Andover Chroniclers

Procedure Number: 201 Date: 5 Mar. 2008

Procedure Title: IN-STUDIO SEGMENT PRE-PODUCTION

1.0 PURPOSE

To document all the responsibilities and activities required on the day of the taping immediately prior to taping in preparation for capturing a successful segment.

2.0 RESPONSIBILITIES

2.1 The Segment Producer as Host is responsible for

2.1.1 Greeting the guests, creating a relaxed atmosphere for them and going over the segment plan or story boards with them,

2.1.2 Providing a copy of the segment plan to the Segment Director,

2.1.3 Providing a copy of the desired on-stage chair and table (if any) arrangement to the Floor Director,

2.1.4 Identifying any props to be taped,

2.1.5 Positioning of visual aids; i.e., cheat sheets, storyboards, etc.

2.2 The Segment Scheduler is responsible for

2.2.1 Making the crew assignments by completing and posting the completed form shown in Appendix 1, Crew Assignments,

2.2.2 With the help of the stage hands, and in consultation with the Floor Director, arranging the table and chairs on the stage.

2.3 The Lighting Technician is responsible

2.3.1 to adjust the lights to achieve satisfactory, best possible shadow-free lighting as judged by the TV monitors of the stage area with the guests and host in place,

2.3.2 to perform the White Balance.

2.4 The Camera Technicians are responsible for

2.4.1 Locating the cameras approximately as shown in Figure 1,

2.4.2 Performing a controls check and setting the zoom speed control,

2.4.3 Making the necessary adjustments in location, zoom and focus as dictated by the appearance of the picture on the TV monitors.

2.5 The Audio Technician is responsible for

2.5.1 Connecting as many microphones as are needed for the taping,

2.5.2 Performing an audio check with each microphone,

2.5.3 Setting controls on the Audio Control Board ,

2.5.4 Coordinate audio level checks with Host and Guests.

2.6 The Floor Director is responsible for

2.6.1 Coordinating the activities of all involved with the taping process,

2.6.2 Independently verifying that the lighting is satisfactory,

2.6.3 Independently verifying that all three camera view are acceptable,

2.6.4 Independently verifying that the microphones are in place,

2.6.5 Participating in the audio level check,

2.6.6 Executing or having executed by the floor crew requests for adjustments made by the Segment Director,

2.6.7 Assuring that all parties know what will be done when and by whom.

2.7 The Segment Director is responsible for

2.7.1 The overall success of the technical aspects of the taping,

2.7.2 Verifying the adequacy of the lighting, audio and camera views and gives direction to Floor Director for adjustments as required,

2.7.3 Verifying that the switching among the three camera views is operational,

2.7.4 Adjusting the Program Monitor.

2.8 The Administrator is responsible for

2.8.1 Getting a release from the guests by having every one of them complete a copy of Appendix 2,

2.8.2 Completing the Segment Production Record, Appendix 3 as the various set-ups are declared operational or complete by the Floor Director or Segment Director,

2.8.3 Retaining and storing all documentation generated in support of the segment taping.

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3.0 DEFINITIONS

3.1 White Balance

Also known as color balance or gray or neutral balance is the adjustment of the relative amounts of red, green, and blue primary colors in a camera system such that neutral colors are reproduced correctly and unsightly color casts are avoided.

3.2 Title Safe Area

Is the area inside the rectangle visible just in from the perimeter of the picture seen in the camera LCD display and is that area which for sure will be seen on any TV (unless the TV is misadjusted).

4.0 EQUIPMENT

A fully functional TV studio is used and only those parts of it that are adjusted during segment pre-production are identified.

4.1 a stage with backdrop, chairs and tables, as needed,

4.2 battery of overhead lights with control box,

4.3 three cameras on tripods, with headsets to communicate with the Segment Director

4.4 up to 10 clip-on microphones with junction box and controls,

4.5 overhead studio lights,

4.6 full complement of director control room equipment.

5.0 PROCEDURE

The total process of segment pre-production consists of a large number of interrelated sub-processes any one step of which frequently depends upon certain steps of another sub-process having been accomplished first. Nevertheless in order to facilitate the use of this procedure during segment pre-production it will be written such as to bundle together most of the steps belonging to one sub-process, e.g., lighting or audio, with due admonishment what may be a gate to proceeding past a certain step.

5.1 The Segment Producer and Floor Director:

5.1.1 Set up the stage with chairs, tables, backdrops, etc as envisioned by the segment producer as a function of the number of guests,

5.1.2 When the lighting person declares ready for White Balance set up a white board immediately in front of where the guests will be sitting,

5.1.3 Turn off the overhead lighting in preparation for White Balance,

5.1.4 When White Balance is declared complete by the Lighting Technician, remove the white board that was used for White Balance, ask an extra to occupy one of the chairs, and declare ready for final color check,

5.1.5 When the final color check has been declared complete by the Segment Director, or, on a non-interference basis, earlier, asks the guests and host to sit in their places to allow focusing and zooming of the cameras, microphone attachment and voice check.

5.2 The Lighting Technician:

5.2.1 Confirms that the overhead studio lights are in the approximate positions shown in Figure 1 and have not been moved or rotated,

5.2.2 Turns ON the associated Lighting Control Box, shown in Figure 2 and verifies that the three followed by the twelve slide switches in a row are set in the default positions indicated in Figure 2,

5.2.3 Turns on the monitor on the floor for ready viewing,

5.2.4 Requests that someone sit in each of the chairs that have been set up and confirms that the lighting is uniform and free of shadows,

5.2.5 Adjusts the lighting as required using the twelve slide switches that control the overhead lights as indicated. The effect of increasing a given light can be quickly assessed by pushing the black push button switch immediately under a given slide switch This overrides that slide switch and turns on that light to maximum for as long as the switch is depressed,

5.2.6 Makes final adjustments based upon the appearance of the stage on the TV monitors in the control room,

5.2.7 Declares the Lighting to be ready for White Balance,

5.2.8 When informed by camera technicians that White Balance is complete

performs a final color check by observing the extra that replaced the white board on the Program Monitor in the control room. If things look good, to the Director, declare all ready. (If major readjustments in lighting are necessary, the White Balance needs to be repeated after the lights are readjusted),

5.2.9 Declares White Balance complete,

5.2.10 His/her task is done unless adjustments are requested by the Segment Director based on the appearance of the image on the “Program” monitor.

5.3 Camera Technicians 1, 2 and 3:

On cameras 1 and 2 camera tilt is controlled by a small lever near the camera end of the left hand arm, pan (left to right motion) is controlled by a round knob located near the camera end of the right hand arm

On camera 3 tilt is controlled by a small lever at the right side of the tripod mount. This lever should be just tight enough that the camera can tilted up and down and stay put where located

5.3.1 Make sure that their cameras are ON and that the focus and zoom and zoom speed are working, see Fig 3, for camera controls,

5.3.2 Make sure the headsets and attached microphones are working; these will allow communication between the Segment Director and the camera technicians during the actual taping,

5.3.3 With camera 1 and 2 next to camera 3, see Figure 1 for location of camera 3, and the Iris Controls on the three camera Controllers in the Control Room on “AUTO” - see Figure 4 - declare ready for White Balance,

5.3.4 With the overhead lights OFF, and all three cameras pointed on the white board set up by the Floor Director White Balance is as follows:

· Zoom all the way in,

· Turn the camera slightly until the edge of the board is located,

· Focus on the edge of the board – it is very difficult to focus on the board when the edge is not visible since the board is featureless,

· Slightly turn the camera such that the board fills the screen of the camera LCD display,

· In the Control Room on the corresponding camera Controller push and hold the White Balance button, labeled W/B, until the green light comes on, release and the light will go off automatically when white balance has been completed

· Leave the Iris Control on AUTO. With the Iris control on MANUAL minor tweaking of the image as viewed on the Program Monitor may be achieved using the Iris control knob,

· Repeat for all three cameras.

5.3.5 Inform Lighting Technician that White Balance is complete

5.3.6 Perform a final color check by observing the extra that replaced the white board on the Program Monitor in the Control Room. If things should look good, declare all ready. (If major readjustments in lighting are necessary, the White Balance needs to be repeated after the lights are readjusted),

5.3.7 Relocate cameras 1 and 2 to, for example, the positions indicated in Figure 1 (depending on the stage set-up and as decided by the Segment Producer) and all Camera Technicians refocus and zoom such that

· Camera 3 to provide an overall shot of all guests and host and in a manner such as to fill the screen,

· Camera 1 to provide a view from the waist up of the guests plus host, or only host sitting on the right of the stage (chairs 3 and 4),

· Camera 2 to provide a view from the waist up of the guests sitting on the left of the stage (chairs 1 and 2),

· In all cases the top of the heads of the guests should be just inside the Title Safe Area – See Definitions in this Procedure – indicated in the camera LCD display,

· Zoom speed is best left on the slowest setting.

5.3.8 Correct anything inappropriate in the field of view such as exposed cables, etc., and stand-by.

5.4 The Audio Technician:

5.4.1 After the Segment Producer and Floor Director set up the stage with chairs, tables, backdrops, etc in the desired locations, lays out as many microphones on each of the chairs plus one as a spare,

5.4.2 Connects the microphones in numerical order from left to right, but not the spare) into the Microphone Junction box ,

5.4.3 While the White Balance is in progress and with the help of extras verifies that all the microphones are working – this occurs on a non-interfering basis,

5.4.4 After the guests are seated helps the guests and host attach the microphones to the lapel, shirt or blouse approximately 4” below the chin,

5.4.5 Goes into the Control Room ensures that the extreme right sliding volume control at the extreme right labeled MAIN MIX is in the 0 DB position

5.4.6 In the Control Room performs a voice check for each microphone in turn by asking the Floor Director to ask each on-stage person in turn speak in the manner they will speaking during the interview,

5.4.7 Puts on the earphones and plugs them into the Digital Recording Deck as a check on the following procedure,

5.4.8 While the guest in chair 1 (and therefore with microphone 1 which is plugged into position 1 of the Microphone Junction Box) is speaking

· Slides the fine volume control for microphone 1 (see Figure 4) to the indicated, grayed, nominal, approximately mid range position ( zero DB) and the fine volume controls of all other microphones (typically no more than 5) down to the minimum,

· Adjusts the coarse volume control for microphone 1 – see Figure 4 - until the visible audio level display in the Digital Recording Deck shows the white to be always and fully lit and the red to the right, which should indicate only peaks in volume) only rarely lit. This attempts to achieve an average audio level of –12DB with peaks at about –6DB,

· As a quick confirmation that the correct microphone (number 1) is being adjusted, the little lights next to the fine volume control (for number 1) should be blinking in harmony with the speech. Caution: this is necessary but may not be sufficient as a check because of the possibility of cross talk,

· Asks the Floor Director to tell guest 1 to stop talking,

· Mutes microphone 1. using the mute switch immediately above the sliding volume control

5.4.9 Repeats all of 5.4.7 for guest in chair 2, using microphone 2 and switches number 2,

5.4.10 Repeats 5.4.6 for guest 3, etc,

5.4.11 Unmutes all the microphones (1 through 6, if six microphones are being used) and hands over the earphones to the Segment Director.

5.5 The Floor Director:

5.5.1 oversees and supports all of the activities above and provides guidance and oversight as required,

5.5.2 is in contact with the Segment Director that is in the control room by means of ear-phones and microphone at all time.

5.6 The Segment Director:

5.6.1 Adjusts the Program Monitor (which displays the picture that will be recorded) using an SMPTE (Society of Motion Picture and Television Engineers) color bar,

5.6.2 Uses this monitor to make final assessment of lighting adequacy, camera positions, etc.,

5.6.3 Gives the final approval to proceed when satisfied with:

· The general arrangement of the stage

· The general appearance of the images from the three cameras

· The lighting

· The audio.

5.7 The Administrator:

5.7.1 When the guests are seated has each complete a Release Form, see Appendix 2,

5.7.2 As the procedure is executed completes Appendix 3, Segment Production Record.

Figure 1: Approximate Location of Stage Lights, Cameras and Mikes