Studio Production Essay Example for Free

Studio Production EssayWith academic reference, research and analyse what your studio billet involves both technic in bothy and creatively from pre production to production of a studio computer programme. And with reference to your teams studio programme, discuss your role and how you contributed. Introduction The purpose of the Studio Production module was to produce a conk studio programme in a team, sidetracking from the pre-production stages right through to the live studio broadcast. Each member of the team was assigned a studio role that they would carry out passim the course. The different roles available impart be discussed in to a greater extent(prenominal) detail tardyr. Television studios supply the give up environment and coordination for making live studio programmes. Everything that goes on within a studio can be properly controlled and gives you the opportunity to get the best use out of the equipment such as cameras, lighting and give out etc. Televisi on studios be convenient and spacious enough to create exe chop offes and hold an audience. The audience are often there to interact either by asking questions, or simply to laugh in the right places and give the supporter(s) more or less peerless to bounce off. rifle studio programmes broadly come as solar day or late night chat interprets or discussion programmes. Research Daytime television has programmes such as Ready, Steady, Cook, Paul OGrady, This Morning and Loose Women. The media is the biggest cause for stereotyping, and daytime television is usually order more towards women, who stereotypically are the ones at home in the day, whilst the man is at work. They are excessively for students and OAPs who are to a fault thought to be at home watching television.As these programmes are mean for the daytime, the centre of these programmes must be suitable to be shown before the watershed. Late night television programmes are on after the watershed, so are allowed to be more risque. These programmes usually consist of a presenter, guests and some debates for factual or entertainment value. Friday Night With Jonathan Ross, Match of the Day, Parkinson and the Friday Night Project are all examples of late night shows. Discussion shows like Jeremy Kyle, Trisha Goddard and Question Time are often on during the day too, once more its target audience being women, students and pensioners.There is usually a presenter who raises tierce or quad different news or pourboireical issues that are discussed, or problems are solved. There are galore(postnominal) different roles that need to be undertaken in order to make a live studio programme Producer they create the show and are responsible for the studio equipment and crew, as well as the content and timing of the programme. Director it is their visual commentary that makes the programme what you see. They are responsible for the overall flow of the programme, the shots, what cameras and fine art are to be utilize and to direct the crew. Vision Mixer they are responsible for the output of the live programme. The director instructs what shots and graphics are necessitate and when and how they are transitioned, whilst the vision mixer gets it done. bestower the one who delivers it all to the audience, reading from the autocue and adlibbing. Scriptwriters they write the programme script, so often the producer, presenter and prompt operator will be involved in the scriptwriting process. VT Graphics Graphics, titles and Astons are all designed and created for the programme.The VTs are the videos apply as cutaways in the programme to essentially give the presenter a break and to possibly turn the scenery/area. Both work closely with the vision mixer. Lighting lights up the set, presenters and guests accordingly. Sound testing totally and responsible for the audio set-up. There are usually two sound engineers working on one programme. Camera Operator operates the camera . The director tells them what shot they want and the camera operator generates it, quickly framing and cogitate on the person/object.A basic studio programme would have at least three or quaternary cameras. Floor Manager manages the studio floor and making sure everyone is where they are suppositious to be, controls the audience and passes on book of instructions to the presenter and guests on the programme. Prompt Operator inputs the script into the autocue, runs the autocue for the presenter to read. A daytrip to Londons Leicester Square Studio to watch TRL was organised, in order to get a feel of a live studio programme in transmission. Vision MixingVision change integrity is similar to editing, except in real-time, as you are editing for a live studio programme, so you only have one chance to get it right. Once a moment has passed you can non get it back, so timing and initiative are extremely important qualities to ensure for being a vision mixer. the like post-produ ction editing, the cuts between takes want to look seamless and subtle, not clunky and obvious. The aim of the vision mixer is to check the action. Viewers do not want to look at a shot of an inanimate person whilst someone else talks, they want to see who it is doing the talking.The vision mixer listens to what shots the director wants and how they want the cuts to look, and it is their job to bring the directors instructions to life. There are two main screens the vision mixer needs to be aware of the trailer screen and the programme screen. The preview screen shows what will need to go live next. much(prenominal) as if camera 2 or a VT needs fading in, then it should be displayed pee-pee to fade in on the preview screen. The programme screen shows what is currently being broadcast. A For-A VPS-700 Ginga goggle box Production System was used as the video fliper for the studio programme.It is a 12 input switcher, allowing for 3 camera channels, 2 VT playback channels, a graph ics fill key, an internal still store and too internal matte generators. Along the crumb of the switcher are two rows of thirteen numbered buttons (numbered 1-12, for the twelve inputs). These metrical composition represent a channel input that is being used for recording. For example, Camera 1 will generally be fed through button 1. Camera 2 is on 2, Camera 3 is on button 3 etc. The very first button on the row is Black which brings up an empty black screen. This is used to begin and end a programme fade to black.The top row of buttons represents the live buttons and when in use, will be lit in red. Red means Live. Whatever button is on here will be being shown on the programme screen. The bottom set of buttons will be what is displayed on the preview screen, and the buttons will light up in yellow, meaning they are ready to go live. There were six screens in the gallery that were assigned to channels on the switcher, so the first six channel inputs (the most used ones) were e asy to view, without needing to set them up on the preview screen 1. Camera 1 2.Camera 2 3. Camera 3 4. VT 1 5. VT 2 6. Graphics The transitions that could be used to edit between shots are cuts, mixes or fades. There are also many effects that the For-A VPS-700 Ginga could do. The come under wipes, digital video effects and downstream keys. Wipes do not manipulate the video source and are used by an inbuilt key. They can be used for graphic transitions, but are not ideal for live television productions as look sooner juvenile. Digital video effects (DVEs) can make picture-in-picture effects and change the position of the frame.Downstream keys (DSKs) are used for Astons, logos and for rolling credits. Back to the characterisations The chosen type of live studio programme that crowd 3 chose to make was a try out show. This was chosen because the majority of programmes being made by the some other groups were late night chat shows, so a examine show would stand out more from the others, as well as also providing more of a challenge to make. Quiz shows need to be spontaneous and can be unpredictable when it comes to nation answering questions and what will be said.A good deal of the content is scripted, but the guests cannot be given scripted answers, as this would make the idea of the quiz fake. This meant that guests on the programme would not be able to rehearse all of the rounds or hear the questions that they would be answering in advance, so that they would not know them during the live broadcast. This means that cameras would not know which people to frame and focus in advance, nor would the director or vision mixer know who would need to be shown on the programme, until the guest buzzed in.This makes for harder work than a fully scripted programme, as well as hotheaded shots to be taken by the camera operators and vision mixer. Being on a blast course, the quiz show was decided to be based upon film questions, and separated into four rounds Quick- fire round random film questions, teams buzz in to answer. Guess the Odd One Out round to each one team is shown four images of film celebrities. They need to guess who is the odd one out and why. Guess What Happens Next round each team is each shown two film clips. Using their imagination instead of knowledge, they need to guess what happens next. Movie Tagline round Each team is given different taglines from films, they need to guess what the film is. The director instructed that as a contestant spoke, the vision mixer would select the appropriate camera set up to overtake the action. This involved a lot of quick switching, because during the quick-fire rounds, any of the four contestants could be answering.This meant that for this round, one of the three cameras needed to be on Team 1, another on Team 2, and the other camera on the Presenter at all times, because any of the teams could be answering the questions, and depending on the length of their answer, the action may s witch back to the presenter. The presenter sits in the middle of the set, with a team of two guests to either side of him. The presenter has two buzzers to himself one with the noise signalling a wrong answer, and the other making a noise to mention that the answer to the question is right.To make things easier for knowing who to switch to, the teams each had a separate buzzer noise, so that the director, cameras and vision mixer would realise who was about to speak, before they began. Back to the Movies starts with a fade from black to the possibility 30 second VT on channel 4. The last ten seconds of the VT are counted down, and the establishing shot of the set is set up ready on the preview screen, through channel 2. The title graphics naming the show are faded onto the screen at this point, using the downstream key.They are faded back out, and a direct cut is made to show a shot of the audience clapping. Another direct cut is made to show the presenter, whilst his name is faded on and off screen, followed by direct cuts to introduce the teams, and once more the graphics are faded in to show their team names. Direct cuts are used in general throughout the show, as the cuts need to be quick and often you do not know in advance who will be the next to speak. The only fades used are for the graphics, VTs and at the start and end of the show, when the programme is faded to black.Conclusion The idea of a quiz show was different to the more expected late night chat show that seemed to be a favourite among most students. It also provided more of a challenge because of its unpredictable nature that kept the crew on their toes at all times, and helped things to be less tedious. New guests each time helped to keep the atmosphere fresh during rehearsals. The only barrier with Back to the Movies was the lack of cameras within the studio, as there were some shots that were just not doable with only three cameras and five people on set.