Introduction To Audio And Visual Media PDF

INTRODUCTION TO THE AUDIO AND VISUAL MEDIA Dr: El Sayed Abo Sheashaa Lecturer in Department of Radio and Television  Why do we study this course?  What are the expectations for this course?  What topics and issues should this course address? Television Studio Parts of television stud...

INTRODUCTION TO THE AUDIO AND VISUAL MEDIA Dr: El Sayed Abo Sheashaa Lecturer in Department of Radio and Television  Why do we study this course?  What are the expectations for this course?  What topics and issues should this course address? Television Studio Parts of television studio ❖ Studio Floor:  The studio floor is the actual stage on which the actions that will be recorded and viewed take place. A typical studio floor has the following characteristics and installations: decoration and/or sets. professional video camera (sometimes one, usually several), typically mounted on pedestals, lighting ❖ Production Control Room:  a room containing monitors, speakers, switching boards, effects generators, and other equipment, used to monitor and edit a program on-the-fly, or as it is being taped.  In much television production (especially half-hour comedies, talk shows, and variety programs), an entire program is acted out live, while a multi-camera set-up is used to tape the action from a variety of angles.  In the control room, the director decides which camera is going to be recording the actual image at any given moment.  In such productions, there is inevitably some degree of post-production editing and correction. ❖ Master Control Room:  The Television Master Control Room (MCR) is a highly centralized operational hub within a television station, cable network, or broadcasting facility.  It is staffed by skilled broadcast engineers and technicians who work diligently to ensure the smooth and uninterrupted transmission of television programming to viewers' homes.  The MCR is the final stage in the broadcast chain that transmits content to viewers’ screens, making it a crucial component of the broadcasting workflow.  Monitoring is a critical aspect of the MCR's operations. To ensure the highest quality broadcast, the following aspects are monitored:  1. Video Quality: Continuously monitor the video output for any visual anomalies, such as color shifts, distortion, or pixelation. Check for compliance with broadcasting standards to maintain a consistent visual experience. 2. Audio Quality:  Any issues with sound are promptly rectified to prevent audio inconsistencies during transmission.  Audio meters and loudness measurement tools are used to monitor audio levels and ensure that the sound is neither too soft nor too loud, providing an optimal listening experience to the audience. 3. Closed Captioning and Subtitles:  If the content requires closed captioning or subtitles for accessibility, the MCR ensures that they are accurately included.  Monitoring devices verify the proper display of closed captions and subtitles, enabling viewers with hearing impairments or language differences to follow the program effectively.  4. Transmission Errors:  Technicians keep a watchful eye on the transmission process to detect any errors or interruptions that may occur during broadcast.  If necessary, they take immediate corrective action to minimize downtime.  Specialized software and monitoring systems continually check the transmission path for any potential issues, ensuring that the signal is delivered smoothly to its intended destination. 5. Compliance and Legal Requirements:  The MCR also plays a vital role in adhering to regulatory and legal requirements.  It monitors content to ensure that it complies with broadcasting guidelines, regional censorship laws, and advertisement restrictions. Additionally, it safeguards against any unauthorized content leaks or piracy attempts. 6. Emergency Alerts:  The MCR is responsible for broadcasting emergency alerts, such as severe weather warnings or public safety messages. 7. Backup and Redundancy:  To prevent catastrophic failures, the MCR incorporates redundancy measures. Redundant servers, routers, and switches are set up to automatically take over in case of hardware failures, ensuring minimal disruption to the broadcast. Input and Output Video Streams: (The Input) The TV Master Control Room receives a diverse array of video sources to compile the final broadcast. These sources include:  Live Studio Feeds: These come from cameras and microphones in the studio where programs like news, talk shows, and live events are being produced.  Satellite or IP Feeds: Content from around the world is received via satellite uplinks or IP Networks, which allows for live coverage of global events.  Pre-recorded Content: This includes TV shows, movies, and other content that has been previously recorded and is scheduled for broadcast.  Advertisements: Commercial ads, often provided by advertisers, are incorporated into the broadcast schedule.  External Broadcasts: Special events, sports competitions, or concerts taking place outside the studio are received through external broadcasts. The input streams are processed including encoding, transcoding and multiplexing with other streams, the Master Control Room generates signals that are sent for distribution and transmission to various platforms. The main outputs include:  Over-the-Air Broadcast: The finalized broadcast signal is sent to the transmitter for over-the-air transmission. This allows viewers with TV antennas to receive the content.  Cable and Satellite Distribution: The MCR provides the signal to cable and satellite providers, which then distribute it to their subscribers' homes.  Online Streaming Platforms: Many TV stations and networks now offer online streaming services. The MCR delivers the broadcast signal to these platforms for internet-based viewing.  Archiving: A copy of the broadcast signal may be stored in the archives for historical or legal purposes. ❖ News Editing Room:  It is the room where news bulletins and talk shows are edited. ❖ Green Room/Make-up Room:  Floor room that, with the green color and the acoustic treatment of the walls, can be used both as a chroma key room and as a shooting point for dubbing. ❖ Library: ❖ Manage all recording and footage of channel ❖ Important for file footage ❖ Digitization ❖ Footage management system  The control room and the studio are separated by a glass partition which has several benefits: 1- The director needs to see the studios to know the space through which the cameras can move in the shadow of the lighting bulbs and microphones. 2- The glass barrier allows the director to follow the cooperation between the work team inside the studio, which is considered an important factor for the success of any TV program. 3- The sound and lighting engineers sometimes receive instructions or guidance from the director through the glass barrier during the recording of the program.  Purpose:  The Studio Camera is designed to provide a level of control unavailable from a field camera.  Used generally for studio productions, it is also sometimes used at concerts, sporting events, and convention halls.  The actual camera is only a small part of the STUDIO RIG, which includes the pedestal, the handles with zoom/focus control, the large viewfinder, and the teleprompter.  The Components:  A. Viewfinder: A small monitor showing the picture generated by the camera.  B. Arms/Handles: control camera movement.  C. Zoom control: Adjusts the lens between wide angle and narrow angle shots. D. Focus control: Adjusts the lens to make the image sharp and clear.  E. Locks: Must unlock camera to start and must lock camera when done. One lock for pan and one for tilt. F. Pedestal: The base that supports the entire camera.  A. Autocue : A device that projects the copy (text) in front of the lens so that the subject, facing the camera, can read it.  B. Screen: A glass which reflects the teleprompter copy so the subject can read it. The glass does not block the image from the lens.