​  The X Factor UK and X Factor US (the US version had three seasons and no longer airs just to clarify) are massively popular hit television programs in their respective countries. Simon Cowell is a household name in both countries due to his work guiding these and other programs which fall into the reality/talent series genre. In the past decade these shows have overshadowed virtually all other programing in terms of ratings and their ability to integrate social media into the process, translating into advertising and content success. At Cowell’s right hand for these productions, with a somewhat less publically recognized name is Caroline Abaecheta. As a producer on the shows, Caroline worked closely with Simon and some of the incredibly famous acts that the show has discovered including: One Direction, Jedward, Olly Murs, Danyl Johnson, and many others. Consider the indisputable statistics that have vetted this program. X Factor UK is an S7 National Television award-winner (Best Talent Show), BAFTA nominated, created the super group One Direction, had a series average of 14.1 million viewers, and was recognized as ITV network's highest rating show of the year. The premier episode of the US version of X Factor debuted with 12.5 million viewers, was a People's Choice award-winner (S1 Best Competition show), and a Teen Choice award-winner (S1 – best breakout show and Best Reality Competition show). X Factor has already evaporated the cultural and generational lines that many productions find impermeable. Abaecheta’s work on the show and the results are something which she takes immense pride in and have made her a highly respected and sought after professional in the television industry.
  A key to the success of X Factor in relation to the show’s ability to reach many different viewers lies not in the erasing of differences but rather in the in the understanding of them, at least in production terms. Caroline’s understanding and ease with the differences between US and UK production needs of the X Factor are key to the success of each. The obvious difference is the ease (or lack of) with transportation for the crew when shooting the auditions for the contestants. More than this, the shooting and interview style, the job separation of producers, pop culture references, even the regional accents are vastly different. The most prominent of all differences relates to tone. Abaecheta reveals, “The UK version of X Factor is lighter than the US version.  The sense of humor is more at the forefront of the UK show. This doesn’t mean anyone takes it less seriously, quite the opposite. In fact, there is a bigger giggle factor in the UK version.  For example, I created a montage for the UK version were we pointed out the fact the Geri Halliwell (ex Spice Girl) never stopped talking. It was just something we noticed in the field so we created a montage of Geri talking and talking and cut it to a comedy song by Chaz and Dave called “Rabbit.” I don’t think we’d have made that in the US.  I don’t think it would’ve worked. There are certain social differences even with something like comedy and poking fun that require one to understand what people will accept.”
  The goal of every producer is to create an entertainment experience that immerses the audience so deeply into the story that they lose all personal worries and cares, if for only a short time. While X Factor might appear to be a light and unencumbered program, creating this is quite the opposite. Caroline’s role required her to essentially oversee four separate programs which were rolled into one. Stage one was travelling around the country for open auditions. The excitement of the crowd is palpable as long lines with cheering hopefuls are seen. Contributors go through multiple stages of audition: first in front of a producer, then in front of a TV producer/music industry rep, and finally they are filmed in front of the celebrity judges. The next stage is “Boot Camp” which documents the numbers of contestants going from around 100 to about 25 who will make it to the next stage. Following this, a shoot happens with the judges of the show shown in their homes or at exotic locations. With all of this work completed, X Factor finally arrives at the live shows that the public votes on. Caroline’s work as a producer in all of these stages is the complete opposite of showing up in a soundstage every day to tape a live TV program. Her respect in the industry is well earned as a result.
  One of the most exciting parts of Abaecheta’s involvement as a producer in X Factor is having a front seat to the beginning of major careers in entertainment. While she has worked with many entertainers who were first introduced by the show, the international juggernaut that is the band One Direction is perhaps the most notable. There is a very short list of those who can say that they saw the band from inception to global fame but Caroline is at the front of the line. She recalls, “Initially we didn’t know they’d be a band but we knew we had some outstanding male performers that year.  I think Simon put the group together at Bootcamp. I filmed with One Direction every day during the live shows. So I was there witnessing the phenomenon first hand.  It started with an initial few girls but by the fourth week of live shows we often couldn’t go out and grab lunch together as we were used to.  The choreography venue where rehearsals were done was in the middle of Covent Garden and soon became inundated with fans. I remember having to hide One Direction members under my coat to get into the building. The moment I realized we were experiencing something huge was we went to a shoot at TopShop on Oxford circus.  I’d stayed behind with all the contestants and was helping people get into cabs from choreography.  I travelled over to Oxford Circus with some members of 1 D (Harry, Niall, Zane, plus a couple of other contestants); when we arrived at Oxford Circus, probably already one of the busiest areas of central London, the crowds had brought the whole of the area to a complete standstill. Police where everywhere. There were thousands of fans filling every possible bit of space outside the store.  We had security but it was scary trying to get past all these youngsters. I made the contestants hold hands and told them not to let go until we were inside the front door but this was like a mob. After that we were followed everywhere by paparazzi on motor bikes trying to grab photos of the band.  We couldn’t go outside. I used to take the boys shopping at lunchtime but we couldn’t do that anymore.  They loved it, of course! It was stardom, what they’d hoped for. It was also overwhelming and often scary.” Very few professionals have been so close to this type of scenario and the experience deepened Abaecheta’s already impressive skill set. Of course, working with Cowell during this time served to inform Caroline about how both the business and artist perspective of such a phenomenon feel like to each side. A great producer understands the business needs as well as empathize with them.
  Not all of Abaecheta’s experiences involve hordes of screaming fans and paparazzi. The vast majority of the producer’s role on X Factor is meeting the contributors day after day and place after place. Because travel is an essential part of the program discovering new talent, Caroline often finds herself on the road. It can be close to home or flying for forty-eight hours to get to Australia to oversee auditions for essentially another forty-eight hours and then flying right back. For a TV show like X Factor you must go where the people are that you seek. Rather than avoiding these obstacles, Abaecheta is drawn to them. She communicates, “There are no shortcuts to being great. X Factor is the biggest learning curve for any producer. I wouldn’t be capable of doing most of my other jobs without this experience. I’ve seen many people become famous and achieved their dream. I’ve also seen people who attempted this and for different reasons it didn’t work out. What I recognize in all of them is the desire to do what they love and make a career out of it. That’s exactly what I want and the challenges of being a producer on X Factor have forced me to work hard, to be inventive, and to think outside the box. I think the obstacles in our lives can make us better and that’s why I look forward to them.”

​  Some individuals aspire to the prestige of the spotlight, not literally. Being able to take sole credit is paramount to certain individuals. What they gain in esteem, they can sometimes lose in opportunity. This was the perspective of Ruixi Gao when she served as co-DP on the film “Locked” with David M. Brewer. Bremer is noted for his work on films like Insidious which was one of the most popular horror films of the past few years. “Locked” afforded Gao the chance to collaborate with Bremer and share ideas. Her willingness to be “creative driven” rather than “ego driven” allowed Ruixi to work with another professional in her vocation whom she respected and to also gain the respect of said individual. Producer Yuxiao Wang reached out to Gao to take part in the film with the understanding that the production wanted both Brewer and her on as DPs. She gleefully accepted and the benevolent results are vetted by Locked’s numerous accolades which include being an official selection at: Festival De Cannes (Short Film Corner), Madrid International Film Festival (Jury Award/Best Visual Effects or Design/Best Lead Actor in a Short Film), 50th Annual World fest -Houston International Film Festival (Platinum REMI Award Winner), Honolulu Film Awards (Aloha Accolade Short Film Competition Winner), and numerous others. In serving the film, Gao elevated both the production and her own respect in the industry.
  Perhaps one of the reasons that the film’s producer wanted two different DPs is due to the story possessing a certain duality. While it may appear at first as a horror film, Locked is actually a psychological thriller. The storyline created an environment for the filmmakers to freely share ideas. After reading the script, Gao realized felt that the film should be equally about the main character’s schizophrenia as the horror aspect. She communicated to Brewer her vision of a fast shaky camera to convey the uneasy relationship between the characters and the tension. Ruixi also introduced the use of camera movements that transitioned between characters up close and then retreating to create more tension, all of which were embraced by the producers and her co-DP.
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  In the beginning, “Locked” seems to be a horror film that keeps the audience guessing. This only exacerbates as the plot unfolds. What first appears to be a man fending off those who mean to harm him (and his wife) reveals a deep secret from himself and the viewer. His would be attackers force him to unlock a door, revealing his dead wife. Metaphorically, opening this door helps to reveal that the man has split personalities, one of which killed his own wife. Gao notes, “I was very excited to work on this project. I’ve always been intrigued by studies of the human mind and personality. I’ve never worked on a film about this specific topic although there are elements of a horror film which is not unfamiliar to me in my work. The opportunity to share ideas with someone who has had great success in the genre like David, cooperating with him and witnessing his process…it was very rewarding for me.” Both cinematographers worked with the director to achieve his vision. Running simultaneous location shoots can be a challenge even with a unified approach and vision. The location shooting schedule was very brief and thus prohibited any reshoots, making the initial execution paramount. David M. Brewer declares, “In addition to all of her talent, Ruixi has the energy of a young filmmaker. This is one of the most vital traits for the gifted individuals who push the art form into new areas. Ruixi is always thinking about how to make a shot great…not just getting a good shot. She is a rare talent in the field of cinematography. Across race, gender, and culture, she brings not only a keen understanding or art and technology but also the awareness of propelling it into new places. It will be Ruixi and her generation that keep the audience engaged in the great films that will be created in the future.”
  The inclusion of “Locked” into the famed Cannes Film Festival is a source of great pride for the young cinematographer. As perhaps the most recognized and celebrated film festival on the planet, Cannes gave Gao the ability to have her work seen by the elite of the industry of every country. She comments, “I am very honored and excited to have my work at Cannes. I have so much respect for the other cinematographers who will also be seen there; it’s wonderful to be considered part of that community. Yes, it means that others will see my work but it also gives me the opportunity to see theirs and learn from what they are doing. I don’t want to ever stop learning. “There are those who confess their own hubris and forge ahead with disregard for others. While this is one path, Ruixi Gao prefers to be aware of her peers and to adopt the parts of their process that complement her own and enable her to empower the storytellers she works with in her career. A constant state of evolution is her journey, never settling for “good enough” is her goal.

​  Musical scores existed before dialogue in motion pictures. Prior to “Talkies”, a single pianist or a small group of musicians complemented the actions of the film to sway the emotions of the audience in whatever way the filmmakers saw fit. It’s been more than a century since those days and the music which accompanies the stories being told have gone through vast enumerations. The common thread is that they all worked to further the emotional content of the story and characters. Tyler Hickman, Director &Screenwriter of “4th Paradox” wanted this and much more. He explains, “When I was working on our film 4th Paradox, I knew that it needed to have an otherworldly quality when it came to the music. I needed the music to transport the audience and elevate the film, especially since the film was designed to have very little dialogue and only one character. With such a cerebral and densely layered film, I couldn’t just leave the music up to anyone. I knew I only wanted one person to do the music: Sai Sriram Maddury. Having heard the music he’s made for other projects and after speaking with him at length about styles, genres, and the emotional punch that music can have, I knew he was perfect for this project. With an understanding of the film, Sai was able to create the sort of music one only hears in the great Hollywood productions. Without a doubt, Sai gave this film a beating heart to give it life, along with the soul we crafted for it.” This “heart” analogy is most appropriate as Maddury explains that his thought process was to create the music as an unseen additional character in the film. Rather than an accoutrement for the character, the score would be present and felt rather than simply heard. It’s an inventive approach that is full of creativity and hubris; it also was proven to be completely successful.
  “4th Paradox” is the story of a man who becomes stuck in a 4th dimension where his life events get looped. Detective John Ridley (played by Nate Lofton) wakes up in a looped space-time continuum with no memory and a corpse next to him. John walks through the forest not knowing where he was. He looks for clues about what has transpired as well as for an escape plan. He finds a car with a GPS which takes him to a deserted city. He enters into a building and comes to the realization that he has already been there, performing the same activity several times before. Later, being paranoid with fear he shoots himself…not to die but rather to wake up again (due to the loop).
  Creating the musical soundscape for a film in which the action keeps repeating itself, all to the confusion of the main character was just as complex as you might expect it to be. Maddury wanted to communicate the disorientation and complexity of the situation while also accentuating the emotion of Detective Ridley. The composer experimented extensively to find the proper tone, using both a warm/organic approach as well as a cold/digital one. Ultimately he opted for electronic instruments that represented this unreal/futuristic world and blended in traditional orchestral instruments to reflect the character’s psychological confusion and disorientation. In contrast to this complexity, Sai confesses that the simplest time signature was the most effective. He comments, “Generally a film score is written with many time signatures. This clearly delineates scenes and themes for both the story and the viewer. A particular scene might contain different themes or leitmotifs and the different time signatures can help define the emotion and the action. I decided to keep a 4/4-time signature consistent throughout the film in order to reflect the concept of the 4th dimensional space-time where life is looped. The score reflects this idea of getting looped in a 4th dimension of repeating time-space and by using the 4/4 time signatures as a rhythmic motif which loops again, it created this concept of 4th dimension of space-time musically. It was always familiarly on repeat and yet allowed me to introduce subtle new ideas.”
  One of the most stunning characteristics of the film’s score is that it accompanies the main character throughout the film. That’s not to say that it is always created a musical “bed” that we feel as the audience but rather, as John Ridley is essentially the only character in the story (other than the corpse) the musical actually serves as the detective’s only companion. No matter where he is in the film, this sonic partner accompanies him. The music is so intense and permeating that the audience instantly recognizes it’s changing emotions just as they might notice the facial expressions of another physical character, were one to be present. The voicings of the electronic and organic instruments Maddury uses are as much a type of dialogue as any spoken words in “4th Paradox.” This was fully intentional as Sai reveals, “Because this film has only one character onscreen, his emotions are profoundly felt. He has fear of where he was, hope that he could escape from this. When he finds a car and takes it, there is guilt. I always find myself focusing on characters when I am creating a score. I want to internalize their feeling and experience so I can convey this in the music. In this film, it was a special treat as I was given the opportunity to give life to this idea as a new character. It was incredibly creative, challenging, and rewarding. I’m so happy that Tyler allowed me to ‘stretch’ on this project.”

​  Director Rachel Zhou is known for her dark side, not in her personality but in her presentation of films. A quality more commonly associated with certain older directors is a grittiness and mixture of humor with pessimism when it comes to the human spirit. Instead of exploring the idea that everything works out well in the end, Zhou prefers to explore the more selfish facets of the human condition. Rather than depression/doom and gloom, these films present stories with wit and honesty. One might say that they “have teeth.” Rachel plays her cards close to her chest, doing an excellent job of not hinting at the twists and turns that come as the story evolves. As alluded to earlier, this approach lulls many professionals and fans alike into a false belief that this director is a much older and somewhat jaded filmmaker. She confirms that most are very surprised when they meet this young and affable woman, discovering her to be the source of so many duplicitous characters and plot interpretations. It’s also earned her the admiration of many in the film industry, leading to collaborations. On the film “Once More” Zhou worked with Executive Producer/(two-time) Daytime Emmy Awards-Winner Victoria Hochberg, producer Christy Wang (of Chinese-US co-production blockbusters such as You Are My Sunshine - 2015, Run for Love – 2016), and famous Hong Kong actress Selena Lee; all of whom were enticed to work on the project at the prospect of cooperating with this exciting young director. The allure of a fresh and clear voice such as Rachel’s in the film world attracts professionals who work both in front of and behind the camera.
  Rachel is fond of pushing the story and the audience just a bit too far. She appreciates the edge that a lack of security brings. This also makes for great storytelling. She demands just as much from herself as those watching her films, which is why she wanted to direct this film which integrated dance so heavily. While she has an eclectic group of films to her credits that include car chase action (Los Angeles Kidnapping), the integration of live action and animation (“A Better World”), and others…dance was a previously unconquered genre. True to her own voice, she presented the beauty and grace with the nefarious personality traits of certain characters for which she is known. A great deal of preproduction work based on the choreography was required. The film boasts five major dance scenes with differing moods. Zhou was adamant that the emotional tone of these dance sequences matched the story development of the film. A substantial amount of time was spent by the director with the cast and choreographers, tweaking the scenes to present them in congruent fashion with the dialogue based scenes and trajectory of the plot. Rachel painstakingly designed the look of the film to integrate with these dance sequences, working with her DP Yang Shao (the youngest ASC member, and CEO of Tilta Inc. US). The director reveals, “We watched a lot of movies about dance like Black Swan, Step Up, Billy Elliot etc. to get inspiration. We are both into Steadicam shots and we agreed on shooting the dance sequences with a Steadicam and two cameras. The main lighting source was “a strip above the dancers’ heads. We had about eight rows of 1K cinema globes running 60 feet across the stage. We just used different gels and put the lights on different channels.” Victoria Hochberg states, “It’s very Rachel. The look of the film, the pace of the story, it carries you to one place and just when you think you know what is going to happen…”
  Zhou is very particular about the casting as she demands a great deal from them. “Once More” was particularly so when it came to the main character William Geller. Jaeme Velez was cast and required to not only dance well but to do so with a disability. Geller is a ballet dancer who has the drive and intense commitment that the field requires. He has also experienced a possible career ending situation and the despair created from this adds to the complexity of the character. The perfection required in the ballet world seems unattainable in his current situation and drives his action in the film, both expected and unexpected. Rachel worked with Velez to help create a character who seems known and incredibly difficult to pin down at the same time. While he presents plenty of personality, the spring from which it comes is unclear…a delightful quandary to the viewer, thanks to Jaeme and Rachel. Zhou relates that Selina Lee was in a state of deepening into her embodiment of her character throughout the entire production. As Geller’s love interest, she may be an even more tragic character than he.
  “Once More” is the story of William Geller, a psychologically collapsed dancer. His overwhelming nervousness causes his left leg to tremble while he is dancing. At audition for an American dance competition show called ‘Dance Miracle’, he is told by his manager to say something impressive as an addition to his dance. Following an overly confident statement,
 he falls and breaks his left leg. Losing all hope, he intends to commit suicide but is accidentally saved by a neighbor girl, Selina, whom he was secretly in love with. Unaware that he intends to kill himself, Selina encourages him to keep dancing. After Selina moves out, William starts pulling himself together. He tells his manager that he`s got a perfect story to tell the audience when he gets back to the stage. After a year, William returns to the show with a touching speech and dances well, even with his infirmity. Following his performance, he gives a heartfelt speech about how inspiring Selina was and how much he misses her. He confesses his love to the world and the audience is moved. William achieves instant fame with his tale of secret love that drove him to work back to achieve his dream. Months later, William, now a celebrity, returns home and meets Selina, who is waiting for him at the door. She tells him that she was surprised by his confession of love and she is available.  In a painful and well concealed plot twist, William turns her down and claims to not know her. Dismissing her as a crazy fano, Selina leaves confused. From his room, William watches her leave and then throws…. sorry, no spoilers here. But the unexpected ending is more than satisfying….and stunning. What can be revealed is that once William gets what he always wanted he finds out that the price of not being honest, the desire of superficial things and lies makes him miserable and at the same time. William Geller himself is a critique of the society that we live in now days.
  “Once More” with its deceptive characters and twisting plot lines earned immense praise. In a climate that is often formulaic, “Once More” is the antidote. Rather than denying the potential for the negativity of society, Rachel feels that exposing the potential makes for riveting viewing. She states, “I enjoy being artistic/weird, and I also enjoy being normal. When I am being normal and hanging out with friends, family, or a pet, I can get inspirations from them. Later, when I was working as an artist, I can utilize what I get from normal life. Art always originates from life and I completely understand the characters and the world created in this script, are just fantasy, or an escape. I enjoy the escape, but I also know the path back to my daily life. To deny that these motives exist in the world is to put yourself in their path. It’s much more fun to explore them artistically in film.”

​  What do film’s like John Wick: Chapter 2, Suicide Squad, and the upcoming remake of Flatliners have in common with TV shows “Grace and Frankie”, “Justified”, and “Suits”…besides massive popularity? Their Venn diagram intersection is VFX coordinator Jacquelyn Racine. Whether it’s making sure that a soundstage is believable as a California beach front property or that Keanu Reeves appears to escape certain death yet again, Jacquelyn has established herself as the person in both film and TV to ensure that it gets done correctly and on time. One of her first forays into the world of VFX was working for Master Key VFX on USA Network’s “Suits.” This early project was equal parts learning and vetting for Racine, as much of the production world is, regardless of your vocation.  As the official VFX coordinator, Jacquelyn was the direct point of contact between the producers at USA Network and the team at Master Key VFX. Establishing lines of communication and navigating the sometimes political dynamics of the production world, this respected VFX coordinator explains that the goal is not for either party to flex their position but rather to maintain an open and honest relationship with all parties so as to alleviate any confusion. A lack of communication can cause problems which could otherwise be avoided if there is a copasetic relationship on both sides. With Racine in position this relationship between show and its aesthetic (in terms of VFX) had a solid foundation that has led to many continuing seasons as one of USA’s key programs.
  In her work on “Suits” Racine facilitated communication of timelines and schedules as well as developed a plan for the VFX team. It’s a multifaceted job which saw her managing a team of artists and their needs/requests, fielding questions and concerns, dealing with scheduling issues, and attending all meetings to define the process and communicate them to her team. She sat in on dalies sessions for all the shots and communicated notes from the VFX supervisor, producer and USA Network executives that were discussed and agreed upon. One of her most essential responsibilities was guaranteeing the delivery of daily shots quota back to the post-production department via ftp or file transfer software. Beyond talent, a great deal of commitment and responsibility was required of Jacquelyn. Associate Producer of “Suits” Ryan Kennedy comments, “ She was our liaison for Master Key VFX. We had to be in constant communication to ensure the visual effects deadlines were being met. I could depend on her and knew that shots would get turned around quickly. Their VFX studio was based in Toronto, so I know Jacquelyn and her team were kept late to meet our PST business hours. We expected a delivery of shots daily on the upcoming episode for our weekly broadcast schedule. There was always a clear line of communication from Jacquelyn to guarantee clean, air-ready materials were being produced. I enjoyed working together in this capacity because we had a good rapport and developed an excellent system that ensured our joint goals were achieved. A production this size has a lot of moving parts, which means dropping the ball can cause a crippling domino effect. Particularly when it comes to VFX, we needed the work done expeditiously and expertly. I could always relax knowing that Jacquelyn was in Toronto making sure that everything was perfectly handled.”
  The greatest use of VFX in the television series “Suits” was with background replacements, most commonly placing a New York City Skyline in where a green screen had been used during filming. This was necessary when the production team shot on location in Toronto, where they wanted the view out the window to look differently. Movement is then added to the background to make it look alive and realistic to the streets. A calling card that the show is known for is the use of unique transition shots (the cuts between two distinct scenes). The storyline often jumps around in timelines with flashbacks; Jacquelyn and her team helped to create some distinctive changing of time while maintaining the realism in the show.
  Racine is adamant about the positive experience of working on “Suits.” Although much of her time these days has been working on feature films and Netflix productions, broadcast television was an excellent opportunity for her to understand many of the demands on a VFX coordinator. Because “Suits” had already experienced successful seasons prior to her working at Master Key VFX, the system in place allowed her to both understand and add her own touch to facilitating the work. Specifically, “Suits” was the first time she had worked with CG, a field which she enjoyed so much that much of her work immediately following “Suits” was exclusively with 3D.
An essential part of the reason for the success of “Suits” was the very high standard established for shot approval. The numerous parties involved in this process in terms of Master Key’s VFX work meant that this demanded a substantial portion of Jacquelyn’s time. This also had the beneficial side effect of continually sharpening her communicative abilities and deepening the relationships within the community that would lead to numerous future professional opportunities and experiences.
  With seven seasons to date and a number of award nominations and accolades, “Suits” has become one of the evergreen series in USA’s lineup. With all of the technology, intensity, and deadlines, Racine confirms that for her the success lies in the people involved. She relates, “On a broadcast schedule for commercial television, things move very quickly. The key as a manager and coordinator is to keep your cool. The artists reflect the mood of their production team. We work in entertainment, so this job should be fun. I try to keep things light with my team as I feel it nourishes a positive environment for them to produce their best work. If you treat people as an equal partner collaborating on a common end goal, then the result will be much smoother and more pleasant for everyone.”