PROGRAMME PLANNING:Checklist, Electronic Field Production (EFP)

<< SELECTION OF REQUIRED CONTENT AND TALENT:Camera rehearsal

PRODUCTION PHASE:Floor plan, Traditional set, Representational set, Design elements >>

TV News Reporting and Production MCM 516

LESSON 09

PROGRAMME PLANNING

The planning of a programme in pre-production is very important to avoid any unpleasant situation and

untoward event as sometimes it may happen that unforeseen problem occurs so better the planning,

greater the quality. Every channel or TV station has a planning section or department to facilitate the

producers. Each producer before programme meets the planning officer to discuss the requirements for

the production.

Outdoor Production

During the outdoor production, mostly single camera is used in news coverage, media briefings or even

drama and documentary programmes. For the purpose an Electronic News Gathering (ENG) and a

producer has to requisite a recording shift.

Checklist

Camera

Neck microphone

Hand microphone

Cable microphone

Cordless microphone

Baby light

Kit light

Sun gun

Monitor

Reflector

Tapes

Battery charger

Transport

Make up

Costumes

Confirmation of participants

Location management

For outstation recordings

Tour authorization

Accommodation

Boarding and lodging

Technical staff required

Director

Cameraman

Light man

Boom operator

Driver

Indoor Production

For the indoor production, mostly three cameras are used in Talk shows, current affairs discussions and

drama programmes. For the purpose complete studio is engaged and a producer has to requisite a

recording shift.

Checklist

Studio requisition

Three Cameras

Neck microphone

Hand microphone

TV News Reporting and Production MCM 516

Cable microphone

Cordless microphone

Set installed

Lighting

Panel/switcher

Camera control unit

Audio console

Cassette Recorders

Cassette Players

Functional Monitors

Tapes

Make up

Properties

Wardrobe

Costumes

Confirmation of participants

Gate passes

Technical staff required

Director

Cameramen

Lighting director

Light men

Boom operator

Camera Control Unit (CCU) engineer

Audio engineer

Recording Engineer

Set designer

Studio hands

Floor managers

Points to ponder

For different programmes the planning is different so a producer should manage likewise so that the

production process may not suffer

Outdoor broadcast

For this purpose OB van is used which has the provision of panel, switcher, camera control unit, audio

console, Cassette recorders, Cassette players. The OB van provides a director all the technical facilities

of studios out side the studio.

Electronic Field Production (EFP)

As the Outdoor Broadcast van is used and the cameras are patched that is those are giving the output to

panel directly, such kind of makeshift studio environment in outdoors is called EFP.

Talk shows

For the talk shows, we require microphones for each participant and a cordless hand microphone is

preferred if the programme has the audience participation as well. The distribution of invitation cards is

also done in advance to fill the talk so with life. If there is any report or package to be shown so the set

should have the provision of a plasma screen also.

TV News Reporting and Production MCM 516

Live coverage

For the live coverage like some national event, some special show the arrangements are on broader

scale.

Music show or concert

For such shows heavy lights, floodlights, and colourful lights are used to create dramatic effects. Crane

and jib are also frequently in use in these shows.

Mega shows

For telethons, marathon transmissions, many shifts of staff as well as participants are required so the

director should plan it well.

Award ceremonies

All the channels and media organizations hold their award ceremonies and a lot of in house staff and

artist are invited which involves a lot of boarding and lodging.

Sports events

The events like marathon, horse races, cricket matches, football, hockey, basketball, tennis and other

games are multiple camera production so the planning is to cater all the production.

Approval of authority for the venue

When a TV channel is organizing or holding a programme in a certain location, the approval of the

relevant authority for the venue must be sought.

Security management

As the installation of Television are expensive and sensitive as well so proper security measures are

necessary.

Refreshment of artists and staff

Many programme are of longer duration so the arrangements for the food and beverages are also to be

catered in coordination with the administration department.

Continuities

The assistant director is responsible to keep a track of different continuities.

Continuity of dialogue

Continuity of Situation

Continuity of dress

Continuity of makeup

Assistant Director

As an Assistant director (AD), you are the second eyes and ears for the director. During the run through

and rehearsals you will be at the side of the director making any notations re script changes and timing.

Once inside the control room you may be expected to perform various task, probably the most important

being keeping track of timing and giving timing cues to the studio and control room crew. In addition to

timing, ADs are sometimes asked to assist the director by watching the monitors for framing, setting up

the next shot, calling for videotape segments to roll in, calling graphic supers in and out, etc. It is

important that the AD become familiar with the operation of the countdown clock and stopwatch.

Floor Director

He or she reports 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. You'll be

TV News Reporting and Production MCM 516

on PL (intercom) this whole time--be sure to 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.

Audio Engineer

Obtain your marked script from the producer/director. Note the audio elements specified by the script

and gather the necessary microphones and accessories. When laying microphone cables, camera

movement and placement should be considered. Cables should be positioned so that they are out of sight

of the cameras.

Ideally you are responsible for miking talent; however this may be delegated to the FD if necessary. Be

sure that microphones and cables are hidden.

Next, move to the audio control room and test the microphones to make absolutely sure that they are

working properly. Mark the audio console's channels for talent's name and the approximate level for

each microphone. The FD can assist you with this by having each talent speak in turn. Be sure that they

are speaking at a level representative of their real performance. Next, check out the other audio sources

that you will be using. Audio carts must be checked for level and to ensure that they are cued. CDs

should be previewed for level and to become familiar with the cut to be used.

Camera Operators

Get your shot sheets (if they are being used) from the director and attach them to the back of the camera.

Make sure that you have sufficient cable to reach the furthermost position you will occupy. Uncap the

lens (after you have obtained permission from the video operator) and set your filter wheel to the proper

setting. For studio work it should be set to 3200 K to match the studio lights. Adjust the viewfinders

(VF) brightness and contrast controls for optimum picture on your monitor. Unlock the pan and tilt

locks and adjust the pan and tilt friction (drag) adjustments to suit your preference.

Next, familiarize yourself with the program and your responsibilities. Visualize the shots that will be

required of your camera and rehearse any complicated moves. Practice with the zoom and focus controls

to ensure that you can operate them smoothly. While operating the camera, the pan and tilt locks are to

remain unlocked at all times. Locking down a camera shot during a rehearsal or production is

unacceptable in most studio operations! On the other hand, never leave your camera without first

locking the pan and tilts locks and capping the lens.

Videotape Operators

Once you have been given the playback videotape (if there is one), cue it up and familiarize yourself

with the video to be played back into the program. Note video levels and color accuracy. Adjust the

video tracking if necessary for optimum playback. Also note the audio and whether it is recorded on

channels 1 and/or 2, normal or Hi-Fi. Adjust your audio playback levels if necessary and coordinate

with the audio operator so that he/she can set levels at the audio board.

Regarding setting cue in/out points for videotape you have two options. Either make note of the TC

(time code) numbers of the in and out points, or set the readout to CT (control track) and zero the

counter at the in cue point.

Confirm the position of the record tape and cue it up for recording. Again, set the readout to control

track and zero it at the proper record-in point. (This should be approximately 10 seconds past the last

audio/video recorded on the tape.) Confirm the proper setting of switches and patches so that you are in

fact recording program video as output from the switcher and program audio from the Howell audio

TV News Reporting and Production MCM 516

board on channel 1 (normal and Hi-Fi) and director's PL on audio channel 2 (normal and Hi-Fi). This

can be confirmed by monitoring the video and audio monitors connected to the record VTRs output.

When recording the new program, be sure to record at least 10 seconds of black video and silent audio

after the program fades to black.

NOTE: If the Director chooses to record a second take of his/her production, rewind the record tape to

the previous in-point and record over the previous recording. Only one recording will be saved for each

student project.

Technical Director

Before the first run through, take time to familiarize yourself with the switcher and the transitions you

will be expected to execute. During the run through you will switch while taking direction over the PL

(intercom). During rehearsals you will follow the director's requests while seated next to him/her in the

control room. In addition to knowing the switcher, it is important that you 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.

Production Assistant (CG Operator)

As the CG (character generator) operator it is important that you pay attention to detail and accuracy. If

graphics pages are stored to disk review them for content and accuracy. If you are 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.

Camera Operators

When a production is complete, cap your camera using the filter wheel, lock the pan and tilt controls,

and place the PL headset on the pan handle. If this is the final production for the day, truck the camera

to its position for storage and wrap the camera cable in a figure-eight on the wall hangers. After this is

complete, assist other crew members in striking the set, coiling cable, etc.

Floor Director

As soon as the production is finished, assist the talent with the removal of their microphones. If it is the

last production of the day, assist the audio engineer by removing the batteries from the microphones and

placing them in their cases. Next, retrieve any personally owned props or camera graphic cards and

return them to the Producer. Finally, assist other crew members with the strike of the set, floor monitors,

audio, etc.

Audio Engineer

If there are more production to follow, check with the next audio engineer as to what microphones will

be needed and strike those that will not be used. Return all prerecorded media (carts, discs) to the

Producer. Remain at the audio board until the next engineer arrives to convey information about the

channels that are being used and what audio signals are available and where. If you are the last engineer

for the day, return the console to its neutral position--all faders down, switches to off. Strike all

microphones and return them to the instructor.

Technical Director

Remain at the switcher until the next TD arrives to convey information about the inputs and basic set-up

of the switcher. If you are the last TD for the day, return the switcher to its neutral position--black

punched up on all busses. Also, unless there is a TV station studio production, power down the preview

and program monitors and all other monitors.

TV News Reporting and Production MCM 516

Videotape Operator

At the completion of the project being recorded, remain in record mode for at least 10 seconds after

video and audio has faded to black. At this point stop tape; rewind into the program and play for a few

seconds to confirm that audio and video have been successful recorded. Once you have confirmed a

successful recording for the crew, cue the tape up to a point exactly 10 seconds past the end of the

recorded program and reset the control track counter to 00:00:00. Wait for the next VT operator to

arrive and confirm the position of the record tape.

Remove the playback videotape from the playback VTR and return to the Producer/Director. If it is the

last project for the day, return the record tape to the instructor.

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