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Webcast Diaries

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The first Webcast Diaries menu


The second Webcast Diaries menu

The Webcast Diaries are a special feature found on the Season Six DVD. They are a series of 21 short films that were created to show behind the scenes aspects of 24. They are each around three and a half minutes long.

Webcast DiariesEdit

Inside CTUEdit


Jon Cassar in CTU

Director Jon Cassar introduces the video diary, and thanks the audience for buying the set. He says that they now have access to exclusive behind-the-scenes content. He says that there will be interviews and exclusive footage not seen anywhere else before. Cassar says that he will start the first installment with a Director's tour of CTU Los Angeles. He explains that despite Chloe O'Brian's desk being in the middle of the bullpen, they keep her conversations in a private manner by using close shots of her face. Cassar says that the bullpen is where all the activity of CTU takes place, and it is designed in a way so that cameras can be placed at any point, anywhere within it.

Cassar then moves on to look at the "deep, dark basement of CTU", which is in fact just placed next to bullpen: it is just always shot so it looks to be in a different place. He says that because people are always walking down hallways, the set design needs to have plenty. However, he reveals that there in fact are only two, which actors just walk up and down along. He then moves to the medical room, and explains that in Season 6, it will be used as a morgue.

Stunts and Special EffectsEdit

Stan and Scott Blackwell talk about how explosions are carried out, and are assisted by Jeff Cadiente, who mentions how the stunts are approrpiately added to create a realistic effect. In particular they talk about the scene during Season 4 when the rocket flies past Jack Bauer: the Blackwell brothers naming it as the only scene in which Kiefer Sutherland was genuinly scared due to how close it went past him.

The film ends with Cadiente talking about how much the great work of the stuntmen assisits the show, making it seem more realistic than it ever would have done before.

The MixEdit


James Morrison recording dialogue

Paul Gadd, the co-producer, talks about the benefits of hearing the whole show when it comes together during the Mix; the process of adding sound to the show. He explains that the editors work on the picture, dialogue editors work on syncing the dialogue, Sean Callery works on the music, sound effects team do their work, and it all boils down to the mix stage. Chris Cheramie, the associate producer, explains that he works out what dialogue is not good enough for airing and says how it is redone. Video footage of James Morrison reshooting dialogue for Bill Buchanan is shown.

Cheramie explains that the room they do the sound editing in is designed to make it sound great, and will never look or sound better than it does in that room, which makes it special for him.

The SetsEdit

Joseph Hodges, the production designer, explains about his role on the show - he draws some sketches of sets and locations, builds a model of it on his computer then has it built properly. He says that for the first time in six years he had to build a set that the public knows; the Oval Office. He then shows the White House bunker, all of which he designed himself. He shows the corridors, the conference room (including the large screens with subtle cameras for video conferences), the President's office and other locations.

Helicopter ExplosionEdit


Preparations for the explosion are underway

Guy Skinner, a camera operator, and Milan Cheylov, a guest director on the show, prepare for a scene in which a helicopter falls from the roof and explodes onto the ground. Background cameras film the camera operators as Kiefer Sutherland makes his way up the roof and tries to get into the helicopter. He eventually manages to break the door open and pull a man out. Just as he does so the end of the chopper breaks up, and Cheylov calls "Cut". Cheylov explains how the rest of the shooting will take place. A camera is attached to a crane so it can get a better look over the action as the chopper is safely and carefully dropped from the roof to the floor.

Stan Blackwell, who organised the fall, says that it went well and hopes it will look good for the episode.

Poor Man's ProcessEdit

Preparations for Poor Man's Process, the means by which scenes inside a car are filmed on a set rather than on location, take place. A car is inserted into a set and rigged with special lights and cameras. Rodney Charters explains how the process works. The scene is filmed from "Day 6: 1:00pm-2:00pm" where Morris O'Brian is in the car with Darren McCarthy and Rita Brady. Jon Cassar gives some minor directions to the actors as Guy Skinner films the action. Finally, the car is removed from the studio.

Storming Fayed's ApartmentEdit


Kiefer Sutherland films the scene

Jon Cassar and Kiefer Sutherland prepare for shooting the scene from "Day 6: 1:00pm-2:00pm" where Jack Bauer and a TAC team raid Abu Fayed's apartment. Cassar directs the crew and Sutherland as to how the scene will play out. He tells Sutherland to run through the scene, which he does correctly, with shots from the actual episode intercut.

Stan Blackwell and Cassar talk about how the explosions will look for the scene. Jeff Cadiente explains how the TAC team will enter the apartment through the windows. The shoot goes as planned and Sutherland comments on how loud the explosion was.

Background TalentEdit

Whilst a scene involving Bill Buchanan is shot, Jason Gutierrez, the extras coordinator, explains about his job which involves finding certain extras for different roles and how he is told about what sort of people are needed. He says that they try to use the same people as much as they can as the whole season happens over one day. Mario Walkine, a background artist on the show talks about his role and what he has to do. Allison Mayes, another extra, says that she has been working on the show for a few weeks, and explains that she has come to learn what to do on the show and does not need to be told so much. An "Extras Holding" room is shown, where many people are sat relaxing and enjoying themselves. Both express an interest in gaining greater acting roles in the future, and comment that they may make it on 24.

The 1st AD'sEdit


Richard Rosser (far right) working on location

Nicole Burke, a first assistant director, explains her role, saying that she runs practically everything that happens on the set. Richard Rosser, the other 1st AD explains that they have to take the script, break it down into shots, and try to figure the best way to shoot those whilst they are on location. They both talk in more detail about their roles. Burke says it is difficult because of the real-time aspect, but feels it is the best show on television to work on.

Prop Department Part 1: WeaponsEdit

Ian Sterling Rush discusses and preps the weapons used by the CTU SWAT team extras and guest actor John Noble.

Prop Department Part 2: The Shoot OutsEdit

Rush talks with director Jon Cassar about the props and makes sure to ready them for the end of the episode. Rick Schroder and the stuntmen prepare to film the end firefight sequence of the episode.

Watching Paint DryEdit

The Editor's CutEdit

Editor Scott Powell discusses how he's been here since the beginning of the show's run and making sure the sound leaves a "boom."

Location LightingEdit

Editing Episode 617Edit

David Latham talks about a few editing mistakes that end up actually improving the episode as well as how rewarding it is to bring the key dramatic acting segments all together. He also mentions that while he is a not a fan of action movies, he loves editing them being an editor and all.

Wardrobe Part 1: A Day in the Life...Edit

Carlo Rota, Said Faraj and James Morrison are fitted by the main wardrobists. The average number of duplicate costumes for each crew member and stunt double, where they're hung up on a daily basis and other details are shown.

Wardrobe Part 2: Fittings Edit


Crewmember [[Bryce Moore (crew)]|Bryce Moore]] jokes with the crew and helps Mary Lynn Rajskub and Marisol Nichols get into their costumes

Casting Part 1: Actors + Casting = Magic Edit

Debi Manwiller (shorn on the left) and Peggy Kennedy discuss their modus operandi and how the clock truly is ticking for every day that they're assigned to cast someone who the showrunner's have in mind and who they think should audition for the roles.

Casting Part 2: The Call BackEdit

Season regular Marisol Nichols goes into detail about how even after three auditions, there's still a chance of being on this hit show as shown by her past efforts.

Cheng's Rooftop: Filming Scene 2209Edit

Evan Ellingson and his stunt double Matt Flanagan prepare for a scene where he is hanging from a podium after being tossed by Cheng and where he is later rescued by Jack Bauer.

Set Decoration: The Buchanan's HouseEdit

Key set designer Cloudia Rebar mentions how Bill's personal quarters are created to specifically compliment his character.

Background information and notesEdit

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