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Field Production: ENG and EFP ceeaeieieiaeaaeiei eae aad | Learning Objectives After studying this chapter, you will be able to © understand the features of ENG and EFP identify the personnel and equipment required for ENG and EFP e plan rigging up of equipment for remote productions © understand how sports events and large non-studio entertainment shows are covered | cane cea te a tA A oe eid ena eandnhnliben sia Rai Sea MeN ——— We now proceed from the inside of the studio to some outdoor action. We have already learnt the features of multi-camera production in a studio. In contrast to studio-based multi-camera productions, which we have examined in Chapter 10, electronic news gathering (ENG) and electronic field production (EFP) are both field-based productions including unscheduled events like news or scheduled events like an entertainment event or a sports match. Field-based productions mostly take place in real settings where lighting and audio are, most of the times, just about in our control. Weather is another critical factor. Even in places where such factors are controllable, adequate measures and precautions are imperative. An advantage with ENGs and EFPs is that we can avoid huge studio rentals. However, these may Tequire the crew to travel, and the shipment of huge pieces of equipment in addition to crew lodging where the event is taking place. Field Production: ENG and EFP 333 ns Sinc i e we have already discussed the personnel involved in a multi-camera production, let us tak Dea e a closer look at the features and requirements for ENGs Use ELECTRONIC NEWS GATHERING ENG, as the name itself suggests, is the process of gathering news on video and conveying it to the-news centre, and is one of the most flexible though rigorous, operations. All it requires is probably one camera with ciliciileins li ti ane microphones to complete an ENG operation. But then that would be a oe basic ENG setup. More cameras may be used if it is an event that requires a multi- camera coverage. Further, if we need to transmit live, we would require a satellite news gathering van (SNG van) that has an entire production control room inside it. Even so, the number of people required to conduct an ENG operation would be far less than those required for a field-based multi-camera production. An ENG team normally consists of two people—the cameraperson and the reporter. However, with technology enabling smaller and more portable equipment, news reporters are increasingly doubling up as camerapersons too. Multitasking, that is, one person doing more than one job is becoming the order of the day. Earlier, the cameraperson would shoot the video as advised by the reporter. The reporter would then write the story and send the visuals to the news station. These days, the reporter doubles up as the cameraperson too. She shoots, edits the story most of the times, and sends the story to the news station for broadcast. While this is advantageous for the broadcasting company, in the sense that the reporter knows what to shoot and therefore can handle the shoot well and this in turn saves investments on employees, it can be quite taxing on the reporter. \-ENGs do not require any pre-production; rather, there is no time to prepare— news events do not provide any notice before they actually occur (barring a few media conferences, maybe). The reporter is expected to reach the site of the event even as it is occurring. Therefore, compact, portable equipment are best suited for covering such events. In ENG, the reporter has no control over an event and merely covers it as it unfolds. eporter has four options in covering an event. First, she could record the event and send the video tape to the news station. The station would edit the story along with a narration (called voice-over), add appropriate sound bites, and telecast the story. Second, she could transmit the event as it unfolds using a technique called satellite news gathering (SNG). When ENG uses a satellite to transmit news and other current affairs, it is called satellite news gathering. AnSNG vanisat the heart of any ENG unit. A typical SNG van is a small vehicle that can accommodate feeds from up to two to three cameras, video monitors, audio and vision mixers, a power generator, and transmission equipment to send Microwave transmitter jy. 11.2 Microwave transmitter fitted onto the camera Field Production: ENG and EP 335 a The fourth option jis using the microwave transmission method, A 10d, reporter desiring mobility during shoots opts for this method. In this case, small battery-run microwave transmitters are fitted onto the Camera (Fig. 11.2). These transmitters normally weigh about a kilogram. If the distance between the camera and the news station is not too great, these can relay the signals directly to the news station. However, if there are tall buildings in the way of the signal, there can be interference. Therefore, we might need a transmitter at a height and a powerful one at that. The transmitter from the camera sends the signal to a van, which in turn transmits the signal back to the news station. Often we see that the reporter on location can have a conversation with the presenter in the studio. This is possible because the reporter receives the audio from the studio, relayed back by the satellite. Although satellite signals travel at great speeds, it takes a noticeable time for the pictures and sound to travel all the way up to the satellite, and then all the way back down. That is why we notice a delay between the question from the studio and an answer from the location. So, the next time that we see a live outdoor broadcast on television, we know that the reporter is looking into a camera that is connected to the outdoor broadcast (OB) van. The dish antenna on the OB van is transmitting signals to a satellite which are being downlinked at the earth station. The earth station routes the pictures and sound to the bulletin on air, which sends back the sound of the presenter. The sonnd from the channel’s earth station then travels back to the OB van by satellite, which is in turn connected to the reporter’s earpiece. SNG has made ‘breaking news’ both possible and a common feature on television. SNG requires some amount of pre-production planning in the sense that we should be clear about which events need to be covered live. Normally, events that show Signs of ‘developing’ through the day, such as elections, international meets, day- long protests, etc. require SNG infrastructure. Portable Tools for ENG i The arrival of smartphones, applications and advances in mobile technology like 3G, 4G coupled with Internet have changed the rules of the game. Such advances is 336 Video Production in technology have hugely increased the speed at which today’s reporters draw attention to a story from any corner of the world. With increasing use of Internet Protocol to deliver video either as files or as a stream, such news gathering techniques are called Internet News Gathering (ING) or Internet Technology News Gathering (ITNG). Some call it Internet Satellite News Gathering (ISNG) too. Video cameras are no longer required in the strictest sense of the term for news gathering. All it requires is a smartphone with video recording capabilities, A smart application installed on the phone enables the reporter to connect directly via a mobile network or through the Internet and transmit images ang audio simultaneously. This not only reduces the number of people working on news gathering but also delivers decent quality video and audio, thanks to video compression techniques. Similarly, a reporter does not even require a DSNG Van to deliver news to the channel’s earth station. One can do so by simply connecting a video camera to a small box that connects via satellite to the earth station to stream live video. This live video is then fed into the news programme for broadcast. Let us now look at some of the mobile technologies that are available for news reporters. Using a Mobile Phone The easiest way one can use a mobile (using local mobile networks) is by calling a designated phone number and reporting using only voice. The news channel displays a photograph of the reporter while using her voice and broadcasts it live (Fig. 11.3). High-end smartphones such as iPhone, Samsung Captivate, Ericsson Experia and handheld devices like iPad, can record good quality video and audio. Applications such as Streambox Live}can be downloaded on to any such device. To send the video all that the reporter needs to do is to configure the phone, double-click the application and begin shooting the video. The video thus shot is streamed through any available Internet Protocol network including 3G/4G or even Wi- Fig. 11.3 Mobile phone used for news broadcasts fi. This video is then stored on a server (Courtesy: Streambox) and can be downloaded as a file as well x 338 Video Production + Portable device is mounted on camera | Video streaming server Signal streamed to video monitor Fig. 11.5 Camera mounted technologies are also in vogue in some countries (@@5pe ELECTRONIC FIELD PRODUCTION : EF P is different from ENG in the sense that it uses both ENG and studio production techniques. In fact, it is an extension of ENG but can be planned in advance and requires a lot of pre-production work. However, the advantage of all EFPs is that we edit the programme as itis being shot and the final product is ready for telecast. EFPs take place outside the studio and may be single-camera or multi-camera productions. All the live sports matches that we see Gn télévision are multi-camera EFPs. All EF Ps take place on location and require adaptation to location conditions. We may have to make certain compromises but they are better avoided. This means tremendous pre-production work. When shooting dasa mee aes constraint. On the other hand, during outdoor shoots, too much space can also pose problems. It means achieving good lighting and sound—the two primary requisites for any video production that can pose a great challenge. Weather can play truant at the most unexpected of times. And to pope all, if anything has to go wrong, it will. Therefore, extreme pre- production planning is required for EFPs given that it involves huge amounts of equipment and personnel. Pe? 116. Explained rl The eames 4 aineta field production is given in positioned as required around the area ae 1 See haga a wnere the event is taking place. Each also known as video mixer). To monitor fed into the video tape recorder (VTR). Where neces: e recorder is connected to the OB van satellite ioe output from th ron Cam 1 Video monitors Cam \ Cam} Cam Cam 2 rsa o Vision mixer Cam 3 Fig. 11.6 Schematic diagram of a typical multi-camera EFP Field Production: ENG and EFP 339 x Output Recording monitor output Video tape recorder If it is only an event that requires a multi-camera production, the tape of which needs to be telecast later, a makeshift production control room (PCR) is set up. This means that a lot of pre-production work is required, However, if the to be telecast live, the entire PCR is accommodated in the OB van. the recorder are then transmitted to the earth station for telecast to th OUTDOOR BROADCAST VAN The OB van is the heart of an audio—come to the OB van, are OB van is divided into three major portions; see Fig, 11.7(a) an ra van hardly reveals the many complex procedures inv 11.7(b). Is seen before a broa, hics), which is sent to the earth stati two or more computer operators programme is . Signals from e audiences. y big ENG or EFP event. All signals—both video and processed there, and then broadcast. A typical The huge exterior of olved within; see Fig. dcast. The latter contains the feed ion. The video mixer to give appropriate » Field Production: ENG and€FP 34] A Exhibit 11.1 Equipment use din an op van An OB van is normally equipped with the e Production switcher Frame synchroni ¢ Digital video effects Col , he Olour stab amplifiers (2) Analogue/digital video DA * Composite to sp convertor SD to composite convertor © Decoders/encoders © Tally distributor * Colour camera chain and camera supports; 7 ¢ RF microphone systems (2) number of cameras flexible * 16-channel sound mixer, or 8-channel following: ¢ Routing switcher ¢ Character generator e 9"/14" colour monitors (up to 30) ¢ Talk-back system © Clock/logo generator ¢ Lenses for cameras sound mixer © Video recorders © TV demodulator ¢ Waveform monitors © Roof-mounted dish antenna © Vectorscopes © Transmission equipment * Colour corrector © Power generator graphic feeds (scores in case of sports, graphics in case of other programmes) to be layered over the video feeds. The next portion is where the sound is managed. The sound engineer has a sound mixer, which is fed with all the audio feeds from various sources such as commentators, location microphones, portable camera mics, etc. The engineer has them in different channels and can control them individually. The engineer is also supplied with a monitor to help synchronize the sound on receiving instructions from the director, . The last ha of the van is the video store. The video store a a ees video tapes (VTs) and could also have a live event system sie eS Nese editor) that is used for slow-motion pictures and replays particularly rs of na oF matches. The VTs are a collection of pre-made CG videos to Ka i a dar wickets, etc. and tapes of commercials scheduled to be broa me an nae time. These may also contain feeds from previous matches, whic! fil ssieny) ea of the vehicle is the satellite dish. The main transmitter swe the high power amplifier (HPA), is on the roof too, but all the enwaie es be controlled from the inside. A trained satellite engineer thus opera’ 5 qf % including the dish on the roof of the vehicle from the inside. K 342 Video Production Before transmission, the satellite engineer contacts an engineer 1n the main control room, who is in charge of satellite transmission. Signals from the dish go to the satellite. The signals from the satellite are then downlinked at the channel s earth station. Thus, the picture from the satellite is then connected to the studio and can be incorporated into the bulletin. Exhibit 11.1 shows the different equipment used in can OB van. (Se pre-PRODUCTION WORKIN EFP Whether the programme is being recorded to be telecast live or later, an EFP requires a great deal of pre-production. Let us now look at the kind of pre-production work involved in an EFP. Because we need to adapt to a specific environment, it makes sense to take a look at it before going there with talent, crew, and production gear. A field inspection is called a remote survey, or simply site survey. We should do a site survey even | if the field production is relatively simple, such as interviewing someone in a | corporate office. Surveying the office beforehand will help us decide where to put the guest and the interviewer, and where.to place the camera. It will also give us | important technical information, such as specific lighting and sound requirements. | There may be adequate furniture but more lighting than required. We may wantto | draw the curtains to avoid extra light from coming into the room. The room may | then become dark and need artificial lights. We must prevent external noises from | entering the room and check out noises from fans and air-conditioners. Having set | up the furniture for the talent, we must check whether there is enough space for | at least four people (two camerapersons and two assistants to handle the lights) in | the room. | For complex productions, it is imperative to find out what the event is all about, | where the event is to take place, how to adapt the environment to the requirements of the medium, and what technical facilities are necessary for recording or telecasting the event live. While it is all right for the director and the technical director to do site surveys for simpler EFPs, com important crew members like camerapersona, te: and production manager to draw from their e location or event managers. plex EFPs require the presence of chnical director, lighting director, xpertise and coordinate with the The location manager will be of great help in the case of complex scheduled events on which we have ve ry little or no control. F NEAL Saha bs ol. For an Independence Day or orting event, the location manager must be thorough! ONG gly familiar with the event and supply us with vital information, such as names and order of the parade entries, etc. Most importantly, she should help us gain access to restricted areas or to facilities at times when the : are ordinaril : must make sure that we have his or her full name, y are ordinarily locked up. We title, address, business, mobile, K 344 Video Production the camera control units (CCUs) and and one for the recorded output. Check isitho je er atticondition. layback machines—both video and audi i gh Check if you have all the playback tapes—both audio and video in place Audio equipment Check for the number of Soe agi and esa : microphones you would want to use for different places an sti i y want to use a combination of microphones—dynamic and oon, iy omni- directional or uni-directional. Check for length of cable for each mic to the audio mixer. Check if the audio mixer is working well. Does it have the number of inputs you require for the production? Do not ever forget the all important (talk-back) intercom headsets! Cables and connectors Do you have all the connectors and cables required for the production? A large EFP would require something like 30 kinds of connectors and huge amounts of cable (both video and audio). Check if you have the required lengths and numbers of cables. Check if they are all working properly. Lighting Will your EFP work with existing lighting? Will you require additional lights? If so, what kind and how many? Do you need floodlights to light up the entire stadium or specific lights to light up specific areas of the production? Do you have portable lights to light up the indoors? Are all the lamps working? Do you have the right kind of reflectors, diffusers, etc. in the right quantity? Are there barndoors, aluminium foils, sandbags, and bricks for weight, etc.? Intercom Check if all the intercom equipment is working—the headpieces, control equipment, etc. Check if you need wireless sets for larger locations. Miscellaneous Extra copies of scripts (in case of scripted productions), production schedules, field log sheets, camera cards (which indicate to the cameraperson the shots she needs to take for the production), rain covers for cameras and other equipment, teleprompter for presenters, white cards for white balance, markers (chalk or permanent ink markers), make-up kits, water bottles, tea kettles, and supplies as well as towels. Do not forget to carry a fully equipped first-aid kit and anti-mosquito creams! Personnel Check how many above-the-line and below-the-line personnel you need for the production. See if you can hire them and on what basis. la, Insure all the equipment and personnel against any form of damage or loss, Transport Make sure you have good transport support to carry your equipment to the site and move around within the site. Budget Prepare a detailed budget for your EFP. You do not want to leave out miscellaneous items and rue your luck later, Fi ‘ power Check for ae ee leld Production: ENG andEFP 345 aK This is probably the mo i Ply and the numbe i St im T of plug points f i productions, the organ; Portant check P or your equipment. you with standby Sit normally use a fo you must do. For all outdoor 1 A E your own arran from their Senerat nerator. Check if they can provide gements, ator. Otherwise, make sure you make REMOTE PRODUCTIONS Many large remote Productions are a result of As discussed earlier, television is amonst . er any fe the burgeoning number of channels. hour. Therefore, channels h: d gobbles up programmes by the half tion but attracts i i A more audiences and therefore b: in more revenues in the form of advertisements ea oft Saarinen seal as Kaun Banega Crorepati, Brain of Andhra, Paadutha ee cre + have a set that normally does not change until the show Pp: s pecans that once the set for the programme has been executed, it is there for some time to come. However, if it is a one-off production (for example, the Filmfare Awards), a lot of research and pre-production work is needed. We have already discussed the kind of pre-production planning required for such EFPs. Large remote productions are basically about coverage of sporting events or other stage-based shows like awards, musical events, etc. The range and quantity of equipment required for a large remote production depends on the event and who is producing the programme. If a television channel is producing the programme, it will involve a huge lot of equipment and a large number of personnel. But before actually going ahead with the production, let us take a look at the dures involved in a large remote production like a sports match. Site survey In the site survey, be sure to include approaches to the event venue, arking space, toilets, eating spaces, etc. Take clearances for each of these spaces i Sear : You may also have to take clearance from the local police station if hi eed involving celebrities, to keep unwanted crowds and prevent a ta ie He location sketch should contain all details as mentioned above. set Having done the location survey, draw up a detailed floor plan of the : includes the event area including the area (stage) where pronation. Pnefornimin A The floor plan should include where the talent the event is actually i enter and exit the ‘stage’ and the main event space. (in this case, the spor'sP > about plotting your camera positions to get the best of Having done so, now 8 hows the placement of lights and microphones as well shots. The floor plan aleass for the EFP. This means that you should know A ired as other pair, gs oe plotted your camera positions, go on to plot the entire event 5t : proce 
