TV Production Crew Positions (2210)

CREW POSITIONS Producer - In charge of an individual production or show - Responsible for securing script, casting, budget, personnel, and all elements needed for the production Director - In charge of the entire production from script to final product - Manage the crew...

CREW POSITIONS Producer - In charge of an individual production or show - Responsible for securing script, casting, budget, personnel, and all elements needed for the production Director - In charge of the entire production from script to final product - Manage the crew - Responsible for: - The look of the production - Camera composition and angles - Stage movements - Special effects, - Mark up the script - Call commands to the crew Assistant Director - Helps the Director with - Program timing - Place in the script - Catching problems with lighting or shot composition - Anything else the Director needs Floor Manager/Floor Director - Takes direction from the director - In charge inside the studio - Talks to the director through the headset - Relays information to talent and studio crew - Provides hand signals to talent - Maintains quiet in the studio - Helps in the studio where needed Technical Director - Responsible for the technical look of the show - Switch the show elements by operating the switcher - Use the Preview and Program busses as well as transitions and keys Graphics Designer/Operator - Design and load graphics and CGs - Cue up graphics and Cgs for live production TelePrompter Operator - Loads copy - Runs TelePrompter at the correct speed, corresponding with talent's pace Video Tape Operator (VTO) - Respond to Director's commands - Record and playback show Camera Operator - Position the camera in the proper area - Follow commands of the director - Understand commands and perform tasks quickly and accurately - Wrap cables at close of production, return camera to original position Audio Mixer - Provides the overall sound elements and mix of audio sources - Checks and adjusts mics and other sound sources for correct levels - Assigns faders to each sound element Audio Assistant - Runs mic cables for studio mics - Mics talent properly - Works with Audio Mixer - Runs audio cable properly and securely - Wraps cable at conclusion of show Talent - Perform script professionally - Take cues from Floor Director Production Assistant I - Assist the Control Room crew with anything that needs to be done Production Assistant II - Assist the Studio crew with anything that needs to be done Lighting Director - Sets the lighting instruments for the production - Understands three-point-lighting and color temperature (both taught in the 2210 film section) Logger - Keeps a written log of all takes, including busts - Writes notes for each take - Control Room Observer - Watches the control room crew - Keeps a log of issues and good work done by crew Studio Observer - Watches the studio crew - Keeps a log of issues and good work done by crew Start of Show Director Commands Stand By Quiet on the Set Roll Record (Wait for rolling and recording) Ready to open mic Ready to cue talent Prepare to fade in One Open Mic Cue Talent Fade in One Etc. End of Show Production Commands Ready Close Mic Prepare Fade to Black Close Mic Fade to Black Stop Recording General Commands Prepare > Dissolve Ready > Take Fade in or up Fade out Cue  Mic and Q Music up Music under Music out Roll (play or record) Standby Run-through Frame up Crop Pan Tilt Zoom Dolly Truck Pedestal The Control Room The equipment and crew that run the operation of the telecast or show are located in the control room. Typically, the control room is near the studio, and may even be attached by a common wall with a window that provides a direct view of the studio. However, the studio may not be close. It could be on a different floor, building, or even, across the world! Some control rooms are capable of controlling more than one studio. Master Control The recording and/or transmission center of the studio is master control. The operator and equipment in master control are responsible for the final output of the programming, such as newscasts, shows, commercials, etc., as well as any incoming signals from satellites or other sources. The Studio The studio is the large space where the set for a television program is located. For instance, in live news telecasts, the anchors deliver the newscast from an anchor desk or other type of set to viewers. In an entertainment show, such as a sitcom, the sets are built in the studio to resemble the setting of the characters, often an apartment, office, or even a restaurant. The studio often contains several smaller sets for use with other shows or scenes. Studios are designed and constructed to control light and sound. The studio floor is always flat and clean so that cameras can easily move around the set. Studios have large curtains or panels of fabric called cycloramas (cycs) that are mounted on a track a few feet from the studio walls that can be moved as needed. There may be more than once cyc in a studio, in different colors. Hard cycs are large, curved platforms that are basically a set piece, and are used with computer-generated virtual sets. The ceilings are high in studios to accommodate equipment and the lights. Lights are mounted on pipes, called battens, and the lighting instruments hang from the battens that may run wall-to-wall in both directions, allowing for lights to be moved and re-directed as needed. The lights are controlled by the lighting board which can turn each light off and on independently, or can be tied together in groups so one switch can turn several lights on and off at the same time. Many lighting boards also feature dimmers, color-changing options, and programmable movement of the lights. Finally, the most recognizable elements in the studio, the cameras. Typically, studios are equipped with three studio television cameras mounted on moveable pedestals. Notes The script style is in the traditional two-column script used in video productions. The Director uses the script and marks it up indicating how many shots there will be, what kind of shots will be used, how the set will be arranged, and the commands. In TV, when using more than one talent, cameras should always shoot in an "X" formation when getting close-ups or one shots. In other words, in the example above, Camera 1 would shoot the Talent in a one shot, while Camera 3 would get a tight shot of the Cover Visual to the left of the Talent. This allows most of the Talent's face to be shown, rather than just part of the face as the Talent is looking away from the camera. Left Column - Visual Side - Number of shots in sequential order - Type of shot (CU, LS, etc.) - Camera number (circle with the camera number inside the circle) - Any Graphics to be used - Any Special Effects to be used Right Column - Audio Side - Audio script - Director's commands Floor Director Signals Studio Camera Operations - Camera Moves - Pan (Left/Right) - The camera moves to the left or right without moving the pedestal - Truck (Left/Right) - The pedestal moves to the left or right without moving the camera - Zoom (In/Out) - The zoom lens moves in or out to get closer up or farther back utilizing a thumb lever attached to an arm on the pedestal - Dolly (In/Out) - The pedestal with the camera moves forward or backward - Tilt (Up/Down) - The camera moves up or down as the pedestal remains stationary - Pedestal (Up/Down) - The pedestal and camera move up and down - Frame Up - Compose or correct the shot's composition - Crop - Tighten/zoom in on a subject to lose a portion of the object - Shot Composition - Basic shot composition is covered in the 2210 Film Section. However, it is important in the studio to also understand headroom, noseroom, and leadroom. - Headroom - The visual distance from the top of the talent's head to the top of the video monitor. Too much headroom means that the shot needs to be adjusted to lessen the space above the head, more headroom requires adjustment to increase the space. - Noseroom - A space in the direction talent is looking. - Leadroom - The visual distance in front of a moving object, such as a person walking, or a vehicle is moving. Parts of a Studio Camera - Studio camera are similar to field camera, with lenses, viewfinders, and tally lights. Field cameras are typically equipped with a recorder within the camera. Studio cameras output high quality video to CCUs in Master Control or to another location. The video signal is then sent to the switcher, recorders, or other devices in the production, providing a simultaneous signal to many devices. Camera Operator's Guide - Pre-Production 1. Make sure the camera pan and tilt mechanisms are locked by gently holding and wiggling the handlebars 2. Uncoil the cable, with enough slack to move the camera into position 3. Hold on to the pedestal ring from the front of the camera, then move to the assigned position 4. Put on your headset and listen for instructions from your director, making sure your mic is off 5. Ask Floor Director any questions you may have, and respond to the Director by moving the camera head left-and-right for "no" or up-and-down for "yes" 6. If you need to leave your camera, lock the pan and tilt mechanisms first 7. When ready to operate the camera, hold on to either the right or left handlebar and unlock the pan mechanism, the pedal mechanism (if locked), and the tilt mechanism 8. Adjust the tilt or pan tension/friction for smoother camera movement if needed 9. Focus the camera by zooming in all the way on the subject, focus, then zoom out for your shot 10. Should the camera-to-subject distance change, you will need to re-focus using the above step 11. The Director may provide you with camera shot cards that indicate which shots you are responsible for so you will know the shot composition and order of shots prior to the production 12. Report any problems with equipment to your instructor, director, or the engineer as soon as possible - Production 1. Pay attention and watch your viewfinder, not the people on the set with your eyes 2. Compose each shot correctly 3. Anticipate the next shot, including transitions which may require you to hold the shot a little longer 4. Be quiet and do not use the intercom to speak - Post-Production 1. Lock the pan and tilt mechanisms and place the headset on the handlebar 2. Wrap the camera cable back where it belongs, do not tighten the pan and tilt friction/tension control 3. Return the camera to its original position