HomePage http://www.drted.com/Studio_Production_Course.htm
STUDIO PRODUCTION: A HANDS-ON COURSE
(Provide by BCAT a division of BRICONLINE
(Taught by Victor Arnez, teacher, actor and producer: March 17-April 3, 2008)
“The WALL box”
As experienced
by novice student
Dr. Ted Rothstein
BCAT
Certificate for "Remote / Non Linear
Film Editing
(and here is the link that takes you to Avid digital film editing software tutorials
See especially: AVID Pro HD which is the course taught at BCAT
See my BCAT Studio Production Training Certificate Below :-)
The Mackie 8.b CONSOLE AudioMixer Essentials-- Ver. Dr. Ted
The WALL box
contains a panel of 16 female ports all embedded within the wall that
separates the studio from
the control room.
The WALL box
in the (teaching studio) enables the audio and
visual signals generated in the studio by the microphones and cameras to pass into the control room
where they can be attenuated or strengthened and combined and finally recorded
as a "production" for broadcasting in real time or at a later date on:
BCAT 1
TimeWarner Cable Channel 34/
Cablevision 67
BCAT 2 TimeWarner
Cable Channel 35/
Cablevision 68
BCAT 3 TimeWarner
Cable Channel 56/
Cablevision 69
.
Weak inputs coming from audio and video sources in the studio are routed through the WALL box to instruments inside the control room that measure it, channel it, modulate and image it so that it can be heard and seen and finally recorded on a digital video tape machine called the VTR-R (record).
If you get “garbage” coming in thru the WALL box you will get garbage being produced on the VTR-R tape deck.
MEMBERS OF THE CREW ON THE STUDIO FLOOR:
Floor manager: Listens to the directions given by the Director and conveys them to the host–talent and camera operators. Each camera person can hear directions to focus/move cameras to capture desired views. The Director provides the directions to crew as individuals or a group using the buttons on the COM box inside the control room. (4 buttons to talk; 4 buttons to listen; as well as “talk all” and “listen all”.)
Takes directions from the Director and the floor manager to obtain the various shots the Director orders, for example: Pan rt/lt; Zoom in/out; move camera rt/lt: in/out; tilt camera up/down, "truck" right or left (moving camera on its rolling pedestal sideways and "Dolly" forward or back (moving camera on its rolling pedestal forward or back.
Operator for Movable CAMERA 2
Takes directions from the Director and the floor manager for the various shots the Director orders: Pan rt/lt; zoom in/out; move camera rt/lt: in/out; tilt camera up/down: Camera 2 sees the talent from another perspective (as above).
Operator of the Lighting Board
Has control of 2 banks of lights about 20 of them altogether which can light the talent and the set so the camera can capture the images of the talent and the host clearly and colorfully.
Host (announcer/interviewer)
The Host of an interview show is most often the Producer of the show.
Talent
(Performer(s) and/or person(s) being interviewed).
Floor-safety person to manage electric wires sprawling on the floor
Liaison person to attend to and manage the needs and movements of the talent waiting in the wings outside the studio
EQUIPMENT REQUIRED BY THE CREW ON THE STUDIO FLOOR
There are two
WALL boxes; one is located on each side of the teaching studio.
It is the electrical interface box connecting all audio, and camera equipment in
the studio to the
equipment in the control room. It facilitates the transfer of
audio-visual electrical signals between the studio floor (crew/equipment) and
the control room (d irector/crew) and vice-versa. All electrical lines connect
into this box including the lines from the
Video- Monitor, Intercoms (headset),
the teleprompter and host-talent mikes.
LXR cables and LXR extensions cable, BNC cables, Microphones, Head sets and Communication (“Com”) boxes.
Each camera person and the floor manager wears a headset plugged into a "com" (communication) box hanging at their side, which connects to the “WALL box” via LXR cables (with male pronging).
A “daisy chain connection” between the com boxes that each crew member who is wearing a headset can be established. This permits persons on the studio floor to talk to each other. Each individual’s Com- LXR cable connects to the WALL BOX at the sockets labeled “INTERCOM”.
Moveable digital video Camera 1
Moveable digital video Camera 2
Usually called Camera #3; it is controlled by the operator of the “Robotic Camera Control Box” in the control room and subject to the directives of the Director (as are Camera 1 and Camera 2). It is placed typically between Camera 1 and Camera 2.
A large movable video monitor screen in the studio permitting the crew to view what is being filmed by the three cameras. It’s images are simultaneously being shown on the “Program” Monitor (labeled the “PGM”) in the control room.
The monitor: is set up at the start of production and shows what is being “TAKEN” at each moment of preparation for filming and during the actual filming of the production. It connects to a power source. It receives its images by means of a “BNC” cable (colored ORANGE) that is connected to “yellow” jack on the monitor and connects at the other end to one of the ports on the “WALL box” called the “Remote” port. The cable’s male part attachment rotates in to place when being attached in to the WALL box.
Consists of two banks of lights that can control the 20 or so lights, mounted in the studio ceiling, individually and collectively. The board folds out of a column when being used.
CREW IN THE CONTROL ROOM
THE DIRECTOR (HE CALLS THE "SHOTS" LITERALLY AND FIGURATIVELY) SEE BELOW HOW HE GIVES DIRECTIONS TO START THE SHOW
The director controls all. He is the “conductor of the orchestra” He controls the tempo, volume and accuracy of the incoming and outgoing audio and visual signals that will be recorded on the VTR-R.
When the director gives the order to “Roll tape” the Recorder-Box operator hits the Play-Record buttons.
The director orders all the previews and takes and shapes the “look” of the production by constantly monitoring the. Finally he ends the show.
He controls the “lower third” name tags appearing and the look of the transitions (dissolve, fade etc) between “takes”.
The director sets the “tone” of the action and guided the activities of the studio and control room crew. He set the initial views of all the cameras.
The director pays strict attention to what the camera “sees” Are the curtains (called cycloramas...Cykes for short) and typically blue or black) closed and smooth? Are all extraneous cables out of view? Are all camera views in proportion? Are the lights set at the right intensity? Have all extraneous sounds been eliminated?
The Director gives direction to the crew (see below) by directly talking to them. He talks to the crew on the studio floor individually or as a group by use of the control-room mike.
His main communication is with the Floor Manager. He can also talk to each camera operator, or the host (producer) or the talent. He does this through the control room microphone which extends 18 inches from its “source” box. The source box has on its console 4 “talk” buttons and below them 4 “listen” buttons, one for each floor crew person They hear him through their headsets. To the left of those buttons is a "talk-to-all" button and a "listen-to-all" button.
(He “previews” and “takes” the various camera shots ordered by the director).
THE RECORDER BOX OPERATOR
(He pushes the Play–Record buttons at the Director’s order to “ROLL TAPE” thereby channeling all Audio-Visual signals in to the VTR-R where they are recorded on tape.
AUDIO CONTROL BOARD OPERATOR (ACB
(commonly called the MIXER)
This crew member also operates the CD tape/music deck
This person also starts the production filming by pushing the small white button on the centrally located COM control panel at the moment the Recorder Box Operator says “TAPE IS ROLLING…WE HAVE SPEED”.
CHARACTER GENERATOR OPERATOR
(He creates and generates all text that appears on the PGM screen)
TELEPROMPTER OPERATOR
(He prepares all script text for the host and talent to read from the TP)
EQUIPMENT IN THE CONTROL ROOM FROM LEFT TO RIGHT (THE BIG STUDIO CONTROL ROOM)
EQUIPMENT IN THE CONTROL ROOM FROM LEFT TO RIGHT (teaching control room) (NO PHOTO DOCUMENTATION)
SIX MINI-SCREEN MONITORS (the six "minis" are located in the teaching studio) which monitor events in the control room: 1 2 3 4 5 6. (They are labeled). The director is constantly monitors them and uses them to decide which studio floor camera he is going to use to make the next "shot" or "take".
#1 To monitor the VTR-S (Sound)
#2 To monitor the VTR- R (This is what the Recorder Box Operator is watching to see if the VTR-R(ecorder) recorder tape is rolling at the correct speed i.e. 30 frames per second.)
#3 To monitor “BARS” (for control of color)
#4 Monitors Camera 1
#5 Monitors Camera 2
#6 Monitors Camera 3 (the robotic camera)
The monitors shown in the photos are the ones located in the BIG STUDIO CONTROL ROOM
They are located on the desk beneath the six mini-screens mounted on the wall. They permit correction of the amount of light passing through the lens of the cameras and control of “depth of field” of the camera lens.
VTR-S (sound) and the VTR-R (record) control boxes (“decks”).
These two decks sit on the floor just behind crew member who is operating the SWITCHER.
The VTR-R begins recording the production when the Director says “ROLL TAPE” and the Recording Box Operator responds “TAPE IS ROLLING…WE HAVE SPEED”.
The VTR-S is recording all sounds captured by the Audio Board operator.
The bottom row of buttons lets you preview on the PVW monitor screen what each camera is looking at: These buttons include: CAM1,CAM2, CAM3, BLACK screen, BARS ("UTILITY") button, CG (character generator).
To the right of these buttons is a stand alone “TAKE” button and the ? button. There are also a KEY1 and "Transition" button, and a “Fader” arm/lever with little sequential green lights to indicate that the effect is happening when dissolving to “Black”.
[NOTE] In addition to the bottom row of PREVIEW buttons there is a row of identical buttons just above it. These buttons also function as TAKE buttons. for the identical button below it.
The director will say “Give me camera 1” The SWITCHER responds by hitting the "CAM1" button which causes the image being seen by camera 1 to project in the Control room on the Preview Screen Monitor (labeled the “PVW”).
This little (10" x 6"), but oh so important, box is connected to the VTR-R deck which records the incoming audio-visual data. Its control buttons “Play” and “Record” buttons start the VTR-R tape recording. It records whatever the PGM monitor is capturing from the cameras. It has Stop and Rewind functions as well.
To activate it the operator needs to hit the RED RECORD and RED PLAY BUTTON on top of the box. If he fails to do that when the director says "Roll Tape" woe to that recording control box operator.
It sits on the desk to the right of the SWITCHER. At the order to "Roll Tape" the person in charge/control of this box hits the "Play" and "Record" buttons and announces ”Tape Rolling” When he sees the digital frame counter on mini-monitor # 2 is "rolling" he announces to the control room Director and crew "Tape is rolling…we Have Speed". See also the ABO below
THE ROBOTIC CAMERA CONTROL BOX
It seems easy, but looks are deceiving. In brief it consists of a big black button to control camera’s focus and a "Joy" stick to robotically cause the camera to pan left and right and zoom in and out etc.
TELEPROMPTER (TP)
IS A DEVICE ATTACHED TO THE FRONT OF THE CAMERA THAT ALLOWS THE HOST AND THE TALENT TO READ THE SCRIPT PLACED ON THE TP OPERATOR’S PC SCREEN IN THE CONTROL ROOM.
The script projected on the TP computer screen is created by MS software
The software is initiated by clicking on an ICON on the PC desk top called "WinCue LT"
You can download prepared script material on the PC’s screen. The screen shows 4-5 words per line and 5 lines per screen. The letters are about 1’ hi and 1’’ wide.
The lines are best read double spaced. You can input original material to the screen from the keyboard.
There are two button controls on the side of the hand-controller: One sets the script to start and the other starts the script rolling so that it appears on the TP screen in front of the host and talent.
The operator of the TP roll-speed must pay attention to the host and talent; If the host pauses he should pause, and if the host speeds up he may have to increase the roll-speed as well.
The operator of the TP either gets an order from the director to begin rolling the script “…at 45321” or he begins rolling at the moment the host-talent begins speaking. It’s not a daunting instrument to learn.
THE AUDIO BOARD OPERATOR (ABO)
The ABO responds to the Recording Control Box Operator when he announces “TAPE IS ROLLING…WE HAVE SPEED” by pushing the “WHITE START BUTTON” on the lower right corner of the centrally located COM box just to the left of the AB.
The ABO responds to the Director’s orders “Bring down/up the music” or “Bring down/up some audio effect that is part of the production."
The ABO is given the CD which contains the music tracks that will accompany the film (almost always at the beginning and the end of the production).
ABO places the CD in the deck (see the “open-close” button) cues the CD to the correct track and on the Directors command “…54321” pushes the “PLAY” button and simultaneously moves the CD fader forward (slowly/rapidly) to the “0” mark. The “ON” button must be green. It is located about 4 inches from the bottom of the board.
On the order to “Bring music down” the operator pulls the fader lever all the way back to its start position and turns OFF the green button by hitting it again. Then he cues the CD recorder to play at the track that will be used the next time music is called for by the director.
DESCRIPTION OF THE AUDIO BOARD (AB) (the one shown in the photo is located in the BIG STUDIO CONTROL ROOM), However, the one described below is located in the Teaching Control room.
I DEVELOPED A PASSION FOR WANTING TO KNOW MORE ABOUT THE AB SO I SPENT 6 HOURS MORE OF PRACTICE USING IT WITH EXPERIENCED PRODUCERS: See what I learned in my practice sessions:
[Special Note]:
I am indebted to Gary Popkin, a certified BCAT producer, (http://www.hardfire.net)*
who generously sent me a 72-page
instruction manual on the use of the Mackie** AudioBoard which is comparable to
the audio board (sound mixer) used in the big
studio control room at BCAT. He shared it with me
b/c I expressed an interest in learning more about this formidable-looking
machine.
You may download the 72 page Mackie Manual here.
*Hardfire
is a libertarian cable-TV political discussion program, produced in Brooklyn,
NY, by Gary Popkin.
You can view Hardfire on Brooklyn cable on Tuesdays at 9PM Eastern Time
on Time-Warner channel 35
and Cablevision channel 68.
Hardfire is also
live-streamed on
Channel 2 on the Internet at the same time.
** Mackie Design Inc. : 16220 Wood-Red Rd NE, Woodinville, WA 98072 USA 800 898
3211 www.mackie.com Email:
sales@mackie.com
[Special Note]:
AT CYBERCOLLEGE.COM YOU CAN READ MORE ABOUT AUDIO CONTROL DEVICES: BOARDS, MIXERS AND CONSOLES
The AB is not for sissies. It looks formidable,
however do not be intimidated by it.
The teachers will show you its basic functions which in fact are
posted at the
bottom of of each of the most frequently used "channels".
The AB has 8 input “channels” on its left half. The first three channels receive the weak audio signals from mikes 1 2 and 3
The 8th channel receives and controls the input signals of CD tape deck (music) and other audio signals.
Each channel has multiple controls buttons to adjust the hi, mid and low frequency sounds/signals so as to give them a “bright” sound (as oppose to a “flat” sound).
The top most control button on each channel is called is called the “GAIN” control and works in conjunction with the fader at the bottom of the AB. It assists in volume-control (amplifying and modifying the signal).
There is also a small “ON” button that must be ON (Green) to enable the channel to “operate” on the audio signals.
All 3 mike faders may be controlled at once by have all three fingers on them they will always be pushed to “0” when the talent-host is speaking.
Sound testing in the control room is done by having each person wearing a mike on the studio floor count down from 20. This allows the ABO to assign a mike channel to each person and then make adjustments to the speaker’s voice so that the sound is “clear” in the high, medium and low frequency ranges.
THE AUDIO BOARD OPERATOR’S RESPONSIBILITIES
He makes the production audio/music play on orders from the Director and makes sure that all audio input sources from the studio floor crew, host and talent and camera staff are audible and of good quality for recording on the VTR-R.
He also
“starts” the show by pushing the white START button on the centrally located COM
box when the words “Tape is rolling...We have speed” are spoken by the
person in charge of the Recording Box. This action starts the show and the
VTR-R to begin recording.
download the 72 page Mackie Manual here
BALANCING THE AUDIO BOARD
The operator’s first action is to set the “TONE” level. This requires his manipulation of adjustment buttons, levers and control knobs on the last channel on the right half of the AB. He begins by pushing forward both white handled fader levers to “0” and adjusting the top-most red ”oscillator” knob so that the volume of the TONE never causes the flashing indicator lights to light red (green and orange are OK). The operator never touches the oscillator again. The AB is now balanced.
When the Director says “We will be going to BARS and TONE in 5 4 3 2 1” at “1” the ABO hits the “ON” button on that channel and a tone sounds in the control room. When the Director says “We are recording BARS and TONE for the next 20 seconds the “ABO” counts down 20 seconds on the control room clock and hits the “ON” button again to stop the tone from sounding.
There are other audio board such as the AUX (outside) knob found toward the top of the channel and AUX (inside) towards bottom of line in this channel
The Character Generator equipment is used to generate the opening titles, closing credits and names of people appearing on camera. Each screen of information that is produced on its screen is called a “SLATE”. (For example, the name/title of the production, beginning credits, the end of the film credits, the names of people appearing on screen.
Slate/text information can be made to overlay whatever the camera is filming.
The CG is a word processor (Software program CGS 4.1.1) . So the operator can generate words with various attributes, position and style. The operator can also control the rolling speed of the titles and credits by adjusting the number of the frames allowed for the credits to roll (for ex., if operator chooses 60 frames the credits slate will roll by in 2 seconds. If he chooses 300 frames the credit will roll by in 10 seconds.
The CG operator can program the order of the appearance of the SLATES.
When the CG operator creates each SLATE he saves them to the name of the show he is generating the slates for.
He mouse-clicks each slate the Director asks to be shown. For example, when the Director says “Preview Slate #4” the CG operator mouse-clicks on Slate #4 and when the Director says “Take it” the SWITCHER hits the “TAKE” button causing that slate to appear on the Program Screen Monitor. (PGM).
HOW IT ALL SOUNDS IN THE CONTROL ROOM WHEN THE DIRECTOR IS READY TO BEGIN THE SHOW (Performed for the class by Victor Arnez)
In actuality the entire set of remarks below takes about two minutes of time in the Control room.
Director begins: “Quiet on the set !”
D: “Floor manager, are you ready?”
(Manager responds “Ready”.
D: “Crew
are you ready?”
(Crew must respond “Ready”)
D: “Roll
tape!”
(Person in charge of the
Play-Record box hits the
RED PLAY” and “ RED RECORD” buttons.)
Recording Box Operator: “Tape is rolling…we have speed.” responds the Recording Box operator when he sees the tape frame counter running on mini-monitor 2 at which point the ABO operator pushes the “WHITE button to begin recording the studio production on the VTR-R deck).
D: ”We are recording black for the next 30 seconds.”
(The SWITCHER hits the button that says “BLACK” causing black to appear on the PVW and the PGV screen for thirty seconds.
D: “We are going to BARS and TONE in 5 4 3 2 1”
(at “1”, the SWITCHER operator hits the button that says “UTILITY” causing COLORED BARS to appear on the PVW and PGV screens AND the ABO operator pushes the “ON” button on the last channel of the AB which causes a TONE to sound in the control room.
D: “We will be recording BARS and TONE for the next 30 seconds”
(The BARS and are seen on the monitors the TONE is heard for the next thirty seconds through the sound room amplifiers).
D: “We will be going to black in 5 4 3 2 1.”
(The SWITCHER hits the “ BLACK” button causing blackness to appear on the PGM screen. The ABO person hits the “ON” button again causing the TONE to shut off.
D: “Give me first slate.” (the Title slate)
(The CG operator mouse-clicks on the SLATE with the Title on it and the Title appears on the PVW monitor.
D: “Preview first Slate.”
(The SWITCHER hits the button marked "CG SLATE" causing the title to appear on the PVW screen.)
D: “Play music”
(The ABO hits the play button on the tape deck and moves the fader upward to the 0 position..."the "Normal" balanced sound position)
D: “Take first slate”
(The SWITCHER hits the “SET-TAKE” button causing the Title to appear on the PGM monitor screen).
D: “Bring in music”
(ABO hits the PLAY button on the CD player causing the intro music to be heard in the control room (and is being recorded) and moves the Fader levers on channel 8 forward to “0”
D: “Give me
second slate.”
(the CG operator mouse-clicks on the 2nd SLATE) causing the slate to
be ready for viewing on the PVW.
D: “Take second slate”
(The SWITCHER hits the SET-TAKE button causing the contents of the second slate to appear on the PGV screen.
D: “Floor
manager we will be going to camera 3 in 10, 9…”
(And the floor manager continues counting down to 1)
D: “Preview
camera 3”
(SWITCHER hits the CAM3 button causing preview monitor to show what camera 3 is
viewing).
D: “Bring
down music”
(The ABO person slides the fader on channel 8 back all the way causing the music
to be inaudible and hits the “ON” button again to prevent music sound from being
accidentally played again.
D: “Bring
up sound”
The ABO pushes forward the faders on channels 1 and 2 up to the “0” mark
allowing the host and the talent to be heard in the control room and to be “on
air”.
D: “Take
Camera 3”
(The SWITCHER hits the SET-TAKE button causing the images of camera 3 to appear
on the PGM screen.
The host/announcer of the show speaks the first words reading from the TELEPROMPTER… “Good morning and welcome to the BADA-BLlNG show…”
The Director is at liberty to give orders to use the “TRANSITION” AND “DISSOLVE BUTTONS AND SLOW-FAST TO BLACK FADER LEVER and other video effects available on the switcher box.
WHEN THE DIRECTOR WANTS THE HOST’S OR TALENT’S NAME TO APPEAR ON THE SCREEN ALONG WITH THE HOST OR TALENT’S IMAGE HE SAYS:
D: “Preview Camera (1)”
D: “Take Camera (1)”
D: “Preview Character Generator (slate with name)”
(CG operator has already prepared slate with name; CG operator mouse-clicks on the “SLATE” with the name of host or talent to appear on the PVW screen).
D: “Key 1”
(SWITCHER hits KEY1 button enabling a name-over-image effect to appear on the program screen)
D: “Take
Key 1”
(SWITCHER hits the SET-TAKE button causing host’s or talent’s name to appear on
the PGV with host’s or talent’s image).
The Director continues to request PREVIEWS and TAKES of each camera according to his creative desires. He uses the switcher’s capabilities to move between the three studio cameras using the switcher’s various transition effect buttons (dissolve fade overlay). By doing so he enhances the viewer’s experience of the production.
HOW THE END OF THE SHOW MIGHT SOUND
D: “Preview CAM 3”
(SWITCHER hits CAM 3 button.)
D: “Preview
Credits SLATE“
(CG operator clicks on the credits SLATE preconfigured to roll for 10 seconds
D: “Play
Music”
(ABO hits the CD ON button on the CD deck, and hits the MUTE (button up) See P.
10 #2 (Dr.Ted Mackie manual) on channel 15 and 16
and slides the fader on channel 15 and 16 forward to the raise the
volume.
The Mackie 8.b CONSOLE AudioMixer Essentials-- Ver. Dr. Ted
D: “Take
CAM 3”
(The SWITCHER hits the SET-TAKE button and Camera 3’s image appears on the PGV
screen monitor.)
D: “Bring
down sound.”
(The ABO pulls the Faders on channels one and two back to their start position.)
D: “Bring
up music.”
(The ABO pushes the fader on channel 8 forward to the 0 position.)
D: “Take credits SLATE”
(The SWITCHER hits the CG key and the SET (TAKE) key
D: “Fade slowly to BLACK”
(The SWITCHER pulls the Fade-to-Black lever back ( or forward) causing the PVG screen to fade to black , and the Recording Control Box operator turn off the VTR-R and the VTR-S recorders).
D: “That’s a wrap, thank you crew”.
April 7, 2008
Dr. Ted Rothstein
Specialist in Cosmetic Orthodontics
And Orthodontic Jaw Wiring for Weight loss/Control
35 Remsen St.
Brooklyn, NY 11201
718 852 1551 www.drted.com
Photos by Sam
June 25, Assist Producer Aidan Doyle at BCAT studio show "On Da Money": in charge of "Robotic Camera"
July 15, Assist Producer Gloria Woods at BCAT Studio show: Family values: Operator of Studio Camera
July 27, Assist Producer to Karen Callier at BCAT studio on Impress Live production: in charge of "Camera Switching"
August 21, Assist Producer Ruperto Davis as sole person in Studio (Floor Manager)...Ruperto sole person in Control room
August 25, Assist Producer Gary Popkin at AudioBoard.
