Saturday 6 February 2010
Roles performed on Live TV shoot
Originally I had put my name forward for the roles of Vision Mixer, Audio Op, Floor Manager and Camera Op. However, in the final filming of the show I was a Cable Basher/Camera Assist in the first half and a pole Camera Op in the second half.
After spending most of the time on cameras in the rehersal, after finding it very enjoyable, I was happy with the role I'd been given. I would of like to have had a go at Directing but due to time restrictions it wasn't possible.
Overall I enjoyed being part of the team on the live shoot and found my role both challenging and rewarding.
After spending most of the time on cameras in the rehersal, after finding it very enjoyable, I was happy with the role I'd been given. I would of like to have had a go at Directing but due to time restrictions it wasn't possible.
Overall I enjoyed being part of the team on the live shoot and found my role both challenging and rewarding.
Pre-production evidence and Planning role
For the pre-production side of the project I worked with Lauren, Stu and Dan to create the Film round of the show. We each assigned ourselves one of four roles. Stu was the Round Producer, Lauren was Technical, Dan was Art designer and I was the Post Production producer. Even though we had assigned these roles to ourselves we each worked together on the various parts of the project, finding that we could each lend a hand in every area of work we had to do. This, I thought, worked out well as we each got on well together and were able to help each other out if need be.
As Post Production producer I was mainly tasked with the production and planning of the VT inserts for the Film round. However, this eventually stemed into me planning and producing the entire set of VTs for each of the 5 rounds, as well as the openning and closing title VTs.
As well as that, I helped to produce the questions for the film round, working with both Lauren and Stu to create a good blance of hard, but interesting questions for the contestants to answer. To begin with we produced a number of different question ideas and then picked the three best of the bunch.
The first round of questions we chose to run with was a Credit Roll round. For this round we chose 5 cast and crew members from both Jurassic Park and Lord of the Rings and had them scrolling upwards in the style of movie credits.
The second round involved Stu and Lauren going out and filming someone describing 2 different films. The video was filmed on a DV cam which failed to get a good quality of sound due to the Camera's built in microphone being unshielded from background noise. This was unfortunate but did not detract too much from the quality of the final cut however, but I would of liked to of gone back and compiled a clip which was filmed properly with better equipment and location but due to time and resource restrictions it was impossible at the time.
The final question for our section was a movie poster in which we had blanked out the main subject of the poster as well as any crew names and movie titles. For this we used the 'Knocked Up' poster and decided to keep the tag line visible to make it slightly easier for the contestants.
Altogether I think that the pre-production aspects went well as everyone pulled their weight and contributed something to the group, as well as working cooperatively with everyone within the group itself.
Once we had put together the questions I took it upon myself to produce the openning titles and VT inserts. With help from Gemma and Stu I proposed the idea of creating a mock up of a student dorm's kitchen table. On the table would be various items related to media and students such as mobile phones, wallets, cinema tickets, books, cameras, Dvds and so on. We easily created this inside the lecture theatre using a table, some fabric and the various items we needed to dress the table.
After we had finished placing the items I filmed one 2 minute insert using a bird's eye view shot 'travelling' around the table, displaying the various items that were on it. This was used to create our openning and closing titles. Afterwards I filmed five 30 second inserts in which I used the same bird's eye view shot but I started from different corners of the table and finally ended on a blank bit of fabric which was used as the background for the text used to signal the new rounds.
Overall I think that I contributed to every aspect of the project, from set and logo design to round inserts and the overall script. Personally I wouldn't change anything about the set up of the planning stage as I think we all worked well in our small groups but eventually branched off and the entire group all pitched in and helped each other in their own way.
As Post Production producer I was mainly tasked with the production and planning of the VT inserts for the Film round. However, this eventually stemed into me planning and producing the entire set of VTs for each of the 5 rounds, as well as the openning and closing title VTs.
As well as that, I helped to produce the questions for the film round, working with both Lauren and Stu to create a good blance of hard, but interesting questions for the contestants to answer. To begin with we produced a number of different question ideas and then picked the three best of the bunch.
The first round of questions we chose to run with was a Credit Roll round. For this round we chose 5 cast and crew members from both Jurassic Park and Lord of the Rings and had them scrolling upwards in the style of movie credits.
The second round involved Stu and Lauren going out and filming someone describing 2 different films. The video was filmed on a DV cam which failed to get a good quality of sound due to the Camera's built in microphone being unshielded from background noise. This was unfortunate but did not detract too much from the quality of the final cut however, but I would of liked to of gone back and compiled a clip which was filmed properly with better equipment and location but due to time and resource restrictions it was impossible at the time.
The final question for our section was a movie poster in which we had blanked out the main subject of the poster as well as any crew names and movie titles. For this we used the 'Knocked Up' poster and decided to keep the tag line visible to make it slightly easier for the contestants.
Altogether I think that the pre-production aspects went well as everyone pulled their weight and contributed something to the group, as well as working cooperatively with everyone within the group itself.
Once we had put together the questions I took it upon myself to produce the openning titles and VT inserts. With help from Gemma and Stu I proposed the idea of creating a mock up of a student dorm's kitchen table. On the table would be various items related to media and students such as mobile phones, wallets, cinema tickets, books, cameras, Dvds and so on. We easily created this inside the lecture theatre using a table, some fabric and the various items we needed to dress the table.
After we had finished placing the items I filmed one 2 minute insert using a bird's eye view shot 'travelling' around the table, displaying the various items that were on it. This was used to create our openning and closing titles. Afterwards I filmed five 30 second inserts in which I used the same bird's eye view shot but I started from different corners of the table and finally ended on a blank bit of fabric which was used as the background for the text used to signal the new rounds.
Overall I think that I contributed to every aspect of the project, from set and logo design to round inserts and the overall script. Personally I wouldn't change anything about the set up of the planning stage as I think we all worked well in our small groups but eventually branched off and the entire group all pitched in and helped each other in their own way.
Efficent rehearsal practice
Before we did the final recording of the show we went through some rehearsals in order to get a feel for the thing and to make the final recording as good as possible. For each rehearsal we took it in turns in being guests and using different studio equipment.
These rehearsals were vital in helping us find any technical problems that might occour and to run through our questions and script to find anything that might not work as well as it could.
We found that the rehearsals really helped in helping us find which roles we'd like to do for the final recording and it also enabled us to see just how much of a mess our script was in. In the end, we revised the script and it was alot better that it was before. If it wasn't for the rehearsals we'd be positively stuffed really...
These rehearsals were vital in helping us find any technical problems that might occour and to run through our questions and script to find anything that might not work as well as it could.
We found that the rehearsals really helped in helping us find which roles we'd like to do for the final recording and it also enabled us to see just how much of a mess our script was in. In the end, we revised the script and it was alot better that it was before. If it wasn't for the rehearsals we'd be positively stuffed really...
Planning and lighting the set
First, we arranged our set in the studio into the final positions and brought in volunteers to represent the 4 guests and host who were then seated in the final positions they would be on the day of filming. After playing with different lighting methods we decided on the 3 point lighting method.
Using this method it attempts to eliminate most of the shadows on the talent's features while providing a "halo" like outline to them to help set them appart from the set. To do this we had a Key light (Tungston/spotlight light) aimed at one side of the talent from the right hand side of the studio, bringing out the features on one side while shadowing the other. Next we brought up a Fill light (Cool light) on the other side of the studio and aimed it at the other side of the talent to soften or remove the shadows on the other side of their face. Finally we used a Backlight (Tungston) to provide the "Halo" effect and bring them out from the background from the camera's perspective.
Using this method it attempts to eliminate most of the shadows on the talent's features while providing a "halo" like outline to them to help set them appart from the set. To do this we had a Key light (Tungston/spotlight light) aimed at one side of the talent from the right hand side of the studio, bringing out the features on one side while shadowing the other. Next we brought up a Fill light (Cool light) on the other side of the studio and aimed it at the other side of the talent to soften or remove the shadows on the other side of their face. Finally we used a Backlight (Tungston) to provide the "Halo" effect and bring them out from the background from the camera's perspective.
Planning and designing a set
Above are pictures of our final set and various stages of its production. For the planning of the set we went through a variety of ideas before we decided on our final one. One of the ideas was to paint the flats to look like brick walls and then add graffiti on them to show the theme for each of the rounds such as a football for sport and so on. This was eventually scrapped but other ideas stemed from the initial idea, such as having a city scape behind the birck wall for example.
From the initial idea, however, we came to our final design in which we decided to scrap the brick wall idea because of the colour scemes we'd have to use and insted just use the city scape. Through doing this we provided a theme for the entire show that the art directors and pre-production designers could use in their work. With this theme in mind we created the name "Culture City" due to the quiz being loosely about cultural things and because of the city scape design.
Planning Audio coverage
In order to keep the audio operation both simple and effective we used a total of 7 mics on the studio floor. Each induvidual talent, the contestants and the host, had their own clip on wireless mic. We also had 2 mics suspended from the grid above the audience in order to pick up the audience sound effect, laughter, applause and so on.
Using this setup meant that the sound operators weren't too overstretched when it came to monitering the sound levels and there was less chance for distortion or peaking of the microphone volumes.
Using this setup meant that the sound operators weren't too overstretched when it came to monitering the sound levels and there was less chance for distortion or peaking of the microphone volumes.
Programme Rundowns and Scripts
The programme rundown comprises of the script and timeings sheets. The script is probably the most important aspect because it contains stuff such as the dialoge, actions and sometimes camera movements and cuts to allow the talent to get an idea of what cameras will be operating and when.
The layout for the script lists all audio actions on the right, such as the name and length of sound effects and music while the left list's the video , such as name, length and track number. This is useful for the director and the sound desk because it supplies them with a good idea of run times for each insert.
One of the most important aspects of scripts is the VT timing sheet. This provides an accurate list of every VT insert, the order its shown in, the name, length and track number on the DVD. This provides the DVD op and Director with a way of accurately monitering how long each insert is and where it should fit into the show.
The script also mention which camera shots will be used for opening of the show, as well as listing all the shots the Director may call for during the show. Below are our final scripts.
The layout for the script lists all audio actions on the right, such as the name and length of sound effects and music while the left list's the video , such as name, length and track number. This is useful for the director and the sound desk because it supplies them with a good idea of run times for each insert.
One of the most important aspects of scripts is the VT timing sheet. This provides an accurate list of every VT insert, the order its shown in, the name, length and track number on the DVD. This provides the DVD op and Director with a way of accurately monitering how long each insert is and where it should fit into the show.
The script also mention which camera shots will be used for opening of the show, as well as listing all the shots the Director may call for during the show. Below are our final scripts.
Directing and director's calls
The director is in charge of everything within the studio. He is responsible for the lighting, sound and camera movement/shots within the project while during filming he directs the cameras and the cuts.
As well as having to be calm and cool under presure, due to having to make quick descissions and commands to the crew, the director must maintain order amongst the staff in and around the studio floor.
The directors calls must be clear and accurate so as to avoid any error during filming.
The main crew that the Director speaks to are the Camera ops, for they are the people who create the scenes for the project while the Director just strings them together.
The Director calls are all those which have been mentioned in the Camera movements section but they are mearly adjusted to suit the situation, for example. "Camera 1, PED down, crab left and zoom in on guest A for an MCU"
As well as having to be calm and cool under presure, due to having to make quick descissions and commands to the crew, the director must maintain order amongst the staff in and around the studio floor.
The directors calls must be clear and accurate so as to avoid any error during filming.
The main crew that the Director speaks to are the Camera ops, for they are the people who create the scenes for the project while the Director just strings them together.
The Director calls are all those which have been mentioned in the Camera movements section but they are mearly adjusted to suit the situation, for example. "Camera 1, PED down, crab left and zoom in on guest A for an MCU"
DVD operation and insert requirements
The DVD is the most crucial part of the studio, without it there would be no VT inserts, openning titles, credits, stings, ect. However, the DVD has certain requirements that must be met for it to work perfectly. These include:
Constant screen ratio. This means that each insert should have be of the same height and width so that there is a smooth transaction between the live studio and each VT. We failed on this part and ended up with different sized VTs of varying quality.
You must have at least 7 seconds inbetween each VT. These 7 seconds comprise of a second of black screen, so that the VT will not be cut off if something is wrong with the timings in the studio. Next there is 5 seconds of one frame which shows the name, length and description of the VT so it is easy to distinguish which is which. The final second is made up of just a black screen so that the Director has time to inform the vision mixer when to cut to DVD.
Constant screen ratio. This means that each insert should have be of the same height and width so that there is a smooth transaction between the live studio and each VT. We failed on this part and ended up with different sized VTs of varying quality.
You must have at least 7 seconds inbetween each VT. These 7 seconds comprise of a second of black screen, so that the VT will not be cut off if something is wrong with the timings in the studio. Next there is 5 seconds of one frame which shows the name, length and description of the VT so it is easy to distinguish which is which. The final second is made up of just a black screen so that the Director has time to inform the vision mixer when to cut to DVD.
Camera shots and moves
Wide Shot - Wide shot's are used as an establishing shot to show the viewers the entire studio. This is usually used for the 'safety shot' which is used when no other camera shots are feasable. It is also used in the openning and ending of shows and can show anything from just the whole panel of guests and the host, to the entire studio including audience, guests, host, set and any cameras that may be on the studio floor.
Three Shot - Three shot's are used to show three guests/subjects in MCU format. This could be a panel of three guests, two contestants of the same team and the host or two contestants from opposing teams with the host in the middle of the shot.
Two Shot - Two shot's are used to show two guests/subjects, usually in a MCU format.
Close Up - Usually just a shot of a subject's face or a prop on its own. Can be used to show a subject's reaction to something that has happened or to show the audience a prop.
One Shot/ Mid Shot - Similar to the MCU, a one shot shows only one subject/talent framed in the shot at any time. This is usually used to show the host/presenter or one of the guests.
Medium Close Up - Framed so that the everything from the subject's waist to their head is in shot.
Tracking - Moving the Camera Ped inwards or outwards from the set.
Crab - Moving the Camera Ped Left and Right. Used for framing shots and tracking.
Zoom - To zoom in or out of a shot to provide anything from a wideshot to ECU.
Ped - Pedding is the act of physically changing the height of the Camera.
Pan - Moving the Camera on the Yaw axis, used for panning in which shots are actively changed, usually when switching from one Actor to another.
Tilt - Pitching the camera up or down. Used to gain perspective on shots such as low and high angle shots.
Three Shot - Three shot's are used to show three guests/subjects in MCU format. This could be a panel of three guests, two contestants of the same team and the host or two contestants from opposing teams with the host in the middle of the shot.
Two Shot - Two shot's are used to show two guests/subjects, usually in a MCU format.
Close Up - Usually just a shot of a subject's face or a prop on its own. Can be used to show a subject's reaction to something that has happened or to show the audience a prop.
One Shot/ Mid Shot - Similar to the MCU, a one shot shows only one subject/talent framed in the shot at any time. This is usually used to show the host/presenter or one of the guests.
Medium Close Up - Framed so that the everything from the subject's waist to their head is in shot.
Tracking - Moving the Camera Ped inwards or outwards from the set.
Crab - Moving the Camera Ped Left and Right. Used for framing shots and tracking.
Zoom - To zoom in or out of a shot to provide anything from a wideshot to ECU.
Ped - Pedding is the act of physically changing the height of the Camera.
Pan - Moving the Camera on the Yaw axis, used for panning in which shots are actively changed, usually when switching from one Actor to another.
Tilt - Pitching the camera up or down. Used to gain perspective on shots such as low and high angle shots.
Studio protocol and practice
The studio floor, as well as the control rooms have a strict code which needs to be followed by all involved in the production. These are mainly health and safety reasons but also allow the production to run as well as it possibly can:
- No running in the studio as the cameras have long cables which trail along the floor that can be easily tripped over.
- Food and drink in the studio is usually not allowed unless it directly influences the production, such as water for the talent on various quiz shows. This is usually not allowed due to the risk of spilling the drink and causing damage to the equipment or people around it due to electricution.
- Use of the CAN's is usually restricted to just the Floor Manager on the studio floor while Camera Ops should use them sparingly. Use of CANs is prohibited when the production is rolling so that it does not interfear with the production.
- Only allow people in the studio who are needed as a part of production to prevent over-crowding.
- Soft sole shoes such as trainers should be worn on the studio floor to prevent damage to camera cables and the studio floor itself.
Multi-cam Production terms
"DVD ready" - DVD operator is ready, has the DvD player set to the right insert and is ready to play it on the directors call. (DVD operator to Director.)
"Floor ready" - The Floor Manager has briefed the talent and audience for this take and everyone on the studio floor is ready to begin. (Floor Manager to Director.)
"Sound ready" - The Sound Operators have finished mic checks, adjusted the sound levels correctly and are ready to record.(Sound Operator operator to Director.)
"Cut" - Said by the Director to tell the vision mixer and camera ops which shot he wants to use. (Director to Vision Mixer and Camera Operators.)
"Floor ready" - The Floor Manager has briefed the talent and audience for this take and everyone on the studio floor is ready to begin. (Floor Manager to Director.)
"Sound ready" - The Sound Operators have finished mic checks, adjusted the sound levels correctly and are ready to record.(Sound Operator operator to Director.)
"Cut" - Said by the Director to tell the vision mixer and camera ops which shot he wants to use. (Director to Vision Mixer and Camera Operators.)
Crew Roles and Responsibilities
Misc Roles
Producer: Funds the project and is responsible for hiring the crew and talent.
Studio Roles
Floor manager: The Director's eyes, ears and voice on the studio floor. Is tasked with organising the crew and talent and relaying any messages from the Director to any crew and talent not on CAN's. Is also tasked with queing in the talent and indicating which camera they should be talking to.
Assistant Floor manager: Assists the main Floor manager. Could be used for commanding an audience when to clap/cheer/boo ect.
Talent/Actor: Performs in the project and is the main pressence infront of the camera's.
Camera Op: Operates the various Camera's around the studio. Issued with CAN's to keep in touch with the Director but is usually silent unless there is a serious problem.
Camera Assist/Cable Basher: Assists the main Camera Op by helping to position the camera, holding camera cables, helping with pedding and any technical issues with the camera.
Audio Control Room Roles
Senior Sound Op: Operates the audio mixer to control the sound levels of the various microphones placed around the studio and the sound levels of any external media such as any DVD inserts.
Assistant Sound Op: Assists the Senior Sound Op.
DVD Op: Operates the DVD to que in any VT inserts and other external media.
Vision Control Room Roles
Director: Envisions how the project will look on camera, directs, establishes and organises camera shots and the order in which they will appear. Is incharge of the whole studio crew and talent. Is God.
Assistant Director: Assists the main Director by queing in any visual inserts as well as keeping timing for the inserts.
Vision Mixer: Operates the Vision mixing panel used to switch between which cameras and external media will be recorded and broadcast.
Lighting Controler: Controls lighting elements within the studio.
Camera Control Unit Op: Responsible for Camera settings such as contrast, exposure and so on.
Producer: Funds the project and is responsible for hiring the crew and talent.
Studio Roles
Floor manager: The Director's eyes, ears and voice on the studio floor. Is tasked with organising the crew and talent and relaying any messages from the Director to any crew and talent not on CAN's. Is also tasked with queing in the talent and indicating which camera they should be talking to.
Assistant Floor manager: Assists the main Floor manager. Could be used for commanding an audience when to clap/cheer/boo ect.
Talent/Actor: Performs in the project and is the main pressence infront of the camera's.
Camera Op: Operates the various Camera's around the studio. Issued with CAN's to keep in touch with the Director but is usually silent unless there is a serious problem.
Camera Assist/Cable Basher: Assists the main Camera Op by helping to position the camera, holding camera cables, helping with pedding and any technical issues with the camera.
Audio Control Room Roles
Senior Sound Op: Operates the audio mixer to control the sound levels of the various microphones placed around the studio and the sound levels of any external media such as any DVD inserts.
Assistant Sound Op: Assists the Senior Sound Op.
DVD Op: Operates the DVD to que in any VT inserts and other external media.
Vision Control Room Roles
Director: Envisions how the project will look on camera, directs, establishes and organises camera shots and the order in which they will appear. Is incharge of the whole studio crew and talent. Is God.
Assistant Director: Assists the main Director by queing in any visual inserts as well as keeping timing for the inserts.
Vision Mixer: Operates the Vision mixing panel used to switch between which cameras and external media will be recorded and broadcast.
Lighting Controler: Controls lighting elements within the studio.
Camera Control Unit Op: Responsible for Camera settings such as contrast, exposure and so on.
Studio Equipment: Function and Operation
The lights are hung on a set of poles which is called a Grid. The Grid linking the lights together, running cables through various metal poles which have sockets on the sides in which the lights are plugged into. Each socket is numbered and can be easily controled. The Grid is connected to a dimmer pack which can be used to control the brightness of each of the connected lights from either inside the studio or from the vision control room.
Each of the lights can be easily replaced at any time with a variety of different filters and intensities. Two different kinds of lights are Cool lights, which are efficient and used to light a wide area of the studio, and Tungstun lights, which are more heavy duty and provide a more focused beam of light.
Another aspect of the studio is the Curtain track which is used to provide a clear background to the studio. The curtain is completely black to stop and interfearance any bright colours may have on the studio cameras.
The Studio Terminal Outlet Box or STOB is used to connect the various bits of equipment to the control room insted of having to lead many cables through different rooms and so on.
There is also usually a floor moniter in the studio to show the Floor manager what is being broadcast out. This can also be used to show the audience or any talent VT inserts that may be in the show.
Another import piece of equipment is the On-Air light which displays that the studio is broadcasting. There is usually one situated outside the control room and the studio.
There are also numorous microphones suspended from the light Grid at different points in the studio to pick up any sound which isn't usually picked up by any boom or clip on mics that might be used.
Finally on the studio floor there will be the Cameras themselves. In the case of the college studio these are Song Z-5's mounted on a PED.
In the control room there are also a few other pieces of equipment such as the Sound Desk which uses 12 channels to regulate the sound from the mics and any external media sources such as DvD players, a TV moniter to display what is being broad cast, a lighting desk used to adjust the lighting around the studio and a vision mixing panel which is used to switch which camera or media source is being broadcast and to provide various fades and wipes within these transactions/cuts.
Each of the lights can be easily replaced at any time with a variety of different filters and intensities. Two different kinds of lights are Cool lights, which are efficient and used to light a wide area of the studio, and Tungstun lights, which are more heavy duty and provide a more focused beam of light.
Another aspect of the studio is the Curtain track which is used to provide a clear background to the studio. The curtain is completely black to stop and interfearance any bright colours may have on the studio cameras.
The Studio Terminal Outlet Box or STOB is used to connect the various bits of equipment to the control room insted of having to lead many cables through different rooms and so on.
There is also usually a floor moniter in the studio to show the Floor manager what is being broadcast out. This can also be used to show the audience or any talent VT inserts that may be in the show.
Another import piece of equipment is the On-Air light which displays that the studio is broadcasting. There is usually one situated outside the control room and the studio.
There are also numorous microphones suspended from the light Grid at different points in the studio to pick up any sound which isn't usually picked up by any boom or clip on mics that might be used.
Finally on the studio floor there will be the Cameras themselves. In the case of the college studio these are Song Z-5's mounted on a PED.
In the control room there are also a few other pieces of equipment such as the Sound Desk which uses 12 channels to regulate the sound from the mics and any external media sources such as DvD players, a TV moniter to display what is being broad cast, a lighting desk used to adjust the lighting around the studio and a vision mixing panel which is used to switch which camera or media source is being broadcast and to provide various fades and wipes within these transactions/cuts.
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