ZeePedia

LIVE TRANSMISSIONS:Studio floor, Switcher, Master control room, Camera control units

<< ELECTRONIC FIELD PRODUCTION:Sports, Electronic news gathering
QUALITIES OF A NEWS PRODUCER:Determination, Awareness, Sharp an active >>
img
TV News Reporting and Production ­ MCM 516
VU
LESSON 30
LIVE TRANSMISSIONS
With the growth of electronic media the importance of live transmission and telecast has increased a lot.
Be it a entertainment programme, a sports event, a news bulletin, a current affairs program or a coverage
of an significant occurrence, the live transmission keeps the viewers glued to their television screens and
the audience is remains aware of, what all is happening around them locally and globally.
Live transmission can be either outdoor or indoor productions but the techniques followed, the
equipment required, the staff needed are more or less same, except that in the out door productions an
Electronic Field Production (EFP) is created and it takes place outside of a formal studio in a practical
location, where as indoor productions are studio based and are aired through Master Control Room
(MCR).
Television studio
A television studio is an installation in which television or video productions take place, either for live
television, for recording live to tape, or for the acquisition of raw footage for postproduction. The design
of a studio is similar to, and derived from, movie studios, with a few amendments for the special
requirements of television production. A professional television studio generally has several rooms,
which are kept separate for noise and practicality reasons. These rooms are connected via intercom, and
personnel will be divided among these workplaces. Generally, a television studio consists of the
following rooms:
Studio floor
The studio floor is the actual stage on which the actions that will be recorded take place. A studio floor
has the following characteristics and installations:
·
Decoration and/or sets
·
Cameras on pedestals
·
Microphones
·
Lighting rigs and the associated controlling equipment.
·
Several video monitors for visual feedback from the production control room
·
A small public address system for communication
·
A glass window between PCR and studio floor for direct visual contact is usually desired, but
not always possible
While a production is in progress, the following people work in the studio floor:
·
The on-screen "talent" themselves, and any guests - the subjects of the show.
·
A floor director, who has overall charge of the studio area, and who relays timing and
other information from the director.
·
One or more camera operators who operate the television cameras, though in some
instances these can also be operated from PCR using remote heads.
·
Possibly a teleprompter operator, especially if this is a news broadcast.
101
img
TV News Reporting and Production ­ MCM 516
VU
Production control room
The production control room (also known as the 'gallery') is the place in a television studio in
which the composition of the outgoing program takes place. Facilities in a PCR include:
Video monitor wall
A video monitor wall, with monitors for program, preview, videotape machines, cameras, graphics and
other video sources
Switcher
Switcher is a device where all video sources are controlled and taken to air. Also known as a special
effects generator
Audio mixing console and other audio equipment such as effects devices
Character generator creates the majority of the names and full screen graphics that are inserted into the
program
Digital video effects and/or still frame devices (if not integrated in the vision mixer)
Technical director's station, with waveform monitors, vector-scopes and the camera control units or
remote control panels for the camera control units (CCUs)
VTRs may also be located in the PCR, but are also often found in the central machine room.
Master control room
The master control room houses equipment that is too noisy or runs too hot for the production control
room. It also makes sure that wire lengths and installation requirements keep within manageable
lengths, since most high-quality wiring runs only between devices in this room. This can include:
The actual circuitry and connection boxes of the vision mixer, DVE and character generator devices.
Master Control Room or "MCR" is the place where the on-air signal is controlled. It may include
controls to playback programs and commercials, switch local or network feeds; record satellite feeds
and monitor the transmitter(s). The description of an MCR given above usually refers to an equipment
rack room, which is usually separate from the MCR itself. The term "studio" usually refers to a place
where a particular local program is originated. If the program is broadcast live, the signal goes from the
production control room to MCR and then out to the transmitter.
Camera control units
VTRs
Patch panels for reconfiguration of the wiring between the various pieces of equipment.
Other facilities
A television studio usually has other rooms with no technical requirements beyond program and audio
monitors. Among them are:
One or more make-up and changing rooms
A reception area for crew, talent, and visitors, commonly called the green room.
102
img
TV News Reporting and Production ­ MCM 516
VU
Technical facilities
Telephone for live calls
·
Toll free numbers
·
SMS
·
Intercom
Computer for emails
·
Feed back
·
Opinion poll
Microphones
·
Talk back
·
Studio mic.
·
Headphones
Emergency kit
The tapes having pre-recorded programmes in case of emergency.
Generator facility
The alternate supply in case of electric power failure.
Elements of a television system
An image source, This is the electrical signal representing the visual image, and may be from a camera
in the case of live images, a video tape recorder for playback of recorded images, or a film chain-
telecine-flying spot scanner for transmission of motion pictures (films).
A sound source, This is an electrical signal from a microphone or from the audio output of a video tape
recorder or motion picture film scanner.
A transmitter, which generates radio signals (radio waves) and encodes them with picture and sound
information.
An antenna coupled to the output of the transmitter for broadcasting the encoded signals.
An antenna to receive the broadcast signals.
A receiver (also called a tuner), which decodes the picture and sound information from the broadcast
signals, and whose input is coupled to the antenna.
A display device, which turns the electrical signals into visual images.
An audio amplifier and loudspeaker, which turns electric signals into sound waves (speech, music,
and other sounds) to accompany the images.
TV Production Overview
Of course, it's desirable to have audio and video equipment to work with ­ either personal equipment or
equipment provided by the TV station...
Some equipment may not be available to you. That's okay; it's important to understand the equipment
and techniques that are part of larger production facilities.
For one thing, you may suddenly be confronted with an internship or job opportunity where this
knowledge is essential.
Camerapersons, writers, directors, producers, and even on-camera talent find that having a solid
understanding of the tools and techniques of the entire process makes a major difference in the success
of productions ­ not to mention their careers.
In television production, as in most of today's high-tech areas, knowledge is power.
103
img
TV News Reporting and Production ­ MCM 516
VU
Enough of the sales pitch. Let's get down to business.
A Bird's Eye View of the Production Process
Let's take a whirlwind tour of the production process; we'll come back to these people and places later.
For now, let's take a quick look at the production process from the standpoint of the key people.
We'll start by thinking big -- big productions, that is -- because many of these things can be scaled
down, combined, or eliminated in smaller productions.
Who Does What and Why
This list is long, but have you noticed the lengthy credit lists for major films and TV programs?
The person generally in charge of launching entire production is the producer.
He or she comes up with the program concept, lays out the budget for the production, and makes the
major decisions. This person is the team leader, the one who works with the writers, hires the director,
decides on the key talent, and guides the general direction of the production.
In smaller productions, the producer may also take charge of the more mundane activities. And in small
productions, the director may handle the producer's responsibilities. In this case, the combined job title
becomes producer-director.
Some productions may also have an associate producer who sets up schedules for the talent and crew
and who generally assists the producer.
On a major production, one of the producer's first jobs is to hire a writer to write the Script (the
document that tells everyone what to do and say). The script is like a written plan or blueprint for the
production.
The producer will next consider the key talent for the production. In general, the talent includes actors,
reporters, hosts, guests, and off-camera narrators -- anyone whose voice is heard or who appears on
camera.
Sometimes talent is broken down into three sub-categories: actors (who portray other people in dramatic
productions), performers (who appear on camera in non-dramatic roles), and announcers (who generally
don't appear on camera).
In a large production, the producer will hire a director.
The director is in charge of working out preproduction (before the production) details, coordinating the
activities of the production staff and on-camera talent, working out camera and talent positions on the
set, selecting the camera shots during production, and supervising postproduction work.
In other words, once the producer sets things in motion, the director is in charge of taking the script
from the beginning to the very end of the production process.
Assisting a director in the control room is typically a technical director who operates the video switcher.
(A rather elaborate version is shown on the right.)
The technical director, or TD, is also responsible for coordinating the technical aspects of the
production.
One or more production assistants (PAs) may be hired to help the producer and director. Among other
things, PAs keep notes on ongoing production needs and changes.
The lighting director (LD) designs the lighting plan, arranges for the lighting equipment, and sets up
and checks the lighting.
As we'll see, lighting is a key element in the overall look of a production.
Some productions have a set designer who, along with the producer and director, designs the set and
supervises its construction, painting, and installation.
The makeup person, with the help of, for example, cosmetics and hair spray, sees that the talent look
their best -- or worst, if that's what the script calls for.
104
img
TV News Reporting and Production ­ MCM 516
VU
Major dramatic productions have a wardrobe person who sees that the actors have clothes appropriate to
the story and script.
The audio director or audio technician arranges for the audio recording equipment, sets up and checks
mics (microphones), monitors audio quality during the production, and then strikes (another production
term meaning disassembles and, if necessary, removes) the audio recording equipment and accessories
after the production is over. (Mic, strangely enough, is pronounced mike.)
The microphone boom/grip operator watches rehearsals and decides on the proper mics and their
placement for each scene. During an on-location (out-of-the-studio) shoot, this person may need strong
arms to hold the mic boom over the talent for long periods of time.
The video recorder operator arranges video recording equipment and accessories, sets up video
recordings, performs recording checks, and monitors video quality.
In dramatic productions, the continuity secretary (CS) carefully makes notes on scene and continuity
details as each scene is shot to ensure that these details remain consistent among takes and scenes.
As we will see, this is a much more important job than you might think, especially in single-camera, on-
location production. Once production concerns are taken care of, the continuity secretary is responsible
for releasing the actors after each scene or segment is shot.
The CG Operator (electronic character generator operator) programs (designs/types in) opening titles,
subtitles, and closing credits into a computer-based device that inserts the text over the video.
Camera operators do more than just operate cameras. They typically help set up the cameras and ensure
their technical quality, and they work with the director, lighting director, and audio technician in
blocking (setting up) and shooting each shot.
On a field (out-of-the-studio, or on-location) production, they may also coordinate camera equipment
pickup and delivery.
Depending on the production, there may be a floor manager or stage manager who's responsible for
coordinating activities on the set. One or more floor persons, or stagehands, may assist him or her.
After shooting is completed, the editors use the video and audio recordings to blend the segments
together. Technicians add music and audio effects to create the final product.
The importance of editing to the success of a production is far greater than most people realize. As we
will see, an editor can make or break a production.
105
Table of Contents:
  1. CREATIVITY AND IDEA GENERATION FOR TELEVISION:Video Procedures
  2. PRE-REQUISITES OF A CREATIVE PRODUCER/DIRECTOR:SET-UP RESPONSIBILITIES
  3. REFINING AN IDEA FOR PRODUCTION:Drama, Magazine Shows, Documentary
  4. CONCEPT DEVELOPMENT:Variable. Pure and applied research
  5. RESEARCH AND REVIEWS:Research Procedure, Review of available literature
  6. SCRIPT WRITING:Elements of a successful story, Characters, Effects
  7. PRE-PRODUCTION PHASE:Indoor production, Outdoor production, Essentials of PBE
  8. SELECTION OF REQUIRED CONTENT AND TALENT:Camera rehearsal
  9. PROGRAMME PLANNING:Checklist, Electronic Field Production (EFP)
  10. PRODUCTION PHASE:Floor plan, Traditional set, Representational set, Design elements
  11. CAMERA WORK:Movement of lens of camera, Types of shots
  12. LIGHT AND AUDIO:Importance of sound in TV, Use of microphone, Loudness
  13. DAY OF RECORDING/PRODUCTION:Rehearsals,Point to ponder
  14. LINEAR EDITING AND NLE:Episode, Scene, Editing, Production Switcher
  15. MIXING AND USES OF EFFECTS:Live Sound Effects, ARROW STRIKING
  16. SELECTION OF THE NEWS:Elements of news, Timeliness, proximity
  17. WRITING OF THE NEWS:The inverted pyramid, Lead, Credit line
  18. EDITING OF THE NEWS:Characteristics of good news:Process of editing a news
  19. COMPILATION OF NEWS BULLETIN:Hard news, Soft news, Investigative report
  20. PRESENTATION OF NEWS BULLETIN
  21. MAKING SPECIAL BULLETINS:Agriculture, Show biz, Fashion, Drama
  22. TECHNICAL CODES, TERMINOLOGY, AND PRODUCTION GRAMMAR
  23. TYPES OF TV PRODUCTION:Magazine Shows, Specific audience programming
  24. DRAMA AND DOCUMENTARY:Documentary film, Defining documentary
  25. SOURCES OF TV NEWS:Reporters, Correspondents, Monitoring, News Agency
  26. FUNCTIONS OF A REPORTER
  27. BEATS OF REPORTING:City reporter, Social reporters, Show-biz reporter
  28. STRUCTURE OF NEWS DEPARTMENT:Beat Reporters, Online media
  29. ELECTRONIC FIELD PRODUCTION:Sports, Electronic news gathering
  30. LIVE TRANSMISSIONS:Studio floor, Switcher, Master control room, Camera control units
  31. QUALITIES OF A NEWS PRODUCER:Determination, Awareness, Sharp an active
  32. DUTIES OF A NEWS PRODUCER
  33. ASSIGNMENT/NEWS EDITOR:Accuracy, Fairness and Reliability, Conflict
  34. SHOOTING A NEWS FILM:The Influence of telecast News
  35. PREPARATION OF SPECIAL REPORTS:Uncovering Truth, Reportage
  36. INTERVIEWS, VOX POPS AND PUBLIC OPINIONS:INTERVIEW, Information
  37. BACK GROUND VOICE AND VOICE OVER:Natural or Raw Sound, Sound Effects
  38. SPOKEN WORDS AND RELEVANT VISUALS:Digital Audio, Quantizing Error
  39. TALK SHOWS, FORUMS AND DISCUSSION PROGRAMMES
  40. FUNCTIONS OF VARIOUS DEPARTMENTS OF A TV SET UP
  41. PROGRAMMES DEPARTMENT:Program content, Television series by genre
  42. NEWS AND CURRENT AFFAIRS THE PROGRAMMING & SCHEDULING
  43. COORDINATION AMONG DIFFERENT DEPARTMENTS OF TELEVISION
  44. COORDINATION AMONG DIFFERENT DEPARTMENTS OF TELEVISION - 2 SUB-DEPARTMENTS AND SMALL SECTIONS
  45. COORDINATION AMONG DIFFERENT DEPARTMENTS OF TELEVISION 3