Pre Production Tasks
Roles: Content/Round Producer - Responsible for Music Round Script. I also took the role of Editing the VT Inserts.
Monday 22nd February 2010
Absent.
Tuesday 23rd February 2010
This lesson was used to come up with ideas for the shows name and the design and plan for the set. We were put into groups and were given different pre production roles. I firstly was responsible for being the Content/Round Producer. In my group, we all contributed to what questions we would want to be asked in the Music Round. When designing and planning the set, my group came up with a Circus theme. My contribution to this discussion was to add the circus theme tune into our show, also trying to come up with show names.
Wednesday 24th February 2010 & Every Wednesday
No pre-production lessons. TV Studio lessons.
Thursday 25th February 2010
In my pre production group, we had decided on the questions and the content within the Music Round. I then contributed into making the VT Inserts for the round. Having another pre production role of the editing of the VT inserts. Starting by editing the Robbie Williams image on Adobe Photoshop.
Monday 1st March 2010
Production meeting in the morning. The whole group had decided on a set design. As my role was the Content/Round Producer to begin with, I sorted out the script for the Music Round.
Again, I was working on the VT Inserts, this being the mix mash of two songs. Although, this VT insert will not be used in the show, as the two songs did not go with each other, which made it difficult to make it sound good. My group decided to change the songs. This question would of been too hard for the show.
Tuesday 2nd March 2010
I helped with the editing of the mix mash song by downloading the 2 brand new songs we decided to use, also assisting with the editing of the 2 songs.
Thursday 4th March 2010
One of the questions needed changing in the Music Round because the question had already been used in one of the previous TV Quiz Shows. I came up with the new question. This question also needed a audio VT Insert. The question was based on a missing lyric. The rest of the afternoon, I spent by editing Taylor Swift's 'Love Story' by taking out some lyrics and replacing it with a sound effect. I couldn't seem to find any good sound effects, so I left the sound effect. Although I did spend time looking for one, none were very suitable.
Monday 8th March 2010
In the morning I made some final touches to the miss the lyric VT insert. As all of our VT inserts were then completed for the Music Round, I double checked them and then gave them to whoever was making the DVD with the VT inserts. After this I helped edit a photo from the celebrity round on Adobe Photoshop. Once that was done, I began on my next contribution by designing the cue cards on Adobe Photoshop and showed them to the rest of the class at the end of the day. The class asked for some more designs because these ones needed improving.
Tuesday 9th March 2010
As my last cue cards designs had some issues, I used the designs I already done but changed them to how the rest of the group wanted them.
Wednesday 10th March 2010
Norwich Trip
Thursday 11th March 2010
We did Wednesday's lesson here instead, because of the Norwich Trip.
Monday 15th March 2010
As the cue card designs still weren't that perfect for the show, me and Terri designed completely different ones, which kept the theme of the circus elephant going, using Adobe Photoshop. We designed two, a purple design for the main body of the show and a red design for the Quickfire questions. The rest of the class liked these ones better, so both of us printed off many copies of them. Although, these did not print properly. We did have a problem with the size of the cards when we printed them off because we thought that might of been a bit too big, so we resized the cards on Adobe Photoshop. After showing the original size and smaller size design of the cards to the Host, we decided on the original size. We then printed off many copies again of both designs. Nearer to the end of the day, I started to stick the cue card designs to the card.
Tuesday 16th March 2010
All afternoon I worked on sticking all of the cue cards designs onto cards, and cutting them out.
Thursday 18th March 2010
Changes needed to be made to the Main Script, so I added the new information into it. All afternoon, I started to print off the script to put on the back of the cue cards for the Host. I then cut them up and stick them onto the cards, so they would fit on.
Monday 22nd March 2010
In the morning, I finished off cutting and sticking the script onto the back of the cue cards. I then checked the buzzers for the show too. All there is left to do was finishing painting the set, everything else had been finished except for parts of the set. For the rest of the day, there was nothing else I could contribute to, so I worked on my blog work. I could not help with the set, as I'm not part of the Art Design Team. I helped clear up the mess when they had finished though.
Tuesday 23rd March 2010
Rehearsals for the 'Media Circus'.
Wednesday 24th March 2010
The final "live" recording of the 'Media Circus'. I had the roles of Camera Operator 1 & 3.
Monday, 22 March 2010
Friday, 19 March 2010
How 'The Media Circus' Was Put Together
Pre-Production
1. Read the Brief. This also tells you the format of the TV Quiz Show.
2. Create the Questions and find the answers for all the rounds.
3. Make VT Inserts, and store onto 1 DVD.
4. Design the set, and do many set drawings to show the class. The set must allow enough camera shot sizes.
Technical
5. Plan where the set will go, again making sure the camera can get various shot sizes. The Director will plan out camera positions and the shot sizes.
6. Floor Plan is then drawn.
7. Lighting plot designed.
8. Lights are rigged, as how the lighting plot is drawn.
9. Set is all done and in the studio.
10. Lights are 'pointed' in the right direction. 'Pointing' at the right Talent.
11.Mics rigged.
12. Technical Checks.
In Rehearsals
13. Talent arrives at the studio.
14. Mics are turned on and clipped to the Talent.
15. Mic Checks
16. Camera Shots checked by the Director.
17. Rehearsal Opening: The Countdown by F.M
18. Stop/Start Rehearsals, keep going to a problem occurs.
19. Rehearsal closing
After Rehearsal
20. Record
21. Check Replay
22. Equipment put away
1. Read the Brief. This also tells you the format of the TV Quiz Show.
2. Create the Questions and find the answers for all the rounds.
3. Make VT Inserts, and store onto 1 DVD.
4. Design the set, and do many set drawings to show the class. The set must allow enough camera shot sizes.
Technical
5. Plan where the set will go, again making sure the camera can get various shot sizes. The Director will plan out camera positions and the shot sizes.
6. Floor Plan is then drawn.
7. Lighting plot designed.
8. Lights are rigged, as how the lighting plot is drawn.
9. Set is all done and in the studio.
10. Lights are 'pointed' in the right direction. 'Pointing' at the right Talent.
11.Mics rigged.
12. Technical Checks.
In Rehearsals
13. Talent arrives at the studio.
14. Mics are turned on and clipped to the Talent.
15. Mic Checks
16. Camera Shots checked by the Director.
17. Rehearsal Opening: The Countdown by F.M
18. Stop/Start Rehearsals, keep going to a problem occurs.
19. Rehearsal closing
After Rehearsal
20. Record
21. Check Replay
22. Equipment put away
Monday, 8 March 2010
Technical Rehearsals
What are Technical Rehearsals and What types?
Technical Rehearsals are generally 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 (Dry Tech)
- The capability of moving the Pole Cameras around the set. (Both)
- Check that the filming and the VT Inserts are shown on the Floor monitor (TV). Without this being seen by the Talent, there is no way of them knowing when they are being filmed or when they can talk or answer any questions. (Dry Tech)
- 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. (Dry Tech)
- Check if the lighting is rigged correctly, matching the lighting plans. (Tech)
- Check that the set and the Talent is being lighted correctly. (Tech)
- Check that the Buzzers work. (Tech)
Technical Rehearsals are generally 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 (Dry Tech)
- The capability of moving the Pole Cameras around the set. (Both)
- Check that the filming and the VT Inserts are shown on the Floor monitor (TV). Without this being seen by the Talent, there is no way of them knowing when they are being filmed or when they can talk or answer any questions. (Dry Tech)
- 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. (Dry Tech)
- Check if the lighting is rigged correctly, matching the lighting plans. (Tech)
- Check that the set and the Talent is being lighted correctly. (Tech)
- Check that the Buzzers work. (Tech)
Efficient Rehearsal & Recording Practice
What are Rehearsals and Why have them?
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. After doing rehearsals in our Wednesdays lessons, us as a group found that operating the DVD has been most difficult, because the Talent were not allowing enough time for the DVD Operators to cue up the next VT slot. As a result, the feedback after the rehearsal has improved our overall production just from a few small changes the Talent needed to make. When rehearsing the show, this does not necessarily mean that we 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 Rehearsals
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 (practicing) the show, certainly reflects a more successful and a more better quality show.
What is Recording Practice and Why have them?
Recording practice basically means a rehearsal (practice) of the show but actually recording it. Doing this has the same purpose to why we 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. After every practice 'take', the group watched back the footage and gave any feedback, back to the class if anything needed improving or issues needing to be solved. In the TV Industry it is never said that anything is perfect, so this is how our group responded when feeding back.
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. After doing rehearsals in our Wednesdays lessons, us as a group found that operating the DVD has been most difficult, because the Talent were not allowing enough time for the DVD Operators to cue up the next VT slot. As a result, the feedback after the rehearsal has improved our overall production just from a few small changes the Talent needed to make. When rehearsing the show, this does not necessarily mean that we 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 Rehearsals
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 (practicing) the show, certainly reflects a more successful and a more better quality show.
What is Recording Practice and Why have them?
Recording practice basically means a rehearsal (practice) of the show but actually recording it. Doing this has the same purpose to why we 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. After every practice 'take', the group watched back the footage and gave any feedback, back to the class if anything needed improving or issues needing to be solved. In the TV Industry it is never said that anything is perfect, so this is how our group responded when feeding back.
Scripts and Calls
What are Scripts and What types of Script are there for Multi-Cam Production?
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/Teams talk. the 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.
Multi-Cam 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 particual 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 'on line', the shot size, and who is being filmed (Host, A, B, C or D).
For example our Multi-Cam Script for the beginning of the show could look like this.
Who has a Multi-Cam Script and Why?
The roles in the production, which will have a Multi-Cam script in front of them when practicing etc, would be the Director, Assistant Director, DVD Operator, Floor Manager and Sound Operators.
The Director would need the script, so he knows when to call out "cut", to the VX, to change the camera. When a CD with audio is needed, the Director would also call "track in", to the Sound or DVD Operators, so they can 'cue' the track. "DVD in" is called by the Director when DVD needs playing. The Assistant Director is expected to be aware of where the show is on the script, just in case the Director has lost track. It is vital that the DVD Operators have a copy too, because they need to know when a VT insert is played, with the track number displayed, so they can also 'cue' up the VT track. It would be useful for the Sound Operators to have a copy as well, so they know when to fade the faders up or down, if some audio was either quieter or louder than others. Lastly, the Floor Manager keeps the script too, so he/she knows when to instruct the audience to clap or "woop". The Floor Manager's calls on set are, a mute countdown and a signal for the audience to clap.
Other Calls
- F.M calls "Floor Ready". This is spoken to the Director, to inform that everyone on the floor is ready to go.
- In most TV shows, they have a VT Opening Title. The very first call when beginning the recording would be "3, 2, 1, Roll VT". This is directed by the Director.
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/Teams talk. the 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.
Multi-Cam 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 particual 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 'on line', the shot size, and who is being filmed (Host, A, B, C or D).
For example our Multi-Cam Script for the beginning of the show could look like this.
Who has a Multi-Cam Script and Why?
The roles in the production, which will have a Multi-Cam script in front of them when practicing etc, would be the Director, Assistant Director, DVD Operator, Floor Manager and Sound Operators.
The Director would need the script, so he knows when to call out "cut", to the VX, to change the camera. When a CD with audio is needed, the Director would also call "track in", to the Sound or DVD Operators, so they can 'cue' the track. "DVD in" is called by the Director when DVD needs playing. The Assistant Director is expected to be aware of where the show is on the script, just in case the Director has lost track. It is vital that the DVD Operators have a copy too, because they need to know when a VT insert is played, with the track number displayed, so they can also 'cue' up the VT track. It would be useful for the Sound Operators to have a copy as well, so they know when to fade the faders up or down, if some audio was either quieter or louder than others. Lastly, the Floor Manager keeps the script too, so he/she knows when to instruct the audience to clap or "woop". The Floor Manager's calls on set are, a mute countdown and a signal for the audience to clap.
Other Calls
- F.M calls "Floor Ready". This is spoken to the Director, to inform that everyone on the floor is ready to go.
- In most TV shows, they have a VT Opening Title. The very first call when beginning the recording would be "3, 2, 1, Roll VT". This is directed by the Director.
Planning and Lighting a Set
Why plan lighting?
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.
3 Point Lighting
3 point lighting is a proffessional method of planning lighting. The 3 point lighting is made up a:
- Key Light - This 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.
- 2nd Light or Fill Light - This is used to fill in shadows, which presents a softer shadow.
- Backlight - This is positioned to the back of the set, which lights the back of the Talent. Using a Backlight prevents the Talent in blending into the background, and events in the Talent standing out more. These lights have more depth and are also a 'Hard' light.
What are Barn Doors?
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. For example; our TV Quiz show must not reflect any light off the ceiling, so the top Barn Door needs to be pointing downwards more.
3 Point Lighting on the Grid
In the Studio, all of the lighting is attached to a railing, which sits above the set. This is called the Grid. This is a diagram of the 3 point lighting positions on the Grid.
The Rules of Lighting
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.
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.
3 Point Lighting
3 point lighting is a proffessional method of planning lighting. The 3 point lighting is made up a:
- Key Light - This 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.
- 2nd Light or Fill Light - This is used to fill in shadows, which presents a softer shadow.
- Backlight - This is positioned to the back of the set, which lights the back of the Talent. Using a Backlight prevents the Talent in blending into the background, and events in the Talent standing out more. These lights have more depth and are also a 'Hard' light.
What are Barn Doors?
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. For example; our TV Quiz show must not reflect any light off the ceiling, so the top Barn Door needs to be pointing downwards more.
3 Point Lighting on the Grid
In the Studio, all of the lighting is attached to a railing, which sits above the set. This is called the Grid. This is a diagram of the 3 point lighting positions on the Grid.
The Rules of Lighting
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
Why is it important to plan and design a set?
The overall set is designed by the Art Design Team, designing the back boards, 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 a meaning of what the show is all about, and 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. As our TV Quiz show is the theme of a circus, we have designed our set to look like a circus tent, also including the Quiz Show logo, "Media Circus".
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 tonal palette means the range of colours the production is working with. As deep red and purple are circus colours, the group decided to work around those colours, for our tonal palette.
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.
The overall set is designed by the Art Design Team, designing the back boards, 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 a meaning of what the show is all about, and 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. As our TV Quiz show is the theme of a circus, we have designed our set to look like a circus tent, also including the Quiz Show logo, "Media Circus".
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 tonal palette means the range of colours the production is working with. As deep red and purple are circus colours, the group decided to work around those colours, for our tonal palette.
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 & their Use/Protocol
What are Talk Backs, and why are they used?
A Talk Back is an audio device, which allows communication between the studio floor and the control rooms. This saves time by not keep going in or out of the control rooms to ask eachother questions or inform instructions. Mainly they are used to set instructions to the studio crew. For example, the sound operators would communicate with the F.M to inform when they want to do mic checks, for the talent. Also the Director would communicate using Talk Backs. One example for the Director's use of Talk Backs would be, if framing of shots from the cameras need changing. The Director would then tell the Camera Operators how he wants the shots. Television crew members on the studio floor, which normally require Talk Backs are; the F.M and all the Camera Operators.
Protocols
When using Talk Backs, there are a few rules to follow when using them. They are;
- 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.
A Talk Back is an audio device, which allows communication between the studio floor and the control rooms. This saves time by not keep going in or out of the control rooms to ask eachother questions or inform instructions. Mainly they are used to set instructions to the studio crew. For example, the sound operators would communicate with the F.M to inform when they want to do mic checks, for the talent. Also the Director would communicate using Talk Backs. One example for the Director's use of Talk Backs would be, if framing of shots from the cameras need changing. The Director would then tell the Camera Operators how he wants the shots. Television crew members on the studio floor, which normally require Talk Backs are; the F.M and all the Camera Operators.
Protocols
When using Talk Backs, there are a few rules to follow when using them. They are;
- 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
Why plan and check the audio coverage?
The audio for any TV show needs to be loud enough and clear, so it is easily understood. With bad audio, there is no point to watching a TV show. That's why audio coverage needs to be planned and checked within the audio control room.
How many Mics are needed, and where are they positioned?
As there is 5 Talent, it is easy to work out how many Omni -Directional clip microphones is needed. 5 mics will be needed for the Talent, but may need to be clipped in different positions on their clothing. The Host's mic would need to be central on them, as the Host's Eye Line is directed to the left, right and directly ahead. Contestants A & B's mics would be put slightly more to the left of their body, as they will be turning to the left to speak to the Host. Whereas Contestants C & D would have their mics on the opposite side (right), because they will be turning to the right to talk to the Host. A Directional mic is also needed to hang above the audience to pick up their applause.
What are Mic Checks?
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 speaking voice.
How can you tell if the sound is either, too loud or too quiet?
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 (speakers), but checking the VU meter on the audio panel. This is a more accurate measurement for the Sound Operators to judge the sound levels.
What is a VU Meter?
A VU Meter is a meter, which 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.
How does the Audio Panel work?
Adjusting the sound levels using the audio panel is generally quite simple to remember. For the TV Quiz Show, there are separate faders on the panel for either the Host, Contestant A, B, C or D. These faders are paired up with the clip mics the Talent get given. E.G fader 1 works mic 1. All the Sound Operator simply has to do is move the faders up and down to adjust the levels. The faders have two functions; fading the fader up to make the subject sound louder, or fading the fader down to make the subject sound quieter. Another fader called a 'Master Fader' is obviously a fader, but this one can adjust all the audio levels from the Talents mics. The monitors in the audio control room can also change the volume (quality) of the sound too.
The audio for any TV show needs to be loud enough and clear, so it is easily understood. With bad audio, there is no point to watching a TV show. That's why audio coverage needs to be planned and checked within the audio control room.
How many Mics are needed, and where are they positioned?
As there is 5 Talent, it is easy to work out how many Omni -Directional clip microphones is needed. 5 mics will be needed for the Talent, but may need to be clipped in different positions on their clothing. The Host's mic would need to be central on them, as the Host's Eye Line is directed to the left, right and directly ahead. Contestants A & B's mics would be put slightly more to the left of their body, as they will be turning to the left to speak to the Host. Whereas Contestants C & D would have their mics on the opposite side (right), because they will be turning to the right to talk to the Host. A Directional mic is also needed to hang above the audience to pick up their applause.
What are Mic Checks?
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 speaking voice.
How can you tell if the sound is either, too loud or too quiet?
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 (speakers), but checking the VU meter on the audio panel. This is a more accurate measurement for the Sound Operators to judge the sound levels.
What is a VU Meter?
A VU Meter is a meter, which 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.
How does the Audio Panel work?
Adjusting the sound levels using the audio panel is generally quite simple to remember. For the TV Quiz Show, there are separate faders on the panel for either the Host, Contestant A, B, C or D. These faders are paired up with the clip mics the Talent get given. E.G fader 1 works mic 1. All the Sound Operator simply has to do is move the faders up and down to adjust the levels. The faders have two functions; fading the fader up to make the subject sound louder, or fading the fader down to make the subject sound quieter. Another fader called a 'Master Fader' is obviously a fader, but this one can adjust all the audio levels from the Talents mics. The monitors in the audio control room can also change the volume (quality) of the sound too.
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.
The 'Media Circus' Camera Placements and Shots
On the Studio Floor we have 3 Pole Cameras and 1 Camera on a Jig Bar. Camera 1 will be focused on contestants A & B, where Camera 3 will be always on contestants C & D. These two cameras are both planned to produce shot sizes of MCUs, 2 Shots and Over the Shoulder shots of the contestants. Camera 2 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 3 Shot of the Host with either Team A or B on the other side of the Host. A 5 Shot or WS can also be positioned too. Camera 4 (on the Jigbarn) is used for a high angle WS of the set, audience and Talent, which is placed to the far back of the studio. This camera can also be used to give movement around the studio. (PED, Pan, Tilt, Tracking)
This is a diagram of where the cameras will be placed on the Studio Floor.
'A Question Of Sport' Camera Placement and Shots
Not all TV Shows would have this camera placement. It all depends how the set and the Talent are positioned in the Studio, also the amount of cameras there is too. When watching a clip of 'A Question of Sport', the camera placement and the camera shots used, could look like this.
Camera 3 is the Host's camera, so this would produce shot sizes of either a MCU, MS, or LS of the Host. This camera can also set up a 5 Shot or WS too. Cameras 1 and 2 would focus just on Contestants A, B & C both producing the shot size, 3 Shot. Although they both concentrate on Contestants A, B & C, the cameras also concentrate on only 2 of the contestants, when showing a 2 Shot, CU or MCU. When Camera 1 sets up a 2 Shot, CU or MCU, he mainly sets these shots on just Contestants A & B, whereas Camera 2 would set up the 2 Shots, CU or MCUs on just Contestants B & C. Cameras 4 & 5's purpose are exactly the same, but focusing on the other team of Contestants (D, E &F). Camera 6 would be positioned further back in the Studio, on a Jigbarn (crane). This camera is used to produce camera movements (PED, Pan, Tilt) of around the studio, ending up on a high angle WS of the set, audience and Talent.
The 'Media Circus' Camera Placements and Shots
On the Studio Floor we have 3 Pole Cameras and 1 Camera on a Jig Bar. Camera 1 will be focused on contestants A & B, where Camera 3 will be always on contestants C & D. These two cameras are both planned to produce shot sizes of MCUs, 2 Shots and Over the Shoulder shots of the contestants. Camera 2 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 3 Shot of the Host with either Team A or B on the other side of the Host. A 5 Shot or WS can also be positioned too. Camera 4 (on the Jigbarn) is used for a high angle WS of the set, audience and Talent, which is placed to the far back of the studio. This camera can also be used to give movement around the studio. (PED, Pan, Tilt, Tracking)
This is a diagram of where the cameras will be placed on the Studio Floor.
'A Question Of Sport' Camera Placement and Shots
Not all TV Shows would have this camera placement. It all depends how the set and the Talent are positioned in the Studio, also the amount of cameras there is too. When watching a clip of 'A Question of Sport', the camera placement and the camera shots used, could look like this.
Camera 3 is the Host's camera, so this would produce shot sizes of either a MCU, MS, or LS of the Host. This camera can also set up a 5 Shot or WS too. Cameras 1 and 2 would focus just on Contestants A, B & C both producing the shot size, 3 Shot. Although they both concentrate on Contestants A, B & C, the cameras also concentrate on only 2 of the contestants, when showing a 2 Shot, CU or MCU. When Camera 1 sets up a 2 Shot, CU or MCU, he mainly sets these shots on just Contestants A & B, whereas Camera 2 would set up the 2 Shots, CU or MCUs on just Contestants B & C. Cameras 4 & 5's purpose are exactly the same, but focusing on the other team of Contestants (D, E &F). Camera 6 would be positioned further back in the Studio, on a Jigbarn (crane). This camera is used to produce camera movements (PED, Pan, Tilt) of around the studio, ending up on a high angle WS of the set, audience and Talent.
Floor Plans
Floor Plans are very similar to maps but used to measure out items within the room. Basically, they are a 'to scale' drawing of rooms, spaces and any other structures of where they are in the room. A Floor Plan for a Television studio consists of the size and amount of set, the cameras and lighting's exact positions, and the audience's seating area. A Floor Plan is another way of looking, how much space everything takes up and how much space is left on the floor.
When coming to drawing out the Floor Plan for the 'Media Circus' Quiz Show, the drawing will be on A4 paper, size 1:50. That simplifies it to, 2cm=1m of Studio Floor.
When coming to drawing out the Floor Plan for the 'Media Circus' Quiz Show, the drawing will be on A4 paper, size 1:50. That simplifies it to, 2cm=1m of Studio Floor.
Programme Rundowns
What is a Programme Rundown?
What is a Cue Sheet?
A programme rundown is simply all of the paperwork, which explains what will be happening during the whole of the show. For example the Multi-Cam Script. Other examples of programme rundowns are the cue sheets and a running order.
What is 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 of the content. Running Orders are not really for technical aspects of the show, such as Camera shot sizes or when cameras "cut". This is a basic script only for the content. For example; the Host's introduction speech or when VT Inserts start playing.
This is an example of what the running order could look like, for the 'Media Circus'.
What is a Cue Sheet?
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 Director's Calls
The Director's Calls
- "5, 4, 3, 2, 1. Roll VT" - This explains how long it will be from recording the show and also commanding the DVD Operator, to play the Opening Titles.
- "DVD Ready" - This informs that the DVD Operator needs to get ready to play the right VT insert, at that very point in time of the production.
- "Camera 2 Cut" - This tells the VX that he/she needs to press button 2, for Camera 2 to be 'on line'. Normally this call would be made straight after the Opening Titles have ended.
- "Cut" - Again commands the VX to change what camera is 'on line'.
Throughout the whole of the TV Quiz Show, the Director will be the only one making 'calls' or talking. These 'calls' can be heard from the F.M, VX and the Camera Operators, through the comms.
Directing
To be a successful Director, they need to be clear of their instructions, and also very determined to make a good show. There is no room for fault if you are a Director. Technical and important procedures to a Director directing well are;
- Knowing what everyone is meant to be doing, and being sure that everyone is doing the job properly.
- Telling the Camera Operators to change there framing of the shots if needed.
- Aware of when VT inserts need to be played, by making the correct calls.
- Knowing when to "cut" to different cameras, by calling to the VX.
- Setting goals for everyone to achieve. E.G Cam Op.1 needs to be more quick when changing shots.
- Setting instructions to the F.M, and asking he/she if floor is ready to begin recording.
- Confirms the beginning of the countdown, when show is ready to begin recording "Live".
- Confirms when the recording has ended.
- "5, 4, 3, 2, 1. Roll VT" - This explains how long it will be from recording the show and also commanding the DVD Operator, to play the Opening Titles.
- "DVD Ready" - This informs that the DVD Operator needs to get ready to play the right VT insert, at that very point in time of the production.
- "Camera 2 Cut" - This tells the VX that he/she needs to press button 2, for Camera 2 to be 'on line'. Normally this call would be made straight after the Opening Titles have ended.
- "Cut" - Again commands the VX to change what camera is 'on line'.
Throughout the whole of the TV Quiz Show, the Director will be the only one making 'calls' or talking. These 'calls' can be heard from the F.M, VX and the Camera Operators, through the comms.
Directing
To be a successful Director, they need to be clear of their instructions, and also very determined to make a good show. There is no room for fault if you are a Director. Technical and important procedures to a Director directing well are;
- Knowing what everyone is meant to be doing, and being sure that everyone is doing the job properly.
- Telling the Camera Operators to change there framing of the shots if needed.
- Aware of when VT inserts need to be played, by making the correct calls.
- Knowing when to "cut" to different cameras, by calling to the VX.
- Setting goals for everyone to achieve. E.G Cam Op.1 needs to be more quick when changing shots.
- Setting instructions to the F.M, and asking he/she if floor is ready to begin recording.
- Confirms the beginning of the countdown, when show is ready to begin recording "Live".
- Confirms when the recording has ended.
DVD Operation and Insert Requirements
The DVD player will be used for our TV Quiz Show, 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
Specific Camera Shot Sizes for TV Shows, and also will be used for the 'Media Circus'.
- Mid Shot (MS)
- Medium Close Up (MCU)
- 2 Shot (2S) or 3 Shot (3S) or even a 5 Shot (5S)
- Wide Shot (WS)
- Over the Shoulder Shot (O/S)
- Mid Shot (MS)
- Medium Close Up (MCU)
- 2 Shot (2S) or 3 Shot (3S) or even a 5 Shot (5S)
- 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
What is the 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.
This is a diagram of the Audio Signal Flow in a Television Studio.
What is the 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.
This is a diagram of the Video Signal Flow in a Television Studio.
What is 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.
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.
This is a diagram of the Audio Signal Flow in a Television Studio.
What is the 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.
This is a diagram of the Video Signal Flow in a Television Studio.
What is 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 Aspects
- The Studio floor must be clear of any bags and coats or cables lying about, preventing any trips or falls. Plus, this would get in the way of rehearsals, run throughs etc.
- The Camera Assistants must make sure they hold up camera cables at all times, just in case the Camera Operator trips or falls, or even anyone else in the studio.
- 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. The F.M also must double check with everyone that they have switched off their mobile phones, as this could disrupt technical equipment or any run throughs, rehearsals etc.
- 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
Everyone working within the production, all need to know who they are taking instructions from or who to ask questions to. To know who is in charge of who in the production, we can follow the chain of command. At the top we have the Director, followed by the F.M. Basically the Director is in charge of the overall production, commanding of how he/she wants certain things. The Director is the boss. Where as 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 as one.
Other Protocols
Another important aspect is that 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 real 'take'. If practice runs did not take place, the whole production could be affected massively 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. Plus, this would get in the way of rehearsals, run throughs etc.
- The Camera Assistants must make sure they hold up camera cables at all times, just in case the Camera Operator trips or falls, or even anyone else in the studio.
- 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. The F.M also must double check with everyone that they have switched off their mobile phones, as this could disrupt technical equipment or any run throughs, rehearsals etc.
- 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
Everyone working within the production, all need to know who they are taking instructions from or who to ask questions to. To know who is in charge of who in the production, we can follow the chain of command. At the top we have the Director, followed by the F.M. Basically the Director is in charge of the overall production, commanding of how he/she wants certain things. The Director is the boss. Where as 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 as one.
Other Protocols
Another important aspect is that 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 real 'take'. If practice runs did not take place, the whole production could be affected massively 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
What Makes A Proffessional TV Show?
In a Multi-Cam TV Show, they always have;
- Opening titles
- First shot is a WS of the Studio.
- Pacey flow
- VT inserts
- Credits
To make a good TV Quiz Show the production needs;
- Good shots, correct framing
- Good quality audio
- Good or challenging questions & answers
- Good performances from all of the Talent
The narrative could be made up of the following binary oppositions;
- Contestant Vs Host
- Team A. Vs Team B.
- Winning Vs Losing
- Elation Vs Sorrow
- Knowledge Vs Ignorance
- Public Recognition Vs Public Shaming
Multi-Cam 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.
Other Terms
- Eye Line - The direction in which the Talent is looking in.
- Foldback - Sound through to the studio floor.
- Upstage - This means to move the camera up the studio. (Further away from set)
- Downstage - This means to move the camera down the studio. (Closer to the set)
In a Multi-Cam TV Show, they always have;
- Opening titles
- First shot is a WS of the Studio.
- Pacey flow
- VT inserts
- Credits
To make a good TV Quiz Show the production needs;
- Good shots, correct framing
- Good quality audio
- Good or challenging questions & answers
- Good performances from all of the Talent
The narrative could be made up of the following binary oppositions;
- Contestant Vs Host
- Team A. Vs Team B.
- Winning Vs Losing
- Elation Vs Sorrow
- Knowledge Vs Ignorance
- Public Recognition Vs Public Shaming
Multi-Cam 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.
Other Terms
- Eye Line - The direction in which the Talent is looking in.
- Foldback - Sound through to the studio floor.
- Upstage - This means to move the camera up the studio. (Further away from set)
- Downstage - This means to move the camera down the studio. (Closer to the set)
Crew Roles and their Responsibilities
Roles on the Studio Floor:
- 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. Also making sure everyone on the floor is ready for recording The F.M follows any instructions needed on the floor requested by the director or sound operators by communicating with comms. 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 Assistant Floor Manager (A.F.M) helps the F.M 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. For our TV Quiz show, the A.F.M's role is to keep the teams quiz scores. They are required to note down the scores clearly, so the Host/Presenter can call them out, also paying attention when either team gets an answer right.
- The Camera Operators are responsible for operating 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 comms. 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 are 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. This role is one of the easiest and less exciting roles on the studio floor.
Roles in the Control Rooms:
-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 the correct cameras "on line" during the rehearsals and "Live Show" requested by the Director, or even to suggest better solutions (putting a different camera "on line", 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 either the Talent, audience or any V.T to a suitable level, using a 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 comms, requesting the F.M to ask the Talent to talk to do "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 Director is responsible for supervising the placement of cameras, lighting elements, microphones, and props. Basically, they control the overall production of the TV Show of how he/she wants it. The Director sits in the vision control room, throughout the rehearsal or "take". They also over look the whole of the crew, to make sure that everyone knows what they are meant to be doing at the right time. For a Director to be successful, they must be clear of their instructions, so they are easily understood by the crew. Also being able to always 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, also being aware of where the rehearsal or "take" is on the script. They are also responsible for making sure the production runs to schedule, and checking the arrival of the Talent and crew.
Studio Equipment, its Functions and Operation
This is all the equipment we will be using for our TV Quiz Show:
- 3 Pole Cameras - These are obviously used to film the overall show. Pole cameras can move around on wheels. Before recording, the camera operator needs to adjust how much light goes into the camera, using the turning dial. This is called the exposure. Camera Operators can tell if there is too much exposure by looking at the view finder, looking for zebra bars. These are diagonal lines going across the view finder. Exposing the skin at 75% is a perfect exposure (just so the zebra bars go). To control the position of the shots more easily, there are handlebars to hold, also containing the zoom control.
- 1 Jig Barn - To get a WS of the Set and Talent. A camera is attached to the Jig barn on a long bar. This can be moved up quite high, or manoeuvred down low. A view finder of the camera filming is set down low, so the Camera Operator can see the position of the camera.
- 5 Omni-Directional Clip Microphones - An Omni-Directional microphone means that they 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.
- 1 Directional Microphone - This is needed for the Studio Audience. Directional microphones; meaning that they can pick up sound from a set direction. These are used for a Studio Audience because this would prevent the recording picking up any other sound effects, such as whispering from the audience. These will only detect the clapping. This is attached to the Grid, above the audience.
- Talk Backs/ Comms - This is an audio device, which is used to enable the crew to communicate from the Studio Floor to the control rooms. On the Studio Floor, the crew such as the F.M and Camera Operators would where headphones, with a mic and a small Talk Back box, to be able to communicate. The main Talk Back box is in the vision control room, which sits in front of the Director.
- 1 Vision Mixing Panel - This is a vision box, which 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 needs to be "on line", numbered 1 - 5. For example if camera 1 needed to be "on line", 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 line" but the VX wanted a transition to camera 2, the VX would press button no.2 on the second row of buttons, and pull a yellow lever to get the transition displayed.
- 1 Sound Mixing Panel - This is a mixing box, which is used to control the sound levels of the Talent or VT, using the faders. Using the faders, allows equal sound levels of the Talent's speech. A master fader can also be used to adjust all of the sound levels. To make it more easier to use, there is separate faders for each clip microphone. There is also a VU meter on the panel, which shows the Sound Operator, if the sound is too low or too high. The sound is measured in Decibels (dB). For example, if the sound levels were reading to high on the VU meter from the Host, the Sound Operator would fade down the Host's fader.
- The DVD Player - This allows DVD discs to be played. DVD, also known as Digital Versatile Disc or Digital Video Disc, is an optical disc storage media format, which will store our VT inserts, titles, etc.
- The Lighting Grid - All of the different lighting is attached to a rail above the set on the Studio Floor. This is called the Grid. The lighting is obviously used to light the set.
- The Dimmer Pack - This is a electrical box, which powers the Lighting Grid.
- STOB Box - This is a box, which controls audio and visual footage being passed through the signal flow. STOB stands for Studio Terminal Out Box.
- A Floor Monitor (TV) - This is for the Talent on the Studio Floor. They can see what is being filmed during rehearsals and 'Takes', also allowing them to watch the VT inserts, Opening Titles, Credits and Round Stings.
Mise En Scene
- The Set - Backboards and board on and in front of the table.
- Props - Buzzers, Cue Cards
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