Simi Gupta LineProducer/Production Manager
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Simi Gupta

About me: Experienced Line Producer/ Production Manager with 18 years experience in the industry across most genres but happily living in the Factual Entertainment world for the last few years. I spent 6 years in Sydney Australia working on large factual documentary formats Like Coast Australia and Body Hack. . I learnt my trade at the BBC on live studio shows like Strictly IT takes Two, Eurovision, Top of the Pops, and other Saturday night shiny floor shows. I have worked on and set up numerous first series.

18 years experience.

Genre: Childrens, Comedy, Documentary, Factual Entertainment, Light Entertainment, Multi camera Studio, Observational Documentary, Outside Broadcasts, Reality

Additional skills: 4K, CGI Video FX, Extreme Filming Geographical, Underwater Filming

Other skills: My last few shows have been in International locations , working closely with fixers in China, India, USA, Mongolia ,Peru, Australia and most of South East Asia. I have overseen and set up a shoot to film in Mosul, working with elite hostile environment trained people because the main talent was 5 miles from the front line. In remote locations 10 hrs away from civilisation in Mongolia and the jungles of Peru where all provisions had to be brought in and then taken away post shoot. I am experienced with working within very small teams and large reality show teams like Got to Dance.
All my shows have always come in on budget and I am happiest when working closely with the EPs and PEs offering support and creative solutions .

Overseas experience in: China, India, Japan, Mongolia, Peru, Russian Federation, Syria, United States of America.

Willing to be based in: London / South East, Anywhere in the UK depending on the job

Languages: ,


Credits

Coast Australia Season 2,3 & 4

Production company: Great Southern Film and Television; On-screen credit: Line Producer ; Programme type: Documentary, Factual Entertainment, Magazine Programmes, Natural History; Broadcaster: Foxtel .

3 series of 8x 60 min documentary series based on the BBC format . 6 x talent, 3 teams of 4 crew out simultaneously shooting for 9 weeks each in different coastlines of Australis using underwater camera, Ciniflex HD aerial filming, drones and F55. One shoot involved getting a chopper to Norfolk Island. This had not been done before , so we had to find a company willing to adapt their chopper to remove the back seat and add a bladder for extra fuel to get it Norfolk Island. Each episode took 3 weeks on filming local talent, history , archaeology and anthropology. very successful for GSTV and an award winner at Foxtel.


Todd Sampson Body Hack

Production company: Essential Media ; On-screen credit: Line Producer ; Programme type: Factual Entertainment, Observational Documentary; Broadcaster: Channel Ten .

6x 60 min Pre RX science documentary series examining the body reactions under extreme conditions like cold, stress in war, hallucinogens, heat and pain. The shoots were in Syria, Peru, China, India, Mongolia and USA. We had a team of 4 including the host who was the experiment alguinea pig for all test. There was psyche test pre and post each shoot for the team and the host especially post the Syria shoot.


WHEN WILL I BE FAMOUS

Production company: BBC; On-screen credit: Production Manager; Programme type: LE, OB; Broadcaster: BBC.

Last minute in-house commission. 4 x 60 min live studio talent show with a £10K Prize each week. I was given 4 weeks to organise a national audition show over the Christmas period for a live TX in early January. After seeing the results, it was decided that the competition was opened up to international acts. We had acts from the US, Poland , Germany, Portugal as well as the UK. We organised work permits, film permits for all crews and acts that were not in the EU. As acts were chosen quite late in the schedule, it was often very long hours across many different time zones to get things organised. I worked with a team of 4 PDs, 2 co ords, 4 APs and researchers, 4 edit suites and 1 edit producer to create profiles for all the acts each week. I created schedules and budgets for the series. I organised international filming crews to work with our PDs on location as this was often the cheapest option. In the UK the PDs had their preferred crews. The execs wanted different members of the public to be able to speak to Graham Norton and take part in the show from their homes. I organised the OBs for this section of the show. We had health and safety advisors on the floor depending on the acts/stunts. On two occasions we had to insist that the act was pre-recorded for H&S reasons. The show consisted of two parts, the main show and the results show. In the break between the two shows, we had to film and edit new VTs with the reactions. All acts had to be filmed as we would not know who would be going through to the final. This was highly pressured and would often mean either running the VT physically to the gallery or sending it down the line from the edit to the EVS minutes before TX.


EUROVISION: YOUR COUNTRY NEEDS YOU

Production company: BBC; On-screen credit: Production Manager; Programme type: Documentary, LE; Broadcaster: BBC.

1x 60 min Documentary for BBC1 filmed on location in the UK, Hungary and Russia. Hired a private jet to take Sir Andrew Lloyd Webber, Graham Norton and the filming team to Russia and Hungary. We got permission to interview President Putin at his weekend house, whilst in Moscow. I organised all team clearances, work permits and a second Russian crew for this. I worked with Russian fixers to get film permits to shoot in Moscow, especially in the Red Square Organised close security for Sir Andrew LLoyd Webber whilst filming in Russia. Negotiated amazing deals with The Ritz for crew and talent to stay in Moscow.


STRICTLY, IT TAKES TWO

Production company: BBC; On-screen credit: Production Manager; Programme type: LE, OB; Broadcaster: BBC.

65x 30 min live studio shows for BBC2. At the time, this was BBC2’s highest rating show which regularly pulled in over 3 million viewers. 30 minutes of live studio celebrity chat and VTs, created daily. I was asked to cut the budget by 10% before I started working on it. I renegotiated all crew and equipment deals to make this work. I created a studio schedule of no longer than 6 hours a day, 5 days a week to make it work. At the end of the run, I negotiated a number of things with BBC Studio Resources for the next series. A new sound desk for the sound gallery. New monitors in the main gallery. Changed the layout of the desk in the gallery. Updated cameras on the studio floor. I worked very closely with the edit. We had 6 edit suites running 7 days a week for 15 weeks creating content for the show. Overtime was kept to a minimum due to constant dialogue between the edit producers and myself.


EUROVISION SONG CONTEST, OSLO 2010

Production company: BBC; On-screen credit: Production Manager; Programme type: LE, Music, OB; Broadcaster: BBC.

Broadcast live from Olso, Norway via satellite. 2 x 120 min live semi final shows for BBC3 1 x 180 min live final for BBC1 1. Negotiated with the EBU for satellite feeds and broadcasting locations for the UK delegation. 2. Worked closely with the EBU, Digame and ITACU ( UK televoting partner) overseeing the voting procedure for all UK votes for the compitition. 3. All OB requirements were negotiated with SIS Live for the BBC3 semi-final shows. I arranged for our own editor and equipment to go on location, so VTs could be edited on site. These were then sent to the gallery down the pre-booked satellite line. 4.Renegotiated MU fees with the artists. Due to the changes in the competition, the artists were required to stay on location for a longer period of time. The competition happened at the time of the dust cloud from Iceland, disrupting all travel. We booked all modes of travel as contingencies to cover every eventuality.


GOT TO DANCE

Production company: Princess Productions/ Shine TV; On-screen credit: Unit Manager; Programme type: LE, Multimedia, OB; Broadcaster: Sky 1 HD.

As Unit Manager for Got to Dance 2, I staged 3 major events / OBs for 8 auditions shows in 3 locations in London, Scotland and Ireland. The auditions were staged in specially commissioned tent like constructions that took 2 days to assemble before any of the other dept could get in an set up. All the locations were vast open spaces in city centres. Everything had to be brought in on site . This included Catering , Lighting, OB trucks. I organised for security 24hrs on site. Many many portacabins and honey wagons to cope with production, crew and members of the public, including having separate toilets for the under 16s as is legally requited. We had a five day rig, anything between 5 to 10 days RX and a 3 day de rig at each location. I worked closely with H&S and PACT for child licensing. The 4 live semi finals were shot on a sound stage at Pinewood Studios in front of an audience of 1200. The biggest audience for a show of this kind. The live final was an extravaganza that included creating a new set at Olympia Grand Hall a week after the semi finals to an audience of 6000 in 2 and 3D. There were 24 cameras including 3 Techno Cranes. I was asked to find a company that could black out the beautiful glass dome structure that is the Grand Hall to create a more realistic studio environment so we could rehearse as live. This was because we were rehearsing during the day and the live RX was at night. This has not been done before.


LEE MACK’S ALL STAR CAST

Production company: Zeppotron; On-screen credit: Senior Production Manager; Programme type: Comedy, LE, Multimedia; Broadcaster: BBC.

6 x 40 minute pre RX studio show. This is the first series, so had to create templates for everything . An ambitious format that incorporated celebrity guest chat, live band, audience interaction on the studio floor as well as OB style public interaction using SKYPE, stand up comedian, a house choir and a comedy sketch with the celebrities and members of the audience. We worked closely with the set designer to come up with a clever set that allowed the sketch set to stay standing behind the performance set. The studio schedule was another big hurdle as it had money implications due to overtime for crew - by week 3 I had brought it down to a 10 hr crew day.


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