TV Broadcast Four Stage of Television Production 1

TV Broadcast

Four Stage of Television Production (1) Preproduction (2) Setup & Rehearsal (3) Production (4) Postproduction

Preproduction • A very essential stage for a successful show • Research and concept development • Script • Initial meeting of key members

Set Up and Rehearsal • Setup for studio and control room • Rehearsal • Out of studio and in-studio rehearsal • Monitoring and revision of script • Dress rehearsal

Production • Live • The final phase of the production • News program, sports coverage • Videotaping for Editing • Taping in segments for later editing • Drama, advertising & PSA • Striking the Set • Equipment and set is usually removed and the studio or location returned to its original condition

Post Production • Creative control • Selection of shots • Juxtaposition • Special effects and graphics • Computer technology: Non-linear editing • Audio • Enhancement and modification or addition

TV Studio Positions

Studio Positions • Depending on the type of project and budget, positions may change a little… or drastically. • It’s not uncommon for the Director of Photography (DP)/Cinematographer to also serve as a camera operator and lighting director. This is not the ideal situation, because of the additional responsibilities placed on smaller crews, but this often becomes reality with budget constraints. • When the budget allows for a bigger crew, productions tend to run smoother and faster – creating a better end product.

Director • The director is typically the most involved person on and off set. They assist with assembling the right crew to get the job done. They make adjustments to the script to keep the video on budget and on time. They oversee all parts of the production. Questions get funneled up to them. • When dealing with talent, the director should be the only one directing them. They oversee technical details as well, such as camera position, use of lighting and anything that effects the final product.

Director (con’d) • Directing live television can be either a great adrenaline kick or a major frustration--the key is your organization and communication. • The first rule of communication for live TV is be precise and concise. But first you'll have to master the lingo that directors use. Be warned that the lingo can and will change from market (city) to market, station to station. But one thing is fairly consistent. Always give a ready cue before giving the cue to execute the command. This allows your crew to prepare to do what you want them to do, and then when you call for the command to be executed, the crew can respond immediately.

Director (con’d) • For example: • Ready Cam 1. . . Take Cam 1 • Ready to Roll VT. . . Roll VT • Ready to Cue Host. . . Cue Host • Ready with Name Super. . . Name In, Name Out, etc. • And finally, learn to watch your monitors. You can see a lot about what's going on in the studio and VT room simply by looking at your monitors. Often you can see a problem before it gets to air and still have time to do something to correct it.

Assistant Director (AD) • The AD is mainly responsible for scheduling on set. He wrangles talent, keeps the crew on time, and assists the director and producer. In some cases, the 1 st AD also checks off the shot list, assuring lines are read as intended and the correct props are in the proper place, as well as the smooth operation of the control room. For LIVE TELEVISION, the AD is the crew member responsible for informing the crew of time used and time remaining. • The AD begins by counting the crew into the show, i. e. announcing the time remaining to air. This may begin as early as 30 minutes before airtime, depending on the complexity of the show, and continues right up until the 10 second countdown.

Assistant Director (AD) (con’d) • Once into the program the AD continues to give time cues over the intercom for the benefit of the Director and FD. These time cues should announce the number of whole minutes remaining, down to the last minute, and then every 15 seconds, with the final 10 second counted down to black. Be sure to give time cues with enough vocal authority to be heard over the normal din of control room chatter. • In addition to time remaining in program, the AD may be requested to time individual segments such as VT clips and commercial breaks. For this reason it is sometimes necessary to have a stopwatch in addition to the master countdown clock. That way the stopwatch can be used to time individual segments while the master count-down clock can remain dedicated to showing the time remaining in the program.

Floor Director • Report to the Producer/Director for instructions regarding the set and set dressing. With the help of floor assistants, set-up and dress the set as instructed. Make certain that you introduce yourself to the talent and call them by name when addressing them. Review the hand signals that you will be using with the talent. Make sure that talent is comfortable and understands what is going on. Via headset, listen for the voice of the director and respond quickly to his/her directions. • As floor director, you are the most important crew member in the studio and you must understand the production nearly as well as the director. Be careful to delegate set-up responsibilities to your assistants and make sure that the talent is as comfortable and relaxed as possible. If there is a break in the taping, all of the crew on headsets will know what is going on, but you must remember to let the talent know what is going on.

Director of Photography (DP) Cinematographer • A DP and cinematographer are usually the same. Some insist that the cinematographer title only gets used when the DP is also the camera operator. Either way, the DP is in charge of the lighting as well as the camera. In some cases they work along side the lighting director At 522, we tend to let the DP and lighting director work side by side to achieve the desired results. • The DP is responsible for getting the exact look the director envisions. He’s in charge of assembling the proper equipment to get the job done. This includes camera, rigs, lenses, filters, lights etc

Digital Imaging Technician (DIT) • A DIT is trained with the specific camera that is on set. They know how to manipulate color profiles to help execute the specific look needed. Often a DIT manages the media – and are also responsible for backing up cards. For most of our shoots, the DP/cinematographer serve as the DIT.

Camera Operator • The camera operator operates the camera. • After choices have been made on color profile, exposure, and gear, the DP directs the operator with the specific framing and movements are needed. • Next two slides are important for camera ops.

Technical Director Operates the switcher (Tricaster). During the run through, the TD will switch while taking direction. During rehearsals, they follow the director's requests while seated next to him/her in the control room. In addition to knowing the switcher, it is important the TD know the monitor layout and preview shots and/or effects before taking them on-line. If there is a technical or aesthetic problem with a shot, video source or effect, bring it to the director's attention before switching to it on-line.

Shot Composition Rule of thirds Head room / eye line / cut off lines Look space / lead room / nose room Symmetrical / asymmetrical Depth of field Foreground / background

Shot Composition WS / MS / CU. . . ECU, MCU, etc. 1 -shot, 2 -shot, etc. OTS, O/S Eye level, high angle, low level, high level POV: objective, subjective, presentational

First Assistant Camera (1 st AC) • The 1 st AC is primarily responsible for pulling focus. • Along with pulling focus, the 1 st AC is responsible for having batteries charged, media ready and even holding on to the camera between takes to give the DP or camera operator a break.

Lighting Director • The LD (or sometimes gaffer) is responsible for coordinating the necessary lights needed in order to carry out the look of the film decided by the director and DP. • They work directly with the director and DP to make sure the lights achieve the correct look. The LD uses a key grip, gaffers and even production assistants to place lights and rig anything needed to complete the look.

Gaffer • A gaffer is the head electrician – the person on set responsible for executing the lighting plan for a production. • They work closely with the Lighting Director and/or Director of Photography to make sure that the light hitting the subject or dressing the set is optimized.

Key Grip • The key grip rigs whatever is needed to get the lights in the proper place. They also set up flags, diffusion, etc. • They also need to be aware of the scene’s blocking to make sure the gear doesn’t get in the way.

Audio Engineer • The audio technician deals directly with the director and DP. They record audio as well as monitor and adjust levels. They often use a PA to help rig the audio. • Responsible for mic’ing talent. . Be sure that microphones and cables are hidden. When assisting a member of the opposite sex with a lavaliere microphone, be careful to protect his/her privacy. The talent may want to step into the green room or backstage to run the cable under their clothing. Make sure that mic batteries are inserted properly and that switches are set to on. • Test mics to make sure that they are working properly. The floor director will assist with sound check by having each talent speak in turn. Be sure that they are speaking at a level representative of their real performance

CG Operator As the CG (character generator) operator it is important to pay attention to detail and accuracy. If graphic pages are stored to disk, review them for content and accuracy. While composing or correcting pages, make sure that spelling, drop-shadow, and other details are correct. Review all pages and note position in script. Review credits for accuracy or last minute changes/additions. Coordinate with TD to review pages while keyed over video to ensure proper key settings (clip) on switcher.

Production Assistant • This is the entry level position – it’s where most everyone starts out. • The PA is more or less the assistant to everyone on set. They might grab gear, get lunch, take notes or do whatever else needs to be done. In some instances the PA may have the chance to help with the camera or lighting department. Although they are at the bottom of the food chain, a good PA is a must to keep things on schedule and maintain steam throughout the day.