AUDIO SWITCHER

The audio switcher is responsible for the smooth operation of the television audio mixing console. He must be able to respond quickly and correctly to the commands of the director.

The television audio mixing console is usually located in a separate booth, remote from the television control room. The audio switcher stays in the booth from the time immediately before the production - when he makes the necessary sound level checks - to that of the completion of the program. The console itself has all the sound inputs fed into it, including microphones from the studio floor, cart machines, CD players, and so forth. The audio switcher has absolute control over these inputs and must balance them so that they are at a compatible level.

Once all of the inputs are balanced, they maybe fed from the console to a receiver. The output must be at a level that is acceptable to the receiver (videotape recorder, television set or monitor) and must fade-in or fade-out at the command of the director. With practice, you will be able to mix and control sound smoothly and correctly.

VIDEO SWITCHER

Although the camera operator frames the shot and the director calls for it, the video switcher (fig. 14-12) is ultimately accountable for the picture that is recorded or broadcast. The video switcher is responsible for the smooth operation of the video-mixing console and the special effects bank He directly controls what the audience sees. A mistake on his part cannot be covered up by the director.

The video switcher sits at the video-mixing console throughout the production and is completely responsible for its smooth operation. He must be able to operate the console efficiently and respond quickly and correctly to the commands of the director. The video switcher can only achieve such efficiency by having a thorough knowledge of the console equipment and by constantly practicing mixing techniques. In addition, the video switcher must know how to apply the various special effects available to him and operate them smoothly.

DIRECTOR

The television studio production crew is a team, with everyone in the team working together toward one common goal - the successful airing of a production. Although each member of the team is responsible for the correct and efficient operation of his particular task, there has to be someone in charge - someone with an overall view of the situation and the way the various tasks are accomplished. This person is the director.

The director is totally responsible for the production He is able to give instructions to every member of the crew, either directly, or in the case of the talent, indirectly. These instructions must be clear and concise - garbled instructions are worse than no instructions at all.

In a scripted production, only the talent needs a script, but it is the director's responsibility to be completely familiar with it so he may devote more of his attention to the actual production and less time wondering what the talent is going to do next.

It is also the director's responsibility to be aware of the functions of each member of his crew and their equipment. There is probably nothing worse and more frustrating for a production crew than to work with a director who sets impossible tasks for his crew because he is unaware of the functions and limitations of his people and their equipment.

During a studio production, the director gives commands to the camera operators and the audio and video switchers. These commands are covered in the following text.

Camera Commands

The director issues commands to the camera operators more than any other production team member to accomplish the following tasks: l Setup shots . Refine the framing and composition of a shot l Direct the movement of a camera while the shot is on the air

When you serve as a director, you should remember the following guidelines:

Figure 14-12. - Video switcher.

1. Give a "ready" or "standby" cue whenever possible. Your doing so tells the camera operator to hold a particular shot and that airing is eminent. Additionally, it is a good practice that you give a "ready" command just before a camera movement. For instance, if the talent is seated and is scheduled to getup and move to the left, you would say, "Camera 3, ready to pan right with the talent."

2. Identify each camera by number. You will know each camera operator by name, but you should issue camera commands using the appropriate camera number.

3. Begin a command with the camera number. Do not say, "Ready to pan right with the talent, Camera 3.

4. Be specific when issuing commands. For example, the command "Camera 1, zoom out" is too vague for production work. Instead, you should say: "Camera 1, zoom out for a bust shot."

Switcher Commands

The director should follow the same basic guidelines for camera commands when issuing commands to the video and audio switchers. In some situations, the director will give switcher commands while actually performing the switching functions himself. This is done primarily to alert team members of video and audio transitions.

Try to economize your words when you issue switcher commands. For instance, instead of saying, "Ready to cut to Camera 2 . . . Cut to Camera 2," say "Ready to take 2 ... take 2." Your using fewer words takes less time and cuts down on the possibility of confusing team members.

In addition you should give commands to the video switcher last. This is because the video switcher is normally positioned close to the director and needs less time to respond to a command than camera operators or the floor manager. Give your commands in this order:

1. Audio switcher

2. Talent

3. Video switcher