Grid - A set of pipes suspended from the ceiling which holds lights and sometimes other equipment such as microphones. The college studio grid has 6 sockets and each socket is individually numbered, and therefore individually controlled on the Dimmer Pack.
Dimmer Pack - Where the lights are connected to; generates the high amounts of power needed to operate them.
Studio Terminal Outlet Box (S.T.O.B) - This is where all of the cameras, microphones and additional lighting/sound devices can be connected too. It supplies power to everything that is connected to it.
Microphones - Used to pick up any sound/speech during the recording.
Cameras - In the college studio, there are 4 cameras (Sony Z5s) that are on peds. These are used to capture the vision which is needed to make the show.
Cool Lights (florescent tubes) and Tungstun Lights (spot lights) - Suspended from the grid, they light the studio/set as well as the talent.
DVD Player - Plays any inserts i.e. opening titles, video clips, photos.
Lighting Desk - Controls the light intensity and chooses which lights to use via the dimmer pack.
Sound Desk - Used to adjust the sound levels of the microphones in the studio, preventing distortion from loud sounds/voices.
Vision Mixing Desk - Controls which camera feed to use, and allows director and the vision mixer to see all of the shots being produced by each individual camera.
Wednesday, 20 January 2010
Crew Roles & Responsibilities.
Studio Roles:
- Floor Manager (FM)
In charge of the studio, and controls who comes in/out of it. They represent the Director on the floor and keep the production going. They wear radio head sets (cans) to deliver messages from the Director to other crew members on the studio floor who are not on cans and vice versa. They also cue in the talent, whilst indicating which camera they need to talk into to. - Assistant Floor Manager (AFM)
Helps the Floor Manager with their given tasks in the studio, and performs jobs such as tallying the score (for quiz shows) or leading the audience when giving applause. - Camera Operators
As the name suggests, they operate the cameras. Their principal task is to deliver well framed and well focused shots. They are given cans so that they can communicate with the Director. - Camera Assistant
Helps the operator to position/move the camera, and keeps hold of the cables to prevent them from being tripped over. - Talent
These are the people who appear infront of the camera, such as presenters/contestants.
Vision Control Room Roles:
- Director
In charge of the studio, crew and talent. They direct, organise and establish shots and the order in which that they appear. The production is ultimately, their vision. - Assistant Director
Cues in any visual inserts, and then keeps the timing for them. - Vision Mixer
Operates the Vision Mixing Panel, which is used to switch between the different camera shots and any external inserts (video clips) which will be recorded/broadcast. - Lighting Controller
Operates the lighting elements on the set.
Audio Control Room Roles:
- Senior Sound Operator
Operates the audio mixer to control the sound levels of the microphones in the studio and any DVD inserts, making sure they aren't too loud or too quiet. - Assistant Sound Operator
Helps the Senior Sound Op on the audio mixer. - DVD Operator
Controls the DVD to cue in any VT inserts.
Other:
- Producer
Funds the production and is responsible for hiring both the crew and talent.
Multi-Cam Production Terms.
"DVD ready" - DVD operator has set up the DVD player ready to play the next insert for when it is needed. (DVD operator to Director.)
"Floor ready" - Everyone in the studio is ready for recording. (Floor Manager to Director.)
"Sound ready" - The Sound Operators are happy with the sound/microphone levels and are read to go. (Sound Operator operator to Director.)
"Cut" - Meaning the Director wants to go to another shot. (Director to Vision Mixer and Camera Operators.)
"Floor ready" - Everyone in the studio is ready for recording. (Floor Manager to Director.)
"Sound ready" - The Sound Operators are happy with the sound/microphone levels and are read to go. (Sound Operator operator to Director.)
"Cut" - Meaning the Director wants to go to another shot. (Director to Vision Mixer and Camera Operators.)
Studio Protocol & Practice.
Like most places, the studio has a strict protocol for health & safety reasons and to allow the production to run as smoothly as possible:
- No running in the studio as the cameras have long cables which trail along the floor that can be easily tripped over.
- No food and drink in the studio because they could spill and damage equipment such as the cameras and microphones as well as even causing a risk of electrocution.
- Only speak via the headsets (cans) if it is needed, as to allow for important instructions from and to the Director/Floor Manager.
- Only allow people in the studio who are needed as a part of production to prevent over-crowding.
- Wear soft sole shoes such as trainers to prevent damage to camera cables and the studio floor itself.
Camera Shots & Moves.
CU - Close up.
These are usually only used to either show a subject's reaction, or show the audience/viewers a prop of some sort.
MCU - Medium close up.
Whereby everything from the subject's waist to head is in frame.
MS - Mid-shot. (One shot)
Shows only one contestant/talent at a time. This is usually used to show the host, but is sometimes used on contestants.
WS - Wide shot.
These are used for an establishing shot at the beginning of a programme, which shows the viewers the whole studio (audience, guests, host, set, cameras on studio floor). This is also can be used as a 'safety shot' in case other camera shots are not ready or are sorting a technical problem. Programmes also normally end with such shot.
2S - Two shot.
Used to show 2 guests or contestants, as an MCU.
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Track - Moving the camera forwards/backwards.
Crab - Moving the camera left/right, used for either framing a shot or tracking.
Ped - Adjusting the camera pedestal up or down.
Pan - Twisting the camera.
Tilt - Moving the angle up/down.
Zoom - Focusing in/out of the subject, to give shots ranging from a wide, to an ECU.
DVD Operation & Insert Requirements.
The DVD is one of the most important parts of the show itself, as it contains opening titles, round stings, and any visual/video insterts used for questions included in the quiz. The DVD is controlled by a DVD operator in the Audio Control room. Their job is to set up and play the right track on the DVD at the relevant time.
All inserts which appear on the DVD should be the same screen ratio (16:9). We failed to do this in our own production, which resulted in our clips/pictures being all different sizes.
Furthermore, a second of black is needed at both the beginning and end of each individual clip, to prevent rolling into the next sequence and it also allows the DVD operator to pause the track before being instructed to play it by the Director.
All inserts which appear on the DVD should be the same screen ratio (16:9). We failed to do this in our own production, which resulted in our clips/pictures being all different sizes.
Furthermore, a second of black is needed at both the beginning and end of each individual clip, to prevent rolling into the next sequence and it also allows the DVD operator to pause the track before being instructed to play it by the Director.
Directing & Director's Calls.
During pre-production, the Director is in charge of making decisions and organising aspects of the show regarding cameras, lighting, audio coverage, props, scripts and the set itself. During filming, they are in charge of communicating through CANs to the camera operators to position shots that they require, as well as calling to which shot they want to film.
It is also their job to remain calm, and to maintain order amongst the crew not just in the control rooms but to those on set aswell. Director's commands should be accurate, clear, specific, artistic and calm. Examples of such commands are:
"Crab right" - meaning they want a certain camera to move the camera to the right of the subject.
"PED up" - instructing a certain camera operator to adjust the camera height so it is higher.
"Track forwards" - another call given to a camera operator, informing them to move the camera towards the subject.
"Go to an OS/2S shot" - asking the camera operator to change the shot type.
"Floor ready?" - asking the FM to confirm if the crew and talent in the studio are ready to start filming.
"Roll DVD" - instructing the DVD operater to play a certain track.
Overall the Director is the person in charge of the whole production.
It is also their job to remain calm, and to maintain order amongst the crew not just in the control rooms but to those on set aswell. Director's commands should be accurate, clear, specific, artistic and calm. Examples of such commands are:
"Crab right" - meaning they want a certain camera to move the camera to the right of the subject.
"PED up" - instructing a certain camera operator to adjust the camera height so it is higher.
"Track forwards" - another call given to a camera operator, informing them to move the camera towards the subject.
"Go to an OS/2S shot" - asking the camera operator to change the shot type.
"Floor ready?" - asking the FM to confirm if the crew and talent in the studio are ready to start filming.
"Roll DVD" - instructing the DVD operater to play a certain track.
Overall the Director is the person in charge of the whole production.
Programme Rundowns.
A Program Rundown (running order) is very important thing as it is a shorthand version of the full script . The running order states how long each segment, insert and rounds are, as well as the general timings of the show.
This is the first page of our running order;
This is our first cue sheet, which is used to state what insert is on each track, as well as any technical information the director, sound operator, DVD operator will need to know, such as when to stop the VT;
This is our first cue sheet, which is used to state what insert is on each track, as well as any technical information the director, sound operator, DVD operator will need to know, such as when to stop the VT;
Planning Camera Placement & Shots.
Camera 1 - Primarily focusing on 2-shots of subjects A & B. But they may be asked to go into a close up on either subject, or do an OS of subjects D, A & B.
Camera 2 - This is positioned at the back of the studio behind the audience. This will be used to capture MS of the host, 3 shots of subjects A, B & host and 3 shots of subjects C, D and the host.
Camera 3 - Mirroring Camera 1, Camera 3 will be focusing on 2-shots of subjects C & D. But they may be asked to go into a close up on either subject, or do an OS of subjects A, C & D.
Camera 4 - Closely positioned near camera 2, we were lucky enough to have this attached to a Jib-arm. This allowed us to have motion shots, which were mainly wide shots of all of the talent, including the audience in the foreground.
Camera 2 - This is positioned at the back of the studio behind the audience. This will be used to capture MS of the host, 3 shots of subjects A, B & host and 3 shots of subjects C, D and the host.
Camera 3 - Mirroring Camera 1, Camera 3 will be focusing on 2-shots of subjects C & D. But they may be asked to go into a close up on either subject, or do an OS of subjects A, C & D.
Camera 4 - Closely positioned near camera 2, we were lucky enough to have this attached to a Jib-arm. This allowed us to have motion shots, which were mainly wide shots of all of the talent, including the audience in the foreground.
Planning Audio Coverage.
We chose to keep things simple, and gave each individual talent (the 4 contestants and host) a radio microphone. We also had 2 mics suspended from the grid to capture audience sound effects, such as applause and laughter. We felt that this way, the sound operators would have an easier job in keeping each sound level correct, and to not distort or become too loud/quiet.
Talk-backs & Their Use/Protocol.
Talk-backs enable the crew members to keep in contact with the Director. The camera operators, Floor Managers and Sound/DVD operators are equipped with them so that they can give information (any problems, or if they are ready) to the director, or to recieve advice/directions from them.
The talk-backs should only be used when necessary, as it can be stressful and complicated for the Director to hear genuine difficulties if there are people using them for random chatter. The DVD operator should wait until the DVD is fully ready to be played, so that they ensure that the Director can give the cue to cut to the DVD insert when needed. Camera operators should press the talk-back button and then wait for the Director to respond, as they may be in the middle of picking shots/too busy to answer straight away.
The talk-backs should only be used when necessary, as it can be stressful and complicated for the Director to hear genuine difficulties if there are people using them for random chatter. The DVD operator should wait until the DVD is fully ready to be played, so that they ensure that the Director can give the cue to cut to the DVD insert when needed. Camera operators should press the talk-back button and then wait for the Director to respond, as they may be in the middle of picking shots/too busy to answer straight away.
Planning & Designing a Set.
After finally deciding on the name of 'Culture City', we decided that the set should be relevant to this title, and should mainly be a city landscape. As advised that colours such as blues and purples appear best on camera, we chose to use these as our colour palette.
Victoria and Daniel (Art Directors) drew up a plan of what the front of the desk would look like, so it would be easier to paint later on. It was also decided that the top of the desk would be cut into a trapezium shape, rather than a semi-circle, to create a more angular effect.
Even though my job was not within Art/Design, I still helped with the painting of the set.
Stuart came up with the logo idea, which was a cross-word like grid with the show's title within it; we thought this was very effective.
Once we started proper rehearsals, we discovered that the middle back board looked very plain on camera, and due to our logo only being on the desk front, it was not on screen enough. Therefore, a bigger logo was put onto this board.
Planning & Lighting the Set.
Firstly, we placed our set into the studio and had 5 people sit in to represent our potential host and 4 guests. From this we decided that it was best to light the set using a method called 3 point lighting.
This is where a key light is aimed (a powerful spot/tungsten light) at the subject, causing a shadow down one side of them. Fill light (cool lights) is then used to light the side which is in shadow. Furthermore, a back light (tungsten light) is positioned behind the subject, which brings them out from the background.
This is where a key light is aimed (a powerful spot/tungsten light) at the subject, causing a shadow down one side of them. Fill light (cool lights) is then used to light the side which is in shadow. Furthermore, a back light (tungsten light) is positioned behind the subject, which brings them out from the background.
Scripts & Calls.
The script is one of, if not the most important thing for the quiz show as it contains technical information for the Director and DVD operators to look at, as well as the dialogue of the host. It also has information regarding the length of any vision and audio inserts for the Sound & DVD operators, and for the assistant director to keep track of on behalf of the director. The script also mentions which opening camera shots will be used, as well as listing a general idea of other shots the director is looking for throughout rest of of show.
It is also important that the layout of the script is any vision information is on the left hand side of the page, and any audio on the left. This makes it easier for the various crew who use the script to see their relevant cues/needed information.
Below is the first page of our script;
It is also important that the layout of the script is any vision information is on the left hand side of the page, and any audio on the left. This makes it easier for the various crew who use the script to see their relevant cues/needed information.
Below is the first page of our script;
Rehersal & Recording Practice.
Prior actually recording our live show, we had a few run-through's of the show so we got used to both our roles and the script. This also enabled us to fix any errors/problems we had with the set, our script/questions, and the buzzers we were adamant of having.
During these rehearsals we discovered that our script had some flaws which needed to be resolved in order for our show to work. Luckily this was discovered before the live recording and therefore gave members of the class time to adjust it.
Having rehearsals also allowed us to get used to the feeling of working as a crew, which helped boost our confidence and therefore, abilities.
During these rehearsals we discovered that our script had some flaws which needed to be resolved in order for our show to work. Luckily this was discovered before the live recording and therefore gave members of the class time to adjust it.
Having rehearsals also allowed us to get used to the feeling of working as a crew, which helped boost our confidence and therefore, abilities.
Technical Rehersals.
One of the main technical problems we found during rehearsals was that all of the inserts/titles/stings on the DVD did not have the same aspect ratios, however due to time, we could not make a new DVD roll, so we just had to make do with what we had.
We also discovered how easy it was for the sound levels of the microphones to be affected, so we decided that when we finally got the talent in, we would remind them not to overly change the volume of their voice as well as not touching/moving the microphones once placed on them.
We also discovered how easy it was for the sound levels of the microphones to be affected, so we decided that when we finally got the talent in, we would remind them not to overly change the volume of their voice as well as not touching/moving the microphones once placed on them.
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