Signal Flow

• Video
• Audio

Audio
The signal flow in audio starts with the microphone

It is then transmitted through a wire call a XLR or is also called a cannon plug. These wires are very resistant to electrical interference but not completely.

The XLR then moves into the STOB box which will then connect to the audio room.

The STOB box connects to the rack which is in the audio room.

Then finally from the rack to the audio mixer this is it penultimate destination, at the audio mixer the sound can be changed slightly.


Each microphone has a channel and each has a fader on the audio desk

The microphone signals are very weak and so will be amplified along the way to the audio room.

Line signals are a much stronger as they are directly fended into the audio mixer, usually on a line signal is a CD player or a MP3 player.

You should use the audio mixer to get the right balance mix.

The output amplifier is the overall master volume, this is on the audio mixer which is usually situated on the right hand side of the mixer and is a yellow slider.

The audio mixer has 2 outputs one of which is programme out, as you can imagine this is a very important one as it is what people hear at home. the second output is the speaker output which is directed to the vision room next door. This will be the directors listening point so he can say if he doesn't like.

The most important thing in the audio room is the VU meter as this tells you how weak or strong you signal is. This again is on the audio mixer it is the meter on the right hand side. The optimum sound level on the VU meter is 0 decibels however you want to aim for in-between +9 and -12 decibels as if you have it to low then no one will able hear it and if to loud then will be distortion.

Video (Pictures)
The signal first of all starts with the camera which captures the images. Once it has captured them it will send them through to the converter which will change the images into something the vision mixer will understand.

Once the converter has had them it will send them through to the STOB box. The STOB box will send them through into the rack.

The rack will finally send them through to the vision mixer.

The vision mixer has 5 inputs (sometimes more), there is 4 cameras and a DVD player.

There are colour bars which help to calibrate the colours of the screen.

There is only 1 output of the vision desk and that is programme out or programme line or even final mix.

One of the most important aspects is the black. This is the default colour and so when you fade into something the colour will be black.

Camera walks through
Video converter- converts it into something that the vision mixer will understand.

The camera is mounted on a Pan and tilt head which allows it to smoothly tilt and pan.

The pan and tilt head is mounted on the PED which is on wheels which allows the camera to move smoothly and easily.

When starting to record make sure the entire pan and tilt lock are off.

The camera has some cables which go down the side of the camera these should always be in line with the camera so make sure they don't get twisted.

Camera Movement
Tracking is moving away or forward to the subject
Crabbing is moving sideways.
ped is moving up and down.

Setting up a Show
Rig the lights
Set the set
Tweak the light levels (point)
Rig audio
Dress Set (water, etc)
Look at shots
Check microphones
Crew in
Crew on Cans communication (cans are communication between the crew)
Director will tell the crew what shots he wants
Real guests in
Final checks
Final checks of shot
Stop/Start rehearsal
Recording

Camera Shots & Moves

Long shot (LS). Shot which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings. Extreme Long Shot (ELS) - see establishing shot: In this type of shot the camera is at its furthest distance from the subject, emphasising the background. Medium Long Shot (MLS): In the case of a standing actor, the lower frame line cuts off his feet and ankles. Some documentaries with social themes favour keeping people in the longer shots, keeping social circumstances rather than the individual as the focus of attention. 

Establishing shot. Opening shot or sequence, frequently an exterior 'General View' as an Extreme Long Shot (ELS). Used to set the scene.

Medium shots. Medium Shot or Mid-Shot (MS). In such a shot the subject or actor and its setting occupy roughly equal areas in the frame. In the case of the standing actor, the lower frame passes through the waist. There is space for hand gestures to be seen. Medium Close Shot (MCS): The setting can still be seen. The lower frame line passes through the chest of the actor. Medium shots are frequently used for the tight presentation of two actors (the two shot), or with dexterity three (the three shot).

Close-up (CU). A picture which shows a fairly small part of the scene, such as a character's face, in great detail so that it fills the screen. It abstracts the subject from a context. MCU (Medium Close-Up): head and shoulders. BCU (Big Close-Up): forehead to chin. Close-ups focus attention on a person's feelings or reactions, and are sometimes used in interviews to show people in a state of emotional excitement, grief or joy. In interviews, the use of BCUs may emphasise the interviewee's tension and suggest lying or guilt. BCUs are rarely used for important public figures; MCUs are preferred, the camera providing a sense of distance. Note that in western cultures the space within about 24 inches (60 cm) is generally felt to be private space, and BCUs may be invasive.

Angle of shot. The direction and height from which the camera takes the scene. The convention is that in 'factual' programmes subjects should be shot from eye-level only. In a high angle the camera looks down at a character, making the viewer feel more powerful than him or her, or suggesting an air of detachment. A low angle shot places camera below the character, exaggerating his or her importance. An overhead shot is one made from a position directly above the action.

Viewpoint. The apparent distance and angle from which the camera views and records the subject. Not to be confused with point-of-view shots or subjective camera shots.

Point-of-view shot (POV). A shot made from a camera position close to the line of sight of a performer who is to be watching the action shown in the point-of-view shot.

Two-shot. A shot of two people together.

Selective focus. Rendering only part of the action field in sharp focus through the use of a shallow depth of field. A shift of focus from foreground to background or vice versa is called rack focus.

Soft focus. An effect in which the sharpness of an image, or part of it, is reduced by the use of an optical device.

Wide-angle shot. A shot of a broad field of action taken with a wide-angle lens.

Tilted shot. When the camera is tilted on its axis so that normally vertical lines appear slanted to the left or right, ordinary expectations are frustrated. Such shots are often used in mystery and suspense films to create a sense of unease in the viewer.

Studio Equipment

Studio Terminal Outlet Box ( S.T.O.B)- This is where all the camera, microphones and aditional lighting or sound devices can be connected too. It supplies power to everything that connected to it.

Microphones- they are used to pick up any sound in studio thats needed for the show.

Camera- There are four cameras which are on PEDS which can be moved around, it's the cameras that pick up any vision needed for the show.

Cool Lights (florescent tubes) and Tungstun Lights (spot lights)- They light the studio and any backgrounds as well as light the guests and host.

Dimmer Pack- Where the lights are connented too, its function is to generate the high amounts of power the lights need to operate.

DVD Player- Used to play any inserts needed for the show.

Lighting Desk- Controls the light intensity and chooses which lights to use via the dimmer pack

Sound Desk- Controls the sound level in the studio and prevents distortion from load sounds or voices.

Vision Mixing Desk- Controls which camera feed to use so that the director and the vision mixer can see all the shots being made by every camera.

Crew Roles & Responsibilities

These are the crew roles we used during our live TV Production:

Director
Views the action on the studio floor through a bank of screens, each one linked to one of the studio cameras, while issuing instructions down to the Floor Manager. They also control the Gallery area, calling for sound rolls, on-screen graphics and video rolls (VT's). Some directors also work more closely with on-camera talent and others also act as both producer and director.

Assistant Director
Assumes a prompting role in the Gallery or Control Room. They are responsible for communication with the broadcasting channel during a live show, counting down the time before transmission aloud to the crew via the studio microphone. They also count down time remaining for sections of a programme, such as an interview or an advert break.

Vision Mixer or Switcher
Responsible for the actual switching between different video sources, such as camera shots and video inserts.

Floor Manager
The Floor Manager is the Director's representative on the studio floor, and is responsible for giving instruction and direction to crew, cast and guests. The Floor Manager is always in direct contact with the Director via talkback in the gallery.

Assistant Floor Manager
Helps the FM to carry out the Directors instructions.

DVD Operator
Cues and prepares video inserts into a program and is responsible for controlling the video console to regulate transmission of television scenes, including test patterns and filmed and live telecasts to the Directors needs.

Camera Operator
Uses the camera as coached by the director. They are accountable for maintaining the required action is correctly filmed in the frame, and needs to react instinctively as the proceedings take place. Is in constant contact with the Director.

Camera Assistants
Holds the cabling and helps the Cam Ops to move smoothly.

Sound Editor
Responsible for micing talent, checking sound levels are consistent and operating insert sound mixing.

Sound Assistant
Assists the Sound Editor.

Multi-Cam Production Terms

• PED- this call is yet again made by the direct, this mean they want the camera operator to move the shot either up or down, for example: PED DOWN (move the came down)

• Tracking- this call is made from the director to a camera operator, this means to either zoom or out upon a object, host or contestants for example, zooming out upon a object (tracking out)

• Crab- this call is made by the director to the camera operators, instructing them to move either left or right for example, crab right (move right)

• Floor ready means everyone is ready amongst the studio floor so the director knows when to start the show; this call is made upon the floor manager.

• DVD Ready-DVD Operator has set up the DVD player ready to transcend to the next VT insert, the DVD operator will make the call to the director so they knows that the next insert is ready to be played when needed.

Planning of Audio Coverage

The guests will to be all connected to wireless radio microphones which the sound operators would be able to control the dynamics and gains. We also want to connect a radio upon the host, as well of having 2 microphones suspended off the grid to pick up audience applause. The camera operators will all be on headsets that are already connected up to the cameras. The floor manager will be amped with a wireless radio headset so they have the freedom to move and still give out instructions from the director to the host and talent.

Planning Camera Placement & Shots

During pre-production, I discussed with Pete on how the cameras will work upon the set capturing every angle possible that we needed to shoot. We will have both camera 1 and 3 practically doing the same thing, getting two shots, over the shoulder shots, clean medium close up and also individual single shots of every guest, camera 4 will be using the jib arm to create a variety of interesting in-depth angles and wide shots, camera 2 however, will be looking for medium close ups of the host and 3-person shot containing the host and either contestants A, B or C, D. All cameras have the option of moving the pedestal, tracking in out if need within the shot or crabbing left or right.