You don’t have to do a talk show. Dramas, comedy shows, concerts, performances, dance parties, puppet shows, craft demonstrations, educational shows, music videos, all this and more can be recorded in the studio.

You can produce live shows, shows that are "live to tape" (shows that will not be edited), or shows that will be edited and cablecast later. You can produce shows with live remotes. You can involve the community by having a call-in show or a live audience.

Insert Tapes/B-roll/Call-ins

You can liven up a talk show with insert tapes. Interviews of experts who could not attend the show, shots of the area or subject you are discussing, or background or additional information can all be edited into insert tapes before your studio shoot. On-street interviews to get local residents’ opinions on your topic are usually good attention getters.

Involve the community in your show by having a call-in show. Be sure to publicize call-ins in advance.

Set Design

The studio is your chance to completely create the environment you will shoot in. You can use background flats and cloths for your set. Other ways to create a good and inexpensive set include:

Put colored gels on the lights and point them at the studio wall or curtain to liven up the background. Using gels and barndoors, you can create bars, slashes, circles, and other shapes of colored light on studio walls or flats.  Or you can cut a gobo from black foil and use it with the spotlight.

Hang Christmas lights in the background.

Hang appropriate posters on flats or studio walls.  Check with the technician before attaching things to flats.

Use  plants to liven up the set.

Cover tables or other surfaces with interesting tablecloths or material.

Suspend pictures or other lightweight items from the lighting grid (be careful not to put anything flammable near the lights). Heavy-duty clear plastic fishing line is excellent for hanging such items.

Ask a local artist to volunteer his or her ideas and help.

Producing a Studio Show

The making of a studio show begins and ends with the producer. In big-time TV, the producer usually makes the deals with actors, authors, directors, editors, and financial backers. In cable access, the producer develops the idea for a program or series and makes it happen. This means finding crew and talent, getting studio time, paying for videotape, and making sure the program is completed, publicized, and cablecast.

A producer does not need technical studio skills; a good director and studio crew can take care of all of the technical work. However, some producers choose to get involved in the studio. They might double as director, on-air host, or fill another crew position. (More tips for producers are given in the Steps to a Finished Program chapter.)

In Advance

Once you have your idea and have found talent to be on your show, the following check list will help guide you through planning and preparing your show.

Establish several possible production dates that all of your talent can make. (If the studio is not available on the first date you try to book, you can book one of the other dates without making an extra round of calls to your talent.)

Sign up for studio time (and any additional equipment needed, such as extra field lights, microphones, cables or mic boom) as far in advance as possible. Find crew to work on your show.

Work in advance with the director, lighting director, audio technician, and set designer if you have one. Make sure they know your plans for the shoot and what you will expect from them.

Prepare a script with the director.

Make sure your talent knows when to arrive at the studio, where BCM is located and what to expect during the show (see Working with Talent on the next page).

Purchase your master record tape and be sure to bring it to the show along with any roll in tapes, CDs or audio tapes you will use. If the graphics for your program are stored on a diskette, be sure to bring it as well.  For your convenience, BCM sells videotape and diskettes for you to use.

Look for donations to help pay for videotape, the set, and any other production costs

During Setup

Arrive as early as possible, 5 pm Monday thru Friday and noon on Saturday.  The producer should always be the first to arrive at BCM and the last to leave.

Prepare the set in cooperation with the director and lighting crew.

Be sure your talent and/or your audience is greeted, made comfortable, and given their instructions.

Give the master, back up, and insert tapes to the tape operator with any special instructions.

Give audio tapes and CDs to the audio technician with any special instructions.

Provide the graphics operator with a written list of titles and credits to be created; be sure all names and titles are spelled correctly.

During the Shoot

If you are not doubling as the director, on-air host, or as another member of the crew, stand on the sidelines during the shoot, and make sure that everything goes smoothly.

After the shoot

Make sure your crew stays to clean up the studio and that all equipment is stored and turned off.

Thank everyone involved.

Don’t forget to label and take home your tapes—or leave them to be cablecast if they are ready!

Cablecasting

Make sure your program is completed and cablecast.

When time allows, some producers will publicize their cablecast date in local papers, or BTV’s Community Bulletin Bpard, the CBB.

You’re finished! Pat yourself on the back!

Working with Non-actors

Help Them Feel at Ease: When you work with performers, you want them to appear as natural and relaxed as possible. So try to make their experience nonthreatening. Avoid being overly critical or doing anything that will unnerve them or put them on the defensive. Make their experience a good one, and in return they’ll give you their best performance.

Give Them Special Attention: Before the show date, give them a copy of Appearing on TV, on the following two pages. If they have a chance to read this information quietly at home, they are more likely to remember it and be more relaxed.

Be sure to tell them when and where to arrive for the production and how to find their way there.

Then be there, waiting to greet them. If you cannot greet your guests personally, make sure someone else does. They may feel ill at ease if they have been left waiting or have had to search frantically for instructions.

Be sure to have a release form ready for each guest to sign. Then review with each guest your plans and expectations for the show.

Let Them Know What to Expect

Introduce them to the director, floor manager, and any other crew who will work directly with them.

Have the floor manager go over any hand signals they will need to understand and explain how time cues work. Let the host decide how often or at what times s/he will be given time cues.

Briefly explain any potentially distracting off-camera activity that will occur during production. Don’t go into detail; just point out that cameras and people will be moving around and that guests should disregard them, unless you want someone to speak or perform directly to a camera.

Thank Them: Of course, your guests may benefit from the exposure your program provides, in which case it is a mutually beneficial experience. But this should not prevent your expressing sincere appreciation for their help.

Write a follow-up thank you letter—especially if you might want these guests to appear again on a future program.

Tell Them When the Show will Appear on TV

Tell them what channel the show will be on and when. People are usually interested in seeing themselves on TV and might invite others to watch too, adding to your audience.

Here are some tips for appearing on TV:

The key is self-confidence

Be sure you have something to say. Say it with confidence. Show excitement and concern for your subject.

Nervousness is okay

Nervousness is not all bad. It adds a little edge to your efforts and makes you work a little harder. Before you go on the air, take three deep breaths, then keep your breathing calm and even. Dressing comfortably and knowing your subject will help you stay calm.

Relax and move naturally

Be yourself. The more relaxed and natural you are, the better you will reach your audience. Don’t try to act too formal. It is OK to smile or laugh when appropriate. Sit or stand comfortably, but with good posture. Move slowly enough for the camera to follow your actions.

Don’t fidget

Don’t play with the microphone cord; it will cause scratchy sounds that you can’t hear but your audience can.

Try not to sway in your chair, drum your fingers on the table, or tap your feet. Remember: relax. But don’t let these warnings keep you from showing energy on camera. Feel free to use gestures and move about a bit in your chair.

Read BCM Tips for Talent

Grace over bloopers

Correct your errors quickly and naturally, without calling too much attention to them.

Be prepared

Have your ideas, script outline, props, and other resources well organized. Iron out any problems during rehearsals.

Remember the basic rules of speechmaking:

1. Tell ‘em what you’re going to tell ‘em.

2. Tell ‘em.

3. Then tell ‘em what you told ‘em.

Repeat the name of your organization or program occasionally in case some members of the audience tuned in late.

Use an outline

A written outline of main ideas can help prompt you. Word-for-word scripts are hard to use and make your delivery less interesting.

Don’t let your notes steal the show

If you have to carry papers on camera, they should not be white. Notes should be on colored paper or secured on a dark clipboard. Try not to rustle papers. The microphones will pick them up loud and clear. Try using colored index cards; they’re quieter and smaller than sheets of paper.

Focus on the most important information

It is far better to present a few ideas thoroughly than to confuse the audience with many ideas that are not clearly explained. Think of the main points you want your audience to walk away with and focus on those.

Don’t hurry

Allow enough time to cover each point you want to make. Don’t race through your material. Leave time for a summary at the end of the program.

Stay Focused

Be aware of what is going on in the studio, but not distracted by it. People may hold up cue cards and make hand signals. In most cases, these are meant for the host, not the guests.

Present your material the way you rehearsed it. On the air your delivery will probably go slightly faster than during rehearsal. Try to keep close to the form and timing of your outline, otherwise you will confuse your director and crew.

The Script

The script is an essential element in planning any complicated shoot involving specific timing or insert tapes. A script lets the director, the floor manager, and the rest of the crew know what to expect during the shoot. The producer either prepares the script him/herself or ensures that it is prepared before the shoot by the director or scriptwriter.

Studio Jobs

Studio jobs include the following:        

Producer

Director

Switcher

Lighting Director

Audio Technician

Camera Operator

Tape Operator

Graphics Operator

Floor Manager

Studio production requires teamwork!

Every crew member needs to follow the commands of the director before, during, and after the shoot. The following is a list of director’s commands. Before working on a shoot, read through the script, the list of commands that may be given to you and read the description your crew position’s job described in this section.

Director’s Job

The director is like the conductor of an orchestra. S/he oversees the actual in-studio production, working both with the talent and giving commands to all members of the crew. Often the director also supervises the preparation and break-down of a production. S/he makes sure everything works, everyone knows his or her job, and makes sure everything is put away afterward.

During a shoot, the director usually sits in front of the switcher and watches all the monitors. S/he selects camera shots, decides when to play insert tapes, bring up titles, and play audio sources.

In access TV, the director is often also a teacher. Often crew members and even producers are inexperienced. The director helps crew members learn and practice their roles during setup and may help new producers pull together their production.

*In Advance*

Meet with the producer and help plan the studio shoot. Be sure to discuss show content, the set, music, and insert tapes.

Determine what your audio and lighting needs will be.

Prepare a script with the producer and make enough photocopies for the whole crew.

*During Setup*

Make sure the script is distributed and briefly explained to all crew members.

Give crew members any special instructions they will need.

Let the switcher know how you plan to call out camera shots—for example, when you will be fading to or from black, if you will be using dissolves or straight cuts, if you will be using CG.

Let the tape operator know if you will be ending any insert tapes with freeze frames and make sure s/he knows the out cues.

Let the lighting director know where you will place the cameras so the set can be lit accordingly.

Discuss the types of shots you expect from each camera operator —for example, which guests you want them to focus on, if you will want close ups or long shots, if you want them to wait for you to tell them what shot to get or if they should look for their own shots during the show, if you will be using zooms and at what speed.

Practice calling shots to the camera crew. This is your chance to teach inexperienced camera operators the different types of shots you will use, to make sure they understand any commands you may give them, and to remind them not to speak out loud during the shoot.

Let the graphics operator know if you prefer a specific font, style, or color for the titles.

Let the audio technician know if you have background/theme music and when you want it to be played.

Turn on the intercom.

*In the studio*

Make sure each camera person and the floor manager can hear commands over the intercom.

Make sure the PA is set to an appropriate level if needed.

*In the control room*

Keep an overview of how setup is going and be sure that your crew get their jobs done. Be patient and help anyone who is having trouble. By teaching inexperienced crew how to do their jobs better, you’ll help the show go more smoothly. Plus, the next time you work with them they’ll be even better.

*During the Shoot*

Remember to put bars and tone at the start of the tape.

Remember to have the tape operator zero the counter on the record deck as soon as the show starts so that you will know how long you have been recording.

Keep calm as you call out commands to the crew.

If a camera operator is having difficulty with a shot, quickly practice the shot off-line. For example, have them practice a slow zoom while you take shots from the other cameras. Sometimes you’ll have to decide not to have a certain camera operator perform certain difficult moves.

Pay attention to the quality of the sound and picture and let the crew know if anything needs to be corrected. For example, tell the tape operator to raise the video level on an insert tape that is too dark, or remind the audio technician to turn the sound level of a guest’s mic up if s/he has forgotten to do so.

Remember to give the floor manager time cues for the talent.  If you are taping live or live-to-tape and have a strict time limit, be sure to keep track of how long you’ve been taping. Shorten or lengthen show segments as necessary to make up for lost or gained time.

Think out loud. Always give the crew forewarning of what you are about to do. For example, first say "ready on camera two," to let the camera operator know you are about to take the shot. Then say "take camera two," to actually take the shot. If you plan to bring up a graphic soon, let the graphics operator know so s/he can get the graphic ready.

*After the Shoot*

If you haven’t added credits yet, do so.

If there was a major mistake and the show will be edited, do another take of that segment or tape some cover shots. For example, if the camera covering the host of a talk show went out of focus or filmed the floor, tape some reaction shots of the guests that can be edited over the host’s voice.

Call it a wrap, but make sure everyone stays to clean up the studio. Make sure all equipment gets turned off, all lights are hung on the grid, lens caps are put back on the cameras, etc.

Thank your crew. If you think someone did a good job, say so.

Director’s Commands and Crew Actions

To the Floor Manager (F.M.)

Is everybody ready? - F. M. repeats the question on the set and reports back to the director.                         

Quiet on the set - F.M. repeats command on the set.  

5-4-3-2... - F.M. gives talent 5 second hand cue.       

Cue talent - F.M. cues talent to start talking or performing.

Stretch. - F.M. cues talent to lengthen show/segment with extra talk or performance.

Speed up - F.M. cues talent to quickly end show/segment.    

Host/talent on 2-F.M. cues talent to look at camera 2.

Strike - F.M. removes the object named from the set.

Three minute cue - F.M. signals talent s/he has 3 minutes left.

One minute cue - F.M. signals talent s/he has 1 minute left.

Wrap it up - F.M. signals talent to end show.

It’s a wrap/Strike the set - F.M. repeats cue in studio. Everyone can relax and start cleaning up.

To the Switcher (SWX)                      

Bars and tone - SWX punches up bars.      

Fade to black - SWX fades to black.           

Ready camera 2 - SWX puts camera 2 on preview and gets ready to take camera 2.                       

Take 1 - SWX cuts directly to camera 1.     

Dissolve to 1 - SWX dissolves to camera 1.          

Half dissolve to 1 - SWX dissolves half-way to camera 1, leaving both camera 1 and the previous camera on.    

Wipe to 1 - SWX wipes to camera 1.          

Preview camera 1 - SWX punches up camera 1 on the preview monitor.    

To the Tape Operator (T.O.)              

Roll record tape  - T.O. starts recording onto the master tape in the VTR.  This is usually done as an edit with the edit controller            

Zero counter - T.O. resets counter on record deck (VTR) to zero.  

Cue tape - T.O. pauses VTP 1 second before the start of the roll in.           

Roll tape (for roll in tape) - T.O. plays roll in tape in the VTP        

Time - T.O. tells director how many minutes of the show/segment are left.

To the Audio Technician (A.T.)                      

Lose - A.T. turns off mic or other audio source.     

Ready - A.T. gets ready to open mic or play other audio source.    

Open mic - A.T. opens the intended mic’s line on the audio board.            

Cut - A.T. turns off the mic or other audio source.  

Bring up or down - A.T. increases or decreases volume quickly.    

Fade up or down - A.T. increases or decreases volume slowly.       

Cross fade - A.T. fades up one audio source while fading down another. (For example, fade up voices while fading down music.)      

Music Under - A.T. keeps the music or effects going at low volume along the main audio.

Audio to studio - A.T. sends sound source thru the AUX feed to the PA in the studio.      

Audio to control room - A.T. sends sound source to the control room speakers.

To the Camera Operator (C.O.)                      

Take it from the top - C.O. starts the shot from the beginning.

Walk through - C.O. rehearses shots at a slow pace.          

Run through - C.O. rehearses shots at a normal pace.         

Line up the shots - C.O.s go through the shots one by one.

Stand by/Ready - C.O. readies shot and holds it.    

Recording/Rolling - Show is being recorded, C.O. is alert, tripod tilt lock and pan locks are unlocked.  

Freeze/Hold it - C.O. holds shot.    

On line, or Live - C.O.’s shot is being recorded onto tape. C.O. holds shot and makes no camera adjustments unless directed to do so. 

Off line - C.O.’s shot is not being recorded. C.O. may look for another shot or adjust camera.           

Clear on 2 - Camera 2 is off line.    

Lose 2 - Camera 2 is going off line.            

Up on 2 - Camera 2 is going on line.          

2, you’re on - Camera 2 is on line.  

Opening shots - C.O. performs opening shots as rehearsed.          

Tighter - C.O. frames the shot so the subject fills more of the frame.         

Wider or Looser - C.O. frames the shot so less of the subject fills the frame.        

Pull out - C.O. zooms out.  

Lose something - C.O. reframes the shot so that something is not included.          

Check focus - C.O. resets focus when off line by zooming in, focusing, and pulling back out to the requested shot.        

More head room - C.O. tilts up so there is more space between the top of the subject’s head and the top of the frame.

More nose room - C.O. pans shot so there is more space between the subject’s nose and the edge of the frame. 

Truck right or left - C.O. rolls the whole camera tripod right or left.           

Dolly in or out - C.O. rolls the whole camera tripod toward or away from the talent.          

Pan right or left - C.O. turns camera (not the tripod) right or left.   

Match the shot - C.O. uses return button on the zoom controller to see the shot that is on line and gets a shot of the same style. For example, camera one has a close up of the host, so camera 2 matches with a close up of the guest.      

Creeping zoom - C.O. zooms in as slowly as possible.       

Slow zoom - C.O. zooms in very slowly.    

Zoom - C.O. zooms in.       

Fast zoom - C.O. zooms in quickly.

To the Graphics Operator (CG)                     

Bring up graphic - CG superimposes an image—usually titles or tags—on top of what is already on line.           

Lose graphic - CG stops superimposing image.      

Tag talent - CG superimposes talent’s tag while talent is on line.    

Roll credits - CG rolls credits and freezes on the last page of the credits.   

Switcher’s Job

The Switcher, also called the Technical Director, is responsible for working the Special Effects Generator (also known as the switcher) according to the director’s commands. The switcher cuts, dissolves, and wipes from one video source to another and creates other special effects. The switcher is also responsible for maintaining the technical quality of the picture during the shoot.

*During Setup*

Work with the technician and camera operators to white balance the cameras.

Set up the switcher; choose transitions, set and test key if CG is being used.

Help other crew as needed.

*During the Shoot*

Perform transitions and effects according to the director’s commands.

Think. If the director is distracted and a different camera should be on the air, either inform the director if there is time, or perform the transition.

If the director does not notice a good shot or a problem, point this out to him/her.

If you notice a problem with picture quality—for example, brightness—make the appropriate adjustment to the CCU. It is best to make such adjustments off-line.

*After the Shoot*

Turn off all equipment and help clean up the studio.

Lighting Director’s Job

The lighting director designs the lighting plan for a shoot. Then s/he either sets the lights or directs others to do so. Working with hot, heavy, high voltage lights can be dangerous. The lighting director makes sure the lights are set safely and well.

*In Advance*

Have the producer or director describe the show and set to you. Work out your lighting design.

If one of your lighting designs works out particularly well and you think others could use it, please draw it up in a lighting grid for future reference.

Remember that bright lights can be uncomfortable for guests or audiences. For example, rather than pointing a light directly at your live audience’s eyes, point two lights over the cameras at the wall behind them and use tough spun to diffuse the light. This should create sufficient light and keep the audience comfortable.

Light the set, not just the talent. Use lights and gels to create centers of interest in the set. For example, put a spotlight on a poster containing the name of the organization you are discussing in your program.

*During Setup*

Turn on the Grand Master control on the dimmer board.

Set all the lights you are planning to use and provide a list of the lights and circuits being used to your technician.  Before turning on any lights, the technician must set the circuits to the appropriate settings.

Remember to turn off the house lights when looking at your lighting.

Tough spun, clothespins, black foil, gels, and gel holders are kept in the lighting closet.

BE CAREFUL when standing on the ladder to reset and refocus lights. Every time you move a light, unplug it first, then unscrew its clamp, and—last—unhitch its safety chain. Once you have set it in its new position, always attach the safety chain first, then screw in the clamp, and—last—plug it in.

NEVER let someone else push the rolling ladder while you stand on top.

NEVER move,unplug or plug in lights when they are on.

WARNING: Keep cords away from all lights and their barn doors. The heat from the lights will melt the insulation on the cords and cause serious danger.

REMEMBER: When the lighting is set, but before you add color gels, let the switcher white balance the cameras. After s/he is finished add your gels. If the cameras are white balanced with color gels in use, they will correct for the color created by the gels and thereby reduce their effect.

*During the Shoot*

If you need to adjust the lighting during taping, wait until a pause when the set is not on line.

*After the Shoot*

Turn off all lights and the dimmer board.

Return all lights to the grid; make sure none are sitting loose on chairs or the floor.

Return all gels, gel holders, tough spun, clothespins, and black foil neatly to the lighting closet.  Try to leave the lighting accessories shelf neater than you found it. o Help clean up the rest of the studio.

Audio Technician’s Job

The audio technician sets up microphones in the studio—placing them on mic stands, instructing people how to hold them during the shoot if they are hand held, hanging them from the grid, clipping them on guests’ clothing, and unclipping them during breaks and at the end of the shoot. S/he arranges all mic cables neatly, out of sight of the cameras, and plugs them in logical order into the audio patch bay. S/he makes sure all sound sources are working correctly and all cables and switches are OK before the production begins. If the PA is being usded to provide sound to the studio guests, the Audio Technician sets it up and sets an appropriate level.  If a telephone is used in the production, the Audio Technician sets up and tests it.

During the shoot the audio technician operates the audio board, mixing and blending all the sounds used in the production from mics, video and audio cassettes and CDs. S/he adjusts volume and tonal quality.

*During Setup*

1. Determine the best way to mic the talent or set.

There are many ways to mic talent or a set. Often the most obvious choice is to mic stationary talent with lavaliers. Here are a few alternatives:

Hang mics from the grid over the sound source.

Floor or table stands can be placed on or off camera and aimed at the sound source.

Lavaliers or other mics can be hidden on the set, for example, in a plant or behind a coffee cup.

An off-camera boom operator can direct a cardioid or shotgun mic at the sound source. Using the shotgun in the studio can give a hollow, dead sound quality.

2. Prepare a list of all audio equipment that will be needed including microphones, cables, mic stands and direct boxes and check them out from the equipment specialist.

3.  Set up all microphones and audio equipment.  Plug audio cables into the patch bay in a logical order (for example, from left to right following the seating order of the talent.) Cables plugged into the panel are connected to the audio board in the control room.

When running cables, lay them down around the edge of the studio, out of the way of cameras and feet. Use gaffer’s tape to secure any cables that must be laid where people might trip over them.

Keep audio cables away from power cables. If you must lay an audio cable over a power cable, keep the cables at a right angle to one another. This prevents an unwanted humming sound.

Use extra care with lavalier mics. Their thin cables can break if they are stepped on, run over, or coiled improperly. Always keep these thin cables out of harm’s way. Attach thicker cables to them and run the thicker cables to the audio patch bay.

Be sure to insert the battery correctly in each mic—plus to plus— and take it out when you are done.

Remind the talent not to pat or rub against the area of their clothing where a lavalier is attached. If they are wearing noisy jewelry, ask if they would mind removing it. Remind them not to rustle papers.

3. If needed, set the level of the PA in the studio.

4. Set up the audio board.

Figure out which microphones correspond to each input. Label these on the front of the audio board with masking tape.

5. Check sound quality

Have a crew member speak into each mic to make sure it is working. Listen to the sound quality and make sure there is no static or distortion.

Try using a different cable or input if there is static or distortion.

Set levels for cassette or CD sound. 

Set a level for roll ins and work with the Tape Operator to determine if roll ins have HiFi or Normal audio.

Once talent is in place have them speak/perform into the mics as they will during the program. Using the VU meter, set the level for each input separately. If you like, mark each level with a small piece of masking tape on the audio board.

*During the Shoot*

Keep an eye on the VU meter and make level adjustments as necessary. But don’t ride the levels. This means don’t adjust the level every time there is a short change in volume, for example, when a guest raises his/her voice for a moment. Only make adjustments if the sound source is consistently different.

Send insert tape audio to the studio if requested. But remember to turn it off as soon as the insert is over!

Be careful not to raise the level for insert tapes until the tape is rolling. Bring the level down as soon as the insert is over. Otherwise you might record the next tape being cued up.

*After the Shoot*

Unclip lavaliers from the talent.

Take out all mic batteries and coil mic cables correctly before you return them to the equipment specialist.  Gather all equipment and return it together.

Help break down the rest of the set.

Camera Operator’s Job

There is one camera operator for each studio camera. The camera operator sets up the camera and operates it according to the director’s commands, which are given via the headset. Often the camera operator also helps set up lighting or doubles as the floor manager.

*During Setup*

Find out the director’s style. Some may want you to change camera shots only when they tell you, others will want you to go for shots you think are good without being asked.

Help set up the lighting if you are also part of the lighting crew.

If you are also the floor manager, follow the instructions under Floor Manager’s Job.

Help white balance the cameras according to the switcher’s instructions.

Test your intercom.

Be nice to your tripod; it is very delicate. Unlock the tilt and pan when you are shooting and lock them when you are not going to move your camera.  To raise the tripod get someone to help you hold the tripod so it will not tip over. 

Adjust the viewfinder.

Practice your shots and camera movements.

Hang the camera cable over your shoulder so it doesn’t pull on the connection to the camera.

*During the Shoot*

Operate your camera according to the director’s commands.

Avoid talking or moving loudly. The set microphones will pick up the sound.

When your red tally light goes on, this means your camera is live. Don’t make any unnecessary or sudden adjustments to your shot when you are live.

Push the RET (return) button on the box with the zoom control, attached to your tripod’s right handle, to see what is on line. If the on-line camera has the same shot you do, try to get a different shot.

Look for shots that are appropriate for your program. For example, an extreme close up may be appropriate for a drama or a musical performance, but not for a talk show.

If you have to leave your camera—for example, to adjust the set— lock the tilt lock before you go.

*After the Shoot*

Return the camera to its position in the back of the studioand lock it down. Coil the camera cable properly, in a figure eight centered on the X on the floor.

Help break down the rest of the set.

Tape Operator’s Job

The tape operator is responsible for recording the program, playing insert tapes, and keeping time for the director. The tape operator should read and understand the director’s Commands.

*During Setup*

1. Get the videotape ready for recording.

Make sure your master record tape and any backup tapes are labeled with the name of the program, the producer’s name phone number, and the date.

Make sure your record tapes have the erasure prevention tab intact

Put the master record tape in the record deck, VTR. You can use the VCR by the CG for a backup VHS recording.

Pack new tapes. Fast forward the tape to the end, then rewind it back. This reduces tension on new tape.

2. Record bars and tone at the head of the tape.  Ask your technician to help you with this.  Bars and tone will serve as a permanent reference for later editing and cablecast.

Make sure the reference tone coming out of the audio board at zero also registers zero on the record deck, VTR.

On the edit controller, press PLAY and RECORD together. Record 30 seconds of bars and toneand then 30 seconds of black. Then press STOP.

Play back this test recording and make sure the bars look correct and the tone is consistent.

3. Cue the VTR to 1 minute and zero the counter.  Now you can look at this counter during the shoot to see how long the program has been recording.

4. Get the roll in tapes ready

Time all prerecorded roll ins so you know exactly how long each one is and how it ends.

Check each roll in for HiFi or Normal audio and note if you will need to make adjstments for each roll in on your script.

Cue up each roll in tape by stopping it 1 second before the clip. Eject the tapes and make sure they are conveniently stacked and labeled so you can find them during the shoot.

Put your first prerecorded tape in the VTP.

Check to make sure your tape is still cued up properly.

*During the Shoot*

1. Get ready to "roll tape."

Use the edit controller to set an Assemble edit on your record tape at 1 minute.  If this is unfamiliar to you, ask your technician for assistance.

2. Roll VTR or roll tape

Press Edit Start on the edit controller.  The record tape will pre-roll before it actually starts recording so that it will perform a clean edit and not break control track.  This process takes about 15 seconds.  Countdown the preroll from the VTR to the Director.

3.  When cued by the director, roll roll in tapes. 

The tapes should be in pause cued to 1 second before the first frame of video.  If it is not in pause, it will take a few seconds for the tape to engage.  However, you should not just leave the VTP in pause all the time as this will wear out the deck and your tape.  Put the VTP in pause and check that it is cued about 1 minute before the roll in.

Wait until you know the insert tape is off line. Then stop the insert tape, eject it, and cue up the next one.  Make sure the audio technician has muted the sound of the VTP so the sound of the next tape being cued does not get recorded.

3. Keep an eye on the counter on the record deck and give the director the recording time when  asked.

*After the Shoot *

When the director says, "Stop tape," press ALL STOP on the edit controller.

Check the counter for the record deck to see how long the finished program is. Write this time on the tape labels.

Rewind and eject all tapes.

Pop out the erasure prevention tab on the recorded cassette.

Help clean the studio.

Graphics Operator’s Job

The graphics operator types and composes titles, credits, and other graphic pages on the graphics computer and brings up each page as called for by the director.

The graphics operator should consult the computer and software manuals for detailed instructions. 

*Common graphics terms include:*

Title: the name of the program or program segment.

Tag: (short for name tag) a graphic including the talent’s name and job title or organization.

Credits: the list of crew members and supporters that is run at the end of the program.

Bug: a program or station logo that is kept in the corner of the picture throughout the program.

*During Setup*

Double check the spelling of the talent’s names and job titles with the producer. Double check the spellings of crew member’s names directly with them. Do the same with any addresses, phone numbers, or other information that will appear on screen.

Find out if the director wants a specific font or color used.

Type graphics in the order you are likely to use them and save them. Make a list of whose tag is on what page so you can recall pages easily during the shoot.

Remember that all shows produced at BCM must end with the following credit - “This program made possible by the use of facilities and services of Berkeley Community Media”

Save your file now and then to avoid the risk of losing all the work you’ve done.

*During the Shoot*

Bring up titles, tags, and other graphics as the director commands.

Roll the credits when the director asks you to.  Remember to freeze on the last page.

*After the Shoot*

If you have saved your graphics to your own disk, eject it and remember to take it with you.

Help clean up the studio.

Floor Manager’s Job

The floor manager stays in the studio with earphones on. S/he transmits the director’s commands to the talent, letting them know when to be quiet, when to start, how much time is left, when to wrap things up, when to stop, and when the show is over. S/he is their link to the director.

S/he often performs miscellaneous tasks, such as closing a door or adjusting a prop.

In simple shoots, the floor manager’s job is performed by one of the camera operators.

Floor managers should familiarize themselves with the director’s commands listed above.

*During Setup*

Greet the talent and make them comfortable. Find out if they would like water to drink during the program and bring it to them.

Make sure the host/performers understand all of the hand signals you will use.

Lights pointed at the talent may make it difficult for them to see you signaling. Once the lighting is ready, test to see if the talent can see you. It is best to position yourself right next to the hosts main camera.  Try signaling lower or more boldly if they can’t see you.

Find out how often and when the host/performers would like time cues.

*During the Shoot*

Signal the talent according to the director’s commands. Make sure the host/performers acknowledge your signals and cues.

Perform any set adjustments off camera as the director commands.

If needed, clip lavalier microphones on the guests.

Signal to guests when they may enter or leave.

*After the Shoot*

It is your responsibility to make sure the rest of the crew stays to help clean up the studio.

Talent

Talent refers to anyone who appears in front of the cameras—for example, talk show hosts or guests. Talent rehearses, puts on costumes and make-up if necessary, works with the director, and appears on tape. See tips above.

Production Assistants and Other Crew

Some shoots require extra help with complicated sets,  or miscellaneous tasks. Production Assistants fill in these gaps. If the lighting set-up is complicated, a lighting director can draw up a lighting plan and supervise Lighting Assistants to set up the lights.

Other crew can be Scriptwriters, Set Designers, Music Composers, Make-up Artists, Talent Coordinators, Caterers, even Go-fers (people who run errands for the production).