Table Of Content

CUE & CUT SSCCCCPPRR..iinndddd ii 66//1133//22001111 22::1188::1100 PPMM SSCCCCPPRR..iinndddd iiii 66//1133//22001111 22::1188::1100 PPMM CUE & CUT A practical approach to working in multi-camera studios Roger Singleton-Turner Manchester University Press Manchester and New York distributed in the United States exclusively by Palgrave Macmillan SSCCCCPPRR..iinndddd iiiiii 66//1133//22001111 22::1188::1100 PPMM Copyright © Roger Singleton-Turner 2011 The right of Roger Singleton-Turner to be identifi ed as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Published by Manchester University Press Altrincham Street, Manchester M1 7JA, UK and Room 400, 175 Fifth Avenue, New York, NY 10010, USA www.manchesteruniversitypress.co.uk British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data applied for ISBN 978 0 7190 8448 5 hardback ISBN 978 0 7190 8449 2 paperback First published 2011 First reprinted 2014 The publisher has no responsibility for the persistence or accuracy of URLs for any external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Typeset by Toppan Best-set Premedia Limited SSCCCCPPRR..iinndddd iivv 77//2233//22001144 44::0044::0099 PPMM Contents List of Illustrations xi List of Tables xvii Preface xix Acknowledgements xxi List of Abbreviations xxiii Introduction xxvii Basis of the book xxviii Multi-camera content xxix Notes on exercises xxxi PART I: SAFETY AND GOOD PRACTICE 1 Safety fi rst 3 Risk assessment forms 3 Places of work 4 TV and fi lm locations and studios 5 Third-party liability 10 Conclusion 12 Fire extinguishers: types, uses and colour codes (applies throughout the UK) 12 Good practice – good studio discipline 13 PART II: INTRODUCTION TO THE STUDIO 17 1 Basics 19 The studio 19 Production control gallery 24 Lighting gallery 26 Sound gallery 27 SSCCCCPPRR..iinndddd vv 66//1133//22001111 22::1188::1100 PPMM vi Contents 2 Working with cameras 29 Basic elements – studio cameras 30 Shot sizes and some common terms 38 Changing shot (1) 44 Line-up and its history 45 3 Lenses and shooting conventions 49 Introduction 49 Focal length 49 Horizontal angle of view 50 Vertical angle of view 51 The human eye 51 Properties and quirks of camera lenses 51 Conventions 53 Conclusion 60 4 The studio production team 62 The Producer 62 The (UK) chain of command 64 The Director 64 The Floor Manager 68 The production support team 73 5 Technical jobs in the studio 81 The Vision Mixer 81 Technical Director 82 Sound Supervisor 83 Sound Assistant 87 Camera Operators 87 Lighting Director 90 Lighting Assistant 91 Caption generator and Graphic Designers 91 Videotape Operator 93 Tapeless studios 94 Prompting devices (Autocue, Portaprompt and others) 96 Technical Resources Manager 100 Video editing 101 6 Design and sets 103 Set design and Designers 103 Studio fl oor plans 106 History 115 Design – other disciplines 115 SSCCCCPPRR..iinndddd vvii 66//1133//22001111 22::1188::1100 PPMM Contents vii 7 The job of Script Supervisor and multi-camera paperwork 120 Stand-bys 120 Timings 122 Shot calling 125 Alterations 126 Continuity 126 Timecodes when recording 126 Tapeless recording 127 On location and post-production 128 Documents 128 8 Camera scripts, camera cards etc. and creating them in MS word (with a note on Autocue) 134 The camera script document 134 Creating a camera script with MS Word 138 Finished sample of a camera script 149 Conclusion 158 9 In the studio: communication 160 Rehearsal 160 Some useful phrases used between team members 164 Going for a take 169 Student recordings 170 10 Lighting for video cameras: an introduction 172 Basic concepts 172 Simple lighting set-ups 174 Shadows 177 Lighting balance 178 Different lighting conditions 181 Colour temperature 183 Effects and lighting for effects 184 Lighting hardware: a reminder 191 Lighting control desks and consoles 194 Conclusion 198 11 Microphones and sound 199 Warning! 200 Microphones: a summary 200 Sounds you want – sounds you don’t 202 Mounts for microphones – including booms 204 Basic trouble-shooting (for students) 205 Buzz tracks and ‘atmos’ 206 Stereo and surround sound 207 Dubbing 210 SSCCCCPPRR..iinndddd vviiii 66//1133//22001111 22::1188::1100 PPMM viii Contents The dub 212 An argument for division of labour 213 PART III: CONTENT 215 12 Interviews, discussion and chat 217 Introduction – and the need for camera script exercises 217 Interviews: general points 218 Recording – and aims 225 Shooting interviews 226 1 + 1 interviews 229 1 + 2 interviews 232 1 + 3 interviews 238 History 247 13 Demonstrations and movement 251 Format A: Presenter plus guest demonstrator 251 Shopping channels 256 Format B: Demonstrations with a single Presenter and no guest 256 Demonstrations: conclusion 259 Movement 259 Give Us a Clue 262 14 Having ideas 265 The proposal 265 The treatment 266 The next steps 267 Student projects 268 Writing 271 Notes for multi-camera fi nal projects and planning meetings 279 PART IV: APPLYING THE PRINCIPLES 287 Introduction 287 Multimedia formats 287 ‘360-Degree television’ 288 3DTV 289 15 Getting it all together 293 Planning 293 Planning a magazine programme 304 Shooting and retakes 314 Metadata and tapeless recording 317 A brief word about money and budgeting 319 SSCCCCPPRR..iinndddd vviiiiii 66//1133//22001111 22::1188::1100 PPMM Contents ix 16 Drama 325 Episode 1: history 325 Episode 2: approaching drama 333 Episode 3: Actors 337 Episode 4: other kinds of Actor 343 Episode 5: shooting drama 356 Episode 6: cameras, sound, VM, PM (or FM) and Script Supervisor 362 Conclusion 364 17 Music 367 Sources of music 368 Shooting musical performance as live 372 Conclusion 385 18 Shooting action 387 Iso-cameras 387 Dance and mime 393 Motion towards the camera 394 A brief word on sport 395 Conclusion 396 Afterword 398 Appendix I: aspect ratios 400 History 400 The Golden Mean, widescreen and the human eye 400 Mixing formats 402 Other formats 405 A word about memory and storage 406 Summary 407 Appendix II: continuity – a summary 408 What it is 408 Continuity and broadcasting 410 Continuity television 411 Select videography 412 Bibliography and references 428 Suggested further reading 433 Index 434 SSCCCCPPRR..iinndddd iixx 66//1133//22001111 22::1188::1100 PPMM