THE TELEVISION STUDIO PRODUCTION TEAM

LEARNING OBJECTIVE: Recognize the members of a television studio production team.

A television production, such as the one shown in figure 14-9, relies on the expertise of several individuals who do a myriad of jobs. These jobs are interdependent and must be coordinated to perfection.

As a member of a television studio production team, you will be called upon to function in any one of the following positions:

Talent

Camera operator

Floor manager

Audio switcher

Video switcher

Figure 14-10. - Camera operator with headset.

Director

TALENT

The television studio production centers around a performer of some sort, whether it be the CO explaining a change in base policy on captain's call or a colleague delivering the evening news. In television parlance, the performer is known as the talent. An array of support people assists the talent, including those who handle copy, wardrobe and makeup. The talent receives instructions from the director through the floor manager.

CAMERA OPERATOR

The images that appear on the television set are first determined by how and what the camera sees. Images from several cameras may be available for the director and video switcher to use or blend to produce the transmitted picture. Unlike recorded videotape, the editing of a live studio production is accomplished as the picture is transmitted. Thus the television camera is the most important single television production element. All other elements and techniques are geared to the physical and electronic characteristics of the camera. Lighting, scenery, audio, writing and directing all depend, more or less, on the potential of the camera.

In most television studio productions, there are several cameras operating at the same time. As a camera operator, it is your responsibility to make sure you can operate your camera efficiently. You can only be efficient when you are completely familiar with your camera and use practical television camera-operating techniques.

During a production, you wear a headset that gives you direct communication with the director (fig. 14-10).

The director tells you when your shot is about to be used and when it is being used live. Even when your shot is not live, you should attempt to keep a shot that the director may find useful to the program. This will allow him to use that shot for coverage if something goes wrong with another shot or camera.

You may receive instructions from the director to move the camera, either to a new angle or to a new position on the studio floor. It is essential to a successful television production that all camera movements be carried out correctly, quickly, quietly and smoothly. The director relies heavily on the conduct of the television camera operators, and his job is easier when you respond to his commands not only quickly but accurately. This is particularly important during unscripted programs. (Television shooting techniques, including specific camera movements, are covered later in this chapter.)

FLOOR MANAGER

The floor manager stays in the television studio during a production. Through a headset system, he is in direct, two-way communication with the director in the control room. Normally, the talent is not able to use a headset and cannot receive instructions directly from the director. It is the prime responsibility of the floor manager to act as a liaison between the talent and the director.

Since it is not practical for him to instruct the talent orally during a production, the floor manager stands or kneels next to the camera that the talent should speak to and uses a system of hand signals to relay the director's instructions. Although any hand signal system understood by both the floor manager and the talent will work, we recommend you use the universally accepted system shown in figure 14-11.

The basic hand signals that both the floor manager and talent must understand are listed in the following text.

l Stand by. For the hand signal to "stand by," the floor manager raises his hand and arm at the beginning of the show or following a spot break

l Cue. For the hand signal to "start talking" or "begin action," the floor manager raises his hand and points to the talent.

l Cut. For the hand signal to "cease talking" or "stop action," the floor manager draws his hand across his throat in a slashing motion.

l Stretch. For the hand signal to "stretch it" or "slow down," the floor manager pulls his hands apart as if stretching a rubber band. Longer amounts of time are indicated when the floor manager places his hands farther apart at the end of the stretching motion; shorter time amounts are indicated when the floor manager places his hands closer together.

l Speed up. For the hand signal to "talk faster," the floor manager rotates his arm and hand clockwise in a circle above his head. The speed of the rotations are related to the urgency of time.

l OK. For the hand signal that "everything is fine," the floor manager makes a circle with his thumb and forefinger.

l 30 seconds to go. For the hand signal that there are 30 seconds remaining in the show/segment, the floor manager forms the letter T with both hands.

l 15 seconds to go/wrap it up. For the hand signal that there are 15 seconds remaining in the show/segment and the talent should wrap up what he is doing, the floor manager creates a grabbing motion with his hand that results in a fist.

l Speak more softly. For the hand signal to "speak more softly," the floor manager raises the palm of his hand to his mouth.

l Speak up. For the hand signal to "speak up," the floor manager cups his ear with his hand.

l Speak or look at this camera. For the hand signal to "speak or look at this camera," the floor manager points to the on-air camera with his hand. A waving motion from one camera to another alerts the talent that the director is switching the shot to another on-air camera.

Be precise and deliberate when you deliver hand signals. Do not wave your arms in the air frantically - this will only confine and imitate the talent.

During a television production, the studio floor is usually a maze of lighting and camera cables that can hinder the movement of the cameras and also be a safety hazard. The floor manager must make sure these cables are stored or positioned safely. Furthermore, he should find out from the camera operator and director how much camera movement is expected.

Figure 14-11. - Floor manager's hand signals.

Once a production is under way, any number of problems may develop on the studio floor. Cameras may refuse to move or the talent may develop giggling fits. In normal circumstances, the only way the director can find out about these problems is through the floor manager. Therefore, another responsibility of the floor manager is to keep the director informed of any developing situations on the studio floor that may affect the program.