at TV Tokyo. The production cost is very low, but that means the performers need strong talk skills. It’s become a tough time for female talents and others who only add glamour to the show” (Production company director, as mentioned earlier).
The wave of cost-cutting is also reaching behind-the-scenes staff.
“There are more programs using generative AI. For example, AI can easily create image graphics, so orders to illustrators and CG creators have decreased” (Key station producer, as mentioned earlier).
Only irreplaceable talents seem to be the ones that will support television in the Reiwa era.
From FRIDAY November 22–29, 2024 issue.
PHOTO： Takero Yui
