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T356 Fall 2008 - Week 11 Announcements / Reality Check
Content ENG, EFP & Big Remotes (Zettl Chapter 20.1) ENG & EFP: Know the differences! ENG: Electronic newsgathering. Usually quick and unplanned production. Equipment is flexible and can be quickly deployed.
EFP: Electronic field production. Uses much of the same equipment from ENG but is carefully planned much like a studio production. There are various tasks that need to be carried out in the pre-production, production and post-production phases. Big Remotes: (see Zettl) A large multicam production occuring outside the studio. Usually a schuled event like a ballgame, concert, etc. There is no rehearsal! EFP/Big Remote Steps Pre-production: Location survey (Always make a sketch). Note power outlets, acoustics (distracting noise?), windows that might pose lighting challenges. Don’t forget shooting permits, parking, food etc. Initial Production Meeting: usually held at least a day before a big shoot, all the key production people are present (P.A.s, lighting directors, floor directors etc.) Timeline/schedule: Just like a studio shoot, you make a timeline. This is one of the most important elements of a production involving large amounts of gear and personnel. It will include everything from morning meeting (with coffee & bagels) to make-up appointments, audio checks, and shooting and strike times.
Production: Equipment checklist. This varies depending on the size of the project. Consider:
Production setup. Have a plan (based on your location sketch). Make sure logistics work- that the light won’t set the drapes on fire; the talent has enough cable to move around (or a wireless mic); that the tripod won’t scratch someone’s wood floor, etc. Walk-through & rehearsal. Do these things just like for a studio production. Videotape. Remember to record at least 5 seconds before cueing the talent, and to let it roll several seconds after they’re finished. Record scene & take numbers Strike: make sure everything is put back. Pick up after yourself. Post-production. We’ve covered this before. Log, make safety dubs, edit etc. Big Remotes: cover major events (sports, concerts etc.) There is no rehearsal! You do everything as on an EFP and ten times more. While many big remotes use over a hundred people (typical for a big ball game) keep in mind that you can do a lot with less equipment- such as a few properly placed ISO camcorders You must be very thorough in your site survey and all your pre-production activities because: you only get one chance. There are no rehearsals or do-overs. Big remotes require extensive site surveys. Everything is usually controlled from a remote truck. A remote truck usually contains:
Contact person. Often in the public-relations department, the contact person will be familiar with the facilities (or can refer you to someone who is) and should know the details of the event. Make sure you know their name, phone number, e-mail, pager etc. These people often can help in emergencies, so treat them well. Remote survey. Be thorough! Bring all your key production and technical people. I like to bring a tape measure and my digital camera. They should get answers to key questions. (p 504-506) One thing you will have at the end is a good location sketch. Remember: A good location sketch aid the director in a number of ways: deciding camera positions, focal lengths of lenses, lighting, audio & communication systems and cable runs. Put a compass rose on your sketch (Students should be aware of the key things you would want to find out during a site survey) Production setup. All are different As soon as the remote truck is in place conduct a technical walk-through. Figure out the actual field of view from the cameras. Be decisive and precise While the technical crew is setting up, hold a production meeting with your AD, Floor Director, talent, camera and discuss how you will be covering the event Make sure the communication systems work Check with your tape operator to make sure they have enough tape Walk through the site again and visualize the event from the camera’s perspective. Are they in optimum locations? On one side of the principal vector (180* rule) Where is the sun? Are there other lighting hazards or obstructions in shots? (competitors sign) Remember the big picture. You are a guest in the facility. Treat everyone well and you can do it again. Directing the telecast Speak loudly & clearly Listen to the floor manager & camera positions Watch the monitors. Report the event as truthfully as possible. Listen to the audio If/when things go wrong stay calm. It’s not what happens- it’s how you respond to them. Exercise good taste. Don’t try to capitalize on accidents or embarrass people Instant replay (for large sporting events). This is a complicated production procedure. Usually there is a station (and a producer or AD) dedicated to recording & playing back. This is often paired with a special CG operator and is independent from the actual program feed. ISO cameras are recorded individually for immediate playback. Post-show activities Always thank everyone- no matter how bad it went. Thank contact person, police, food gopher etc. It’s how you behave towards other people that often determines your success. Not just how skilled you are. Make sure all the equipment gets stored properly. Covering major events & Communication systems (Zettl Chapter 20.2) Be prepared to make/complete a location sketch for a major event. You will have to decide where to place the cameras and microphones and explain your reasoning. Communication systems. Remote operations depend heavily on reliable communication devices. Producers often distribute cell phones to production team leaders.
Timeline, schedules and timing (Zettl chapter 19.1) Zettl refers to the timeline as being also known as the production schedule. The examples in the book focus on one day. In my experience, timelines or production schedules cover a period of time including days & weeks. In a large production, each day has specific, varying demands for different people. These are used in film, studio and field production. [see examples] Students should create timelines for final projects. For live broadcasts and live studio productions timelines are very precise- down to the second. Clock time is known as schedule time. This is the actual time that a program airs. Running time is the length of the show or segment. Timing: Front & Back Timing. Back timing is working backwards from the end of a show or segment. Let's say you knew a live show had to end precisely at 1:00 PM. The closing sequence takes 20 seconds, the taped segment that runs before the credits is 45 seconds, thanking the guests takes 30 seconds. When would you give the 1 minute to wrap signal?
Single Camera Directing (Zettl 19.2) Intended to be edited Discontinuous (stops after each take) Be able to define continuity. All shots in a sequence connect seamlessly so that they are no longer recognized as individual shots, but as a single scene. Storyboards help for this. Be able to describe what film-style shooting is. Start with long shots and move in (or close ups and move out). Change the camera angle but obey the rules of continuity and the 180 degree line. Rehearse as much as possible Slate each take Mark the timecode numbers Make protection copies (backups) Log footage Edit Up to Jim Krause's T356 homepage
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