Cue and Cut: A practical approach to working in multi-camera studios

497 Pages·2021·5.868 MB·English

by  Roger Singleton-Turner

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