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.
Planning Camera Placement and Shots
When producing a TV Show the cameras need to be placed, so they are lined up with the Talent they are filming, also assuring that the appropriate shots can be produced.
Camera Placements and Shots
On the Studio Floor there are either 3 or 5 Pole Cameras depending on how many contestants you have, and 1 Camera on a Jib Arm. In a live show with 5 pole cameras, two would be placed on each side of the set aiming at the contestants. These cameras are planned to produce shot sizes of MCUs, 2 Shots, 3 shots, and Over the Shoulder shots of the contestants. The fifth camera is also known as the Host's camera, where the Camera Operator would produce MCUs or MSs of the Host. Although, as this camera is placed further to the back of the studio, it is possible for this camera to produce a long Shot of the Host with either Team A or B on the other side of the Host. A wide shot can also be positioned using the camera on the Jib Arm using its height for a high angle WS of the set, audience and Talent. This is placed to the far back of the studio, This camera can also be used to give movement around the studio.
Camera Placements and Shots
On the Studio Floor there are either 3 or 5 Pole Cameras depending on how many contestants you have, and 1 Camera on a Jib Arm. In a live show with 5 pole cameras, two would be placed on each side of the set aiming at the contestants. These cameras are planned to produce shot sizes of MCUs, 2 Shots, 3 shots, and Over the Shoulder shots of the contestants. The fifth camera is also known as the Host's camera, where the Camera Operator would produce MCUs or MSs of the Host. Although, as this camera is placed further to the back of the studio, it is possible for this camera to produce a long Shot of the Host with either Team A or B on the other side of the Host. A wide shot can also be positioned using the camera on the Jib Arm using its height for a high angle WS of the set, audience and Talent. This is placed to the far back of the studio, This camera can also be used to give movement around the studio.
Programme Rundowns
A programme rundown is all of the paperwork used, which explains what will be happening during the whole of the show; for example the Multi-Cam Script, the cue sheets, and a running order.
A running order is a word processed sheet showing a two column table. One column for the specific running time in the production measured in seconds, and the other representing the content within the show that is played at that point. A running order only explains the time, when that content begins, not the duration. Running Orders are not really for technical aspects of the show, such as Camera shot sizes or when cameras need to cut. This is a basic script only for the content. For example; the Host's introduction speech or when VT Inserts start playing.
Cue sheets are very much like scripts, but these only present all the descriptions of the VT Inserts, along with the track number and the duration of them. They are listed on the sheet in the order they come into the show. Somewhere beside the VT Insert descriptions also inform if they are; stills, audio or moving inserts. The Director, Assistant Director and DVD Operators are always likely to have one present with them throughout the show.
A running order is a word processed sheet showing a two column table. One column for the specific running time in the production measured in seconds, and the other representing the content within the show that is played at that point. A running order only explains the time, when that content begins, not the duration. Running Orders are not really for technical aspects of the show, such as Camera shot sizes or when cameras need to cut. This is a basic script only for the content. For example; the Host's introduction speech or when VT Inserts start playing.
Cue sheets are very much like scripts, but these only present all the descriptions of the VT Inserts, along with the track number and the duration of them. They are listed on the sheet in the order they come into the show. Somewhere beside the VT Insert descriptions also inform if they are; stills, audio or moving inserts. The Director, Assistant Director and DVD Operators are always likely to have one present with them throughout the show.
Directing and directors calls
5, 4, 3, 2, 1. Roll VT - This is the directors call to the DVD operator to press play and 'roll' the VT insert.
DVD Ready - This is a call back from the DVD operator to the Director through the Cams, letting him know that the next VT is ready to be played for when it reaches its time in the script.
Camera (no) Cut - This tells the VX that they need to press button for whichever camera the director called to be online. Normally this call would be made straight after the Opening Titles have ended.
Camera movements - The director can call to the camera operators what kind of shot he wants them to get for the best show. such as telling them to get two shots, or over the shoulder shots.
DVD Ready - This is a call back from the DVD operator to the Director through the Cams, letting him know that the next VT is ready to be played for when it reaches its time in the script.
Camera (no) Cut - This tells the VX that they need to press button for whichever camera the director called to be online. Normally this call would be made straight after the Opening Titles have ended.
Camera movements - The director can call to the camera operators what kind of shot he wants them to get for the best show. such as telling them to get two shots, or over the shoulder shots.
DVD operation and insert requirements
The DVD player contains all VT's, as all of the Opening Titles, Credits, Stings and VT Inserts for the questions are stored onto a DVD disc. The DVD player is situated in the audio control room. Not a common role in Television Production, but the DVD Operator will be responsible for queuing up the correct tracks on the DVD, following the Multi-Cam script.
Camera shots and moves
Camera shots:
-Mid Shot (MS)
-Medium Close Up (MCU)
-2 Shot (2S) or 3 Shot (3S) etc
-Wide Shot (WS)
-Over the Shoulder Shot (O/S)
-On other TV Quiz shows, such as 'A Question of Sport' and 'Have I Got News For You', they may use a Long Shot (LS) to show not just the Host, but the scores shown on the set.
Camera Movements:
-Tracking
-Crabbing
-Tilting
-Panning
-Ped
-Also the Camera Operators need to be aware if the wheels or cameras are locked or unlocked.
-Mid Shot (MS)
-Medium Close Up (MCU)
-2 Shot (2S) or 3 Shot (3S) etc
-Wide Shot (WS)
-Over the Shoulder Shot (O/S)
-On other TV Quiz shows, such as 'A Question of Sport' and 'Have I Got News For You', they may use a Long Shot (LS) to show not just the Host, but the scores shown on the set.
Camera Movements:
-Tracking
-Crabbing
-Tilting
-Panning
-Ped
-Also the Camera Operators need to be aware if the wheels or cameras are locked or unlocked.
Signal Flow, and the technical rig
Audio Signal Flow- Audio signal flow is the path an audio signal takes from source to output, including all the processing involved in generating audible sound from electronic impulses or recorded media.
Video Signal Flow- Video signal flow is also the path a visual signal takes from source to output, which results in the footage been recorded onto a Hard Drive.
The Technical Rig- The Technical Rig is a technical term for the entire lighting apparatus, including the lights themselves, the physical structure which supports them, and the cabling, control systems, dimmers, power supplies, light boards, and (to a certain extent) the people who maintain and operate it.
Video Signal Flow- Video signal flow is also the path a visual signal takes from source to output, which results in the footage been recorded onto a Hard Drive.
The Technical Rig- The Technical Rig is a technical term for the entire lighting apparatus, including the lights themselves, the physical structure which supports them, and the cabling, control systems, dimmers, power supplies, light boards, and (to a certain extent) the people who maintain and operate it.
Studio Protocol and Practice
Health and Safety:
- The Studio floor must be clear of any bags and coats or cables lying about, preventing any trips or falls. This would also get in the way of rehearsals and run through
- The Camera Assistants must make sure they hold up camera cables at all times, just in case the Camera Operator of any other crew member trips or falls.
- The Floor Manager must run through all the health and safety procedures with the audience, talent and crew, before starting any rehearsals or 'takes'. Most importantly running through the process if the fire alarm has set off, or there is a fire, pointing out fire exits. The F.M must also double check with everyone that they have switched off their mobile phones, as this could disrupt technical equipment.
- No food and drink can be consumed in the Studio
- Soft soled shoes can only be worn in the studio. This is because hard soled shoes would damage the camera cable if trodden on.
Studio Protocols:
-The Director is in charge of the overall production, commanding of how they want certain things. The Director IS the boss and has the final word on anything.
-The F.M is in charge of everything and everyone on the Studio floor, checking the Studio Floor is safe to work in, assuring everyone knows what they are doing, and commanding anyone on the floor instructions if needed (including the countdown).
-All other crew members working in the production are all equal.
-Everyone in the production must treat the practice runs as if it was a real take. Doing this would highlight any real issues or technical faults throughout the production. Practicing always helps to solve any issues before coming to the live show. If practice runs did not take place, the whole production could be affected in a negative manner. Practice runs also helps the crew get a feeling of the flow of the show and the pace they need to work at.
-When practicing, rehearsing or doing a take of the show, a red light must be shown flashing on the door, so people outside of the Studio can see that productions are being taken place and they must not enter.
- The Studio floor must be clear of any bags and coats or cables lying about, preventing any trips or falls. This would also get in the way of rehearsals and run through
- The Camera Assistants must make sure they hold up camera cables at all times, just in case the Camera Operator of any other crew member trips or falls.
- The Floor Manager must run through all the health and safety procedures with the audience, talent and crew, before starting any rehearsals or 'takes'. Most importantly running through the process if the fire alarm has set off, or there is a fire, pointing out fire exits. The F.M must also double check with everyone that they have switched off their mobile phones, as this could disrupt technical equipment.
- No food and drink can be consumed in the Studio
- Soft soled shoes can only be worn in the studio. This is because hard soled shoes would damage the camera cable if trodden on.
Studio Protocols:
-The Director is in charge of the overall production, commanding of how they want certain things. The Director IS the boss and has the final word on anything.
-The F.M is in charge of everything and everyone on the Studio floor, checking the Studio Floor is safe to work in, assuring everyone knows what they are doing, and commanding anyone on the floor instructions if needed (including the countdown).
-All other crew members working in the production are all equal.
-Everyone in the production must treat the practice runs as if it was a real take. Doing this would highlight any real issues or technical faults throughout the production. Practicing always helps to solve any issues before coming to the live show. If practice runs did not take place, the whole production could be affected in a negative manner. Practice runs also helps the crew get a feeling of the flow of the show and the pace they need to work at.
-When practicing, rehearsing or doing a take of the show, a red light must be shown flashing on the door, so people outside of the Studio can see that productions are being taken place and they must not enter.
Multi-Cam Production Terms
Camera Shots:
- 'Action' shot -This shot conveys something exciting or entertaining.
- 'Response' shot - This shot is quickly shown from a different cameras perspective, which results in seeing the contestants or teams reactions.
Camera Movements:
- Tracking - Physically moving the Pole Camera on its wheels, upstage or downstage (upwards or downwards the studio).
- Crabbing - Physically moving the Pole Camera on its wheels, left and right.
- Tilting - Moving the actual camera, up and down by using the handlebars.
- Panning- Moving the actual camera, left and right by using the handlebars.
- Ped - Physically pushing the Camera up and down.
- 'Action' shot -This shot conveys something exciting or entertaining.
- 'Response' shot - This shot is quickly shown from a different cameras perspective, which results in seeing the contestants or teams reactions.
Camera Movements:
- Tracking - Physically moving the Pole Camera on its wheels, upstage or downstage (upwards or downwards the studio).
- Crabbing - Physically moving the Pole Camera on its wheels, left and right.
- Tilting - Moving the actual camera, up and down by using the handlebars.
- Panning- Moving the actual camera, left and right by using the handlebars.
- Ped - Physically pushing the Camera up and down.
Crew Roles and responsibilities
The Director is responsible for supervising the placement of cameras, lighting elements, microphones, and props. They control the overall production of the TV Show of how they want it. The Director sits in the vision control room, throughout the rehearsal and actual shooting. They also over look the whole of the crew, to make sure everyone is doing their jobs to a professional level. For a Director to be successful, they must be clear of their instructions, so they are easily understood by the crew.They also need to be able to work to a professional standard, by directing the crew and floor correctly. An Assistant Director sits with the Director during the production, being responsible to observe if the show runs smoothly. They have to know where the rehearsal and shoot is on the script, and are also responsible for making sure the production runs to schedule, and checking the arrival of the Talent and crew.
The Floor Manager (F.M) is responsible for managing the studio floor, meaning when and where the cameras, sets, or talent operate. The F.M can also be referred as the director's assistant. For example; the F.M informs when the next 'take' will be, by providing a 'countdown' for all the crew and talent on the studio floor, and instructs when studio audience applauds. They need to clear the studio floor and make sure everyone is ready for shooting when the director had finished his preliminary tech rehearsals. The F.M follows any instructions needed on the floor requested by the director or sound operators by communicating with cams. An F.M is expected to be aware of what is going on, in the control rooms and the studio floor, they also need to be able to anticipate what the Director wants, before actually asking. Most importantly, they need to be clear of their instructions. Normally the Floor Manager has an Assistant Floor Manager (A.F.M) to help them manage the action on the floor such as, prompting contributors on the studio floor and ensuring that everyone knows their place in the script. They can also help out with the design and the preparation of the props on the studio floor.
The Camera Operators are responsible for the studio cameras, providing various shot sizes showing the talent and set. Camera Operators also provide the shots requested by the Director, also being able to communicate using cams. They are expected to be able to present correct framing of shots, by making sure that the Talent's eyes are on the top third of the shot. Camera Operators also must determine what shots the Director wants, and also making sure they are able to produce them. An Assistant Camera Operator is responsible to help move the cameras if tracking or crabbing is needed. They also hold up the camera cable, to prevent the camera operators tripping over the cable.
A Vision Mixer (VX) is responsible for providing the correct camera shots shown at the right time, during the rehearsals or recording, from any of the cameras on the studio floor, using a Vision Mixing Panel. Basically, they control what camera filming is being shown during the 'live show'. VX in the vision control room. VX's are expected to put on the correct cameras during the rehearsals and Live Shoot requested by the Director, or even to suggest better solutions (putting a different camera on, if it clearly works better). As this roles is very quick, they need to be aware of what is happening during the TV Show and need good concentration.
Sound Operators are responsible to adjust the sound levels of the Talent, audience and any V.T to a suitable level, using the sound mixing panel. Sound Operators are situated in the audio control room. They are also responsible for clipping the mics on the Talent. The Sound Operators can also communicate using cams, requesting the F.M to ask the Talent to talk to do the mic checks. They also inform the F.M if any of the Talent need to speak louder or more quieter. Sound Operators are expected to be aware of what is happening in the show, so they know when to put the Talents mics back on or off, if a VT has been played or is playing. A Sound Assistant assists the Sound Operator in the audio control room, helping by clipping the mics onto the Talent, and adjusting the sound levels on the sound mixing panel.
The Floor Manager (F.M) is responsible for managing the studio floor, meaning when and where the cameras, sets, or talent operate. The F.M can also be referred as the director's assistant. For example; the F.M informs when the next 'take' will be, by providing a 'countdown' for all the crew and talent on the studio floor, and instructs when studio audience applauds. They need to clear the studio floor and make sure everyone is ready for shooting when the director had finished his preliminary tech rehearsals. The F.M follows any instructions needed on the floor requested by the director or sound operators by communicating with cams. An F.M is expected to be aware of what is going on, in the control rooms and the studio floor, they also need to be able to anticipate what the Director wants, before actually asking. Most importantly, they need to be clear of their instructions. Normally the Floor Manager has an Assistant Floor Manager (A.F.M) to help them manage the action on the floor such as, prompting contributors on the studio floor and ensuring that everyone knows their place in the script. They can also help out with the design and the preparation of the props on the studio floor.
The Camera Operators are responsible for the studio cameras, providing various shot sizes showing the talent and set. Camera Operators also provide the shots requested by the Director, also being able to communicate using cams. They are expected to be able to present correct framing of shots, by making sure that the Talent's eyes are on the top third of the shot. Camera Operators also must determine what shots the Director wants, and also making sure they are able to produce them. An Assistant Camera Operator is responsible to help move the cameras if tracking or crabbing is needed. They also hold up the camera cable, to prevent the camera operators tripping over the cable.
A Vision Mixer (VX) is responsible for providing the correct camera shots shown at the right time, during the rehearsals or recording, from any of the cameras on the studio floor, using a Vision Mixing Panel. Basically, they control what camera filming is being shown during the 'live show'. VX in the vision control room. VX's are expected to put on the correct cameras during the rehearsals and Live Shoot requested by the Director, or even to suggest better solutions (putting a different camera on, if it clearly works better). As this roles is very quick, they need to be aware of what is happening during the TV Show and need good concentration.
Sound Operators are responsible to adjust the sound levels of the Talent, audience and any V.T to a suitable level, using the sound mixing panel. Sound Operators are situated in the audio control room. They are also responsible for clipping the mics on the Talent. The Sound Operators can also communicate using cams, requesting the F.M to ask the Talent to talk to do the mic checks. They also inform the F.M if any of the Talent need to speak louder or more quieter. Sound Operators are expected to be aware of what is happening in the show, so they know when to put the Talents mics back on or off, if a VT has been played or is playing. A Sound Assistant assists the Sound Operator in the audio control room, helping by clipping the mics onto the Talent, and adjusting the sound levels on the sound mixing panel.
Thursday, 17 June 2010
Studio Equipment, its functions and operation
Pole Cameras - These are used to film the show and can me moved around the set on wheels. Before recording, the camera operator needs to adjust the cameras exposure, which is the amount of light entering through the lens. On the view finder you can see zebra bars if there is too much light, the perfect exposure is just as the zebra bars disappear. On the handles of the cameras there is a zoom control for any close up shots you may need.
Jib arm - To get better wide and long shots a camera is attached to the Jib arm on a long bar. This can be used for getting higher shots and zooming in towards the object at hand, or to get an overall shot of the set ads this would usually be placed at the back. A view finder is down low, so the Camera Operator can see the view from the camera.
Omni-Directional Clip Microphones - Omni-Directional means that the microphones can pick up sound from all around. These are clipped on the Talent, so the Sound Operators in the audio control room can control there sound levels so they aren't too distorted.
Directional Microphone - This is for the Studio Audience. Directional means that the microphone can pick up sound from a single set direction. These are used for the Studio Audience because this prevents the recording picking up any other sound effects, such as whispering . These microphones will only detect the clapping, this is attached to the Grid above the audience.
Talk-Backs/Cams - This is 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.
Vision Mixing Panel - This displays all of the cameras shots from the Studio Floor, on little separate screens. Below the screens there is a panel with different buttons. The buttons control, which camera is being used. For example if camera 1 needed to be used the VX would press button number 1. To fade in/out a camera to another camera, there is a second row of buttons exactly the same. For example; if camera 1 was on but the VX wanted a transition to camera 2, the VX would press button number 2 on the second row of buttons, and pull a lever to get the transition displayed.
Sound Mixing Panel - This is used to control the sound levels of the Talent and VT, using the faders. By using the faders, this allows equal sound levels of the Talent's speech. A master fader can also be used to adjust all of the sound levels at once. To make it easier to use, there are separate faders for each microphone. There is also a VU meter on the panel, which shows the Sound Operator, if the sound is too low or too high. For example, if the sound levels were reading to high on the VU meter from the Host, the Sound Operator would turn down the Host's fader.
The DVD Player - This allows the VT DVD to be played. DVD is an optical disc storage media format, which stores VT inserts and titles.
Lights and the Lighting Grid - The black metal poles that line the ceiling in a studio are called the lighting grid. This suspends the studio lights; there are many different kinds of lights. The back lights are lights with florescent tubes in, these give off soft light and they are used to fill in the background behind the talent. All lights have something called barn doors on them which limits or amplifies the amount of light given. The spot lights provide concentrated light onto the talent and give off hard light, this is used to light up the talent and make sure they are seen. The flood lights are sometimes called the scenery lights; they light up the scenery and do a similar job to the back lights. The dimmer pack is a large box in which the power to the lights runs through, it can be used to turn the power off, but it’s not advised. The "Blacks" are the studio name given to the black curtains that surround the room. They absorb any unwanted light from outside the studio.
STOB (Studio Terminal Outlet Box) Box - This is the box into which everything on the studio floor is plugged into. It controls audio and visual footage being passed through the signal flow.
Jib arm - To get better wide and long shots a camera is attached to the Jib arm on a long bar. This can be used for getting higher shots and zooming in towards the object at hand, or to get an overall shot of the set ads this would usually be placed at the back. A view finder is down low, so the Camera Operator can see the view from the camera.
Omni-Directional Clip Microphones - Omni-Directional means that the microphones can pick up sound from all around. These are clipped on the Talent, so the Sound Operators in the audio control room can control there sound levels so they aren't too distorted.
Directional Microphone - This is for the Studio Audience. Directional means that the microphone can pick up sound from a single set direction. These are used for the Studio Audience because this prevents the recording picking up any other sound effects, such as whispering . These microphones will only detect the clapping, this is attached to the Grid above the audience.
Talk-Backs/Cams - This is 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.
Vision Mixing Panel - This displays all of the cameras shots from the Studio Floor, on little separate screens. Below the screens there is a panel with different buttons. The buttons control, which camera is being used. For example if camera 1 needed to be used the VX would press button number 1. To fade in/out a camera to another camera, there is a second row of buttons exactly the same. For example; if camera 1 was on but the VX wanted a transition to camera 2, the VX would press button number 2 on the second row of buttons, and pull a lever to get the transition displayed.
Sound Mixing Panel - This is used to control the sound levels of the Talent and VT, using the faders. By using the faders, this allows equal sound levels of the Talent's speech. A master fader can also be used to adjust all of the sound levels at once. To make it easier to use, there are separate faders for each microphone. There is also a VU meter on the panel, which shows the Sound Operator, if the sound is too low or too high. For example, if the sound levels were reading to high on the VU meter from the Host, the Sound Operator would turn down the Host's fader.
The DVD Player - This allows the VT DVD to be played. DVD is an optical disc storage media format, which stores VT inserts and titles.
Lights and the Lighting Grid - The black metal poles that line the ceiling in a studio are called the lighting grid. This suspends the studio lights; there are many different kinds of lights. The back lights are lights with florescent tubes in, these give off soft light and they are used to fill in the background behind the talent. All lights have something called barn doors on them which limits or amplifies the amount of light given. The spot lights provide concentrated light onto the talent and give off hard light, this is used to light up the talent and make sure they are seen. The flood lights are sometimes called the scenery lights; they light up the scenery and do a similar job to the back lights. The dimmer pack is a large box in which the power to the lights runs through, it can be used to turn the power off, but it’s not advised. The "Blacks" are the studio name given to the black curtains that surround the room. They absorb any unwanted light from outside the studio.
STOB (Studio Terminal Outlet Box) Box - This is the box into which everything on the studio floor is plugged into. It controls audio and visual footage being passed through the signal flow.
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