This is all the equipment we will be using for our TV Quiz Show:
- 3 Pole Cameras - These are used to film the overall show. Pole cameras can move around on wheels. Before recording, the camera operator needs to adjust how much light goes into the camera, using the turning dial. This is called the exposure. Camera Operators can tell if there is too much exposure by looking at the view finder, looking for zebra bars. These are diagonal lines going across the view finder. Exposing the skin at 75% is a perfect exposure (just so the zebra bars go). To control the position of the shots more easily, there are handlebars to hold, also containing the zoom control.
- 1 Jig Arm - To get a WS of the Set and Talent. A camera is attached to the Jig Arm on a long bar. This can be moved up quite high, or manoeuvred down low. A view finder of the camera filming is set down low, so the Camera Operator can see the position of the camera.
- 5 Omni-Directional Clip Microphones - An Omni-Directional microphone means that they can pick up sound from all around. These are clipped on the Talent, so the Sound Operators in the audio control room, can control there sound levels.
- 1 Directional Microphone - This is needed for the Studio Audience. Directional microphones; meaning that they can pick up sound from a set direction. These are used for a Studio Audience because this would prevent the recording picking up any other sound effects, such as whispering from the audience. These will only detect the clapping. This is attached to the Grid, above the audience.
- Talk Backs/ Comms - This is an audio device, which is used to enable the crew to communicate from the Studio Floor to the control rooms. On the Studio Floor, the crew such as the F.M and Camera Operators would where headphones, with a mic and a small Talk Back box, to be able to communicate. The main Talk Back box is in the vision control room, which sits in front of the Director.
- 1 Vision Mixing Panel - This is a vision box, which displays all of the cameras shots from the Studio Floor, on little separate screens. Below the screens there is a panel with different buttons. The buttons control, which camera needs to be "on line", numbered 1 - 5. For example if camera 1 needed to be "on line", the VX would press button number 1. To fade in/out a camera to another camera, there is a second row of buttons exactly the same. For example; if camera 1 was "on line" but the VX wanted a transition to camera 2, the VX would press button no.2 on the second row of buttons, and pull a yellow lever to get the transition displayed.
- 1 Sound Mixing Panel - This is a mixing box, which is used to control the sound levels of the Talent or VT, using the faders. Using the faders, allows equal sound levels of the Talent's speech. A master fader can also be used to adjust all of the sound levels. To make it more easier to use, there is separate faders for each clip microphone. There is also a VU meter on the panel, which shows the Sound Operator, if the sound is too low or too high. The sound is measured in Decibels (dB). For example, if the sound levels were reading to high on the VU meter from the Host, the Sound Operator would fade down the Host's fader.
- The DVD Player - This allows DVD discs to be played. DVD, also known as Digital Versatile Disc or Digital Video Disc, is an optical disc storage media format, which will store our VT inserts, titles, etc.
- The Lighting Grid - All of the different lighting is attached to a rail above the set on the Studio Floor. This is called the Grid. The lighting is obviously used to light the set.
- The Dimmer Pack - This is a electrical box, which powers the Lighting Grid.
- STOB Box - This is a box, which controls audio and visual footage being passed through the signal flow. STOB stands for Studio Terminal Out Box.
- A Floor Monitor (TV) - This is for the Talent on the Studio Floor. They can see what is being filmed during rehearsals and 'Takes', also allowing them to watch the VT inserts, Opening Titles, Credits and Round Stings.
Mise En Scene
- The Set - Backboards and board on and in front of the table.
- Props - Buzzers, Cue Cards
Sunday 13 June 2010
Signal Flow and the Technical Rig
Audio Signal
Audio signal flow is the path an audio signal takes from source to output, including all the processing involved in generating audible sound from electronic impulses or recorded media.
This is a diagram of the Audio Signal Flow in a Television Studio.
Video Signal Flow
Video signal flow is also the path a visual signal takes from source to output, which results in the footage been recorded onto a Hard Drive.
This is a diagram of the Video Signal Flow in a Television Studio.
Technical Rig
The Technical Rig is a technical term for the entire lighting apparatus, including the lights themselves, the physical structure which supports them, and the cabling, control systems, dimmers, power supplies, light boards, and (to a certain extent) the people who maintain and operate it.
Audio signal flow is the path an audio signal takes from source to output, including all the processing involved in generating audible sound from electronic impulses or recorded media.
This is a diagram of the Audio Signal Flow in a Television Studio.
Video Signal Flow
Video signal flow is also the path a visual signal takes from source to output, which results in the footage been recorded onto a Hard Drive.
This is a diagram of the Video Signal Flow in a Television Studio.
Technical Rig
The Technical Rig is a technical term for the entire lighting apparatus, including the lights themselves, the physical structure which supports them, and the cabling, control systems, dimmers, power supplies, light boards, and (to a certain extent) the people who maintain and operate it.
Planning Camera Placement and Shots
When producing a TV Show the cameras need to be placed, so they are lined up with the Talent they are filming, also assuring that the appropriate shots can be produced.
The 'Media Circus' Camera Placements and Shots
On the Studio Floor we have 3 Pole Cameras and 1 Camera on a Jig Bar. Camera 1 will be focused on contestants A & B, where Camera 3 will be always on contestants C & D. These two cameras are both planned to produce shot sizes of MCUs, 2 Shots and Over the Shoulder shots of the contestants. Camera 2 is also known as the Host's camera, where the Camera Operator would produce MCUs or MSs of the Host. Although, as this camera is placed further to the back of the studio, it is possible for this camera to produce a 3 Shot of the Host with either Team A or B on the other side of the Host. A 5 Shot or WS can also be positioned too. Camera 4 (on the Jigbarn) is used for a high angle WS of the set, audience and Talent, which is placed to the far back of the studio. This camera can also be used to give movement around the studio. (PED, Pan, Tilt, Tracking)
This is a diagram of where the cameras will be placed on the Studio Floor.
'A Question Of Sport' Camera Placement and Shots
Not all TV Shows would have this camera placement. It all depends how the set and the Talent are positioned in the Studio, also the amount of cameras there is too. When watching a clip of 'A Question of Sport', the camera placement and the camera shots used, could look like this.
Camera 3 is the Host's camera, so this would produce shot sizes of either a MCU, MS, or LS of the Host. This camera can also set up a 5 Shot or WS too. Cameras 1 and 2 would focus just on Contestants A, B & C both producing the shot size, 3 Shot. Although they both concentrate on Contestants A, B & C, the cameras also concentrate on only 2 of the contestants, when showing a 2 Shot, CU or MCU. When Camera 1 sets up a 2 Shot, CU or MCU, he mainly sets these shots on just Contestants A & B, whereas Camera 2 would set up the 2 Shots, CU or MCUs on just Contestants B & C. Cameras 4 & 5's purpose are exactly the same, but focusing on the other team of Contestants (D, E &F). Camera 6 would be positioned further back in the Studio, on a Jigbarn (crane). This camera is used to produce camera movements (PED, Pan, Tilt) of around the studio, ending up on a high angle WS of the set, audience and Talent.
When producing a TV Show the cameras need to be placed, so they are lined up with the Talent they are filming, also assuring that the appropriate shots can be produced.
The 'Media Circus' Camera Placements and Shots
On the Studio Floor we have 3 Pole Cameras and 1 Camera on a Jig Bar. Camera 1 will be focused on contestants A & B, where Camera 3 will be always on contestants C & D. These two cameras are both planned to produce shot sizes of MCUs, 2 Shots and Over the Shoulder shots of the contestants. Camera 2 is also known as the Host's camera, where the Camera Operator would produce MCUs or MSs of the Host. Although, as this camera is placed further to the back of the studio, it is possible for this camera to produce a 3 Shot of the Host with either Team A or B on the other side of the Host. A 5 Shot or WS can also be positioned too. Camera 4 (on the Jigbarn) is used for a high angle WS of the set, audience and Talent, which is placed to the far back of the studio. This camera can also be used to give movement around the studio. (PED, Pan, Tilt, Tracking)
This is a diagram of where the cameras will be placed on the Studio Floor.
'A Question Of Sport' Camera Placement and Shots
Not all TV Shows would have this camera placement. It all depends how the set and the Talent are positioned in the Studio, also the amount of cameras there is too. When watching a clip of 'A Question of Sport', the camera placement and the camera shots used, could look like this.
Camera 3 is the Host's camera, so this would produce shot sizes of either a MCU, MS, or LS of the Host. This camera can also set up a 5 Shot or WS too. Cameras 1 and 2 would focus just on Contestants A, B & C both producing the shot size, 3 Shot. Although they both concentrate on Contestants A, B & C, the cameras also concentrate on only 2 of the contestants, when showing a 2 Shot, CU or MCU. When Camera 1 sets up a 2 Shot, CU or MCU, he mainly sets these shots on just Contestants A & B, whereas Camera 2 would set up the 2 Shots, CU or MCUs on just Contestants B & C. Cameras 4 & 5's purpose are exactly the same, but focusing on the other team of Contestants (D, E &F). Camera 6 would be positioned further back in the Studio, on a Jigbarn (crane). This camera is used to produce camera movements (PED, Pan, Tilt) of around the studio, ending up on a high angle WS of the set, audience and Talent.
Audio
The audio for any TV show needs to be loud enough and clear, so it is easily understood. With bad audio, there is no point to watching a TV show. That's why audio coverage needs to be planned and checked within the audio control room there is 5 people on the show so it’s easy to work out how many Omni -Directional clip microphones is needed. 5 mics will be needed for the Talent, but may need to be clipped in different positions on their clothing. The Host's mic would need to be central on them, as the Host's Eye Line is directed to the left, right and directly ahead. Contestants A & B's mics would be put slightly more to the left of their body, as they will be turning to the left to speak to the Host. Whereas Contestants C & D would have their mics on the opposite side (right), because they will be turning to the right to talk to the Host. A Directional mic is also needed to hang above the audience to pick up their applause.
The Sound Operators are responsible for putting the mics on the Talent correctly and providing the mic checks. Mic checks consist of at least 30 seconds of the Talent talking in their normal speaking voice into the clip mics, which is then heard in the audio control room through the speakers. When being heard through the speakers, the Sound Operators can adjust the faders on the audio panel, to a appropriate level, making sure all the Talent is kept to the same level. For example, if the Host was speaking too loudly, the Sound Operators would ask them to do another sound mic check, because the Host might of not been speaking in their normal speaking voice. After a mic check has been taken place, the Sound Operators can adjust the sound levels of each of the talents mics using the faders on the audio panel. They can tell if the sound is either too loud or too quiet, by not only hearing the speech or music through the monitors (speakers), but checking the VU meter on the audio panel. This is a more accurate measurement for the Sound Operators to judge the sound level which is best quality when its between +6 to +9dB. If the Sound Operators let the audio levels go above +9dB, the audio would not only sound too loud, but would be distorted. It’s also important to check that the audio isn't too quiet, the signal mustn't drop under -12dB.
The Sound Operators are responsible for putting the mics on the Talent correctly and providing the mic checks. Mic checks consist of at least 30 seconds of the Talent talking in their normal speaking voice into the clip mics, which is then heard in the audio control room through the speakers. When being heard through the speakers, the Sound Operators can adjust the faders on the audio panel, to a appropriate level, making sure all the Talent is kept to the same level. For example, if the Host was speaking too loudly, the Sound Operators would ask them to do another sound mic check, because the Host might of not been speaking in their normal speaking voice. After a mic check has been taken place, the Sound Operators can adjust the sound levels of each of the talents mics using the faders on the audio panel. They can tell if the sound is either too loud or too quiet, by not only hearing the speech or music through the monitors (speakers), but checking the VU meter on the audio panel. This is a more accurate measurement for the Sound Operators to judge the sound level which is best quality when its between +6 to +9dB. If the Sound Operators let the audio levels go above +9dB, the audio would not only sound too loud, but would be distorted. It’s also important to check that the audio isn't too quiet, the signal mustn't drop under -12dB.
Crew Roles and their Responsibilities
Roles on the Studio Floor:
- The Floor Manager (F.M) is responsible for managing the studio floor, meaning when and where the cameras, sets, or talent operate. The F.M can also be referred as the director's assistant. For example, the F.M informs when the next 'take' will be, by providing a 'countdown' for all the crew and talent on the studio floor, and instructs when studio audience applauds. Also making sure everyone on the floor is ready for recording The F.M follows any instructions needed on the floor requested by the director or sound operators by communicating with comms. An F.M is expected to be aware of what is going on, in the control rooms and the studio floor. They also need to be able to anticipate what the Director wants, before actually asking. Most importantly, they need to be clear of their instructions.
- Normally the Assistant Floor Manager (A.F.M) helps the F.M manage the action on the floor such as, prompting contributors on the studio floor and ensuring that everyone knows their place in the script. They can also help out with the design and the preparation of the props on the studio floor. For our TV Quiz show, the A.F.M's role is to keep the teams quiz scores. They are required to note down the scores clearly, so the Host/Presenter can call them out, also paying attention when either team gets an answer right.
- The Camera Operators are responsible for operating the studio cameras, providing various shot sizes showing the talent and set. Camera Operators also provide the shots requested by the Director, also being able to communicate using comms. They are expected to be able to present correct framing of shots, by making sure that the Talent's eyes are on the top third of the shot. Camera Operators also must determine what shots the Director wants, and also making sure they are able to produce them.
- An Assistant Camera Operator are responsible to help move the cameras if tracking or crabbing is needed. They also hold up the camera cable, to prevent the camera operators tripping over the cable. This role is one of the easiest and less exciting roles on the studio floor.
Roles in the Control Rooms:
-A Vision Mixer (VX) is responsible for providing the correct camera shots shown at the right time, during the rehearsals or recording, from any of the cameras on the studio floor, using a Vision Mixing Panel. Basically, they control what camera filming is being shown during the 'live show'. VX in the vision control room. VX's are expected to put the correct cameras "on line" during the rehearsals and "Live Show" requested by the Director, or even to suggest better solutions (putting a different camera "on line", if it clearly works better). As this roles is very quick, they need to be aware of what is happening during the TV Show and need good concentration.
- Sound Operators are responsible to adjust the sound levels of either the Talent, audience or any V.T to a suitable level, using a sound mixing panel. Sound Operators are situated in the audio control room. They are also responsible for clipping the mics on the Talent. The Sound Operators can also communicate using comms, requesting the F.M to ask the Talent to talk to do "mic checks". They also inform the F.M if any of the Talent need to speak louder or more quieter. Sound Operators are expected to be aware of what is happening in the show, so they know when to put the Talents mics back on or off, if a VT has been played or is playing.
- A Sound Assistant assists the Sound Operator in the audio control room, helping by clipping the mics onto the Talent, and adjusting the sound levels on the sound mixing panel.
- The Director is responsible for supervising the placement of cameras, lighting elements, microphones, and props. Basically, they control the overall production of the TV Show of how he/she wants it. The Director sits in the vision control room, throughout the rehearsal or "take". They also over look the whole of the crew, to make sure that everyone knows what they are meant to be doing at the right time. For a Director to be successful, they must be clear of their instructions, so they are easily understood by the crew. Also being able to always work to a professional standard, by directing the crew and floor correctly.
- An Assistant Director sits with the Director during the production, being responsible to observe if the show runs smoothly, also being aware of where the rehearsal or "take" is on the script. They are also responsible for making sure the production runs
- The Floor Manager (F.M) is responsible for managing the studio floor, meaning when and where the cameras, sets, or talent operate. The F.M can also be referred as the director's assistant. For example, the F.M informs when the next 'take' will be, by providing a 'countdown' for all the crew and talent on the studio floor, and instructs when studio audience applauds. Also making sure everyone on the floor is ready for recording The F.M follows any instructions needed on the floor requested by the director or sound operators by communicating with comms. An F.M is expected to be aware of what is going on, in the control rooms and the studio floor. They also need to be able to anticipate what the Director wants, before actually asking. Most importantly, they need to be clear of their instructions.
- Normally the Assistant Floor Manager (A.F.M) helps the F.M manage the action on the floor such as, prompting contributors on the studio floor and ensuring that everyone knows their place in the script. They can also help out with the design and the preparation of the props on the studio floor. For our TV Quiz show, the A.F.M's role is to keep the teams quiz scores. They are required to note down the scores clearly, so the Host/Presenter can call them out, also paying attention when either team gets an answer right.
- The Camera Operators are responsible for operating the studio cameras, providing various shot sizes showing the talent and set. Camera Operators also provide the shots requested by the Director, also being able to communicate using comms. They are expected to be able to present correct framing of shots, by making sure that the Talent's eyes are on the top third of the shot. Camera Operators also must determine what shots the Director wants, and also making sure they are able to produce them.
- An Assistant Camera Operator are responsible to help move the cameras if tracking or crabbing is needed. They also hold up the camera cable, to prevent the camera operators tripping over the cable. This role is one of the easiest and less exciting roles on the studio floor.
Roles in the Control Rooms:
-A Vision Mixer (VX) is responsible for providing the correct camera shots shown at the right time, during the rehearsals or recording, from any of the cameras on the studio floor, using a Vision Mixing Panel. Basically, they control what camera filming is being shown during the 'live show'. VX in the vision control room. VX's are expected to put the correct cameras "on line" during the rehearsals and "Live Show" requested by the Director, or even to suggest better solutions (putting a different camera "on line", if it clearly works better). As this roles is very quick, they need to be aware of what is happening during the TV Show and need good concentration.
- Sound Operators are responsible to adjust the sound levels of either the Talent, audience or any V.T to a suitable level, using a sound mixing panel. Sound Operators are situated in the audio control room. They are also responsible for clipping the mics on the Talent. The Sound Operators can also communicate using comms, requesting the F.M to ask the Talent to talk to do "mic checks". They also inform the F.M if any of the Talent need to speak louder or more quieter. Sound Operators are expected to be aware of what is happening in the show, so they know when to put the Talents mics back on or off, if a VT has been played or is playing.
- A Sound Assistant assists the Sound Operator in the audio control room, helping by clipping the mics onto the Talent, and adjusting the sound levels on the sound mixing panel.
- The Director is responsible for supervising the placement of cameras, lighting elements, microphones, and props. Basically, they control the overall production of the TV Show of how he/she wants it. The Director sits in the vision control room, throughout the rehearsal or "take". They also over look the whole of the crew, to make sure that everyone knows what they are meant to be doing at the right time. For a Director to be successful, they must be clear of their instructions, so they are easily understood by the crew. Also being able to always work to a professional standard, by directing the crew and floor correctly.
- An Assistant Director sits with the Director during the production, being responsible to observe if the show runs smoothly, also being aware of where the rehearsal or "take" is on the script. They are also responsible for making sure the production runs
Planning and Lighting a Set
Why plan lighting?
To present good pictures in filming the show, planning the lighting is also a main priority. In a TV Show, lighting is needed for the Talent, the set and a WS of the Studio. The lighting must be in the correct position to where the Talent is sitting and their Eye Line.
3 point lighting is a professional method of planning lighting. The 3 point lighting is made up a:
- Key Light - This lighting is the overall main light or 'spot light', producing a 'Hard' light, giving a hard shadow behind the Talent. The Key light also provides contrast and shape to the Talent's face.
- 2nd Light or Fill Light - This is used to fill in shadows, which presents a softer shadow.
- Backlight - This is positioned to the back of the set, which lights the back of the Talent. Using a Backlight prevents the Talent in blending into the background, and events in the Talent standing out more. These lights have more depth and are also a 'Hard' light.
3 Point Lighting on the Grid
In the Studio, all of the lighting is attached to a railing, which sits above the set. This is called the Grid. The diagram above is a diagram of the 3 point lighting positions on the Grid.
Adjusting the lighting is important as if the light is too glaring, it would not only discomfort and be too bright for the Talent, but the shots would also lose detail on the face and if the lighting is too low, this still wouldn't show any detail in the face, which shows very untidy and dull shots. When fading the exposure of the lights up or down, this must be done slowly and not quickly because this could damage the lights, as well as effecting our eyes.
To present good pictures in filming the show, planning the lighting is also a main priority. In a TV Show, lighting is needed for the Talent, the set and a WS of the Studio. The lighting must be in the correct position to where the Talent is sitting and their Eye Line.
3 point lighting is a professional method of planning lighting. The 3 point lighting is made up a:
- Key Light - This lighting is the overall main light or 'spot light', producing a 'Hard' light, giving a hard shadow behind the Talent. The Key light also provides contrast and shape to the Talent's face.
- 2nd Light or Fill Light - This is used to fill in shadows, which presents a softer shadow.
- Backlight - This is positioned to the back of the set, which lights the back of the Talent. Using a Backlight prevents the Talent in blending into the background, and events in the Talent standing out more. These lights have more depth and are also a 'Hard' light.
3 Point Lighting on the Grid
In the Studio, all of the lighting is attached to a railing, which sits above the set. This is called the Grid. The diagram above is a diagram of the 3 point lighting positions on the Grid.
Adjusting the lighting is important as if the light is too glaring, it would not only discomfort and be too bright for the Talent, but the shots would also lose detail on the face and if the lighting is too low, this still wouldn't show any detail in the face, which shows very untidy and dull shots. When fading the exposure of the lights up or down, this must be done slowly and not quickly because this could damage the lights, as well as effecting our eyes.
Rehearsals, script and calls
Rehearsing act as practice, which ensures that all details of the performance are prepared and coordinated for professional presentation. In TV Shows, rehearsals are essential. This does not only help the Talent practice and come to standards of how there performance should turn out, but also to check whether there are any issues with the crew's part of the production. This could be anything down to issues with moving the camera or getting the correct shot sizes. After doing rehearsals in our Wednesdays lessons, as a group we found that operating the DVD has been most difficult, because the Talent were not allowing enough time for the DVD Operators to cue up the next VT slot. As a result, the feedback after the rehearsal has improved our overall production just from a few small changes the Talent needed to make. When rehearsing the show, this does not necessarily mean that we would run through the whole duration of the show. Rehearsals stop as soon as a problem occurs. This means the future practices only needs to focus on parts of the production, where faults are made. Correcting them and keep rehearsing will assure no mistakes will be made in the final recording of the show.
Efficient Rehearsals
Efficient rehearsing also gives our group the feel of what roles we do best in and what we like best. When coming to the recording of the "live" show, it is then easier to produce the show to a professional standard, just by judging if someone’s performance in a certain role is much better than in a different role. Overall, rehearsing (practicing) the show, certainly reflects a more successful and a more better quality show.
Scripts and Calls
Scripts are word processed pieces of paper, which describes the dialogue or actions being taking place at a specific time in a production. There are 3 different types of scripts for the TV Show. A script on the back of the cue cards, including the Host's dialogue, also guiding when the VT inserts are played. The main script, is a few pages long word processed script, which indicates all of the dialogue the Host has to say, also including stage directions of when VT Inserts are to be played, and also when any of the Contestants/Teams talk. the Another is called a Multi-Cam script, which includes technical information for the crew. The Multi-Cam script can also be used for the Director to make notes on, if some things need changing, after doing a few practice runs. The Director also decides, where camera shots go on the script.
Multi-Cam Script
When producing a Multi-Cam script, the script requires 2 columns. The first column for 'Vision' and the second for 'Audio'. In both columns, it will describe what will be needed to be heard or seen at that particular point in the production. The script describes the duration and track number of any VT inserts needed, the Host's First Words (F.W) and Last Words (L.W), what camera will need to be 'on line', the shot size, and who is being filmed (Host, A, B, C or D).
Efficient Rehearsals
Efficient rehearsing also gives our group the feel of what roles we do best in and what we like best. When coming to the recording of the "live" show, it is then easier to produce the show to a professional standard, just by judging if someone’s performance in a certain role is much better than in a different role. Overall, rehearsing (practicing) the show, certainly reflects a more successful and a more better quality show.
Scripts and Calls
Scripts are word processed pieces of paper, which describes the dialogue or actions being taking place at a specific time in a production. There are 3 different types of scripts for the TV Show. A script on the back of the cue cards, including the Host's dialogue, also guiding when the VT inserts are played. The main script, is a few pages long word processed script, which indicates all of the dialogue the Host has to say, also including stage directions of when VT Inserts are to be played, and also when any of the Contestants/Teams talk. the Another is called a Multi-Cam script, which includes technical information for the crew. The Multi-Cam script can also be used for the Director to make notes on, if some things need changing, after doing a few practice runs. The Director also decides, where camera shots go on the script.
Multi-Cam Script
When producing a Multi-Cam script, the script requires 2 columns. The first column for 'Vision' and the second for 'Audio'. In both columns, it will describe what will be needed to be heard or seen at that particular point in the production. The script describes the duration and track number of any VT inserts needed, the Host's First Words (F.W) and Last Words (L.W), what camera will need to be 'on line', the shot size, and who is being filmed (Host, A, B, C or D).
pre- production diary
moneday 22nd febuary
we spent most of today discussing names for the show and how we going to lay it out
tuesday 23rd febuary
we were put into groups and discused on thems and names for the show and the group decided on media circus i was then put in a group who were in charge of producing questions and vts for the film round.
wednesday 24th febuary
we didnt do any pr production work just tv studio lessons all day
thursday 25 febuary
we decided on the questions for our round and start to plain the vt insurts
monday 1st march
the whol group decided on the lay out of the show and my group continued to work on get clips of the internet for some of the vt insurts.
tuesday 2nd march
we filmed some short renacments of famous scenes from films for the vt insurts.
wednesday 3rd march
tv studio lesson
thursday 4th march
finshed editing the vts and copyed them to a dvd
monday 8th march
as my group had finshed our round i helped paint on finishing touches to the background of the set
tuesday 9th of march
continued to help with the set
wednesday 10 march
norwich trip
thursday 11 march
we did tv studio lesson because of trip on wednesday
monday 15 march
i helped with the set in the morning then i helped abyy cut and stick the que cards as thier wasnt much left to do on the set
tuesday 16 march
continued to help paint and clear set
wednesday 17 march
tv studio lesson
thursday 18 march
helped abby edit the script and stick it on to the finshed que cards
monday 22nd march
helped make finishing touches and clearing up of the set
tuesday 23 march
rehearsal of live tv show
wednesday 24 march
the final live recording of live tv show - media circus
we spent most of today discussing names for the show and how we going to lay it out
tuesday 23rd febuary
we were put into groups and discused on thems and names for the show and the group decided on media circus i was then put in a group who were in charge of producing questions and vts for the film round.
wednesday 24th febuary
we didnt do any pr production work just tv studio lessons all day
thursday 25 febuary
we decided on the questions for our round and start to plain the vt insurts
monday 1st march
the whol group decided on the lay out of the show and my group continued to work on get clips of the internet for some of the vt insurts.
tuesday 2nd march
we filmed some short renacments of famous scenes from films for the vt insurts.
wednesday 3rd march
tv studio lesson
thursday 4th march
finshed editing the vts and copyed them to a dvd
monday 8th march
as my group had finshed our round i helped paint on finishing touches to the background of the set
tuesday 9th of march
continued to help with the set
wednesday 10 march
norwich trip
thursday 11 march
we did tv studio lesson because of trip on wednesday
monday 15 march
i helped with the set in the morning then i helped abyy cut and stick the que cards as thier wasnt much left to do on the set
tuesday 16 march
continued to help paint and clear set
wednesday 17 march
tv studio lesson
thursday 18 march
helped abby edit the script and stick it on to the finshed que cards
monday 22nd march
helped make finishing touches and clearing up of the set
tuesday 23 march
rehearsal of live tv show
wednesday 24 march
the final live recording of live tv show - media circus
Wednesday 24 March 2010
Seting up media circus tv quiz show
Paper work
• Set design
• Cam positions and shots
• Floor plan design
• Lighting positions - in the same way you'll design a to scale floor plan, you'll need to design a to scale lighting plan.
Setting up the studio
• The crew rig up the lights in the correct position following the lighting plan.
• Getting the set in and in place properly.
• Point the lights in the correct positions, finding out the needed levels and placement.
• Technical checks, making sure mics are working properly, all the lights are working, all the cams are working.
Preparation
• Get the talent in and sat down
• Mic up the talent
• Do mic and sound checks on each individual person
• Director checks all the shots for the cameras, F.M makes any changes on studio floor
• Rehearse opening
• Stop - Start rehearsal
• Rehearse closing
Recording
• RECORD
• CUT
• check replay
• Strike & De-Rig
• Set design
• Cam positions and shots
• Floor plan design
• Lighting positions - in the same way you'll design a to scale floor plan, you'll need to design a to scale lighting plan.
Setting up the studio
• The crew rig up the lights in the correct position following the lighting plan.
• Getting the set in and in place properly.
• Point the lights in the correct positions, finding out the needed levels and placement.
• Technical checks, making sure mics are working properly, all the lights are working, all the cams are working.
Preparation
• Get the talent in and sat down
• Mic up the talent
• Do mic and sound checks on each individual person
• Director checks all the shots for the cameras, F.M makes any changes on studio floor
• Rehearse opening
• Stop - Start rehearsal
• Rehearse closing
Recording
• RECORD
• CUT
• check replay
• Strike & De-Rig
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