Studio Equipment, its functions and operation.

When recording any TV programme in a studio you will need to use a wide range of equipment and it is important for you to know how the equipment works, what you can achieve with it, what it's limitations are and how to operate it.
The most important piece of equpment in any studio is a camera. The camera is what records your images and allows them to be transmitted and watched by thousands of people worldwide. Without a camera it would be impossible to make any type of TV show. Cameras can do this by recording light and visual information and interpreting it into an electronic signal which it can transmit or store. As the camera has a limit on how much light it can record we have to be careful with how bright the set or the clothing on the people is, because if it is to bright the camera will not be able to take in all that information and will peak.
The cameras we are using to make out show are 'Sony Z5's'.

They can record in very high quality and are very sensitive to the intensity of light it is recording. Thankfully the HD display on the camera allows us to know when and where the light is too bright by showing us 'zebra bars' which are little diagonal lines across the bright areas. It is easy to adjust how much light the camera is taking in by adjusting the exposure on the camera. These cameras are mounted on wheeled tripods which allows for full movement and tilt of the camera in any direction/motion with ease. All cameras are mounted on these apart from one which can be attached to a 'jibarm'. This allows the camera to get the high wide shots aswell as being able to move in for some more interesting shots with ease if desired.

Another very imortant aspect of studio recording is the lighting. Cameras are not as sensitive as human eyes so good lighting is needed to produce a really crisp and colourful shot. However the essance of lighting for film and TV is control as cameras are very sensitive to light and too much light can cause the camera to peak out and produce zebra bars, while not enough light can cause detail to be lost and important aspects of your TV to be missed out on.
Good positioning and variation of lights can produce interesting shots and shots with a high light/dark contrast.
There are many different types of lights that would be used in a studio. Such as the spotlight. This is the key light, a hard light used to cause contrast and to mold the face of our talent. These lights also create a strong shadow. The strength of these lights is usually 1000 watts. Barn doors can be used on these lights to stop the spill and really focus the light on one person or subject. Another sort of light is the fill light. These are used to fill out the shadows the spotlight may have created. These are soft lights and not nearly as intense as the spotlights. These can also be used with barn doors to focus the light and stop the spill. Another type of light commonly used in studio filming is a back light. This makes the subject really stand out and gives a person a strong outline. These can also be used with barn doors, and are also hard lights, about 1000 watts in strength. All these lights are attached to a grid which is suspended on the ceiling. This allows the lights to be right in the middle of the set without getting in shot or taking up any space with tripods and wires. The lights on the grid are interchangeable and can be moved around or changed accordingly. Microphones can also be powered by and hang off the grid, which is good if you want to omni-directional microphone to pick up a group discussion or audience noise. All of the lights on the grid are inputted into a dimmer pack which can control which lights are on and how bright the certain lights are. The lights are also connected to a circuit breaker which will cut the circuit of electricity to the lights if a fault is detected. This stops the lights from overloading or short circuiting.

The microphones are also a very imprtant aspect of studio recording. The talent will have clip on mics applied to their clothing which will clearly pick up their voices when they talk. The mics are usually applied to the side of their clothing corresponding to the direction they will be looking when they talk, eg towards the host or the other contestants. It is important that nothing will touch or rub against these microphones. Clothing and hair touching the microphones can cause a loud noise and distort the audio. An omni-direction microhpone will be hung from the grid above the audience to pick up any applause or other noises they may make. All of the microphones will feed through the stob box and into the audio desk where the audio will be monitered and altered if need be. Each microphone will seperately go through a mic check before recording takes place. There is a level meter on the audio desk which displays how loud someone is talking, so if someone is talking too loudly the sound operator can alter it accordingly. The level meter on the audio desk displays volume in decibels, if someone is reading above +9 decibels or -6 on the level meter then they are too loud or too quiet and will distort when played back due to the recording equipment not being able to register information from audio exceeding those limitations.

Crew roles and responsibilities.

Floor Manager: The Floor Managers job is to ensure that everything is going to plan on the floor, the Floor Manager is the directors voice on the floor. Floor Managers will often brief audience members on what to do during the show such as fire escapes and also cuing applause and other commands.

Assistant Floor Manager: An Assistant Floor Manager will usually assist the Floor Manager by doing the jobs the Floor Manager doesn't have time for like keeping a tally on the scores and maybe asking other crew members on the floor if they are okay to begin the show.

Camera Operators: Camera Operators are obviously in charge of getting the shots required for the show common shots for a TV quiz show will be MCU's, CU's, Wide Shots, 2/3 Shots, Over shoulder shots and so on. A Camera Op should always check his shots before the start of the show, so he knows what he can work with.

Assistant Camera Operators: Assistant Cam Ops don't have too much to do other than hold the cable out of the way of the Operator and help with camera movements such as crabbing and pedding. Although a Camera Assist isn't necessary they can be considerably helpful.

Talent: The Talent is basically whoever is in the show (Host/ Contestants) the talents job is simply to perform and make the show an enjoyable viewing experience.

Vision Mixer: Vision Mixers are in charge of cutting between cameras and VT's by the Directors order the Director will give the number followed by the command cut and on this command the VX must cut to that camera, however if the VX feels another shot would be more appropriate he can use his own initiative to get the best shots he feels possible.

Sound Operator: A Sound Op will begin his role by micing up the audience and talent with omnidirectional mics, the audience will have a hanging mic to simply pick up some atmosphere for the show. Once everyone is miced up the Sound Op will run Sound Checks on the audience and individually the talent adjusting there mics accordingly, there is also a master fader so that in the event of a VT placement or so on they can turn the talent right down.

Assistant Sound Operator: A Sound Assist will simply help the Sound Op with levels and micing people up the Sound Assist is a job similar to Camera Assist, it may not be completely necessary however can be helpful in some instances.

Director: The Director is basically the one who runs the show calling shots and checking everyone is doing their jobs properly. The director will work closely with the VX to get the shots needed, but a good Director must always be on the ball and know exactly what is going on to produce a perfect show.

Assistant Director: An Assistant Director will help the Director if he gets lost for words or starts to lose he trail of thought, in essence the Assist Director is another Director basically a back up Director for the show, in case the Director starts to lose where he/ she is going.

DVD Operator: The DVD Op is in charge of queuing the VT inserts for the show making sure they are all in place and ready to be played into the show if a DVD Op messes up they could give the answer to a question away or worse interfere with the format of the show.

Studio protocol and practice.

There are many health and safety issues within the TV studio which must be highlighted to ensure practice in the studio is able to function properly.

Firstly no food or drink should be allowed in the studio if a drink spills it may damage some of the equipment and food may lead to the studio becoming messy, another factor would be running no one should ever run in a studio there are cables all over the places anyone could trip and injure themselves or break valuable equiptment.Also the talk backs are to be used only for their function they aren't toys and should only be used to contact others when it is completely necessary, also when not in use they should be switched off.Cameras are yet another vital part of the studio and recording process they should never be pointed at lights as this can damage the silicone chip inside possibly breaking the camera, they should also always be locked if they are not it could damage the ped or lead to a cam tilting up to a light.

Camera shots and moves.

Long shot (LS). Shot which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings.

Extreme Long Shot (ELS) - see establishing shot: In this type of shot the camera is at its furthest distance from the subject, emphasising the background.

Medium Long Shot (MLS): In the case of a standing actor, the lower frame line cuts off his feet and ankles. Some documentaries with social themes favour keeping people in the longer shots, keeping social circumstances rather than the individual as the focus of attention.

Establishing shot. Opening shot or sequence, frequently an exterior 'General View' as an
Extreme Long Shot (ELS). Used to set the scene.

Medium shots. Medium Shot or

Mid-Shot (MS). In such a shot the subject or actor and its setting occupy roughly equal areas in the frame. In the case of the standing actor, the lower frame passes through the waist. There is space for hand gestures to be seen.

Medium Close Shot (MCS): The setting can still be seen. The lower frame line passes through the chest of the actor. Medium shots are frequently used for the tight presentation of two actors (the two shot), or with dexterity three (the three shot).

Close-up (CU). A picture which shows a fairly small part of the scene, such as a character's face, in great detail so that it fills the screen. It abstracts the subject from a context. MCU (Medium Close-Up): head and shoulders.

BCU (Big Close-Up): forehead to chin. Close-ups focus attention on a person's feelings or reactions, and are sometimes used in interviews to show people in a state of emotional excitement, grief or joy. In interviews, the use of BCUs may emphasise the interviewee's tension and suggest lying or guilt. BCUs are rarely used for important public figures; MCUs are preferred, the camera providing a sense of distance. Note that in western cultures the space within about 24 inches (60 cm) is generally felt to be private space, and BCUs may be invasive.

Angle of shot. The direction and height from which the camera takes the scene. The convention is that in 'factual' programmes subjects should be shot from eye-level only. In a high angle the camera looks down at a character, making the viewer feel more powerful than him or her, or suggesting an air of detachment. A low angle shot places camera below the character, exaggerating his or her importance. An overhead shot is one made from a position directly above the action.
Viewpoint. The apparent distance and angle from which the camera views and records the subject. Not to be confused with point-of-view shots or subjective camera shots.
Point-of-view shot (POV). A shot made from a camera position close to the line of sight of a performer who is to be watching the action shown in the point-of-view shot.

Two-shot. A shot of two people together.

Wide-angle shot. A shot of a broad field of action taken with a wide-angle lens.

Tilted shot. When the camera is tilted on its axis so that normally vertical lines appear slanted to the left or right, ordinary expectations are frustrated. Such shots are often used in mystery and suspense films to create a sense of unease in the viewer.

Zoom. In zooming in the camera does not move; the lens is focussed down from a long-shot to a close-up whilst the picture is still being shown. The subject is magnified, and attention is concentrated on details previously invisible as the shot tightens (contrast tracking). It may be used to surprise the viewer. Zooming out reveals more of the scene (perhaps where a character is, or to whom he or she is speaking) as the shot widens. Zooming in rapidly brings not only the subject but also the background hurtling towards the viewer, which can be disconcerting. Zooming in and then out creates an ugly 'yo-yo' effect.

Following pan. The camera swivels (in the same base position) to follow a moving subject. A space is left in front of the subject: the pan 'leads' rather than 'trails'. A pan usually begins and ends with a few seconds of still picture to give greater impact. The speed of a pan across a subject creates a particular mood as well as establishing the viewer's relationship with the subject. 'Hosepiping' is continually panning across from one person to another; it looks clumsy.
Surveying pan. The camera slowly searches the scene: may build to a climax or anticlimax.

Tilt. A vertical movement of the camera - up or down- while the camera mounting stays fixed.

Crab. The camera moves (crabs) right or left.

Tracking (dollying). Tracking involves the camera itself being moved smoothly towards or away from the subject (contrast with zooming). Tracking in (like zooming) draws the viewer into a closer, more intense relationship with the subject; moving away tends to create emotional distance. Tracking back tends to divert attention to the edges of the screen. The speed of tracking may affect the viewer's mood. Rapid tracking (especially tracking in) is exciting; tracking back relaxes interest. In a dramatic narrative we may sometimes be drawn forward towards a subject against our will. Camera movement parallel to a moving subject permits speed without drawing attention to the camera itself.
Hand-held camera. A hand-held camera can produce a jerky, bouncy, unsteady image which may create a sense of immediacy or chaos. Its use is a form of subjective treatment.

Process shot. A shot made of action in front of a rear projection screen having on it still or moving images as a background.

DVD operation and insert requirements.

DVD operation is vital for the VT inserts. The DVD op should always be alert and ready and know exactly what they are doing, letting the director know when the DVD is ready and so on. Without a DVD op the process of adding inserts could be very hectic, there should also always be a black window before and after a clip to allow time for the operator to pause the DVD at the points needed. Once a clip has been played the Operator should get straight to work queing up the next clip for the show and letting the director know he is ready by using the call "DVD ready". The inserts are put together on a show reel in some sort of editing software and then exported as a quicktime MOV and added to a DVD in tracks once this is complete a Cue Sheet is produced to let the operator know how long clips are what they contain and so on all this makes the job of DVD op much simpler.

Directing and director's calls

Cut: The director uses this command when he wants the vision mixer to cut to another camera the director will say "cut cam 1" for example and the vision mixer will know exactly what to do. These shortened commands are much easier than stating a long sentance.

Crab: Crab means the director wishes a camera to crab he will address the camera op and then tell them how the wish for them to crab or what shot to go for normally in an abreviated form.

Ped: This is simply the same as the crab call except in this circumstance the director wants the cam op to ped up or down maybe to get a more well framed shot or once again a certain shot.

Roll VT: When a director uses the call roll VT he is addressing the DVD operator to play the VT insert the DVD op must be prompt and know exactly when the director is going to cue him.

Cue: Cue can be used in many ways, for example talking to the FM to say cue appluase or cue host, or even the DVD op to roll the VT insert.

Programme rundowns.

The programme rundown is a simple list of the order the show will run in the rundown will include details on VTs such as length and description of what is in the clip, as well as timings as to when to que inserts, the programme rundown is essetially a script for the show as a whole a running order of what comes after what.Programme rundowns are essetial for a show to operate without this no one would know the order of the show and everything may be in risk of falling apart.