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PROGRAMME PLANNING
LESSON 09
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 docsity.com
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 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.
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
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.
