Great British Garden Revival Summary
Britain’s rich horticultural history is being lost as more and more front and back gardens are paved over – for development and for parking spaces – or often because families don’t have the time or inclination to manage these spaces. The trend for easy-to-maintain lawns, patios and paving has led to a decline in traditional gardens full of flowers, plants and trees to the extent that some of our most iconic flora and fauna have all but disappeared.
Step forward the BBC’s most-loved gardening experts, who are determined to turn us back into a green-fingered nation once again. In Great British Garden Revival, fourteen of Britain’s top television gardeners have come together on a joint mission to switch us back to being a population that’s proud of its roses and rockeries, hedgerows and herb gardens, water features and wildflowers. The Great British Garden Revival’s ‘Topiary and Roof Gardens’ scooped TV Broadcast of the Year at the Garden Media Guild Awards.
What we did
The Great British Garden revival shoots were interesting days for the crew, behind the scenes there was a lot of head scratching, the changing requirements for a fluid schedule that came up against a variety of last minute location changes. Once we had confirmed with the Production Manager that we were supplying kit we requested a schedule of the shoot that covered a variety of links shoots and VT days at differing locations across the country. Some of these overlapped, some were back to back. Armed with this information we were able to assign kit and crew way ahead of time and give all the relevant information back to production to help them with their various logistics.
As the dates were spread out though the gardening calendar we needed to make sure we had crew penciled and back up crew on a second penciled to make sure we had all eventualities covered. This shoot (like most shoots), required specific expert crew. Added to this the kit differed, depending on if it was VT kit or a presenter links kit and just for good measure, more than one camera would be needed in a variety of locations, which were not necessarily that close to each other. Knowing the schedule meant we were able to ‘’borrow’’ the VT kit and pop it on to a links day, in order to keep the production costs down. We would then work out how to get these kits to and from locations, when they were required to move from one place to another, whilst swapping crew out along the way and sometimes doing so with a location and day change to work into the mix on any given week…
It was great to offer the production house such support and work so closely with them, as this way we really got to know what they needed and took some of the pressure of them, so they could concentrate on their own priorities.