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| Photo by Jyruz Hilbero |
Struggle is a key part of success. Accordingly, without hard work and difficulties along with phases involving blood, sweat, and tears during the process, one cannot be challenged to see their capacities beyond their current level of performance.
In recognition of this, the juniors of the communication program prove themselves capable of elevating from struggles as they exert the utmost effort in this year's StreamCon—an avenue for 3rd-year communication students from different blocks to showcase their TV Production outputs.
To introspect and shed light on these efforts, we reached out to the 3rd-year CASAn Production Managers and Supervising Producers of each production house to reminisce and share their experiences behind the dynamics of cultivating their shows in line with the face-to-face environment. Here, the production houses One Air Productions, DOS Studios, Cube Productions, and The Fourth House fill us in with the details by answering UST-CASA Chronicle's inquiries.
What was it like working with your production house in a face-to-face environment?
Michelle Anne Cruz of One Air Productions (3COM1)
The shift from online setup to face-to-face was no joke. Even though we’ve been begging for the face-to-face environment, with all the reigning hashtags like 'ligtas balik eskwela.' I think we didn’t realize the magnitude of the effects of the online setup. Since it's clouded by our excitement to be present and active on the said shift. However, now that we're truly within its sphere, suddenly we've been drafted from stagnation to a disposition that requires you to be active with several people and could relevantly cope with the hectic and stressful process of production.
Jerui Capisonda of DOS Studios (3COM2)
Working face-to-face is completely different. In fact, I think it's more enjoyable compared to the online setting. Wherein, you’re most likely working alone by then. This time we get to see each other’s effort, have fun as a whole class, share jokes, and talk about anything under the sun–likewise, letting these aspects reduce the stresses and burdens of the workload. Moments like these make the production of the show come to life.
Jedd Leaño of DOS Studios (3COM2)
Everything is overwhelming. For someone who started in production on an online setup, it feels like I am to test the waters with all the necessities required. Though at the same time, working in this setup created a more personal interaction within our block that aided us to craft the best ideas. We also got to know each other in-depth as we worked along the way.
Rafaela Arconado of Cube Productions (3COM3)
Although we have worked together for academic purposes during our online sessions, I think the noticeable part is that everyone in our production house is still adjusting to the process of working well together. The face-to-face setting made us realize our differences, but when combined, our diversities really lead us to better outputs. we're able to supplement each other's ideas on the spot unlike in an online setting where we still wait for a person to finish.
Gereille Mariz De Guzman of The Fourth House (3COM4)
It has been nothing short of amazing, to say the least. We finally get to work alongside each other, and I think we take each of our practice runs as an opportunity to showcase our capabilities. Everyone just shines. It’s always been so beautiful being surrounded by people who share the same passion with you, and seeing these people practice what you all love altogether— it’s magical.
Were there any notable moments or hardships that were apparent due to this kind of setup? If so, can you share them with us?
Michelle Anne Cruz of One Air Productions (3COM1)
The maintenance of a smooth dynamic was one memorable thing. As a production manager, I need to be highly aware that I’m catering to several individuals carrying varied contexts. So there are moments where misunderstandings occur in terms of production decisions. Thus, this is where hardships then come in. My duty to severely be in line with the goals and plans of the block coincides with the responsibility of cultivating big adjustments and creating amends that are suitable for the face-to-face setup.
Jerui Capisonda of DOS Studios (3COM2)
The only notable hardship that I can think of is our knowledge about the things inside the studio. Not everyone is well-versed on how production works in person. Thus, we have to guide every member of their role and their respective responsibilities. Luckily, everyone in the production house is willing to learn—lessening the complication of instructing them. With that said, it’s definitely a learning experience for both parties (as production supervisors and members).
Jedd Leaño of DOS Studios (3COM2)
There were some hardships in this set-up, yes. First is the lack of knowledge of the technicalities of production. We’re all new to the tech booth, so there is an added effort to carefully listen to our professor and instructors. Second, is budgeting. Considering that everything must be in a complete package from the set design and other essentialities; it's tough to allocate the funds for the needed materials for production. Lastly, is the clash of ideas. Several of us offered beautiful concepts, hence contorting it into a one big idea was difficult—and along with it is the misunderstanding.
Rafaela Arconado of Cube Productions (3COM3)
I think working on two shows drained a lot of us. Cube Production has two separate shows (XP Boost and Dorm It Yourself) that both have different approaches in order to cater to diverse target viewers. The physical shoots and face-to-face brainstorming took a toll on us physically, along with the onsite Preliminary Exams. So we're really tired, but we just have to continue everything, even if it's during our academic break.
Gereille Mariz De Guzman of The Fourth House (3COM4)
I think, on top of it all, our dry runs are the most notable moments so far in this journey. Every time we practice, we feel as if the studio is ours. We're free to explore angles, props, music, lighting, and even streaming graphics. Everyone’s creative juices go to work, and you can really see that whoever is operating a station would really shine through the work they create. Everyone just sways with the beauty of art, and it has been a wonderful adventure exploring elements and aspects of the show that would blend well together. At the end of the day, The Fourth House is our home. Here, we are in our freest state.
Was the work environment easier this time around as opposed to the online setting? What were the advantages (or disadvantages) that you think made the production easier (or harder)? Was it more demanding or did everything go by smoother for the production house?
Michelle Anne Cruz of One Air Productions (3COM1)
This time around it is easier. Since we have broader possibilities to explore. I think if production was done online, there'd be a lot of hindrances to tackle. For example, in shooting an OBB (Open Billboard) or a teaser, it's quite a challenge if every staff member is separated. You might be directing online, and the main talent is the one arranging all the necessary equipment, angles, and sets. Unlike face-to-face, every individual is collectively present in a single spot, active and responsive to each other's needs and directions. Second is, we can physically operate the equipment. If we never had this setup, then it's another missed chance to study the predicaments inside the Communications Bureau. So it is a big factor to exist in the same locale as the studio which can develop your experiences and skills first-handedly.
Jerui Capisonda of DOS Studios (3COM2)
I can’t say that it’s easier because production online and face-to-face are completely different. Personally, both are challenging in their own aspects. Though, the only advantageous part of this setup is we can actually get to use the right equipment which enables us to produce quality content. Moreover, even though it's quite taxing for us to work in two shows, it's still manageable for the production process to be smoother since we get to talk about the arrangements and plans in person.
Jedd Leaño of DOS Studios (3COM2)
Well, I could not say that it's easier this time. The advantage of the face-to-face set-up is the intent of communicating when we need to get things done. This makes the work rewarding since we’re aware of the sincerity and tireless effort endowed. Likewise, If anything, we became more honest with each other. Especially on giving out criticism. Unlike on the online setup we tend to avoid these situations by turning off our cameras. Now, however, we see each other eye-to-eye, making the reactions more genuine. Though, even if we have these realistic moments, it's also a disadvantage. Since I’m not only thinking for myself, it's dawning down that you have greater responsibilities to think about too; shootings, planning, manpower–everything!
Rafaela Arcanado of Cube Productions (3COM3)
I think being allowed to work together in a face-to-face setting gave us the advantage of holding in-person meetings. Which is more exciting than seeing icons within screens. The flow of ideas was as well more transcendent. It gave us a gateway to tune into everyone's ideas. However, the only disadvantage is setting a time when everyone is available.
Gereille Mariz De Guzman of The Fourth House (3COM4)
In all honesty, I think the work environment is easier this time around. Contrary to when we did our shows for Broadquest (online setup). We now get to work in the studio side-by-side. This contributed to the level of participation we could offer. Unlike before when only a few people would be in charge of streaming and all the elements needed for playback during the airing, now we get to have multiple people per team that would all play a part in producing the best possible show we could deliver. As optimistic as the former statement sounds, of course, things are not a hundred percent easy. Due to this setup, it’s also extra challenging to figure schedules out. For example, when we have a shoot day, everyone who is involved in the needed departments has to be available and present. Therefore, we either exhaust all means to look for a day when all the members would be free, or one or more of us would have to sacrifice and cancel stuff on their schedules for them to be able to attend the shoot. Still, though, I think the processes within our departments have been relatively smooth as opposed to having online planning and practice.
Considering how you have been in the same block for the last three years (with the exception of some), do you think that played a factor in how you were able to work as a production house?
Michelle Anne Cruz of One Air Productions (3COM1)
Definitely! The greatest advantage to that is we’ve already exceeded the 'discovering stage.' At this period, we already know each other's strengths and weaknesses, so it's a no-brainer for us to point out who's best in which aspect. Likewise, when complications happen, (which were evident during the process) the block’s existing communication foothold in battling conflicts is personified. Somehow, our foundation of trust lets us move efficiently and not strain on the interpersonal dilemma for too long.
Jerui Capisonda of DOS Studios (3COM2)
Yes. We’ve already worked as a class during Broadquest so I feel that served as our stepping stone to what we are now. Additionally, big projects like that strengthen our bond. So I think that’s why our work is now much more smooth-sailing compared to before.
Jedd Leaño of DOS Studios (3COM2)
Yes, since we’ve been together for a period of time now, I feel like we already know our ethics and we can work as a team. Onsite just made the foundation of the bond stronger. Which at the end of the day matters the most, since it's a requirement that aids us all in accomplishing the tasks.
Rafaela Arconado of Cube Productions (3COM3)
Being familiar with who you work with is a bonus because you already know each other's strengths and weaknesses. It is just up to us how we utilized each other's talents for the improvement of our shows.
Gereille Mariz De Guzman of The Fourth House (3COM4)
Yes, definitely! Take our Facebook page, for example. It has been around ever since we competed for Broadquest. It’s where our efforts have always been focused whenever there is an inter-block competition. This means that we are all growing on each other, and we have come to know what it’s like to work with each of us. We get to know the strengths, weaknesses, and work experiences of our blockmates. This has really helped in developing our chemistry and efficiency as a production house.
Can you please share with us what we can expect from your production house for this year’s StreamCon?
Michelle Anne Cruz of One Air Productions (3COM1)
Please expect a show that has a soul and not just an overly commercialized production. We hope that the passion we’ve poured into creating this would transcend the dedication of aspiring communication arts students who wish to make it in the industry. Hence, as our first attempt to produce content via media, aim to communicate, connect, and cultivate relationships with the public. We as One Air vocalizes, "Dito may saya, dito may puso, saan ka pa? Sa One Air ka na."
Jerui Capisonda of DOS Studios (3COM2)
We’ve redefined DOS studios this year. We’re more determined, sincere, and open than ever. So, the Thomasian community should expect a side of our production house they’ve never seen before. That said, we hope everyone will support our shows Tiger plates, a unique food magazine program that links local and international cuisine to UST food culture, as well as SKULIT, a very fun and relatable skit show that everyone will surely enjoy.
Jedd Leano of DOS Studios (3COM2)
Expect nothing but greatness from DOS Studios. This year we’d double the kwela and kulitian. We’re ready to show the masses the true essence of ‘togetherness.’
Rafaela Arconado of Cube Productions (3COM3)
What they can expect from Cube Productions is that the stories we'll tell are from different kinds of people. Which we surprisingly find ourselves can relate to. Two shows with diverse and fun content! Stay tuned on all our social media pages (Cube Productions on Facebook and @cube.prods on Instagram and Tiktok) for more exciting details!
Gereille Mariz De Guzman of The Fourth House (3COM4)
So far, each day has been an opportunity for The Fourth House to come up with ways to improve what we already have. The result of all these efforts would all be reflected in our show, UniMuni, which would showcase remarkable Thomasian stories through objects that they hold dear. We’re all so excited to show everyone what we have been working on, and even more excited to reveal the notable students whose stories we’ll be featuring on the show! I hope the Thomasian community could take the time to sit back, relax, and enjoy the beauty of the university through UniMuni… where your stories come home.
We can't wait for these production houses to tell the Thomasian community their stories through their creative and unique outputs. As we part with this article, may everyone support each production house by visiting their official Facebook pages below:
One Air Productions
DOS Studios
Cube Productions
The Fourth House
May we all witness the details unfold in StreamCon 2023! Stay updated on all the latest happenings for the event by following UST CASA's official Facebook page.
