Thank you for this wonderful insight. I think also, with how fickle Netflix is with renewing their shows each season a lot of preproduction that could be happening for the next season while the current one is filming gets delayed(most likely because budget is not fully secured). I've noticed a lot of changes each season to "streamline" certain aspects of production. So they are working incredibly fast for the time from being green lit to premiere date. From an artistic standpoint I wished they unutilized the Bridgerton family homes more often and found more creative/interesting ways to shoot the spaces that are so intimately known to the characters. I personal love when a set dresser/designer put in the work for detail and the cinematographer & director take the time to focus on those pieces. It's the best way to get to know a character without exposition dumping through dialog. There are so many visual short hands to get characters across.
Also, they could focus more on shooting cheaper scenes - as it happens to be the ones the fandom keeps saying they do not get enough from. Basically, the most expensive is shooting on location and big scenes - for Bridgerton, it's the balls. The more people in the scene, the longer it takes (and more expensive it is). The balls scenes easily take days to shoot. The smaller the scene, especially when shot in their studio (e.g. the insides of Bridgerton and Featherington houses are all film sets), the cheaper it is. And yet, people keep complaining that we do not get enough of family banter and one on one scenes between protagonists (and not only between the romantic leads, but also other protagonists, e.g. they want more scenes between Kate and Eloise, or Pen and Bridgertons other than Colin and Eloise, or Pen and the modiste or lady Danbury). We do not really need a ball every episode.
@@berlineczka exactly this. It makes me remember how the director of Pride & Prejudice got the cast into the house they would be shooting in to make them more comfortable within the space. With a ready made set there is such an opportunity to really play into the families dynamic more. Also I need the gaffers to find a way to light the scenes without it feeling like the house lights are on or one lone candle. There isn't enough contrast in the final product. I personally blame digital for killing a lot of artistic choices that film made iconic. Season 3 made everything look yasified. from the make-up and styling to the lighting and angle choices. Nothing felt soft and romantic...just overly blurred to make all pores and realism disappear. They removed the "texture" that gives personality to any project.
Why is the quality declining but the turn around getting slower, though? Shouldn't it get faster because they already have sets and some costumes and already have a template for how they want it to look?
At what point are all the green screen backgrounds done, I’ve seen videos of the cast on set and a lot of the scenes are shot on a giant green screen. Don’t they have to plan around where the “background” will go when they’re blocking for the actors etc? This was very interesting thank you!
Any chance you can go into technical issues that audiences can have with media vs what they client has asked for? Like certain films being notorious for having bad mixing for vocals and the instrumentals making it hard to hear. Or how sometimes you'll watch a horror film and be able to view the finer details perfectly and in others you can barely make out which character you're looking at much less what's in the room. Also yes, reactions to ALL of the episodes would be awesome!
Thank you for this wonderful insight. I think also, with how fickle Netflix is with renewing their shows each season a lot of preproduction that could be happening for the next season while the current one is filming gets delayed(most likely because budget is not fully secured). I've noticed a lot of changes each season to "streamline" certain aspects of production. So they are working incredibly fast for the time from being green lit to premiere date.
From an artistic standpoint I wished they unutilized the Bridgerton family homes more often and found more creative/interesting ways to shoot the spaces that are so intimately known to the characters. I personal love when a set dresser/designer put in the work for detail and the cinematographer & director take the time to focus on those pieces. It's the best way to get to know a character without exposition dumping through dialog. There are so many visual short hands to get characters across.
Also, they could focus more on shooting cheaper scenes - as it happens to be the ones the fandom keeps saying they do not get enough from. Basically, the most expensive is shooting on location and big scenes - for Bridgerton, it's the balls. The more people in the scene, the longer it takes (and more expensive it is). The balls scenes easily take days to shoot. The smaller the scene, especially when shot in their studio (e.g. the insides of Bridgerton and Featherington houses are all film sets), the cheaper it is. And yet, people keep complaining that we do not get enough of family banter and one on one scenes between protagonists (and not only between the romantic leads, but also other protagonists, e.g. they want more scenes between Kate and Eloise, or Pen and Bridgertons other than Colin and Eloise, or Pen and the modiste or lady Danbury). We do not really need a ball every episode.
@@berlineczka exactly this. It makes me remember how the director of Pride & Prejudice got the cast into the house they would be shooting in to make them more comfortable within the space. With a ready made set there is such an opportunity to really play into the families dynamic more. Also I need the gaffers to find a way to light the scenes without it feeling like the house lights are on or one lone candle. There isn't enough contrast in the final product. I personally blame digital for killing a lot of artistic choices that film made iconic. Season 3 made everything look yasified. from the make-up and styling to the lighting and angle choices. Nothing felt soft and romantic...just overly blurred to make all pores and realism disappear. They removed the "texture" that gives personality to any project.
@@madelion24 Definitely. I couldn't agree more.
Why is the quality declining but the turn around getting slower, though? Shouldn't it get faster because they already have sets and some costumes and already have a template for how they want it to look?
What a great explanation! I learned so much, thanks Jessie ♥️🥰
this was interesting! and cute Celeste pillow in the back!
Great video!! ❤ Also... 8 months of filming!? I had no idea, that's insane... The entire thing sounds VERY expensive 🤣
love the new intro 😉🤩
At what point are all the green screen backgrounds done, I’ve seen videos of the cast on set and a lot of the scenes are shot on a giant green screen. Don’t they have to plan around where the “background” will go when they’re blocking for the actors etc? This was very interesting thank you!
Any chance you can go into technical issues that audiences can have with media vs what they client has asked for? Like certain films being notorious for having bad mixing for vocals and the instrumentals making it hard to hear. Or how sometimes you'll watch a horror film and be able to view the finer details perfectly and in others you can barely make out which character you're looking at much less what's in the room.
Also yes, reactions to ALL of the episodes would be awesome!