Below Deck producer Courtland Cox provided that the program started as a glimpse in the realm of yachting. But as Below Deck produced groundswell, watchers (and manufacturers) wished more through the nautical docudrama, which caused a substantial quantity of modifications.
For instance, the intimate interlude between bosun Eddie Lucas and 3rd stew Raquel “Rocky” Dakota impressed manufacturers to set up digital cameras into the washing space. Lucas and Dakota had a secret event with almost all of the activity taking place in today’s world into the washing space. Audio found the activity, but manufacturing knew these people were lacking some amazing video footage without digital cameras.
Also, unlike other truth programs such as the Real Housewives, Below Deck crew people work nearly night and day. That implies that a few of the biggest crisis does occur into the early hours during the night. Cox informed Bravo’s The Daily Dish on how the program changed during the last 100 attacks and exactly how the program continues to evolve.
Viewers are addressed to a ‘bigger’ and ‘better’ program
Season 1 did actually tease the crisis a lot more than delve profoundly involved with it. But within the last several years, watchers are getting to be much more immersed with what actually continues below deck and can’t have adequate.
“We had a very small filming and production crew in Season 1,” Cox informed The Daily Dish. He also shared that manufacturing didn’t truly know exactly what the range associated with program would definitely be. “We very quickly realized the yachties that are working on these boats, they’re not going to bed at 10 o’clock; they’re going to bed at 2 o’clock in the morning. When our cameras pulled out of there at 10 p.m., there was still four hours’ worth of magic and mayhem and all that was happening.”
That’s whenever Cox understood much more filming possibilities had been required. “We very quickly realized we have to actually bring in more crews and film longer. Going from, like, an 11-hour filming day to now what is essentially a 19 or 20-hour filming day, that’s one of the bigger changes.”
Producers now capture ‘125%’ more footage
As a result, Cox quotes that people currently have an improved chance to see more video footage. “We have surveillance cameras we didn’t have before. We have handheld cameras,” he stated. “So production-wise, we’re capturing, i believe, 125 % more footage than we performed in the 1st three seasons on Below Deck.”
This entails that manufacturers tend to be tilting into any nuances in the team, specially after becoming taken by shock during Below Deck Mediterranean season 2. Producer Nadine Rajabi told the BravoCon audience that she had been surprised to discover that cook Adam Glick and deckhand Malia White understood one another before shooting started. Glick and White didn’t inform manufacturers that they had an enchanting change just before recording, which got messy throughout the period.
Rajabi confronted White about once you understand Glick, but White insisted they hadn’t fulfilled ahead of the program. “So I didn’t trust her, so I put a camera up in the bridge, which is where they do their anchor watch,” she stated. “The explanation there’s a camera today into the connection is truly as a result of this one period. So we place a GoPro before we left the ship, and now we planted a mic, and now we see Malia and Wes [kiss]. I Happened To Be want, ‘I knew it!’ I Happened To Be therefore disappointed in Malia for maybe not informing myself the reality.”
The show will continue to evolve and alter
Cox shared he will continue to find out and develop with all the program. “We’re always learning, and for me, it’s very important. I never want to assume that the way we did things last season is the right way to do things,” he shared.
“I’m sure that the viewers, the Bravo audience, specially, the Below Deck audience, they’re a tremendously savvy market,” he proceeded. “They want things to be different, and so for us, it’s about, are we capturing things that are compelling, and what are the things that we didn’t capture last time that the audience wants to see, and how can we capture that?”
“It’s always trying to stay one step ahead and anticipate what the audience wants to see, but still keeping with the authenticity of that world,” Cox included. “It’s a fine balance of not interfering in what’s happening but capturing things in a way that’s compelling and keeps the audience engaged. So, that’s our challenge, and I actually love the challenge. I love being able to have to stay ahead of it. I love not being able to rest on the laurels of how we did things in the past.”