Since studio recording was not a daily affair, there was no dedicated VTR operator at first. This allowed editors to assemble the spots unsupervised overnight. Agency producers would review, pick takes, and note the timecode on the script. The videotape operator handled the recording, camera set-up, and would insert retail price graphics (from art cards and a copy stand camera) during the recording of each take. This was a collaborative production, where our DP/camera operator handled lighting and the agency producers handled props and styling. It was tethered to our remote production RV. For location production, the two-piece TKP-45 was also used. This was prior to the invention of truly portable, self-contained video cameras. The camera was an RCA TK-45 with a short zoom lens and was mounted on a TV studio camera pedestal. There was a chef on contract, so everything was real and edible – no fake stylist food there! Everything was set up on black or white sweep tables or large rolling, flat tables that could be dressed in whatever fashion was needed.
The studio product photography involved tabletop recording of packaged product, as well as cooked spreads, such as a holiday turkey, a cooked steak, or an ice cream sundae. Repeat the process on Thursday for the second round of the week. Make changes Wednesday afternoon and then copy station dubs overnight. Begin editing at the end of the day and overnight in time for agency review Wednesday morning. Start on Tuesday shooting product in the studio and recording/mixing tracks.
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The production company had a well-oiled “assembly line” process worked out with the agency in order to crank out 40-80 weekly TV commercials, plus several hundred station dubs. Starting out as an online editor at a production and post facility included working on a regional grocery chain account.
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