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.

 

Rehearsal & Recording Practice

Before we recorded the quiz show, we went through a few rehearsal runs, within these rehearsals we all took in turns of being the talent amongst the studio set, it was vital to do these rehearsals to find out if we had any technical problems or errors amongst our questions for example the difficulty of each round or if it was possible to interlink buzzers within the quiz show. Recording practice allowed us to tighten together as a group, we showed real professionalism and it gave us that extra boost knowing that every aspect of the show would work.

Techical Rehearsals

From these technical rehearsals, we discover that our buzzers sounded rather similar and we had to find a replacement, we agreed to instead of having a dog toy that made a distinctive squeaky noise to replace it with a bell so there would be two different sounding items. Another problem we picked up upon was that our VT inserts were not in the correct place on the idea and this meant we had to go through re-processing out script and running order, however we also found during our technical rehearsals help us achieve and improve all our skills at framing and changing to different camera shots, it also help us get a feel in sound dynamics to get them at the correct level and to make sure that what time to cut the VT inserts back to the studio which improved our overall performance we did in the live shoot.

Floor Plans & Camera Placements & Shots

Directing & Director's Calls

The role of a director for multi-cam productions includes being responsible for watching over the cameras, lighting, microphones, props and any other mise en scene during shooting, the director controls the positioning of cameras within the studio space calling in which shot to use during filming, it is also the directors responsibility to maintain order amongst the staff in the control room, on the set and elsewhere within the department.  The director is the paintbrush to a blank canvas, they paint a vision, the director's commands must be artistic,  distinct and moderate. While talking to camera operators, the director might ask them to perform a action for example: a crab, a PED or tracking.

• Crab - move their camera either left or right, e.g. crab left (move left)

• PED - move the shot either up or down e.g. PED UP (move the camera up)

• Tracking - to either move towards the guests/ host or object or move away from them e.g. tracking in (move towards them)

• Floor Ready - (Asked to FM) to confirm that floor is ready for shooting within the studio.

DVD Operation & Insert Requirements

The DVD is one of the most important elements which is needed in show as it contains all VT inserts, stings, opening titles and credits, With the processing of the DVD there are certain requirements which are needed:

When recording VT inserts or Stings that all of the settings are the same so the screen aspect ratio does not differ from clip to clip, this is something we failed upon during the live show and ended up having different ratio sizes within various VT clips.

When placing the VT clips onto disk, you must check there is a short space gap of at least 5 seconds in between each visual, the first being 1 second of black so it doesn't cut straight into the next sequence. The second will be 5 second slot of VT roll, this is the count of what VT this is and what it is, and its also an efficient way of getting to track quickly when in a need of urgency. The final aspect which is required is to place a further 1 second of black, this is where the DVD must be paused so the director can call roll DV and that is when the DVD can play and to get ready to start the next upcoming VT.

Studio Protocol and Practice

IN THE STUDIO, THERE ARE STRICT PROTOCOL THAT MUST BE FOLLOWED:

• No running in the studio because the cameras have long cables that trail along the floor and could become a hazard within the studio.

• No food and drink in the studio because they could spill and this in turn could irritate the cameras and microphones and could cause a risk of electrocution. 

• No messing about on the (cans) headsets, only talk if its vital during your role, don't use the cans for general conversation as they are each connected up with each other on the same radio wavelength and this wavelength is important for the director and floor manager to give critical instructions upon set, it would be much more difficult to be able to communicate with banter happening within the background.

• Only allow people in the studio who are needed as a part of production as there is a limitation in floor space and it is better to only have the original people in the studio during the production.

• Wear the correct shoe wear, wearing any boots or hard sole shoes could prevent risk. If you accidentally stood on a cable, there could be a possibility of damaging it, wearing this shoe wear could also mark the studio floor, in all justification it is better to wear soft sole shoes such as trainers as there would be less of a potential risk of breaking cables and they would not mark the studio floor.

Programme Rundowns

A Program Rundown is vital as it is basically a simplified version of the script. The script is also a key aspect as it has final written version of the show. The script should contain all of the questions which the host will ask the contestants, it should also contain all of the answers as well to the questions.

The layout to the script is that it should always have video to the right and audio to the left, this is a quick and easy way to lay things out for the director and the crew to see. This is useful as it shows the sound desk what dynamic levels need to be changed.

One of the most important things on the script is the VT's slots. This is a vital element on the script as it shows the DVD operators when to play each VT. When writing the script, the director can make any critical notes to make it easier for people to understand and to follow.

Talk Backs and Use

Talk backs are used by the camera crew and DVD and sound operators. The DVD operator uses the talk backs to inform the director that the inserts are ready to be played fromthe DVD, once the drector is ready, Sound Operators will use talk backs to inform the director that audio is ready and to perform mic checks amongst the host and contestants.

The camera operators use the talk backs to report any technical problems or to maybe hint a suggestion of a potential shot to the director. No one should use the talk back only if it really needed as the director needs to be able to call out shows to each of the camera operators, the DVD operator should wait on the director's behalf until he has finished camera checks before saying DVD ready to allow the director some time to think and ensure that they cut to DVD ready only when it's been said by the operator.

Camera Operators should press the talk back button and then wait for the director to talk to them as the director might be in the middle in deciding shots and maybe to busy to answer the camera operator, it's just more professional and a polite gesture if you allow the director to talk first.

Planning and Designing a Set

We as a group were very uncertain on what aspects we wanted within a set design, as a art director, I got together with a couple of others and we personified on what we all wanted, I then brought up a final idea of doing a city-scape that echoes with the name of the show ''culture city''. I didn't want something that was completely intoxicated with media topics, the cityscape works well and the theme leaked through all are other digital visuals such as stings and the introduction.

I got together with another art director Vic and we began brainstorming our ideas for city scapes, we finally came up with a skeletal stucture of the set from this final design idea, we then started to get together on what colours we were going to use and how the set was going to be lit.

The set was formed from 5 flats which stood behind our table, on the front of the table, we keep it detailed as this was one of the main visual points upon camera, during rehearshals, I thought there was something missing upon our set design, on the middle flat, I decided to paint in a logo so it would be in shot with the host and amongst wide shots of the set.

When constructing a set for us on TV, the colour was the most important highlight to think about. Different colours are associated with different reactions and feelings upon the audience, such as red being incorporated with danger and passion, while blue softens up the screen as well as the giving the illusion of more space amongst the studio space, the last point was one we thought about when designing, we decided to use greys, purples, blues and blacks. We also added additional primary colours in the form of bright yellow and orange to represent the lights from the buildings, however we only did this on two boards to create depth within our set.

Planning and Lighting a Set

We went about planning the lighting by placing the set in the studio, using five people around it to represent the host and our four quests, we found out the best possible way to light the set and our talent and host was to use 3 point lighting.

3 point lighting is when you have a key light that to tends to be a powerful spot light also known as a tungsten light that is aimed at the subject, which creates a foreground shadow down one side to counter this you will have fill light the other side of the person by using cool lights. After you lit the subject, place tungsten light behind the subject to bring them out from the background just in case the person comprehends or mixes into the set, this sometimes creates a halo effect on the top of their heads if the subject is person, however this fine because it brings them out from the surroundings which looks better when viewed upon camera.

Pre Production Roles and Group Round (COVERED IN EVALUATION)

Here are the notes we generated as a group on potential questions for the film round.

In our own groups, we have 4 roles, one of which is content producer who overall manages or in other words in charge of the round, Post-Production producer (who is in charge of the VT's and any other digital compilations. There is also the technical producer who makes sure that things are possible, and finally the art director who is in charge of the appearance of the set and the overall layout on how it will appear upon camera.

For pre-production, I took on the role of Art Director and as such it was my job to design a set and to make sure the overall appearance would work upon camera, keeping a keen eye on certain colours we used upon set, as this could contradict with the theme of our show. In the end we all decided to pick the roles ourselves, Stuart was Round Producer, and Lauren worked within post production and Andy in Technical, we helped each other out with various tasks, this worked well as we all got on as a group and came up with similar ideas.

During per-production, I drew up some potential ideas for the set, we looked at past examples on what had been done and try to improve upon this, the design replicated around the set table that was trapezium shaped containing the host at the top and two sets of talent either side.

I then discussed with Peter on how the set was going to be placed and other items that were vital amongst the studio floor, such as floor monitors and placement of pedestal cameras. After our research was gathered we could then get started on painting the set, I wanted to stick with dark colours as it went well with our theme of being a night city scape and wouldn't interrupt with contrast amongst the cameras. After the flats were painted we then started to construct.

Our entire pre-production process went swimmingly and it helped a lot that we worked together so well as a team. I wasn't really keeping myself on a one railway track, I went off the edges to help other people in roles such as sorting out some of the content within our film round, creating the music and audio stings within the show and helping to get the running order together. As a group, we all stretched out a arm and a leg to get problems dealt with. I loved my role, I haven't really done art since GCSE in year 11, it was good to regenerate some artistic flair again, it was a large project and with the anticipation of people helping to paint flats, we got it done a lot more efficiently.

Scripts & Calls

The script is the most important thing for the quiz show; the script will contain technical information for the director and DVD operators to look at, as well as other aspects such as the dialogue coming from the host and any information about visual and audio insert lengths for the sound and DVD operators and as for the assistant director to keep track half on the behalf of the director. The script will also to display some urgent actions that need to be called out from the assistant floor manager who will be in control of the audience, for example cue applause, it is there job to get the applause going with the studio audience to give the show a live, warm atmosphere. The script also mentions which camera shots will be used for the opening of the show, as well as listing all the AD LIB shots the director is looking for in the rest of the duration of the show.