shot in L.A., Calif. or for saving actor and music costs?

[Not Herbert]

But this just the music score, not where the filming would be (I also think other places could produce a musical score that is just as good, New York for example, has a lot of good music studios). Even in LA would make the best music score, which is very debatable, they can still do the score there and film somewhere cheaper.

It costs the same to record a score in NYC. The AFM contract is the same in all of North America. The good studios in NYC for an orchestra are mostly gone.

Again, what evidence is there that you could only get a decent score done in LA, what evidence do you have no other location could not do a decent score?

Also they can do the score and film the series in two separate locations, you really have not made a good case on why this series should be filmed in LA.

Naturally the show could be shot elsewhere and a score can be recorded elsewhere too. I just don't believe it is right for a US based company like CBS to offshore jobs. It's not the correct thing to do. If every US based company sent production overseas, the only thing Americans will be able to do is sell hamburgers and insurance to each other.

However, the best reason to score in LA is that is, no doubt, where the composer (whomever that will be) lives. I suppose they might go with a NY based composer but that is doubtful if the pre and post production is done in LA. As mentioned before, all of the good scoring stages (AKA recording studios big enough to record an orchestra) are in LA. The good NYC studios have closed. There are a few places in NYC that could handle (and do handle) film scores, but they're more expensive than the ones in LA. Believe me when I say that nothing would please me more than to see film and TV scoring return to NYC.

Also, I think that it's the wrong move for CBS, or their puppet production companies, to avoid union contracts that they have agreed to in good faith negotiation. LA is a city built on the film and TV business and to throw the local labour force under the bus is not cool.

Anyway, back to the scoring issue. Besides NY and LA, there aren't many cities with enough musicians experienced to the speed of TV/film scoring. Sure, and orchestra in Prague can be world-class, but they don't sight-read as well as full-time studio players, therefore it takes twice as long to get a good performance.

TRUTH: The ONLY reason why film and TV producers who are based in the US want to record overseas is to avoid the residual payments to the musicians which is part of the AFM agreement. They are looking for a non-union, buy-out for the music. There is no provision for a buyout in AFM contracts. This is chump change in the context of a shows budget. If they really want to save money, why not do a series without SAG, and WGA talent?

I must say that I'm a bit more articulate in person than typing on my computer. So I suppose I still haven't made a case about shooting it in LA other than the fact that all the meetings, casting, pre-production, post-production, writing, and the production office will be in LA, why not just shoot it there rather than flying a cast and crew somewhere?

 

[eyeresist]

Anyway, back to the scoring issue. Besides NY and LA, there aren't many cities with enough musicians experienced to the speed of TV/film scoring. Sure, and orchestra in Prague can be world-class, but they don't sight-read as well as full-time studio players, therefore it takes twice as long to get a good performance.

I think you are underestimating non-LA musicians. Any professional classical musician should be able to sightread at a professional level. And if the conductor understands the score, the interpretation should be good enough. I think the issue of dedicated soundstages is probably your best argument - the Montreal Symphony might be happy of the employment, but scheduling recording sessions in their concert hall might be difficult.

 

[The Overlord]

Naturally the show could be shot elsewhere and a score can be recorded elsewhere too. I just don't believe it is right for a US based company like CBS to offshore jobs. It's not the correct thing to do. If every US based company sent production overseas, the only thing Americans will be able to do is sell hamburgers and insurance to each other.

I live in Canada, so the economic American nationalist argument wouldn't really work with me. If they filmed in Toronto or Vancouver, it would just people there would get work, rather then people in LA. You do realize Canada has its own actors union, ACTRA, right? Its not like Canadian film employees are serfs with no protections.

However, the best reason to score in LA is that is, no doubt, where the composer (whomever that will be) lives. I suppose they might go with a NY based composer but that is doubtful if the pre and post production is done in LA. As mentioned before, all of the good scoring stages (AKA recording studios big enough to record an orchestra) are in LA. The good NYC studios have closed. There are a few places in NYC that could handle (and do handle) film scores, but they're more expensive than the ones in LA. Believe me when I say that nothing would please me more than to see film and TV scoring return to NYC.

Also, I think that it's the wrong move for CBS, or their puppet production companies, to avoid union contracts that they have agreed to in good faith negotiation. LA is a city built on the film and TV business and to throw the local labour force under the bus is not cool.

Anyway, back to the scoring issue. Besides NY and LA, there aren't many cities with enough musicians experienced to the speed of TV/film scoring. Sure, and orchestra in Prague can be world-class, but they don't sight-read as well as full-time studio players, therefore it takes twice as long to get a good performance.

How do you know that for sure? How do you know that say there are not a ton of suitable music venues in say Vancouver or Toronto?

TRUTH: The ONLY reason why film and TV producers who are based in the US want to record overseas is to avoid the residual payments to the musicians which is part of the AFM agreement. They are looking for a non-union, buy-out for the music. There is no provision for a buyout in AFM contracts. This is chump change in the context of a shows budget. If they really want to save money, why not do a series without SAG, and WGA talent?

I must say that I'm a bit more articulate in person than typing on my computer. So I suppose I still haven't made a case about shooting it in LA other than the fact that all the meetings, casting, pre-production, post-production, writing, and the production office will be in LA, why not just shoot it there rather than flying a cast and crew somewhere?

Because other places offer better tax breaks then LA and thus can be shot for less money? Heck the lower Canadian dollar means that Canadians would work just as hard as Americans for pay that in theory is equal to their American counterparts, but would also save CBS 30% in production costs. Why do you think so many American shows are shot in Canada?

 

[eyeresist]

"Hollywood North", as Vancouver is called.

 

[Not Herbert]

Naturally the show could be shot elsewhere and a score can be recorded elsewhere too. I just don't believe it is right for a US based company like CBS to offshore jobs. It's not the correct thing to do. If every US based company sent production overseas, the only thing Americans will be able to do is sell hamburgers and insurance to each other.

I live in Canada, so the economic American nationalist argument wouldn't really work with me. If they filmed in Toronto or Vancouver, it would just people there would get work, rather then people in LA. You do realize Canada has its own actors union, ACTRA, right? Its not like Canadian film employees are serfs with no protections.

Again, we're talking about CBS, a US based company offshoring labour. I would be supportive of a CBC produced programme to be made completely in Canada, and so on. Also, a ACTRA contract wouldn't work with CBS who is signatory to SAG contracts.

BTW, nothing against Canada or Canadians (possible exception for Newfies). I have worked there often and I briefly taught at U of M in Winnipeg.