An iconic figure in film and television, the slate has become both instantly recognizable in its nature, yet mysterious in its function. Below is a breakdown of what the various terms and words that appear on the marker signify:

The Episode Title
It seems obvious, but it's important that both production and post-production are on the same page about which script we're working on.

Roll
This helps the camera department keep track of what footage is on the camera roll.

Scene
The whole purpose of the slate is to communicate with post-production. Since we don't shoot the episode in scene order, it's helpful to our editors to know which scene we are currently filming.

Shot
Shots are essentially the angle at which the scene is being filmed. They are alphabetized so that they are not confused with the scene number. In my personal experience, shots have gone all the way up to the letter P. Believe me, it took a while.

Take
Even if our wonderful cast got it right the first time, it's always safe to have the shot at least twice. You never know if there was a sound or a camera blip.

FPS (Frames Per Second)
Having entered into the 21st century, our markers are digitalized to record the frames captured in the take.

Camera
A show like SVU, although referred to as "single camera" format, in fact typically works with two cameras: "Camera A" and "Camera B."

Production
In case anyone wasn't sure what show we're working on...

Director
The director's name always appears on the slate. Here, it is the much-esteemed Alex Chapple.

Camera
The director of photography is also the head of the camera department, and as such he also appears on the slate. Since Season 13, it has been Michael Green.

MOS
This shot did not feature any sound. As such, we use the term "Motor Only Shot/Sync," which means there is no sound roll to go along with it. It's commonly believed that the term comes from a 1920s German director who would say "mit out sound" (without sound), but it may be one of those urban film myths.

The Date
From a kindergarten classroom to the set of SVU, it is helpful to one and all to know what day it is.

Ever wonder what the staircase in the squad room leads to? Then today is your lucky day, but unfortunately the answer is: not much. There's a platform up there, but most of it is unfinished (except for the part you can see from downstairs). Though our detectives have gone upstairs to the crash room, the bathroom, conference rooms and other NYPD departments, the real platform doesn't lead to anything besides the catwalk above the rest of the squad room. Maybe someday we'll do a scene up here, but this balcony is likely to remain unfinished until then.

If there's a location in our squad room or other sets that you'd like to see in more detail, just comment on this post and we'll give you a tour!

At our SVU stages, we have five elevators on set that avid viewers may have spotted: two in the squad room, two outside the courtroom and one in the hospital. What you may not have seen it what lies beyond those elevator doors (hint: it's not an elevator carriage).

Three of the five elevators (one in each location) actually have working doors. They're attached to a manual pulley system so that they can be opened and closed on cue by someone off screen. Inside, we've built what look like elevator carriages - except there are no ceilings. And none of the buttons work. And they don't move. But they look real! The walls of the elevator are removable as well, for those rare scenes that take place inside - we have to remove the walls in order to fit the camera (and crew) inside.

The other two elevators (in the squad room and outside the courtroom) are even less real. The outside of the doors looks the same as their counterparts, but they don't open the way elevator doors really open. Instead, they swing in and out on a hinge. This is easier to construct, and it allows the crew to go in and out quickly (the squad room elevator is a heavily trafficked passageway during production), but it also means that we can never open these doors on camera. So if you've watched the show for years and wondered why they always get into the elevator on the left, now you know!

Because we don't shoot too many scenes that incorporate the elevators, they often serve as storage space. Right now, the squad room elevator is home to some old dry-erase boards, the courthouse elevator is doubling as a wardrobe closet and the hospital elevator has too much stuff in it to recognize.

Much like the United States Postal Service, neither snow, nor rain, nor heat, nor gloom of night stays this camera crew. We've shot America's favorite show since 1999 in the hottest and coldest conditions New York City has ever known. We've made Mariska Hargitay wear coats in the baking sun, and chilled to the bone an undercover, scantily clad Kelli Giddish. Needless to say, when we shoot in extreme weather conditions, it is key to dress appropriately.

 

So I present, with a picture of yours truly (Celine, the writers' assistant), the crew members' essential winter survival outfit:

 

 

1. The Hat

The aviator has come into fashion this season, and my bet is that cold, disgruntled TV and film crews have something to do with it. It keeps your head warm, your ears covered and makes you look just as styling as I do in this picture.

 

2. The Scarf

Concealed beneath my high-collared coat is a scarf that is wrapped from my neck to my mouth. Although I am rendered inaudible, it's just as well because utterly silent is typically the preferred set volume.

 

3. The Layers

Thermal long-sleeved shirt, turtleneck, flannel shirt atop and windbreaker are the four layers I check off my list when - very warm indeed - I leave my heated home.

 

4. The Gloves

It's a no-brainer. Gotta keep the finger tips warm. Many people on set wear two pairs. One thicker pair for warmth and one beneath for utility, all the while not catching frostbite. As I'm often on the phone or on my tablet, mine are SVU-issued touch screen-friendly gloves.

 

5. The Coat

The piece de resistance of the whole outfit. It's long enough to cover everything above the knee. It's also extra thick for heat and it has loads of deep pockets, all the better to carry scripts and sides without lugging around a bag.

 

6. The Long Johns

Whether you're standard, old folk thermal or advanced technology Japanese chill-repellent, even leggings will do to serve as an essential base layer between regular trousers and bare legs. Some crew members will throw on an additional layer atop the trouser - such as a ski pant - to keep their legs cozier still.

 

7. Knee Socks

No need for anything expensive or special, just a pair of your rolled-up soccer socks will work. The benefits are two fold: they add warmth to your legs and they keep your feet a little more comfortable with a bonus layer of cotton sock delight.

 

8. The Overshoe

It took a year for me to learn about this trick. Regular winter boots aren't always warm enough or waterproof, and snow boots are inconvenient and clunky if we move indoors for part of the shoot. The best option is to wear an overshoe, which goes - believe it or not - over your shoes. They come in all varieties, but the ones to go with are insulated, waterproof and keep your feet off of the cold ground. You can wear any shoe beneath - even a sneaker - but you'll feel as if your body heat is as contained as on a summer's day.

 

Although it's true that the conditions we're put through in New York City to make your favorite TV show have tested our patience, bodily strength and perhaps our career path, don't feel too sorry for us. We're often prepared. So bring it on, winter, and show us what you've got.

 

In this week's episode, "Deadly Ambition," Detective Rollins and her sister Kim are forced to stay with Fin when Rollins' apartment becomes an active crime scene. This is the first glimpse we get into the home of Detective Fin Tutuola, and we decided to wander around the set with a camera to get an up-close look at Fin's apartment. Take a look!

In this week's episode, "Deadly Ambition," Detective Rollins and her sister Kim are forced to stay with Fin when Rollins' apartment becomes an active crime scene. This is the first glimpse we get into the home of Detective Fin Tutuola, and we decided to wander around the set with a camera to get an up-close look at Fin's apartment. Take a look!

In this week's episode, "Deadly Ambition," Detective Rollins and her sister Kim are forced to stay with Fin when Rollins' apartment becomes an active crime scene. This is the first glimpse we get into the home of Detective Fin Tutuola, and we decided to wander around the set with a camera to get an up-close look at Fin's apartment. Take a look!

In this week's episode, "Deadly Ambition," Detective Rollins and her sister Kim are forced to stay with Fin when Rollins' apartment becomes an active crime scene. This is the first glimpse we get into the home of Detective Fin Tutuola, and we decided to wander around the set with a camera to get an up-close look at Fin's apartment. Take a look!

In this week's episode, "Deadly Ambition," Detective Rollins and her sister Kim are forced to stay with Fin when Rollins' apartment becomes an active crime scene. This is the first glimpse we get into the home of Detective Fin Tutuola, and we decided to wander around the set with a camera to get an up-close look at Fin's apartment. Take a look!

Marcia Gay Harden joins us for the fourth time in SVU history as FBI Agent Dana Lewis, previously on seasons seven, eight, and 12. Although she'll have shared the screen with Mariska Hargitay and Dann Florek before, this is the first time she meets Danny Pino and Kelli Giddish. This isn't to say they don't have a few connections in common, though...

 

Even though the Kevin Bacon rule establishes six degrees of separation, we have found connections between Marcia Gay and our newer detectives - without going through SVU! - in only four degrees (in honor of her fourth appearance).

 

Marcia Gay Harden and Danny Pino

 

In 2011, our esteemed guest appeared in a TV movie, "Amanda Knox: Murder on Trial in Italy," starring Hayden Panettiere. Hayden had a busy year, as she also appeared in "Scream 4." The Scream series featured Neve Campbell, whom many remember from the '90s TV show "Party of Five," on which Scott Grimes played a recurring character. Scott Grimes was on "ER" for six years. Incidentally, Maria Bello was on the show for a couple of years (although about 10 years earlier). Maria Bello was also in the 2006 movie "Flicka," which also featured our very own Detective Nick Amaro, Danny Pino.

 

Marcia Gay Harden and Kelli Giddish

 

Marcia Gay Harden has worked with Sean Penn on both "Mystic River" and "Into the Wild." Recently, Sean Penn was romantically involved with Scarlett Johansson. ScarJo began her stint in Woody Allen films in 2005's "Match Point," alongside Jonathan Rhys Meyers. In 2002, he appeared in the soccer classic "Bend It Like Beckham," alongside Archie Panjabi. Archie Panjabi shared a screen with Kelli Giddish on "The Good Wife" the season before Kellie became our cherished Detective Amanda Rollins.

When it comes to making an episode of SVU, every director has his or her own style. Some like to watch the take close to the action, and some prefer to watch from video village to see exactly what the audience will see. And then there's Jean De Segonzac. Known as "Jeanny D" to the crew, he's famous for operating the camera himself to give a frenetic, handheld look to the scenes. When Jeanny D is calling the shots, the camera never stops moving and neither does he. Here are some shots of the man in action.

Shooting SVU brings us to all sorts of varied locations throughout New York City, from penthouses to beaches, courtrooms to morgues. But every once in a while (probably more on this show than most others), a strip club pops up in a script, and the crew rejoices.

 

Well, sort of. For the most part, our day at the strip club for this week's episode, "Criminal Hatred," was just a regular day on set... except the director watched the monitors in the champagne room, actors used private VIP booths as dressing rooms, the make-up department set up at the sushi bar upstairs (yes, this strip club had an actual sushi bar upstairs), and instead of rigging lights, the crew was rigging disco balls. Fortunately - or unfortunately, depending on who you ask - the club was shut down for the day while we were shooting, but thanks to our talented background artists, you almost couldn't tell the difference.

 

So keep your eyes peeled for this strip club on Wednesday night, and don't worry: whatever your persuasion, we've got you covered. We visit this strip club twice during this episode, once with female strippers, and once during "Hunk Night" with male strippers. Because here at SVU, we're equal opportunity fake strip club employers.

 

 

CAPTION: A preview of "Hunk Night."

 

CAPTION: Video Village, set up in the champagne room.

 

CAPTION: My desk for the day.

Sometimes, you can spend so much time at your job that your workspace feels like a prison. And sometimes, when you work for SVU, your workspace can literally be a prison.

 

For this week's episode, "Beautiful Frame," some of the scenes located in prison were filmed in a real-life prison cell. Hope you enjoy the pictures below more than we enjoyed the distinct smells of bleach and urine.

Guilty as charged! SVU is the most realistic show on TV!

Script supervisor Stephanie Marquardt and writer/supervising producer Peter Blauner at Video Village - hope no one through away the key!

Some leftover orange juice cartons that the real prisoners left behind - hope craft services doesn't get jealous!