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TV News Reporting and Production MCM 516

LESSON 13

DAY OF RECORDING/PRODUCTION

Television production consists of three basic stages but the production stage and especially the day of

recording is very important in this whole process.

Pre-production

Production

Post-production

Pre-requisites for Indoor Production

Studio requisition

Planning schedule

Studio facilities

Three Cameras

Microphones

Set installed

Any change in required

Lighting

Panel/switcher

Camera control unit

Audio console

Cassette Recorders

Cassette Players

Functional Monitors

Plasma

Telephones

Tapes

Make up

Properties

Wardrobe

Costumes

Confirmation of participants

Pick and drop

Gate passes

Technical staff

Rehearsals

The rehearsals are very important be fore recordings as these provide an opportunity to the performers

to get them acquainted with the studio environment and the co-starts so that there can be harmony on the

screen among them.

Producer during recordings

Do not fatigue the crew with odd moves

Do not burden the artist with retakes

Do not spoil the mood of recording

Do not be panic while at work

Camera Moves and mechanism of recording

These are necessary to be decided between the camera crew and the producer that how the camera

would move and how the artists would perform accordingly. The producer tries to establish the locale

and finalizes the shot divisions.

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Noting on script or register

It's always good to keep an account of the recording which helps in post-production phase a lot so the

producer should jot down the points on the script or some separate register.

Communication during recording

A producer is suppose to pass instruction to the persons involved in recording so he has different

sources available:

Talk back microphone for the compair /anchor /host

Studio microphone to address the audience

Head phone to communicate with cameramen

Tele-light

The red light on camera gives the indication to the artist that which camera is on record and it is for the

cameramen as well to know that their camera is switched so they shod not spoil the shots.

Pre-requisites for single camera Outdoor Production

Single Camera

Microphones

Lights

Monitor

Reflector

Tapes

Battery charger

Transport

Make up

Costumes

Confirmation of participants

Location management

For outstation recordings

Tour authorization

Accommodation

Boarding and lodging

Point to ponder

If you are well at script, you will be good on floor

If something is not clear on papers, it will not be clear on screen also.

Floor management

It is also an important job often done by the production assistant or the assistant director. The entries of

different characters and the maintenance of different continuities are important for ant production.

The production staff

They are concerned primarily with the programme's content and development.

Producer

Director

Assistant director

Lighting director

Designer

Production assistant

The production crew

They are concerned with the equipment operation.

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Cameraman

Audio engineer

Audio technicians

Video technicians

Floor manager

Studio hands

Studio supervisor

Switcher

Recording engineer

Understanding and harmony

Television production is a team operation that requires the combined effort of dozens of skilled

individuals to produce a programme. Technical as well as human communication is vital for successful

production.

The television studio complex consists of two main areas:

The Control Room

It is the operational command center where programme elements are directed and coordinated. It has a

panel for recording purpose, switcher for inter-cutting and switching between the output given by

different cameras, Camera control unit, audio console, recorder and communication system for the

cameramen, artists and audience.

The studio floor

It is the area where the actual activity of production takes place that may be set of a talk show, drama,

news bulletin or some play having performers.

The day of recording

Television production starts with the programme planning, when the over all production concept and

approach are developed and organized as well as programme elements are rehearsed and coordinated.

Then comes the production phase that can be either live or recorded followed by then the postproduction

phase when videotapes is edited and additional video and audio material is added to the edited master

tape.

The producer should control the production in all aspects and assure the quality of the programme being

the mastermind and the captain of the ship.

The contents of the programme must be carefully watched at all following stages:

Research

Script writing

Dramatization

Screenplay

Storyboard

Rehearsals

Dialogue delivery

Accent/pronunciation

Teleprompter machine

It is a machine to facilitate the newsreader to read the news while having direct eye contact into the lens

of a camera and is controlled with the feet of newscaster. It is a screen between reader and camera that

is visible to reader but does not affect the view of camera. The whole script of news bulletin is scrolled

upward with the machine so that newscaster can easily read it without remembering the complete

bulletin.

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Video Tape Recording

Videotape playback and recording is standardized on the S-VHS (Super VHS) format. S-VHS recorded

tapes will not play back properly in most standard VHS VCRs. Some newer VHS VCRs will play back

an S-VHS tape but at regular VHS resolution.

Dubs from S-VHS to VHS may be requested and are encouraged for the purpose of your portfolio.

There are playback videotape machine and the record videotape machine. Both VT (videotape)

machines will playback VHS or S-VHS signals, while that will also record VHS or S-VHS signals.

NOTE: The S-VHS VCRs will play back a VHS tape, but only those recorded at standard speed (SP).

VT Controls

Tapes may be cued by using control track (CTL) pulses or time code (TC). Both longitudinal time code

(LTC) and vertical interval time code (VITC) are available. VITC is preferable with CTL as the second

option. When CTL is used, the counter may be reset to 00:00:00 and the auto stop feature may be used.

An internal Time Base Corrector (TBC) corrects jitter, allows the VCR output to be timed and allows

nominal control of picture quality, e.g. video level, set up, hue and chroma level. Unless instructed

otherwise, leave these controls in the detent position. A clear cover is used to prevent accidental

adjustment of TBC controls.

Tape transport is controlled by buttons and a shuttle knob. Buttons include: stop, play, pause, fast

forward, rewind, and search. Once the search button is activated the shuttle knob becomes the means to

advance or rewind tape with a visible picture. In shuttle the tape can be advanced or rewound at 0-32x

normal speed. In the jog mode, tape can be advanced or rewound frame-by-frame by rotating the shuttle

knob.

The READY button is used to turn the tape protection mode on and off. The 7650 must be in READY

mode before playing or cueing tape. However, when the 7650 is inactive for an extended period of time,

it automatically goes into tape protection mode to protect the tape and tape heads from unnecessary

wear and tear. You may activate or deactivate the tape protection mode by pressing the READY button.

Both and VHS and S-VHS (Super VHS) tapes may be played back. An S-VHS indicator light glows to

indicate that an S-VHS tape has been inserted.

Tapes with normal as well as Hi-Fi audio may be played back. Always use Hi-Fi audio if available.

Audio is available on the audio board as input A on channel 10. Audio playback levels for Normal audio

channels 1 & 2 and Hi-Fi audio channels 1 & 2 are available just below the VU meters. Normal position

for these controls is in the detent position.

Tracking adjustments may need to be made, especially for tapes that were recorded elsewhere. If picture

noise occurs, adjust the tracking for the clearest picture possible. NOTE: Please return the tracking

control to FIX when you have finished with that particular tape!

Video Cassette Player/Recorder

The program audio on Normal and Hi-Fi audio channel 1, with Normal and Hi-Fi audio channel 2 is

reserved for the recording of Director's PL.

Patching

Prior to recording make sure that video from the switcher program out is patched into the line input. The

input select switch must be set to LINE. Audio channel 1 input should be from the program audio, and

audio channel 2 should be patched from the intercom system. Please consult with the lab instructor if

you are unsure of any of the patching procedures.

Monitoring

Confirmation of proper video patching can be made by monitoring the video on video monitor (the right

monitor just above the edit controller). Confirmation of proper audio patching and record levels for

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audio channels 1 & 2 can be made by asking the audio engineer to feed tone at 0 dB and confirming the

level on A1's VU meter. Set record levels for both channels with tone at 0 dB and PL audio peaking

below 0 dB. Use headphones to confirm the audio content on both channels.

Recording

Before beginning to record, confirm that you are cued to the proper position on the tape and that nothing

of importance will be erased when you begin recording. Ideally, you will begin recording approximately

10 seconds past the end of the last recorded program. Enter the record mode by holding the REC button

while pressing the PLAY button. Once you record the program, continue to record at least 10 seconds of

black video and silence before stopping tape. This is very important as it serves to separate each

program with a bit of black and prevents the ends of programs from being erased inadvertently by the

following recording.

When recording is complete, rewind the tape a bit and play back to confirm that audio and video have

been recorded successfully and that technical problems with the recording do not exist. Once you have

reported this to the director, await the director's command to either wrap or re-cue the tape for an

additional recording. Projects will be recorded as often as time allows, but only the last recording will

be saved. Previous recordings will be recorded over during each successive recording. Before leaving

your post, communicate with the next VT operator to ensure that he/she understands the record tape's

current position.

Audio Equipment

Audio Console

The audio console is a 16-channel audio board designed for stereo operation. (However, at a TV station

it functions in a monaural mode.) The board has two independent stereo program outputs, a separate

mix-minus output, and a monaural (L+R) output. Each of the sixteen channels has three inputs available.

These are selected by pressing the A, B or C switches at the top of each channel. The A, B and C

sources are identified at the bottom of each channel. It is important that no two audio sources needed for

a production be routed into the same channel as only one of the three sources is available at a time on

any given channel. The inputs of greatest importance are as follows:

A - 8 A Mic inputs 1 thru 8 on the studio audio snake

9 A Tone

10 A BSM#13 (S-VHS source VT)

10 B Cart #1

11 B Cart #2

12 B Cart #3

12 C CD player

Voltage controlled slide faders allow for volume adjustment. Peak-reading LCD bar graph displays are

used to indicate levels. As with VU meters, red indicates levels too hot for optimum audio

Each channel also has ON/START, OFF/STOP and CUE switches. The ON switch must be activated

before any audio can pass through a given channel. When the OFF switch is depressed, audio is

terminated regardless of the position of the fader. The CUE switch allows for the audio from that

channel to be heard by the audio operator through the Howe's on-board speaker. The cue audio does not

affect program audio and is used to monitor audio without it becoming part of the program audio. For

example, using the CUE feature you can check whether a microphone is in fact working while feeding

audio from another source. The mic check audio will be audible to the audio engineer using headphones,

but will not be heard by those listening to program audio.

Remote Start

One feature of the board is that the ON/START switch can be wired to provide a start cue for outboard

equipment, e.g. our cart machines. When the ON switch is pressed, the channel is opened and a TTL

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signal is sent to the cart machine. This signal tells the cart machine to enter play mode. Note: the OFF

switch does not stop the cart machine.

Equalization

The audio console is not a production console and as such does not have equalization capabilities.

However, a TV station has a parametric equalizer in-line downstream of the Howe console. This

provides for very specific equalization of the entire program audio mix, but not of individual channels.

It is assumed that your audio is not in need of equalization before it gets to this stage of the production

process.

Mix Minus

The Howe board has a mix minus option that allows the operator to subtract that channel's audio from

the sum buss so that, for example, when the M-button is selected a telephone caller can have his own

audio subtracted from the signal sent back down the telephone line. The caller hears the P1 and P2

signals, but not himself, thereby eliminating a feedback problem through the telephone.

Monitoring

The audio operator's intercom headsets are special due to the special needs of the position, i.e. the audio

technician must be able to hear both program audio and the director. For this reason, the audio operator's

headset is a double-muff with program audio in one ear and PL (intercom) in the other. The level

adjustment for the PL is on the belt pack while the level control for program audio is on the board.

Timing

A count-up clock is built into the board and is very useful for timing prerecorded segments that are

rolled into the program. For example, a 30 second audio segment on audio cart is used to open the

program. As soon as the ON/START button is pressed, the cart begins to play and the clock begins to

count up from 00:00. This clock will continue to count up until another ON button is pressed, and then

the clock will begin again from 00:00. The clock is a useful tool as long as you know the length of audio

segments to be used.

Developing an Ear

Audio engineers are professionals who have invested the time necessary to understand the technology of

audio. In addition they have invested the time necessary to develop an ear. What do we mean by this?

Simply that to mix audio well, you have to hear more than your casual audio consumer. You must be

able to hear subtleties of tone, timbre, and acoustic presence. You have to know when the background

music is not too soft, not too loud, but just right. You must be able to identify the reverb or delay that is

interfering with the intelligibility of the talent. You must know when to boost the bass or cut back on the

upper mid range. In short, you must be a critical listener--always trying to hear what might make the

audio just a little bit better, a little bit more effective at communicating the intent of the producer.

Audio Cart

First, a few notes about audio carts:

Cartridges are endless loops of tape which are self-cuing. Please remember to allow them re-

cue before removing them from the playback machine.

Carts can be recorded with multiple cue points. However, to avoid confusion it is recommended

that you use one cart per audio cut until you master the format.

Cartridges must be erased (degaussed) before recording new material on them.

Label your carts carefully and note them by name in your script. An unlabeled cart is asking to

be degaussed.

The production control room at TV station utilizes audio cart and audio compact disc for audio

playback. Unlike CDs, audio carts can be recorded in-house and therefore are very heavily used for

audio other than music alone.

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Carts recorded in other locations should play back without problems on a TV cart machines. However,

always test your recorded carts while you still have time to make changes if compatibility problems

arise.

At a TV station, Edit 2 is the primary location for audio cartridge recording. In addition to the recording

cart machine, Edit 2 contains a CD player, a reel-to-reel 1/4-inch ATR, turntable, cassette deck, and

high quality microphone for VO recording.

A TV station's Production Control Room (PCR) has a three-cart stack for playback only. The ITC three

cart playback stack in PCR allows the audio engineer to have as many as three carts ready to playback

on cue. Make sure that the proper input selector switch is selected for each channel. Currently we use

inputs 10 B, 11 B and 12 B for carts 1, 2 and 3. Always double-check your carts for level and to ensure

that they are at the cue point before airtime.

Compact Disc Player

Compact Disc (CD) player in a TV station's Production Control Room (PCR) is fairly self-explanatory.

Operation is very similar to consumer CD players. However, there are a few features that may be new to

you.

Cuts may be cued by pressing the corresponding number on the keypad. If it is a two-digit number, first

press the >10 key, then the two digits. For example, for cut #43, first press the >10 key, then the 4 key

and the 3 key.

Audio cuts will play more quickly if they are cued by pressing play and pause rather than starting from

stop. A special feature is automatic cueing. Auto cue cues the CD to first audio, which is sometimes a

second or two after the track begins. To use auto cue press the AUTO CUE button then press the PLAY

button. The CD is now in standby, cued to the start of music. Press the PLAY button again to begin

playback.

SKIP buttons search from track to track while SEARCH buttons scan within tracks

The auto start feature in the Howe audio board does not function with the CD player. Once the CD is

cued, the channel may be left on (as long as the CD is paused or stop there is no sound coming from the

CD player) and the CD must be started by pressing play on the CD player.

Auxiliary Equipment

Intercom

The Clear-Com intercom system is a closed-circuit intercommunication system designed for clear, two-

way communication between crew members in a live television production environment. The main

station is located in the control room, and remote stations are located throughout the studio and

production areas. The remote stations used most often are belt packs that are worn by the crew member.

To this is attached a headset that includes either one or two earphones and a mic for talkback.

Operation is fairly simple

Using standard microphone cable of sufficient length, attach a belt pack station (female 3-pin

XLR) to the closest intercom jack. For studio personnel other than camera operators, the intercom jacks

are located on the large silver panel on the studio wall. Camera operators may connect their belt pack to

the intercom jack on the right rear side of the camera body. Note: The second XLR jack (male) on the

belt pack is so that a second station and headset can be added by looping through with another length of

audio cable.

Attach a headset to the belt pack. Note: this is a 4-pin XLR connector rather than the 3-pin XLR

used for the first connection.

Adjust the volume control to your personal preference. This volume control controls only the

volume in your earphone and does not affect the other crew members' ability to hear you.

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To talk, press and hold the talk button, or press twice quickly to latch in the on position. Speak

slowly and clearly, but quietly during production, into the microphone. Once the mic has been latched

on, it may be turned off by pressing the talk button once. Note: It is important that talking be kept to a

minimum. Also, make sure that your microphone is off anytime that you are not speaking.

When it is time to strike the studio, return cables, headsets, and belt packs to the wall where

cables are stored. To release the XLR cable from the belt pack, the release button on the side of the belt

pack must be depressed.

Batteries

Rechargeable batteries, the power supply for portable video, also need special attention. Although VCRs

and cameras draw relatively little power, usually 15-30 watts, batteries have a way of failing at the least

opportune moment. Most professional tube cameras operate optimally at 14 volts while CCD cameras

typically require 12 volts. And nearly all portable VCRs operate at 12 volts. If you're not using a

camcorder, separate batteries for the camera and recorder are the preferred method.

The camera and dockable S-VHS recorder require approximately 12 volts but will continue to operate

down to approximately 10.6 volts. At this level it is important to change over to a fresh battery as soon

as practically possible.

NOTE:

· Most rechargeable batteries are Ni-Cads (Nickel Cadmium). For those of you who are

environmentally aware you know that heavy metals are environmentally unfriendly. It is important that

Ni-Cad batteries be disposed of properly (most manufacturers have a trade-in policy.) And if you are

really want to save the environment, whenever possible use AC power rather than battery power.

Some things to consider:

· Temperature will effect the output of a battery, cold temperature will decrease the output (during

cold weather exterior shoots, try to keep batteries warm). However, heat is the number one killer of Ni-

Cad batteries. Keep batteries cool while charging and during storage.

· Batteries are not rugged; they do not take shock well...DO NOT DROP!

· Batteries develop memories and other problems if they are not recharged according to proper

procedure.

Charge Rates = Fast, Quick and Slow:

Slow = overnight or 14-16 hrs.

Quick = more than 1 hr. but less than 14

Fast = less than 1 hr. (should be used sparingly and only when batteries are near room temperature)

For batteries without microprocessors, charge on "quick" or "slow" charge rather than "fast" (1

hr.) whenever possible

Do not overcharge a battery

Don't run it completely dead, i.e. replace with fresh battery at first indication of depletion

Charge a depleted battery as soon as possible

Store batteries in a charged condition and if stored, give them a slow, overnight charge to "top-

off" the battery preceding use

NOTE: A word about battery life. Often people will come back and complain that a camera battery

didn't even last through one 20 min. cassette. What in fact happened is that they powered up the camera,

white balanced, checked their lighting, went through several rehearsals, changed the position of the

talent, had some donuts and coffee, etc. all before shooting. If you fail to go to Standby when not

actually shooting, this is exactly what will happen!

The prudent ENG/EFP battery package would include enough batteries to run all equipment for a

normal day without the necessity to recharge during the day. There should be an 8 hour quick charger

available for each battery so all batteries can be charged simultaneously overnight (8hrs.) A single fast

charger may be included for the unexpected.

Average life expectancy of Ni-Cad batteries for video or film applications is 500 cycles, with gamut

ranging from 200 to 800 cycles.

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Notes Use only Lifesaver chargers:

Keep batteries on charger until just prior to being used

Return batteries to charger as soon as possible after use, preferably within 48 hours

If batteries have been off the charger for more than a few days, they should be placed back

on the charger for at least 24 hours before they are to be used

Do not use slow chargers except in emergencies

Do not over-discharge batteries...if you operate the camcorder beyond the low battery

warning light or until the camcorder shuts down, you have subjected the battery to possible irreparable

damage

Videotape

There are several things you should keep in mind to insure good recordings:

Tape needs to be handled carefully, which means don't handle at all if possible, videocassettes

should either be in the VCR in or a case!

Store in a cool, dry, clean place (not a car trunk in summertime). Ideal storage = 68 degrees and

40% relative humidity

videotape should never be spliced (however, if spliced only for one dub)

should be stored on end, tape edges must be protected from damage or you could loose audio or

control track

Keep away from strong magnetic fields, i.e., monitors, speakers, etc.

do not keep VCR in pause mode for long periods of time

avoid using the first minute and last minute of tape due to the potential for excessive dropouts

most production facilities use tape for only a single pass, although you can get many passes if

you are careful

beware of losing power to VCR before tape is ejected, otherwise you could eject tape before it

is returned to its cassette

it is a good idea to "exercise" or "fluff" a new tape, (ff to end and back)

never use a wrinkled or creased tape, it could damage heads

Make sure that the VCR is properly maintained; cleaned, tape guide tension checked, worn belts

replaced, etc.