broadcast/video production ii. objectives ◦ define foreground, middle ground, and background ◦...
TRANSCRIPT
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Broadcast/Video Production II
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Objectives◦Define foreground, middle ground, and
background◦Explain the function and importance of the
vector line in camera staging◦Differentiate between a jump cut and an error
in continuity◦Differentiate between a dramatic aside and
ad-libbing◦List three things that production staff
members must remember when working with non-professional talent
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Important Terms◦Ad-Libbing◦Background◦Camera Line◦Cross-Camera Shooting◦Cutaway◦Dramatic Aside◦Error in Continuity◦Foreground◦Jump Cut
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Important Terms◦Middle Ground◦Staging◦Teleprompter◦Vector Line
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This lesson discusses the placement of furniture, props, and talent in front of the camera
Staging: the arrangement of items, such as furniture, props, and talent, in a shot
Theater production staging refers to the movement instructions given to the performers by the director
Video Production staging also applies to the placement and movement of cameras
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This lesson will present guidelines and methods of effective staging for television production
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Areas on a Set◦The television screen is a flat piece of glass◦All images displayed on the screen are two-
dimensional◦An important goal in production is to create
the illusion of three dimensions in order to increase the realism of television images
◦The effective use of the areas on the set creates three-dimensionality on the television screen
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Areas on a Set◦Foreground: the area on a set that lies
between the talent and the camera◦Middle Ground: the area on a set where the
most important items in a picture are usually positioned. This is the area in which the action of the program typically takes place.
◦Background: the material or object(s) on a set that are placed behind the talent in a shot
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Areas on a Set◦Foreground
Placing areas in the foreground is a good way to create three-dimensionality
Novice camera operators often ignore the foreground area of a set when framing a shot
This is an important area for staging to create a realistic image for the viewer
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Areas on a Set◦Middle ground
This is the area where the most important items in a picture are positioned. This is the area in which the talent performs and the action of the program usually takes place.
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Areas on a Set◦Background
This is the material or object(s) behind the talent in a shot. The distance between the talent and the background, if properly lit, greatly contributes to creating three-dimensionality.
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Areas on a Set - Example◦If the set depicts the interior of a living room:
A back wall and partial left and right walls are placed in the background
A couch facing the cameras is placed in the middle ground
A coffee table or chair is placed in the foreground
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Camera Staging◦If using multiple cameras for a production,
each camera is assigned a number◦ Industry convention numbers the cameras
from the camera operator’s point of view from left to right Camera 1 Camera 2 Camera 3
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Camera Staging◦The images from the cameras are displayed
on monitors in the control room that are also arranges from left to right• Camera 1 Camera 2
Camera 3
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Camera Staging◦Stage directions, however, are given from the
performer’s point of view.
Stage Directions
Cameras/Audience
Up Stage Right Up Stage Center Up Stage Left
Stage Right Center Stage Stage Left
Down Stage Right Down Stage Center
Down Stage Left
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Camera Staging◦Cross-camera shooting: a two-camera
shooting technique in which the camera on the left shoots the person on the right side of the set and the camera on the right shoots the person on the left side of the set.
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Vector Line: an imaginary line, parallel to the camera, which bisects a set into a foreground and a background. Also called a camera line.
It is extremely important that all cameras remain of the same side of the vector during shooting
If the program cuts to the image of a camera on the opposite side of the vector line, all items in the picture are reversed
This is a grave production error
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VISUALIZE THIS◦Shooting a basketball game example
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Vector Line◦Creative use of the vector line may result in
savings in the production budget◦Shooting a train from Arizona to Oklahoma
and returning from Oklahoma to Arizona example
◦The train runs once and two scenes are accomplished with one take
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Cutaways◦Cutaway: a shot that is not a key element in
the action. It is commonly used to bridge what would otherwise be a jump cut.
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Cutaways◦When a cutaway is used, the audience should
not feel that the shot is jarring or out of place◦A cutaway shot should not include an integral
action or moment in the scene◦One of the most common uses of cutaways is
to bridge what would otherwise be a jump cut Teacher and student example
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Cutaways◦Other Uses
Adding interest to a slow-paced program Showing the reaction of other characters to
events or dialog Providing nod shots for an interview format
program Providing charts, graphs, text, or video to
supplement the speaker Covering audio editing of a long-winded
speaker
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The Jump Cut◦Jump cut: a sequence of shots that constitutes
an error in editing. This error occurs during production when cutting between camera shots and results in an on-screen object or character appearing to jump from one side of the screen to the other.
◦Error in continuity: an error that occurs during editing where a sequence of shots in the finished product contains physically impossible actions or items
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Jump Cut◦Found too often in television programs
because it is a very easy mistake to make◦Sometimes, incorrectly, called an error in
continuity Error in Continuity
◦Occurs when the finished product contains physically impossible actions or items
Jump Cut example
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Errors in Continuity◦Occur during the editing process
A hat disappears off an actor’s head from one scene to the next
Wounds look severe in one shot and almost healed in the next shot
A glass is one-quarter full of soda in one camera angle and three-quarters full when the scene cuts to another camera angle
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VISUALIZE THIS◦Woman and man on a date example
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How to Avoid Errors in Continuity◦When performers are eating, show the
audience before and after shots of the items on the table
◦On large shoots, a person in charge of continuity constantly snaps photographs of all the on-screen elements in a shot. The next time the scene is shot, everything is returned to its exact position.
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Production Equipment in the Shot◦In dramatic programming, it is not acceptable
to see production in a shot because the director tries to simulate real life
◦Viewers may see a microphone boom dip into the top of the picture or catch the boom shadow on the background flats
◦Microphones and cameras should never be seen in a completed dramatic program
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Production Equipment in the Shot◦The only exception is if the dramatic
production is set in an environment that naturally includes production equipment, then seeing these items in a shot is okay
◦For example, a television drama about a television station would probably have non-functioning equipment on the set that serves as props or set dressing
◦It is okay for the audience to see production gear ( i.e. cameras, mics, and lights) in news programs, talk shows, and game shows
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Talent Placement◦All cultures have acceptable “bubbles” of
personal space◦For example, Far Eastern and some European
countries have virtually no personal space as the cultural norm. Western cultures have a larger “bubble” of personal space as a norm.
◦We are comfortable in our bubble of personal space and become uncomfortable when others enter this space uninvited
◦Close friendships and romances have smaller or nonexistent bubbles
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Talent Placement◦When performing on television, people must
be placed much closer to each other than is considered normal in Western culture
◦Placing performers as if they are in real life makes the distance appear much greater on the television screen
◦Therefore, all performers on television must adjust their personal space to allow them to be very close to others
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Talent Placement◦This lack of personal space is a bit of a shock
to an actor performing and reciting lines in front of television cameras for the first time
◦The ultimate goal is a good television picture◦Everyone on the production team must
contribute to this effort and realize that things that look or feel a bit unusual in real life, often make a good picture on the camera
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PRODUCTION NOTE◦Placing performers appropriately on the set
example
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Dramatic Programming◦In most dramatic programming, the talent
cannot look directly at the camera
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Dramatic Programming◦The exceptions to this are:
If the camera is used as a subjective camera. When the camera is shooting from the viewpoint of one of the program’s characters, it is natural for the other cast members to look directly at the character/camera.
In the case of a dramatic aside Dramatic Aside: when a performer steps out
of character and directly addresses the audience
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Dramatic Programming◦Dramatic asides are not regularly used in
television programming
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Dramatic Programming◦Ad-Libbing: when talent speaks lines or
performs actions that are not in the script or have not been rehearsed
◦Ad-libbing can be a disaster on television because the script involves more than just the actor’s dialog
◦The TD follows the script exactly and uses certain words as cues to cut to shots from a different camera
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Dramatic Programming◦Ad-libbing can be a disaster on television
because the script involves more than just the actor’s dialog The TD follows the script exactly and uses
certain words as cues to cut to shots from a different camera
If the word or line is not recited, the TD does not cut to the scripted shot
Camera operators cannot follow the shot sheets
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Dramatic Programming◦Once a script has been finalized during the
camera rehearsal or dry run, it is in the best interest of the entire production for everyone to follow that script during the shoot
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Non-Dramatic Programming◦In non-dramatic programs, such as game
shows, news, documentaries, sports programs, and talk shows, the talent may look at the camera at any time because addressing the audience is part of the very nature of the program For example, a news anchor tells the
audience about current events, and therefore, looks directly at the lens to speak to the audience
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VISUALIZE THIS◦Network news broadcast anchor looks at the
ceiling example
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Non-Dramatic Programming◦In non-dramatic programs, the talent
should directly address the audience/television camera
◦There are two exceptions to this rule Talent may look down at their notes An anchor may look to the side at a co-
anchor, but only is the co-anchor is included in a two-shot that immediately follows
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Non-Dramatic Programming◦News anchors and talk show hosts commonly
read their lines from a teleprompter◦Teleprompter: a computer screen positioned
in front of the camera lens that displays dialog text in large letters, which allows the talent to look directly at the lens of the camera and read the text
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Non-Dramatic Programming◦The camera shoots right through the screen
at the end of the lens, without seeing the dialog displayed
◦If the camera zooms in too closely on the talent, the audience can see the talent’s eyes moving from left to right as they read the teleprompter
◦Because of this, the tightest shot of anchors on news programming is usually between a mid-shot and a medium close-up
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Non-Dramatic Programming◦It is common to see a small pile of papers on
the desk in front of news anchors◦These papers are usually props to keep the
talents hands from moving around◦Many people uses their hands when they
speak, but this is distracting to a television audience
◦The audience assumes that the papers are a script, so it does not appear out of place
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Non-Dramatic Programming◦Ad-libbing is a more common occurrence in
non-dramatic programming◦In some formats, like talk shows, very few
things are actually scripted◦A comment from an audience member or
guest may provoke an unplanned course of discussion
◦This does not cause a great disruption, as it might in a dramatic program
◦An experienced TD can easily follow the conversation
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Staff and Talent Interaction◦This affects the success of the production
process and is an important topic when learning television production
◦Every member of the production staff has the opportunity to interact with the program’s talent at some point
◦Professional behavior in a studio can be friendly and jovial at times
◦But when guests are present, more serious and professional behavior is a must
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Managing Guest Talent◦Guest talent are naturally uncomfortable
when entering the studio◦The environment is strange and they know
very little about studio activities◦They see strangers in semi-darkness and
many of them are afraid about being placed under bright lights
◦A nervous guest will not look good in front of the camera
◦So it is a good policy to help them relax
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Review the Talent Information Sheet
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To Help Guest Talent Relax◦Prepare them for the experience before they
arrive. Explain what they should expect, provide suggestions for clothing and makeup selection, and offer some information on what is expected from them during the production process
◦Designate a staff member to greet the guest upon arrival and be their friendly guide during the production process
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To Help Guest Talent Relax◦The greeter should introduce the guest to
other director, offer some refreshments, and keep them talking
◦A tour of the facility that includes a description of the various activities helps ease the guest’s anxiety. For example, allowing them to observe the editing process may help distract them from their nervousness.
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To Help Guest Talent Relax◦The greeter may take the time to introduce
the guest to some of the crew members. Everyone on the production team is responsible for making the talent comfortable to produce a good program.
◦The greeter should try to answer all of the guest’s questions
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To Help Guest Talent Relax◦Guest talent should not be place under the
studio lights until the program is ready to begin. Under the bright light, they won’t be able to see anything in the studio. They can only hear the surrounding activity and will wonder what is happening. Keep the talent informed to ease their anxiety.
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Working with Non-Professional Talent◦Production personnel may often work with non-
professional talent and must be prepared to react and compensate for their actions
◦The cameraperson must be alert because non-professional talent may move unpredictably If the shot is too tight, the talent may leave
the frame before the cameraperson has time to react
To compensate, never have a shot tighter than a medium close-up of non-professional talent standing in a shot
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Working with Non-Professional Talent◦Professional talent always provides a cue to
the camera operator when they are about to move
◦The talent shifts their weight to one foot and turns their body in the direction they are about to move before actually moving
◦This gives the camera operator time to adjust and follow them
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Working with Non-Professional Talent◦From a seated position, a professional leans
forward, perhaps placing their hands on the desk to push up, and smoothly rises from the chair
◦Experienced talent will not abruptly spring from the chair, like a jack-in-the-box
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Telephone Etiquette◦In the studio, the floor manager and camera
operators wear headphones to communicate with the director and other control room personnel
◦During production, no one wearing headphones should laugh at any time
◦In a studio setting where the talent is not able to see the staff, sudden laughter from an unknown source is unsettling to an already nervous guest
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Telephone Etiquette◦The nervous guest may think people are
laughing at them◦This is probably not the case, but remember
the guest is already self-conscious in an unfamiliar environment
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Telephone Etiquette◦The volume of the headphones is also
important to consider◦ If the volume of the headphones is set too
loudly, talent in the studio can hear what the director is saying, even if the microphones are not picking up the sound
◦Barely audible sound of someone speaking is distracting to talent, especially to non-professional talent
◦Set the headphone volume controls appropriately for the student environment
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WRAPPING UP◦It is important to know what to do with the
people and objects in front of the camera◦The placement of visual elements in the
picture is called staging◦Correctly staging a set adds to the visual
appeal and realism of a program◦Successfully managing guest talent and
keeping them relaxed during production also improves the visual appeal of a program
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WRAPPING UP◦When talent is nervous or anxious they may
fidget, sweat, or shake while on the set◦This is not the best portrayal of the talent on
the television screen◦Even if all other production guidelines are
followed, neglecting staging techniques and guidelines will result in a program that resembles a common home video
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THE END