Happy Spring Quarter to all!

Looking to get involved in Triton TV?? Here is the application for the intern program this quarter: Spring 2014 Intern Application

Applications are due by Friday April 11th. Please hand in hard copies at our studio during an executive producers office hours which can be found in the “About Us” section of this website. There is also an informational session on Sunday April 6th at the studio at 2pm. Attendance in encouraged!

Good luck!


TritonTV is UC San Diego’s first and only student-run film studio and TV station. We offer UCSD students the opportunity to work in a professional production environment with no prior experience required. We train our members from scratch and provide them with the equipment and education they need to produce excellent videos.


TTV Experience | Sizzle Reel ’13

Triton Television has grown a lot in just a year. This growth is not just in membership size, but also in skill, dedication, and creativity. The projects that have been produced since last year have challenged us and have gone above and beyond the TTV Standard we had in the past. As the academic year begins to come to an end, we look back at how far we’ve come and continue push our limits and take our skills to the next level.

This year’s sizzle reel not only serves to highlight the videos we produced but attempts to encapsulate the experience gained from our organization as a whole. This is because TTV is not just about making videos. It’s also about developing relationships and having personal growth by embracing your passion and surrounding yourself by people that share it.


Congratulations to this past quarter’s interns for completing the program! After attending our weekly workshops and seminars, these tritons finished off the quarter by producing personal projects. These interns wrote, produced, directed, and edited their own videos under the guidance of our TTV producers.

This quarter’s intern projects exceed expectations and we are proud to share each of them with you here.

Oscar Bolanos

Anni Ma

Yuka Murakami

David Schafer

Michael Todd

General Body Meeting!

A: Hey man. What are you doing tonight?
B: Uhh I’m going to TTV’s GBM.
A: Oh yeah? What time is that at?
B: 7pm
A: Is it at their studio?
B: Nah man. It’s on the 4th floor of Price Center East. They hold it a room called the Governance Chambers. It’s right at the top of the stairs.
A: Dude, that’s so legit.
B: You comin’ with?
A: You know it Dawg.pclevel4

GBMs are held every other week on EVEN weeks. Today is February 12th of week 6. Next GBM will be on Tuesday of week 8.

The importance of Pre-Production and 3 very important aspects of it

The motivation for this post is to emphasize and bash the idea just how important preproduction is during a scripted shoot. In every shoot I’ve been on, preproduction has been the key point in the entire production process that has determined the quality of the final cut.

1) The script must accommodate the Storyboard/Shot Chart

It’s almost common sense that a script is an essential part of preproduction. With that said, what is often over looked is how the script accommodates the storyboard or shot chart. The script cannot live by itself.

Recently, I was on a shoot that had a very well prepared script. However, the main issue was that there was no story boarding or shot charting. We, as the crew that shot the project, was very impressed with their in-depth preproduction and totally looked over the fact that we didn’t have a story board or a shot chart. The result was catastrophic. When it came time to shoot, we were forced to think of locations, how the shot was going to look, etc. This resulted in 3  4-6 hours shoots that exhausted the crew. I felt the morale of the crew decreasing after each day of the shoot. This all could have been prevented if we simply location scouted and had come up with a shot chart or a storyboard.

Granted, I understand that TTV does have a busy schedule and most of our shoots are run and gun style. With that said, it’s still important to think about these essential elements of production.

2) Finalize the script with your client before ANY shooting begins.

The key difference between the script and the storyboard/shot chart is that the script must be finalized because everything that is in a script can be controlled. The message you are trying to send using the video is determined by you and your client with the script. This must be set in stone before any shooting begins because the message that you are trying to send using the video is hard to change during a shoot. This doesn’t mean stick to the script when shooting. For example, the way actors say the script might not seem natural so you may just make some minor adjustments during the shoot, which can be done without sacrificing time. In other words, how the message can be told may change during production.

Unfortunately, what may happen is that the script is changed drastically during a shoot. The reason why this must be avoided is to avoid causing logistical errors. Logistical errors cause missing scenes, missing audio, etc. In addition, thinking about the logistics of the shoot consumes time. SO FINALIZE YOUR SCRIPTS BEFORE YOU SHOOT! 

3) Schedule production time in advance and stick with it

Plain and simple, if you commit to a shooting time, show up and shoot. Make sure everyone is able to shoot. If key members of the crew aren’t able to contribute to production, it is more likely that the footage won’t be what the crew imagined it to be during preproduction.

I guess what I’m trying to say is that preproduction is the base of your video. If the base of any structure is week, that structure is going to be week. So make sure you nail preproduction so that you can make something you’re proud of!

Happy shooting,

-Keita Funakawa