Technical Rehearsals are generally used to practice testing out all of the technology and equipment for the production. There are two types of Technical Rehearsal, them being Tech and Dry Tech Rehearsals. Tech Rehearsals include the Talent, whereas Dry Tech does not. Tech Rehearsals focus more on the Talents costumes against the lighting, checking the actual final props work properly in the show. Allowing the Talent to practice with the final props, acquaints the true performance with the prop in the actual take of the show. Tech Rehearsals can become very tedious, as testing the equipment can be very repetitive. Dry Tech Rehearsals usually consist of fixing problems with equipment, such as Camera framing, positioning, angles and brightness.
Testing the technology and equipment during the rehearsals include:
-Check sound levels of the VT Inserts
-The capability of moving the Pole Cameras around the set.
-Check that the filming and the VT Inserts are shown on the Floor monitor (TV).
-Check the VT audio is coming through to the speakers on the Studio Floor. Not being able to hear any audio would almost every time affect the questions being asked.
-Check if the lighting is rigged correctly, matching the lighting plans.
-Check that the set and the Talent is being lighted correctly.
-Check that the Buzzers work.
Tuesday, 22 June 2010
Efficient rehersal and recording practice
Rehearsing acts as a form of practice, which ensures that all details of the performance are adequately prepared and coordinated for professional presentation. In TV Shows, rehearsals are essential. This does not only help the Talent practice and come to standards of how there performance should turn out, but also to check whether there are any issues with the crew's part of the production. This could be anything down to issues with moving the camera or getting the correct shot sizes. When rehearsing the show, this does not necessarily mean that you would run through the whole duration of the show. Rehearsals stop as soon as a problem occurs. This means the future practices only needs to focus on parts of the production, where faults are made. Correcting them and keep rehearsing will assure no mistakes will be made in the final recording of the show.
Efficient rehearsing also gives our group the feel of what roles we do best in and what we like best. When coming to the recording of the live show, it is then easier to produce the show to a professional standard, just by judging if someones performance in a certain role is much better than in a different role. Overall, rehearsing the show, certainly reflects a more successful and a more better quality show.
Recording practice basically means a rehearsal of the show but actually recording it. Doing this has the same purpose to why you do rehearsals, but are also taken place to check that the visuals and audio is actually recording properly. The quality of the recording needs to be good for the show to be understandable and successful.
Efficient rehearsing also gives our group the feel of what roles we do best in and what we like best. When coming to the recording of the live show, it is then easier to produce the show to a professional standard, just by judging if someones performance in a certain role is much better than in a different role. Overall, rehearsing the show, certainly reflects a more successful and a more better quality show.
Recording practice basically means a rehearsal of the show but actually recording it. Doing this has the same purpose to why you do rehearsals, but are also taken place to check that the visuals and audio is actually recording properly. The quality of the recording needs to be good for the show to be understandable and successful.
Scripts and calls
Scripts are word processed pieces of paper, which describes the dialogue or actions being taking place at a specific time in a production. There are 3 different types of scripts for the TV Show. A script on the back of the cue cards, including the Host's dialogue, also guiding when the VT inserts are played. The main script, is a few pages long word processed script, which indicates all of the dialogue the Host has to say, also including stage directions of when VT Inserts are to be played, and also when any of the Contestants talk. Another is called a Multi-Cam script, which includes technical information for the crew. The Multi-Cam script can also be used for the Director to make notes on, if some things need changing, after doing a few practice runs. The Director also decides where camera shots go on the script.
When producing a Multi-Cam script, the script requires 2 columns. The first column for 'Vision' and the second for 'Audio'. In both columns, it will describe what will be needed to be heard or seen at that particular point in the production. The script describes the duration and track number of any VT inserts needed, the Host's First Words (F.W) and Last Words (L.W), what camera will need to be online, the shot size, and who is being filmed.
When producing a Multi-Cam script, the script requires 2 columns. The first column for 'Vision' and the second for 'Audio'. In both columns, it will describe what will be needed to be heard or seen at that particular point in the production. The script describes the duration and track number of any VT inserts needed, the Host's First Words (F.W) and Last Words (L.W), what camera will need to be online, the shot size, and who is being filmed.
Planning and Lighting a set
To present good pictures in filming the show, planning the lighting is also a main priority. In a TV Show, lighting is needed for the Talent, the set and a WS of the Studio. The lighting must be in the correct position to where the Talent is sitting and their Eye Line.
Three point lighting:
-Key lighting is the overall main light or spot light, producing a Hard light, giving a hard shadow behind the Talent. The Key light also provides contrast and shape to the Talent's face.
-The Fill Light is used to fill in shadows, which presents a softer shadow.
-The Back light is positioned to the back of the set, which lights the back of the Talent. Using a Back light prevents the Talent in blending into the background, and helps the talent stand out. These lights have more depth and are also a Hard light.
The doors on the lights are called Barn Doors. These can also be adjusted and planned out to control a particular style of lighting. Barn Doors are used to prevent any light spilling. All of the lighting is attached to a railing, which sits above the set. This is called the Lighting Grid. Whoever is adjusting the lighting, the light must not be too glaring, as this would not only discomfort and be too bright for the Talent, but the shots would lose detail on the face. Also if the lighting is too low, this still wouldn't show any detail in the face, which shows very untidy and dull shots. When fading the exposure of the lights up or down, this must be done slowly and not quickly because this could damage the lights, as well as effecting our eyes.
Three point lighting:
-Key lighting is the overall main light or spot light, producing a Hard light, giving a hard shadow behind the Talent. The Key light also provides contrast and shape to the Talent's face.
-The Fill Light is used to fill in shadows, which presents a softer shadow.
-The Back light is positioned to the back of the set, which lights the back of the Talent. Using a Back light prevents the Talent in blending into the background, and helps the talent stand out. These lights have more depth and are also a Hard light.
The doors on the lights are called Barn Doors. These can also be adjusted and planned out to control a particular style of lighting. Barn Doors are used to prevent any light spilling. All of the lighting is attached to a railing, which sits above the set. This is called the Lighting Grid. Whoever is adjusting the lighting, the light must not be too glaring, as this would not only discomfort and be too bright for the Talent, but the shots would lose detail on the face. Also if the lighting is too low, this still wouldn't show any detail in the face, which shows very untidy and dull shots. When fading the exposure of the lights up or down, this must be done slowly and not quickly because this could damage the lights, as well as effecting our eyes.
Planning and Designing a set
The overall set is designed by the Art Design Team, designing the backboards, the table and the board in front of the table. When planning and designing the set for a TV show, the set needs to show the theme of the show, by just looking at the set, it portrays the whole theme and style of the show, before getting into the main body of the show. For example the TV Show, 'Have I Got News For You' has a set covered with funny news headlines on newspapers, from this, you can tell immediately, it is a show talking all about the news headlines, by adding comedy to it.
Another important part of planning and designing of the set is to choose appropriate colours. This is seen very important because the Talent need to stand out of the set, and not match in with the set. Dark colours for a set is most appropriate, as this does not allow the set to stand out more than the Talent. Also with bright colours, the camera may not be able to handle the brightness, which could make all the shots look very untidy and tacky.This links with the tonal palette of the overall production, which needs to be verified.
The Protocols of Designing a Set:
-Design the set so the Camera Operators can still get all their important shots needed for the show.
-Plenty of designs for the set, not just sticking to one idea. Mixing the ideas around would work well, making sure the set looks appealing.
-Mise En Scene also needs looking into such as props, to allow the Art Design team to work out the positions of the set, and how much set they need.
Another important part of planning and designing of the set is to choose appropriate colours. This is seen very important because the Talent need to stand out of the set, and not match in with the set. Dark colours for a set is most appropriate, as this does not allow the set to stand out more than the Talent. Also with bright colours, the camera may not be able to handle the brightness, which could make all the shots look very untidy and tacky.This links with the tonal palette of the overall production, which needs to be verified.
The Protocols of Designing a Set:
-Design the set so the Camera Operators can still get all their important shots needed for the show.
-Plenty of designs for the set, not just sticking to one idea. Mixing the ideas around would work well, making sure the set looks appealing.
-Mise En Scene also needs looking into such as props, to allow the Art Design team to work out the positions of the set, and how much set they need.
Talk-backs and their use
Talk-Backs are an audio communication device shared between; the director, floor manager, and camera operators. On the Studio Floor, these are the only people that need to be able to talk to the director, and even so the talk-back should only be used when extremely necessary. The main Talk-Back box is in the vision control room, which sits in front of the Director.
Protocols:
-Only use when needed. To set instructions or to ask questions.
-Make it short, clear and to the point. Don't go on, this wastes time.
-Request your role and who you want to talk to. E.G. "F.M to Director"
-Never talk over the Director. The crew could miss very significant information, which could affect the show.
Protocols:
-Only use when needed. To set instructions or to ask questions.
-Make it short, clear and to the point. Don't go on, this wastes time.
-Request your role and who you want to talk to. E.G. "F.M to Director"
-Never talk over the Director. The crew could miss very significant information, which could affect the show.
Planning Audio Coverage
The audio for any TV show needs to be loud and clear, so it is easily understood with no distortion. Audio coverage needs to be planned and checked within the audio control room.
The amount of Omni -Directional clip microphones depends on how much talent you have on set, however the mics need to be clipped on the side of clothing nearest the presenter, as that will be where they are facing the majority of the time. The presenters mic needs to be central on them, as the Host's Eye Line is directed to the left, right and directly ahead at the camera. A Directional mic is also needed to hang above the audience to pick up their applause.
The Sound Operators are responsible for putting the mics on the Talent correctly and providing the mic checks. Mic checks consist of at least 30 seconds of the Talent talking in their normal speaking voice into the clip mics, which is then heard in the audio control room through the speakers. When being heard through the speakers, the Sound Operators can adjust the faders on the audio panel, to a appropriate level, making sure all the Talent is kept to the same level. For example, if the Host was speaking too loudly, the Sound Operators would ask them to do another sound mic check, because the Host might of not been speaking in their normal voice.
After a mic check has been taken place, the Sound Operators can adjust the sound levels of each of the talents mics using the faders on the audio panel. They can tell if the sound is either too loud or too quiet, by not only hearing the speech or music through the monitors but checking the VU meter on the audio panel. This is a more accurate measurement for the Sound Operators to judge the sound levels. A VU Meter measures the audio in Decibels (dB). This suggests if the sound from either the Talent or the VT inserts are too loud or too quiet. The VU Meter lights up when sound is being created. A quiet level makes it light up green, but if the sound levels is too loud it will light up red. Another example of how the Sound Operators can judge the sound level is by the numbers listed by the side of the meter. Positive numbers representing a loud audio level, whereas the negative numbers reveal a quieter audio level. Going up the meter, every +3dB it doubles and going down the meter, every -3dB it halves. The most appropriate and best quality audio can be heard between +6 to +9dB. If the Sound Operators let the audio levels go above +9dB, the audio would not only sound too loud, but will sound distorted. Also, checking that the audio isn't too quiet, the signal mustn't drop over -12dB.
The amount of Omni -Directional clip microphones depends on how much talent you have on set, however the mics need to be clipped on the side of clothing nearest the presenter, as that will be where they are facing the majority of the time. The presenters mic needs to be central on them, as the Host's Eye Line is directed to the left, right and directly ahead at the camera. A Directional mic is also needed to hang above the audience to pick up their applause.
The Sound Operators are responsible for putting the mics on the Talent correctly and providing the mic checks. Mic checks consist of at least 30 seconds of the Talent talking in their normal speaking voice into the clip mics, which is then heard in the audio control room through the speakers. When being heard through the speakers, the Sound Operators can adjust the faders on the audio panel, to a appropriate level, making sure all the Talent is kept to the same level. For example, if the Host was speaking too loudly, the Sound Operators would ask them to do another sound mic check, because the Host might of not been speaking in their normal voice.
After a mic check has been taken place, the Sound Operators can adjust the sound levels of each of the talents mics using the faders on the audio panel. They can tell if the sound is either too loud or too quiet, by not only hearing the speech or music through the monitors but checking the VU meter on the audio panel. This is a more accurate measurement for the Sound Operators to judge the sound levels. A VU Meter measures the audio in Decibels (dB). This suggests if the sound from either the Talent or the VT inserts are too loud or too quiet. The VU Meter lights up when sound is being created. A quiet level makes it light up green, but if the sound levels is too loud it will light up red. Another example of how the Sound Operators can judge the sound level is by the numbers listed by the side of the meter. Positive numbers representing a loud audio level, whereas the negative numbers reveal a quieter audio level. Going up the meter, every +3dB it doubles and going down the meter, every -3dB it halves. The most appropriate and best quality audio can be heard between +6 to +9dB. If the Sound Operators let the audio levels go above +9dB, the audio would not only sound too loud, but will sound distorted. Also, checking that the audio isn't too quiet, the signal mustn't drop over -12dB.
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