Quoted:
One thing that will either make it or break it for me is if they start that 'it's gotta be done by yesterday' deadline crap like in American Chopper.
When my clients come to me with impossible deadlines, I refer them to someone else.
I understand that in the TV world, they've got a production budget for, say, 13 episodes that need to be shot in about 4 weeks. The deadlines that get worked into the series are not always artificial, but the drama involved is almost always manufactured. It's very possible to fit 13 weeks' worth of content into a 4-week principal photography shooting schedule, if you've got enough pre-production time to get things going, and do a lot of B-roll and second-unit shooting up front. You can always do the time-shifting in the edit bay, and not make it look too hokey.
Mythbusters does a very good job of handling this work, as does
Dirty Jobs.
So, if I was the new producer of American Restorations, here's how I'd do it. Say that this week's episode is a jukebox. The thing comes in in about 75% condition, but needs some parts replaced, some parts fabricated, a good cleaning and some cosmetic paint work.
Pre-production week 1: B-roll of the jukebox arriving and initial inspection. One camera/sound guy and one PA to hold the hotbox.
Pre-production week 2: B-roll of guy ordering parts, cleaning, taking the thing apart. Same crew.
Pre-production week 3: B-roll of guy going to machine shop to get parts made. Second unit crew of camera and PA.
Pre-production week 4: Leave the fucking guy alone to get some goddamn work done.
Pre-production week 5: See above.
Pre-production week 6: B-roll of replacement parts arriving, picking up special fabrication parts. Second-unit crew.
Pre-production week 7: Phone conference with producer to evaluate progress.
Pre-production week 8: Have item completed, dry-fit and test run. Disassemble to fake putting it together during principal photography. Start whacking together the B-roll stuff into 5- to 8-second clips.
Pre-production week 9: Mobilize full production crew. End of pre-production.
Production week 1: Shoot exteriors, set up for head shots.
Production week 2: Shoot "fake" assembly. Shoot head shots, reaction shots, overheads. Line produce EVERYTHING!
Production week 3: Whack everything together.
Production week 4: Re-shoots, de-mobilize.
Note that for each week, you're doing the same activity for all 13 episodes. Lots of Teamster work during production weeks, as every project has to be moved in and out of the shop to give the illusion of only one project going on at a time. Lots of wardrobe changes, too, so that the hosts aren't wearing the same shirt every week. Long hours. This is where you need professional hard-ass TV people.
I could do it.