How to Make a TV Show NMT V Intro Course Eric Houston - Instructor 763-231-2803 [email protected] . HOW TO MAKE A TV SHOW | iii Table of Contents 1 Welcome to NMTV 1 Our Staff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Getting Started. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 2 Pre-production 4 Where, When, What, and Who. . . . . . . . . . . . . . . . . . . . . . . . . 5 3 The Tripod 8 4 The Camera 12 5 Shot Composition 18 Rule of Thirds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 6 Shots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 The Microphones 23 Wireless Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Shotgun MIcrophones. . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Hand Microphones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Internal Camera MIcrophones. . . . . . . . . . . . . . . . . . . . . . . . . 26 Mic Channel Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Adjusting Sound Levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 7 Studio B 29 Three Camera Shooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Studio Positions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 The Tricaster. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Recording Video from the Tricaster. . . . . . . . . . . . . . . . . . . . . . . 34 iv | Table of Contents Table of Contents Using the Head Sets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Studio Lights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Recording Sound in the Studio. . . . . . . . . . . . . . . . . . . . . . . . 36 Studio Lights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 8 Production 39 Interviewing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 B Roll Shooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 9 Post Production 45 Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 B Roll Shooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Distribution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Submitting Your Program to NMTV. . . . . . . . . . . . . . . . . . . . . . 49 Finding Your Show on the Schedule. . . . . . . . . . . . . . . . . . . . . . 50 10 Your Future at NMTV 51 11 Suplemental Material 52 Appearance Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Location Release. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Call Sheet (Example) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Call Sheet (Blank). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Statement of Compliance. . . . . . . . . . . . . . . . . . . . . . . . . . . 56 1 HOW TO MAKE A TV SHOW | Welcome to North Metro TV Welcome to North Metro TV Public Access, where we are proud to offer television production training and professional studios and equipment to anyone who lives or works in Blaine, Centerville, Circle Pines, Ham Lake, Lexington, Lino Lakes, and Spring Lake Park. We are a free public service and our goal is to help our members create and air their own, original television programs. The process begins with this class. Here you will begin to learn just how a TV show is put together, from basic concept to air. You will also learn the basics of utilizing our cameras and studio facilities so you will soon be able to hit the ground running and start making your own shows. OUR STAFF My name is Eric Houston and I’ll be your instructor. I am also the NMTV Studio Manager and am solely in charge of the Public Access department at North Metro TV. You can come to me any time you have any questions at all about how to use the equipment or what the best way might be to make a particular show or even shoot a particular scene. My job is to be here for you and to help you in any way that you need. Before coming to NMTV, I attended film school at the University of Notre Dame, where I was awarded the O’Toole Award for Excellence in Film and Television and where I co-wrote and co-directed three short films. From there, I took a job at Edelman Productions in Minneapolis (the company founded by Good Company’s Steve Edelman), where I worked on a number of different television series for HGTV and The DIY Network, including Kitchen Renovations, Bathroom Renovations, Free Style, Landscape Smart, Curb Appeal, and Decorating Cents. These days, I use everything I’ve learned in my eight years in television production to help you make your own shows and I couldn’t be happier. I would also like to introduce you to Michele Silvester. Michele is in charge of scheduling and programming. Once you’ve completed your program, you will give a copy to Michele who will fit it into our channel 14 schedule. If you have any questions about when your program will air, you can call her at 763-231-2806 or e-mail her at michele@ northmetrotv.com. The rest of our staff includes: Heidi Arnson - NMTV’s Executive Director and my boss. If you ever have any praise or complaints about me or about the station, you can send them to [email protected]. 1 2 | Welcome to North Metro TV Rose Valez Kenton Kipp and Matt Waldron Rose is our IT person and is in charge of the care and maintenance of our computers. If you ever have a problem with one of our editing computers or hard drives, let me know and I’ll ask her to take a look at it. Rick Kocinski Rick is our station engineer and handles the maintenance for our equipment and studio facilities. If something breaks, I’ll take it to him to fix. Damian Kussian Damian handles promotions and advertising here at NMTV. Although advertising is not allowed on our public access channel, our staff channel does carry some commercials and Damian is the person who creates them. If you or someone you know is interested in having Damian create a commercial for your business, you can contact Damian at [email protected]. Danika Klyve and Ben Hayle Danika and Ben are our news production staff and are the hosts and producers of NMTV’s weekly news show, NMTV News, which airs alongside other staff produced programming on channel 15. If you are interested in volunteering to help out during their weekly studio productions or other news shoots, you can contact them at [email protected] and [email protected]. Kenton and Matt head up the sports team at NMTV and produce a weekly sports program called Sports Den. They also routinely cover area high school sporting events, both live and taped, thanks to our production truck. If you would like to volunteer to help them, you can contact them at kenton@ northmetrotv.com and [email protected]. TJ Tronson TJ handles most of the school, government, and special event coverage at NMTV, including city and county meetings, programs about police, fire departments, concerts, dances, and other cultural events. Write TJ at [email protected] if you’d be interested in helping him. GETTING STARTED North Metro TV members can produce programs about anything and everything they like. Religion, politics, opinions, and even your own hobbies are all fair game for your shows. NMTV volunteers produce a wide variety of shows about a wide variety of subjects, including: Positive Investigations – a monthly magazine series focusing on the interesting people and places all around Minnesota Local Edition – a studio chat show featuring fully produced and intricately edited packages designed to convey a youth opinion about politics and current events Love Power – a long running Christian talk show focusing on spiritual music, works, and ministry at home and abroad Anoka County Eagle – a political discussion program produced by local DFLers Neighborhood Cook Off – a local cooking competition program MN Hot Rod TV – a celebration of local cars and customizers Art Beat – a showcase of area art, artists, and musicians So the first question you have to ask yourself is what show do you want to make? Maybe you’d like to do a show about your church or a club you belong to, or maybe you’d like to do a show about pets, model building, home improvement, cooking, or anything else. And, hey, maybe you don’t even want to make your own show, you just want to help out on someone else’s. That’s cool, too. But, for those of you looking to produce your very own show, all you need at the start is an idea. That’s it, just an idea. Another term for this idea is the High Concept, which is one short, simple big idea that describes your project. High concepts can usually be expressed in a single sentence. A good example is to think of your favorite sitcom, since most sitcom plots are easily expressed as high concepts. Cheers – a show about barflies set in a local Boston bar I Love Lucy – a crazy redhead aggravates her Cuban husband with her antics ALF – wacky alien moves in with an average, middleAmerican family Family Ties – hippie parents have rebellious, conservative children Get Smart – the adventures of a bumbling spy Green Acres – well-to-do city dwellers move to a country farm HOW TO MAKE A TV SHOW | Look at the list of public access shows and notice that most of them can be described in the same, simple way. Now, try to do the same thing with our idea. Expressing your idea this way can help you and, even more importantly, others better understand it. Now isn’t the time to worry about a title or theme music or anything like that. That will all come later. Right now, we just want to worry about that one idea. Once you have that, you’ll have started the very first stage of television production: pre-production. 3 4 | Pre-production 2 Pre-production Pre-production, production, and post-production are the three basic phases of any television production. Pre-production is, of course, the first and deals with all of the planning that goes into making a TV show before the cameras roll. For this class, we are actually going to produce an episode of a television show called In Focus. I created In Focus in late 2010 and, like you will have to someday, I began by sitting down and trying to think of an idea for a TV show. At first, I came up with two ideas: first, that I’d like to do a show that went behind the scenes of our various NMTV public access shows; second, we should have a show that our intro class students would actually get to produce so they could get some hands on experience working on a TV show as well as have a practical example of how a TV show gets made. From there, I realized that, instead of two shows, both of those ideas could merge into one show that might be described by the high concept “a show, produced by NMTV students, that goes behind the scenes of established public access shows.” Thus In Focus was born. From there, I had to ask the same sort of questions that you’ll have to ask, questions designed to help me figure out exactly what I wanted the show to be. Would there be a host? If so, who? Who are the guests? Should I even have guests? Would there be interviews? Should I use clips from the featured shows? Where is the show set? Is it a studio show or a field show? This last question is particularly important because it has such a large impact on how you will proceed. A studio show is, simply, a show shot in a studio, like the studios we have here at NMTV. Field shows, meanwhile, are shows that take place in the field, away from the studio. In a show shot in the field, you would go to your guests instead of having your guests come to you. Positive Investigations is an excellent example of this. Think of the clips we saw in class. Instead of filming her show in a studio, Fran routinely takes a camera to places like horse stables, lakes, and even winter resorts to shoot her show. In Focus, meanwhile, is a studio show and, as you saw, it and Positive Investigations have very different feels. HOW TO MAKE A TV SHOW | ting your ducks in a row regarding the people, places, and equipment you’ll need to shoot your show. You should always start by choosing and then scheduling your guests, if you intend to have any. Remember, often your guests will have no particular ties to your show and might even be strangers. More often then not, they’re giving you their time and expecting little or nothing in return, so you want to make them as comfortable as possible. NMTV Studio B - all set for an In Focus taping. To give you an even greater idea about how important these questions are and how useful they are, let’s imagine a completely different version of In Focus. For example, I easily could have done the show without an on camera host and instead have just a voice over accompanying clips and photographs. This version of the show could also have had talking head style interviews, where shots of the guest are occasionally cut in to offer very brief insights into their show. It also could have had no interviews at all, relying only on clips and narration. This would be an equally valid way to do the show and even a way some might prefer, but it wasn’t the show I wanted to do. But, again, that’s the whole point of these questions: to help you decide what sort of show you want to do. Once you’ve decided that, you’re ready to move forward. WHERE, WHEN, WHAT, AND WHO Establishing your idea is only the very first step of pre-production. As we said before, pre-production encompasses every bit of planning you need to do before rolling camera. Mostly this involves get- When lining up a guest for your show, start by locating someone who is an expert in the field you want to discuss. For In Focus, that’s pretty easy. All I have to do is find someone who produces a public access show. For you, the ease of finding a guest will have a lot to do with what your subject is and how close you are to it. To use another access producer as an example, Rick Bostrom produces a show called Exploring Aviation, which is about amateur aviation. An amateur pilot himself, Rick rarely has trouble finding other plane aficionados to talk to at the local air strip. Fran, meanwhile, as you heard, features a variety of subjects on Positive Investigations, most of which are completely new to her. As such, if she’s producing a show about, say, curling, she has to go out and find local curlers or a local curling club and start asking around to find someone who is not only willing to be interviewed, but who is also good for television. After all, if someone is very camera shy or is not very talkative, they might not be a good guest for your show, even if they are an expert in their field. Positive Investigations host Terry Sorensen interviewing guest waterskiier Jim McCann 5 6 | Pre-production Once you’ve found your guest, work with them to find a couple of dates and times that will work out for both of you. You will want to pick two or three so that you have back up dates in case you have trouble securing crew, equipment, or shooting space. If you have a host or any other on air talent, now is a good time to make sure those dates will work well for them, too. With your guest secured, your next job will be to find someplace to shoot. If you’re going to shoot in the field, you will need to contact the person who owns the space to make sure it’s okay to shoot there. If the space belongs to your guest, your job is easy, but, if you want to shoot somewhere else, like an ice rink that hosts a curling night, you’ll need to find the rink manager and clear it with them, otherwise you’ll risk being kicked out when taping your show. Again, a property manager is someone who is donating time and space to help you make your show, so be sure to make them as comfortable as possible. If you’re shooting in the studio, all you’ll need to do is call me and reserve the space. Remember that our studios are in high demand and that you should try to book space as soon as you can. This is one reason why agreeing on a few filming dates with your guest is important. If the studio is already booked for one of the dates you want, you can try for another right away. If you’re shooting in the field, you will also want to A shot from an episode of Positive Investigations shot at the Velodrome in Blaine. The Velodrome is an excellent example of a shooting location that would require a location release. reserve all of your production equipment, like cameras and microphones. Be sure to reserve all of the equipment you think you’ll need, including which specific microphones you want (we’ll talk more about the different types of cameras and microphones we have here later on). To help you keep track of all of the equipment we have and all of the equipment you might need, I have provided an equipment checklist on page X of this text. Additionally, you may need a crew. Whether or not you need one and how many crew members you might need depends a lot on the complexity of your shoot. Fran rarely employs a crew, while In Focus typically has a crew of four to six people. If you do decide you need a crew, contact some friends or coordinate with me to send out a crew call to your fellow volunteers. A crew call is a notice, usually sent by e-mail, of the nature of the shoot, along with a date and time and the number and sort of crew members you are looking for. HOW TO MAKE A TV SHOW | Finally, there are a few pieces of paperwork you may want to take care of, namely appearance releases, location releases, and call sheets. An appearance release is a document that you can have your guests sign that gives you legal permission to use their image in your show. I recommend having a signed appearance release for every person who appears on camera during your show (you do not need to worry about people who walk through the background, just those who speak on camera). A location release is a document that gives you legal permission to shoot in a given space and to use footage of that space in your show. Location releases should be signed by a building’s owner or manager. Location releases are not needed for public spaces like parks, but are needed for any private space like a store, a home, a mall, or a theme park. Both the location release and appearance release are legal documents designed to prevent an interview subject or property owner from changing their mind later on about having their image appear on your show. Without these releases, they could demand to be removed or even sue you for using their image without permission. Location releases and appearance releases are not required by NMTV, but they are strongly recommended. You can find an appearance release on page 52 of this text. A location release appears on page 53. A Call Sheet, meanwhile, is a document that you can send to your crew members and guests that lets them know who all is involved in the shoot, what their responsibilities are, and when and where they are expected to show up and when they can expect to leave. An example call sheet can be found on page 54of this text, with a blank call sheet on the next page. A crew includes anyone who helps you make your show and can include camera operators, sound technicians, directors, lighting engineers, and more. They typical NMTV public access show uses no more than one or two crew people (and often none at all), but some productions involve as many as eight to ten. The bigger the shoot, the bigger the crew. Once all of this is done, pre-production is complete and you are ready to shoot. Of course, for many of you, this will be your first time producing a show and, so, there is one more thing we need to talk about before you can shoot, namely the equipment. 7 8 | The Tripod 3 The Tripod Whether this is your first show or your 100th, it is good practice to review your equipment before you arrive at the shoot to make sure that you remember how everything works. Since this is the first time for many of you, we will now take some time to look at the basic operations of some standard production equipment, beginning with the tripod. When pulled from the bag, the tripod will look like this: The tripod is a sort of stand for the camera. The tripod provides a safe place to put the camera when it’s not in use and also creates a nice, stable shot. After all, if you want a clean, professional looking show, the last thing you will want is a shaky image. Note: It is okay to shoot without a tripod if you are trying to achieve the shaky, hand-held look seen on television programs like Cops and in movies like The Blair Witch Project and Cloverfield. Remember, though, that this style of shooting is not the norm. Most TV shows favor firm, stable shots, so, if you decide not to use a tripod, make sure that it’s for a reason. The tripod you will be using is a Manfrotto tripod with a 503, ball-jointed head, which affords a high degree of camera movement. Begin setting up the tripod by extending the pan arm, so that it is out of the way of the tripod’s legs. Move the pan arm, by loosening the knuckle on the right side of the tripod head: HOW TO MAKE A TV SHOW | Swing the arm out and tighten the knuckle. The next step is to extend the tripod legs. Release the bottom clamp on each leg and extend the risers to the necessary length. If the tripod is still too short after fully extending the first set of risers, release the second clamp and extend the second set of risers. When each leg is at the desired length, lock each clamp back down. Alright, we’ve got the tripod standing. Now, we’ll level the head. Even though the tripod might be stable and on flat ground, the head itself might not be level. To see if the head is level, check the level bubble located on the back of the tripod head: If the bubble is centered inside the little black circle, your tripod is level. If not, you will need to adjust it by first loosening the knob at the end of the post in the center of the three tripod legs. Riser clamps locked Riser clamps open Now, spread the legs and stand the tripod. 9 10 | The Tripod The tripod head will now move freely and you will be able to level it by simply moving it around with your hand. When the head is level, retighten the center post knob. Before we place the camera on the tripod, we should discuss the two basic movements of the tripod head: panning and tilting. Panning is the term for moving the camera (and tripod head) left and right. Tilting refers to moving the camera up and down. To tilt the camera, you will first need to loosen the tripod head’s tilt lever: Re-tighten the lever when you have the camera in the desired position. Again, do not attempt to pan while this control is locked down or you will damage the tripod. Now, let’s put the camera on the tripod. Each camera should already have a mounting plate attached underneath. The mounting plate looks like this: With the lever loosened, you will be able to tilt the head, and thus the camera, freely. When you have the camera in the position you want, tighten the lever. Note: do not attempt to tilt the camera and tripod head without first loosening the tilt lever. Tilting with the tilt lever locked will strip out the tripod head’s gears, ruining the head. Panning the camera is pretty much the same operation. Begin by loosening the pan lever, which is located on the back of the tripod head, next to the level. It is very important that the mounting plate be firmly attached to the camera, otherwise the camera may shake, defeating the whole purpose of the tripod. Because of this, it’s a good idea to wiggle the mounting plate to make sure that it’s on nice and tight. If the plate is loose, use a coin to tighten the silver screw in the center of the plate. HOW TO MAKE A TV SHOW | 11 The plate then slides onto the tripod head like this: Note: you do not need to, nor should you, remove the mounting plate from the camera before mounting it to the tripod. The above picture is simply for demonstration purposes. That said, slide the plate onto the head. You should hear a small click. Once the plate is in place, tighten the mounting screw. Keep your hand on the camera the entire time you are mounting it onto the tripod. The last thing you want is to drop the camera while you are trying to put it on the tripod. Once you think everything is nice and tight, give the camera a little wiggle to make sure that everything is secure. Once you are positive that the camera is securely mounted to the tripod, you can take your hand off the camera. To remove the camera from the tripod, loosen the mounting screw again. Then press the red button on the left side of the tripod head while sliding the camera back. Again, keep a good grip on the camera the entire time. Collapsing the tripod is pretty easy to do – just do all of the above steps backwards! Take the camera off, fold the legs back in, retract the risers, and put the pan arm back in the down position. 12 | The Camera 4 The Camera Next, we will explore the basic uses of the camera. By basic, I mean we will examine the use of the camera with fully automatic settings, so that the camera does most of the work for you. This is an ideal way for a beginning camera operator to use the camera as it will result in good images, while allowing you to focus more intently on the other elements of your production, such as interviews and good shot composition, which we will discuss later. Additionally, by using the automatic functions, the camera is, essentially, ready to go. All you need to do is turn it on, put in a tape, and press record. These cameras, Panasonic DVX 100Bs, can also be used with manual controls, which give a camera operator a much higher degree of control over the image and can change good video to excellent. I definitely recommend learning the camera’s manual functions once you have become comfortable with its basic use. To learn about these manual functions and more tips and tricks for using this camera, enroll in our Intermediate Digital Video Shooting Class, which is held every other month. For now, though, let’s take a look at the camera and its automatic settings. The first thing you’ll need to do is put the battery on the camera. The battery fits onto the back of the camera, here: Look at the bottom of the battery port, you will notice it has a series of teeth: Now, look on the back of the battery. You should see a similar set of teeth: Place the battery in the battery port so that the teeth line up. Then, slide the battery down and into place. You will hear a small click. HOW TO MAKE A TV SHOW | 13 To insert a tape in the camera, find the blue eject button on the top right of the camera: Press the blue button forward to open the door on the right side of the camera. The silver metal tape carriage inside should open automatically. If it doesn’t, just use your finger to open the black plastic exterior door a little further. Insert your tape into the interior carriage. You will need to use a miniDV tape. We also ask that you use a Panasonic miniDV tape because they are made with a self evaporating lubricant that won’t gunk up our cameras. A Panasonic miniDV tape looks like this: Once the battery is in place, you can turn on the camera. The power switch is located to the right of the battery at the rear of the camera. Press in the small white button and move the switch to the on position. With the tape in place, you may now want to open the LCD screen on the left side of the camera so you can see what you’re doing. 14 | The Camera The LCD screen will flip open after you press the gray release. When opened, the LCD display should look like this: It will disappear once you insert a tape. The symbol appears in the upper left hand corner of the screen. This symbol indicates battery life: This symbol is found in the lower right hand corner of the screen. So long as there are white bars inside the picture of the battery, your camera has power. Meanwhile, the upper right hand corner of the screen is where you will find the Z number. Now, you will see the same image if you choose to look in the eye piece instead. Note: before we continue, I would like to point out that your camera is ready to record. Once your camera is on and your tape is in, you can press the red button next to the power switch to begin recording. The following information is not strictly necessary for recording, but is offered to give you a better understanding of the camera. Let’s talk about a few of the symbols you see on the screen. Note that these symbols will not record to tape, but are simply there to aid you as you shoot. This symbol simply means that there is no tape in the camera: This is the zoom number and it shows how far the camera is zoomed in or zoomed out. It ranges from Z00 (completely zoomed out) to Z99 (maximum zoom). The zoom control for the camera is this toggle switch, located above the tape carriage. Press the toggle forward to zoom in and back to zoom out. HOW TO MAKE A TV SHOW | 15 The lower left hand portion of the screen displays the camera’s sound meter. When active, the sound meter looks like this: The sound meter can be used to help the camera operator adjust the volume of the sound coming into the camera from the microphones. We’ll talk more about how to use the sound meter later on, when we discuss the mics. ularly well is if there is a lot of extraneous motion in the background of your shot, for example if you are shooting something at the state fair, where there will be plenty of people moving around. This is because the auto focus decides what it should focus on based on movement. If you plan on shooting something like a state fair example, you will want to use manual focus. If you would like to know more about manual focus, please see Eric or plan on attending the bimonthly Intermediate Digital Video Shooting class. Again, though, if you are shooting a single person, or even two, with little motion in the background, auto focus will work just fine. The remaining items on the right hand side of the screen pertain to the focus and exposure of the image. Along with white balance, focus and exposure make up three of the most important components of your video image. You can remember all three by using the acronym F.E.W. Focus – Exposure – White balance Focus is the term we use for discussing how sharp or blurry an image is. An image or an item in the image is considered to be “in focus” if it is nice and sharp. In this basic camera setup, which utilizes the camera’s automated functions, we will be using the auto focus, which will allow the camera to focus our image for us. Automatic focus will work very well for the sort of show we are doing with the In Focus TV series. Since this is a relatively simple, studio show with only two subjects, the auto focus will be able to function fine. The only time the auto focus will not work partic- Positive Investigations host Terry Sorensen in a shot perfect for auto focus. Eventhough he’s outside, the lack of much movement in the background should allow the auto focus to work well. Focus is displayed on the right hand side of your screen with the AF number (AF standing for Auto Focus). The AF number may change rapidly, typically within five units, when shooting with auto focus. That is perfectly normal. 16 | The Camera If the screen reads MF instead of AF, someone has switched the camera to manual focus. Normally, Eric will preset the camera to fully automatic before any of our beginning users check it out. If, however, he forgot and the camera is set to manual focus, you can switch it back with this switch, located on the left side of the camera near the lens: To switch to auto focus, simply move the switch “A.” Below the Focus Number you may see the word Macro, as appears in the example. This merely means that an object is very close to the camera lens. Below this, you should see a display that reads ATW. This is the Auto Tracking White Balance. White balance has to do with how colors are represented in the camera. If you see that ATW display, then Auto White is on. If not, the manual white balance is on. To switch to ATW, move the white balance switch, located here, on the left side of the camera, to “A.” Beneath the ATW is a display that looks like this: This is the F Stop and it relates to exposure. Note: instead of an F number, this may say Open or Closed. Exposure is how bright or dark your image is. The exposure is adjusted by the iris, which is a little metal door inside the camera lens that opens and closes to let more or less light in. With auto iris on, your camera will automatically adjust for available light all by itself. If you want to make sure that the auto iris is on, simply press this iris button, located to the left of your LCD screen until the words Auto Iris appear on the screen. Note: the words Auto Iris should disappear within a few seconds. The auto iris will function fine so long as the lighting in your location doesn’t get too bright or too dark for the camera. If the light gets too bright, simply switch on the ND filter, which is located here, to the left of the LCD screen: The ND, or Neutral Density filter, will filter out more intense light, like sunlight, and allow the camera to expose properly. Because of this, it’s a lot like putting sunglasses on the camera. Begin by trying the 1/8 selection. If it is still too bright, switch to 1/64. And remember to switch off the ND filter if you go inside or if the lighting darkens. If, however, the location you are shooting in is too dark, such as a darkened room or outside during the evening, you can try switching on the camera’s gain, which will artificially brighten the image. The gain control is located to the left of the white balance switch and can be set to M (medium) or H (high). Note: Activating the gain will reduce picture quality, so be sure to use it sparingly. And that’s it! You’re all set to use the camera. If you have any questions, don’t hesitate to ask. And, again, if you would like to learn more about this camera and gain a deeper understanding of how it and even our HD Cams work, sign up for our Intermediate Digital Video Shooting class, offered every other month. HOW TO MAKE A TV SHOW | 17 18 | Shot Composition 5 Shot Composition Now that we’ve discussed how to use the camera, we will discuss basic shot composition. Shot composition is just a term for how you fill your screen, also called the frame, when shooting video. It has a lot to do with who stands where in the shot and how you place that person or thing in the camera frame. THE RULE OF THIRDS Ideally, you want a nice balanced image that fills the frame in a pleasing manner. One easy tool you can use to help you balance out your frame and create good shot composition is the Rule of Thirds. The Rule of Thirds suggests dividing the screen into a grid of nine in your imagination and using that grid to balance out your image. Like in this shot of the actress Rosiland Russel from the movie His Girl Friday. In a medium close-up shot like this (which is a pretty common shot, especially in dialog scenes and talk shows), you will want to frame your subject in the left or right two-thirds side of the screen making sure to leave one third of the screen open to suggest the presence of the person they’re talking to. If that person is sitting to the right of your subject, keep the right third empty. If they’re sitting to the left, keep the left third empty. You will also want to place the subject’s eyes along the top horizontal line, where it crosses with one of the vertical lines. You will almost always want to position your point of interest at one of these intersections and the eyes are almost always the point of interest on a person. This idea will also help you avoid giving your subject too much head room. If, for example, we position Rosiland’s eyes lower, we would get an image that looks like this: As you can tell, we have way too much headroom, leaving a large, empty, uninteresting space at the top of the screen and making our star look like they’re sitting in a hole. HOW TO MAKE A TV SHOW | 19 The Rule of Thirds is also handy for composing an image containing several people, as we can see in this still from The Dick Van Dyke Show. Of course, in our first example, Ms. Russel is speaking to someone directly off screen, but what if you want to frame a single person, like a show’s host, who is speaking directly to the audience? Well, that host could still be framed to one side, as in this example from Positive Investigations. Framing like this, from a Positive Investigations episode taped at a horse farm, allows a better view of the background. Look closely and you’ll see a horse in the upper right. Your host could also be framed in the center of the screen, like this shot, which is more common for news programs and other single host shows. Your humble teacher hamming it up in a shot from 2010’s Letters to Santa Christmas special. Centering your host like this makes the viewer feel like the host is talking right to them. Note that the character Rob is positioned in the left third of the screen and that Laura is positioned in the right third. Laura’s eyes are right at an intersection and, while Rob’s are not, that is only because he is taller than Laura, forcing the director to make a perfectly acceptable exception to the rule. An interesting point is that a director may want a tighter composition for a shot like this, placing both characters along the vertical lines. In this shot, however, Rob and Laura are arguing, making the large space between them both appropriate and dramatic. Before moving on, I’d like to take a look at one more shot, this one containing three characters: 20 | Shot Composition Note how each character is placed in their own third of the screen, creating a nice, balanced image. Now let’s look at a two person shot from In Focus. ESTABLISHING SHOT Establishing shots are used to set the scene. In this case, we have the exterior of the Seinfeld diner. This shot commonly precedes scenes set at the diner. Shots like this one can be found in most sitcoms. The bar from Cheers is another good example. WIDE SHOT Notice that, here, the shot is framed up more like our three person example from The Dick Van Dyke Show, with Fran and I each in our own third and our heads somewhat removed from the intersection point. Framing like this, while not following the rule of thirds to the letter, allows for a wider shot, showing both Fran and myself in full and also creates a little extra space that, in this case, makes the interview seem a little more comfortable. Also notice that we added an interesting center piece to keep the center of the screen from looking dull. Again, this is a good example of a modified use of the Rule of Thirds and bending the rule like this is certainly allowable. After all, this “rule” isn’t hard and fast. If we wanted to stick closer to the rule, all we’d have to do is position Fran and myself a little closer to each other and zoom in the cameras a bit. Maybe we’ll try that next time. Wide shots help establish where the characters exist in relation to each other. Even wider shots, wider than this one from The Good, the Bad, and the Ugly, can stand in for establishing shots. AMERICAN SHOT SHOTS Now that we understand the basic idea of shot composition, let’s look at a couple of examples of some common types of shots you may want to use when making your show. The American Shot frames a figure from the knees up. It got its name from French film critics who noticed its prevalence in American westerns. This type of shot was so commonly used because it allowed the HOW TO MAKE A TV SHOW | 21 viewer to see a character’s holster during shoot outs. EXTREME CLOSE-UP MEDIUM SHOT This sort of shot focuses in a certain part of the subject’s face, usually the eyes. A shot framed from the waist up. MEDIUM CLOSE-UP As seen in this shot from Citizen Kane, a medium close up frames the subject from the chest up. CLOSE-UP Basically, a tight head shot LOW ANGLE SHOT/HIGH ANGLE SHOT The top image here, Orson Welles in Citizen Kane, is an example of a low angle shot. Here, the camera is positioned low to the ground and tilted up, making the subject look imposing or otherwise larger than life. The second image is also Welles, this time from The Lady from Shanghai. In this high angle shot the camera is set high and tilted down, making the subject look small. When setting up your camera, remember that high angle and low angle shots say things about the person on the screen, so be sure to think about whether or not you want to depict them in that light. More often than not, especial in an interview situation, you will want your angle to be straight on. 22 | Shot Composition CANTED ANGLE I sometimes like to think of this as the Batman Angle, because it was used so often to show the villains in the old Batman TV show. A canted angle is achieved by tilting the camera off to one side. Canted angles are usually used to show tension or some sort of psychological trouble, for example the villiany of Batman’s rogues. ONE SHOT, TWO SHOT, THREE SHOT This sort of shot gets its name from the amount of actors in the shot. At a certain point, however, you would stop referring to it as, say, an eight shot and just call it a group shot. HOW TO MAKE A TV SHOW | 23 6 The Microphones Here at North Metro TV, we have four basic microphones that you can use to record sound for your projects: the wireless microphone, the shotgun microphone, the hand microphone, and the internal camera microphone. Each microphone has its advantages and disadvantages, so be sure to think about which one will serve your project best. After all, sound is one of the most important aspects of any television program and well recorded sound can greatly improve the quality of your overall project. WIRELESS MICROPHONE The wireless microphone, also called a lapel mic or a lavelier is perfect for interviews or recording dialog. These microphones easily clip onto a person’s lapel and are designed to record their voice with a minimum of background noise. Further, because they are wireless, the microphones can be clipped inconspicuously to your subject without the need to run the long cables that are necessary for some of our wired mics. Wireless mics come in two pieces: the transmitter, which is worn by the subject, and the receiver, which attaches to the camera. No doubt you’ve noticed that, from the front, the transmitter and the receiver look identical. So, to tell them apart, try looking at the top of each. The transmitter will have a mic/ line jack and a mute button. That mic/line jack is where you will attach the microphone cable. Simply plug the mic cable in and twist the knob to hold it in place. The top of the microphone transmitter (above left), complete with mute switch and mic/line jack. The microphone cable plugs into the mic/line jack (above right). 24 | The Microphones The receiver, meanwhile has a jack labeled AF out. You will want to plug your XLR cable into this jack. An XLR cable is a professional audio cable with a three pin connection. XLR cables are used to connect most of the microphones we have here at NMTV to our cameras and sound boards. The small jack plugs into the receiver, while the three pin XLR connector at the other end plugs into either camera input. The wireless microphone comes with a small cable with one XLR end and one 1/8” headphone end. The DVX 100 camera features two input jacks on its right side, between the tape carriage and the camera lens. The wireless microphone can plug into either. You can also find a silver metal plate atop the camera handle: Loosen the nut on the receiver mounting plate and then slide the plate into place inside the silver metal bracket and retighten the nut. The wireless mic can be plugged into either input. We will discuss why that is later on in the section on mic inputs. Before plugging the XLR cable in, though, you may want to mount the receiver to the camera. You will find a large mount attached to the back of the receiver. Now go ahead and plug in the XLR cable. The transmitter, meanwhile, can be clipped to the subject’s belt or waistband and the microphone run up their shirt. You can turn on the transmitter and receiver by opening the small door on the front of the pack. HOW TO MAKE A TV SHOW | 25 Now, simply press and hold the on/off button. Once the microphone is turned on, the screen will display, among other things, the battery power read out. If the read out shows three bars, everything’s fine. If there are two or fewer bars you may want to replace the two AA batteries found inside the battery case (two bars on the power read out means that you only have approximately a half hour of power left). Mount the shotgun microphone to the circular clamp on the side of the camera handle: Simply loosen the screw to open the clamp and then tighten it back down when the microphone is in place. Try to place the microphone so that the silver metal microphone grid rests at the edge of the clamp. If you place it out any further, as in this next picture, the end of the mic may appear in your shot. SHOTGUN MICROPHONE The shotgun microphone is ideal for recording ambient sound, such as the sound of a forest or the sound of traffic. The shotgun mic can also be used in interview situations when you are interviewing a large number of people and would not have the time to put a wireless microphone on each one of them. Like the wireless microphone, the shotgun microphone can be plugged into either one of the input jacks on the right side of the camera with an XLR cable. The shotgun microphone comes with a one foot long XLR cable. Cables in lengths of 25, 50, and 100 feet are also available if you need to place the shotgun mic (or any other mic) further away from the camera. The shotgun microphone. The shotgun mic can also be used, along with one of these long XLR cords, in conjuntion with the boom pole. We also have several windscreens that can be checked out with these mics to filter out noise on windy or rainy days. 26 | The Microphones HAND MICROPHONE Again, though, it’s a perfectly good backup to have if you run out of battery power or if one of your other microphones stops working. A hand microphone is just what it sounds like, an old fashioend looking microphone that can be held in the hand. The internal camera microphone is located at the front of the handle on top of the camera. Hand mics attach to the camera inputs via an XLR cable and, like the shotgun mic, are excellent for situations where you may want to interview a large number of people seperately, without wanting to worry about placing a wireless mic on each of them. A show shot at the state fair would be a good example of this. INTERNAL CAMERA MICROPHONE Now, to be honest with you, this isn’t the greatest microphone in the world, but it will do the trick in a pinch. As such, consider it a backup. The internal camera mic is a low quality microphone to begin with. Add to that the fact that, unlike the shotgun or hand microphone, it cannot be moved away from the camera, and you will begin to see its disadvantages. MIC CHANNEL SELECTION When you check out the camera on basic settings, the internal microphone will not be activated. Instead, I will have activated input one and input two. To activate the internal microphone yourself, locate the audio controls on the panel that was previously covered by the LCD screen. The two left hand switches are labeled CH1 and CH2, which stands for channel one and channel two. These two controls and the two inputs on the camera indicate that this camera can record two separate audio tracks without mixing them. That means that you can record sound from one wireless microphone and one other microphone (perhaps a shotgun mic or another wireless mic) simultaneously, without the audio from the two sources mixing together. Recording two separate and distinct audio tracks like this will allow you greater control over adjusting the volumes on the different mics as well as allowing greater control in editing. HOW TO MAKE A TV SHOW | 27 to turn them on, but we still need to talk a little bit more about how to use them. You see, it isn’t enough to just turn on the microphone and start recording. If you do that, you may be recording sound that is too quiet to use or, worse yet, too loud. While we can adjust sound somewhat in editing, sound that is initially recorded too low will have a lot of background noise when amplified. Sound that is recorded too loud, meanwhile, will have distortions, like crackling, which cannot be removed. Because of this, it is very important to record your sound at the proper level. To set your sound level, set up the camera and microphone like normal. Now, have the subject count as high as they can in their normal speaking voice. As they speak, use the two audio control dials on the bottom left side of the camera. This is called a mic check. The microphone channels set to Input 1 (channel one) and the internal microphone (chennal two). To activate the internal mic, switch one of these switches to INT. Be sure to leave the other switch set to the camera input you are still using (for example: if you intend to use the shotgun mic and the internal mic and you have the shotgun plugged into input one, leave one switch set to input one). ADJUSTING SOUND LEVELS ON THE CAMERA Now you know how to mount the microphones, how The audio levels themselves are visible at the bottom of the LCD view screen: As you see, there are read outs for Channel 1 and Channel 2, just as there are dials for Channel 1 and Channel 2. As the subject talks, you will see the small white and red squares move, starting white and turning red as the subject gets louder. What you 28 | The Microphones want to do is use the dials to set the sound levels so that you see white squares with maybe the occasional red square or two. What you don’t want is to see only a couple of white squares - too low - or to consistently see several red squares - too loud. Again, one or two red squares every so often is perfectly fine though. One more simple way to improve your sound quality is to monitor the sound with headphones, which can also be checked out at NMTV. That way you can make sure that you are recording what you think you are recording and that you aren’t picking up any feedback or stray radio signals (which can happen with the wireless mics). You will find a headphone jack at the rear of the camera, next to the battery compartment, and hidden behind a black rubber panel (see the images to the right). HOW TO MAKE A TV SHOW | 29 7 Studio B Studio B is the smaller of our two studios here at North Metro TV. It includes three DVX 100B cameras, a green screen, studio lights, and a Tricaster master control system. Studio B is also where we will be shooting In Focus during the third week of our class. Part of the reason we will be using Studio B is that its controls and equipment are streamlined, making them much easier for beginners and smaller crews to manage. In general, television studios are designed to give producers complete control over their environment. By working in a studio, you can eliminate unwanted lights, sounds, and distractions (like passing police cars or crowds of on lookers). Studios are frequently used in the production of everything from the nightly news, late night talk shows, most popular sitcoms, and even many NMTV Public Access TV Shows. given scene to film a series of separate angles. This forces the filmmakers to stage the scene over and over again, once for each of the different angles. This also means that the actors have to perform the same scene over and over again. Shooting with three cameras, however, eliminates the need for all of this as it allows for any scene to be covered by a variety of angles all at once. This saves producers a lot of time both shooting and editing. Shooting like this is also very advantageous to live programs, like most television talk shows. Much of what is entertaining about a talk show comes from the spontenaity of the participants. When a guest tells a funny story on Late Night with David Letterman, much of the humor comes from Dave and the audience’s reaction. Now, imagine if that same story had to be repeated three times for each of three different camera angles. The live show would to start to lose some of its zing. THREE CAMERA SHOOTING Typically, television programs shot solely within a studio are shot using the three camera system and In Focus is no different. Three Camera Shooting is a method of television production that employs three cameras shooting simultaneously. You see, most feature films and TV shows use only a single camera, which has to be moved multiple times during the shooting of any A diagram of a three camera shoot for a standard talk show. 30 | Studio B Let’s say the diagram represents our show, In Focus, with Fran sitting on the left and Eric sitting on the right. Camera 3 is dedicated to the figure on the left, in this case the guest. Like Camera 1, this will tend to be a medium close-up. Camera 1 is devoted to the figure on the right side of the stage, even though the camera is on the left side. In our example, camera one will be reserved for close-ups of Eric, like this: Here’s another diagram for reference. Camera 2, meanwhile, is generally a more or less stationary camera, used to tape a wide shot of both subjects on the stage at the same time. The reason the cameras are arranged like this is to keep them in the subjects’ sight line. Meaning the subject is looking in the direction of the camera. That way, it looks a bit like the subject is looking through the television at the viewer, making the viewer feel like they are a part of the conversation. Alternately, imagine what it would be like if camera one were pointed at Fran, showing you her profile instead of her face. The result would certainly be a little off putting. HOW TO MAKE A TV SHOW | 31 STUDIO POSITIONS Now that we’ve discussed three camera shooting, let’s take a look at the different positions that make up a studio crew. DIRECTOR The director is in charge of the entire shoot. In a studio setting, the director sits in the control room running (in the case of Studio B) the Tricaster. The director uses the Tricaster to select which shot to use from the three studio cameras. He also coordinates with the camera crew via headset, helping to keep the shots consistent between the three cameras. SOUND ENGINEER The sound engineer monitors and maintains the sound levels from the studio microphones. He runs a sound board inside the studio and usually sits next to the producer/director. The sound engineer is also in charge of running a microphone check before the shoot begins, making sure that everyone’s microphones are working properly. If they are not, he will work with the floor director to fix them. TALENT The actors on stage are called the talent. On In Focus, Fran and Eric are the talent. FLOOR DIRECTOR The floor director relates commands from the control room to the personnel in the studio. During actual shooting, the floor director uses his hands, giving non-verbal signals to the talent on stage. For example, the floor director will give a countdown to the beginning of actual shooting. When cued by the director, he will say, “Five… Four… Three…” then he will flash the numbers two and one with his fingers, before pointing to the talent, indicating that shooting has begun. Note: if there are not enough people in the crew for a separate floor director, one of the cameramen can double as the floor director. CAMERA OPERATORS The camera operators of course run all three of the cameras. It’s their job to set the camras up and frame their subject. Camera operators also receive orders from the director who will let them know if he/she would like the shot to change (if they’d like the camera operator to move from a medium close up to a close up, for example). THE TRICASTER In Studio B, the Tricaster is our computer control board. It allows the director to switch between shots, control fades and other effects, and add prepared video and overlay elements to the finished product. In this class, we will look at some basic uses of the Tricaster, but the system is capable of more complicated uses, including inserting still pictures or videos into live productions and creating green screen background effects. We recommend becoming comfortable with the Tricaster’s basic functions first, before moving up to some of these more complicated ideas. When you are ready to find out more about what the Tricaster can do, just tell Eric and he’ll be glad to show you. 32 | Studio B The Tricaster main screen (above). Detail for the first three windows of the Tricaster screen (at left). These three windows are the most importnat and commonly used, so familiarity with them is imperitive. Lets start by looking at the first three windows in the upper left corner of the Tricaster screen. They are labeled Camera 1, Camera 2, and Camera 3. These windows show you what each of their respective cameras is seeing. For this class, we will only concern ourselves with these three windows along with the large Live window on the right hand side of the screen. That said, let’s quickly review the rest of the windows, just so you know what they are used for. The second row of windows consists of VCR, Picture, Color Background, and Black. The VCR window displays any prerecorded segments you may wish to add to your production. In our example, it is the opening credits for In Focus. Note: while we could run the credits for In Focus in the studio, we will instead add them later on in editing to keep things uncomplicated. The picture window displays still images, in this case a sunrise, and can be used to add them to a production. The color background is designed for chroma keying purposes and allows the producer to insert a solid color background in place of a blue or green screen. HOW TO MAKE A TV SHOW | 33 clicking them with your mouse. When you click one of those buttons, the Tricaster will cut directly from one image to the other, without fading or using any other transition. In addition to clicking these buttons with your mouse, you can also activate them with the Function keys on your keyboard, which is, frankly, much easier. F1 – Camera 1 F2 – Camera 2 F3 – Camera 3 F4 – VGA Black is just that, a pure black slate that the producer can cut or fade to or from when necessary. F5 – VCR The large window on the right displays the image that is currently “live.” “Live” refers to the image currently being recorded. In our example, the producer is currently running the opening credits from his VCR window. Another way to tell which image is live is to look for the window with the red border. You’ll notice that, in the picture, the VCR window has a red border. F7 – Color Background Now, let’s look at the buttons below those windows. You will notice that the top row of buttons is labeled “Live.” F6 – Picture F8 – Black The second row of buttons is labeled “Next.” These buttons allow you to choose which window will be seen “live” next, after the one currently on screen. You can tell which window is set to be next by the green border around the window. You can see that the number 3 button is selected as next and that there is a green border around the window for Camera 3. The next buttons can be operated either by clicking them with your mouse or by using the number keys on your keyboard: 1 – Camera 1 2 – Camera 2 3 – Camera 3 4 – VGA 5 – VCR These buttons allow you to decide which of the above windows will be “live.” Notice that the VCR button is currently chosen. These buttons can be operated by 6 – Picture 7 – Color Background 8 – Black 34 | Studio B The next commands are mostly used to create transitions like fading from one camera to another. When you are ready to transition from your “live” image (in our example, VCR) to the next image (Camera 3), you can either cut to the next image with the function keys or you can fade from the “live” image to the next image by pressing the space bar on your keyboard or by using your mouse to lower the lever to the right of the buttons. I recommend using the space bar. So, basically, to run the Tricaster, all you need are seven keyboard keys: F1-F3, 1-3, and Space Bar. RECORDING VIDEO FROM THE TRICASTER When shooting in the studio, video footage is recorded to a single VCR, or record deck, inside the control room. This means that, instead of placing a tape in each of the three studio cameras, all you need to do is place a single tape in the record deck. In Studio B, the record deck is located on top of the monitor to the left of the Tricaster. To record to the deck, simply insert a tape and press record and play at the same time. You will know you are recording when these numbers begin moving. If the numbers are not moving, something is wrong and you should alert me. Finally, be sure to start recording several seconds before action begins in the studio and do not stop recording until several seconds after the action has ended. That way you can be sure to have all of the footage you need when you finish your program in editing. Recording is the responsibility of the director. The director can also turn on the monitor beneath the record deck to monitor the recording. This monitor will show you excatly what is being recorded to the tape and, as such, should match the image in the Tricaster live window exactly. If it doesn’t, there is a problem. USING THE HEADSETS The director, camera operators, and floor director communicate with eachother through headsets. In the control room, the headset is located next to the record deck and monitor. In the studio, the headsets are already attached to the cameras. HOW TO MAKE A TV SHOW | 35 Begin by turning the board on with the switch on its back. Then bring up the Master Fader, which will allow the lights to turn on. The headset control box (seen above) can be removed from the camera and placed on your belt or waistband if desired. To turn the headset on, press the power button on the control box and make sure that channel A is selected. STUDIO LIGHTS Now, let’s take a look at the studio lights, also the responsibility of the director. The lights are controlled by this board: The light board has a few standard lighting scenarios already programmed into it. You will find a note on the board telling you which buttons will activate the preset lights. 36 | Studio B Pressing the M1 button, which is located directly underneath the note, will bring up the front lights, used for illuminating the talent. Buttons M2 and M3 both activate the back lights, which light the background and provide side and back lighting for your subject. The M2 lighting scheme adds red and blue colored lights to the background curtain. M3 uses only regular, uncolored light. These preset lighting conditions are desgined to work well for most types of shows, particularly those that have one to two people on the stage. Inside the studio itself, you will find a few tape marks on the floor. These show you where to have your talent stand to get the most benefit from the light. If your program only has a single person on screen, like a lecturer or a preacher, they should stand on the X in the middle of the floor. Tape marks on the floor of Studio B (lower left) and the carpet placed inside those marks for the next In Focus (above). Do not be afraid to experiment (or have me help you) with the lights themselves as well as where you position your hosts. The preset lighting conditions will work great for most, but you may find an original lighting plan that works better for you and your show. RECORDING SOUND IN THE STUDIO There are also a number of other marks on the floor that show where the carpet used for the In Focus set goes and where to position chair legs for a two person show. Sound inn the studio is traditionally recorded with wireless mics. Using wireless mics helps keep the studio from getting cluttered with long cables, while providing nice clean sound from a source very near the talent’s mouths. Unlike shooting in the field, sound is not recorded onto the cameras, but is instead routed into the studio via a microphone snake, which is a box of microhpone inputs. You can find a picture of the mic snake on the top of the next page. Note that this snake has 14 free inputs (the last two are used for the headsets). This means that this studio can record sound from 14 separate microphones. Unlike on the cameras, though, the sound from these mics will mix HOW TO MAKE A TV SHOW | 37 Activate the receiver and place it into one of the inputs in the mic snake. If you are using two mics, try placing the two receivers into two consecutive inputs (inputs 3 and 4, for example). Plug the receiver for the guest sitting on the left side of the screen into the left input (input 3 in our example) and the receiver for the guest sitting on the right into the right hand input (input 4). This will make it easier for the sound engineer to keep the two microphones straight. Speaking of the sound engineer, he sits in the control room with the director and runs the sound board. Studio B microphone snake. together, meaning its even more important to record good sound in the studio. You can only do a limited amount of manipulation to the sound in editing. You can find two wireless microphones reserved exclusively for the studio in the cabinet, located in the studio B control room. Begin by raising the master fader, located on the lower right of the board, to U. The microphones are located in a white box on the top shelf. If you need more than two microphones, you can request them from me. If you anticipate needing more than two mics, please remember to reserve them in advance. Now, locate the sound level readout, a series of small lights, located about six inches above the master fader. 38 | Studio B Keep your eyes on this readout when you begin adjusting the sound for the individual mics. The lights are green, yellow, and red. If your sound enters the yellow or red lights, it is being recorded too loud and will destort beyond a point that we can fix later. In the picture at left, the sound is recording too loud. Instead, what you want is to have the lights top out at about zero. If they occassionally hit a These lights show what level the little above zero, but still sound is recording at. in the green, it is fine, but again, be sure never to hit the red or yellow lights. With that in mind, let’s begin adjusting the individual mics. First, find the fader whose number matches the mic input you placed your receiver in. For example, let’s say you have placed your mic receiver in input 3 on the mic snake, as in the picture below. To adjust the sound for this mic, you will need to use fader 3 on the sound board (seen at right). Bring this fader up to U, as you did with the master fader. Now, find the trim nob for this imput, located at the top of the board, above the fader. While your host performs a mic check (counting from, say, one to 50), begin dialing in the trim knob until the lights on the mic level readout reach zero. Now, have the first guest remain silent while you perform the same task with the next guest. As the show begins taping, the sound engineer should keep his/her eyes on the level readout, using the individual faders to make adjustments to the sound levels if the guests get too loud or too quiet. If the sound consistantly distorts or if there is some other problem that cannot be quickly or easily fixed, it is the sound engineer’s duty to alert the director and stop the shoot. (At left) Fader 3 and Trim 3. (Above) Trim 3. HOW TO MAKE A TV SHOW | 39 8 Production And there you go. We have completed our review of the pre-production process and you now know everything you need to know to begin shooting your own shows in the field or in the studio, not to mention knowing enough to act as the crew for the next episode of In Focus. Of course, pre-production is only the first step. We still have production and post production to go. Production consists of the actual shooting of your show and begins when you arrive on location on the first day of shooting and concludes when you have wrapped up all of the shooting you need to do. In many cases, that will consist of a couple of hours (we will complete taping of In Focus inside of an hour), but it can also take several days. The main key to a successful production, though, is all the planning you have done in pre-production. If you put together a thorough plan in pre-production, then all there is to production is following that plan. Post production, which we will begin talking about momentarily, will consist of taking all of the footage you shot in production and putting it together (and even combining it with other elements) in the best way possible to tell your story. There are a lot of amazing things that we can do in post production, including fixing and polishing mistakes made in production, but post production is not infalible,. There is a limit to what we can change and fix. Audio recorded too loud, for example, is often permanently corrupted. So be sure to do the best job you can during production, leaving nothing to chance, and your post-production will be a breeze. That said, let’s take a little time to discuss interviews and b roll shooting, two things most people have to do while shooting their shows. INTERVIEWING Most of the shows produced for NMTV feature an interview at some time or another. After all, In Focus is based around interviews and Positive Investigations features them heavily. So how do you do an interview? Well, we’ve already talked about securing your guests and a good guest is incredibly important to creating a good interview. You want your interview subject to be both knowledgable about the subject and outgoing and interesting to watch on camera. From there, a good interview depends largely on the questions you ask. To some degree, this is something you will have to learn on your own and you will really only begin to learn how to ask the right questions through experience. The questions you ask are incredibly important, so take some time to come up with a list of questions before you actually interview the person. Think about what it is you want to learn from them and gear your questions toward that. For example, when I interviewed Fran, I wanted to know about the history of her show and how she goes about making it, so I geared my questions toward that and made sure not to include questions that didn’t pertain to the topic. For instance, I didn’t ask her about her dog or her history as a substitute teacher. 40 | Interviewing Be sure to take that list of questions with you on the shoot day and refer to them whenever you need to. You can even transfer them to index cards if you think that would look more appealing on camera, which is something I do for a show we make here called Wednesdays with Barbie. And don’t be afraid to do something called a preinterview. A pre-interview involves calling up your guest before you shoot and asking them some of the questions you are planning on. This way, you get some idea of what their answers will be, what questions generate good answers, which ones don’t, and where there might be some areas for interesting discussion beyond your original questions. Preinterviews are very common and they help talk show hosts like Dave Letterman and Jay Leno know which topics their guests might have funny or interesting stories about. You should also be prepared to be flexible. Often times, interviews won’t go the way you plan, so be ready to ask questions that occur to you off the top of your head (sometimes these get the best results). Be prepared to deviate from the order you originally wrote your questions in if the conversation heads in that direction, and don’t be afraid to stop and start again or to let your guest start giving their answer from the beginning if they feel like they’ve tripped up. Similarly, don’t fret over bad answers or topics that don’t go anywhere. Those can always be removed in editing. There is nothing that says you have to present the entirety of the interview exactly as it happened. A final piece of advice is that you should think about where you do your interview as an interesting location can make a huge difference between a good interview and a great one. Since In Focus is a studio show, we are pretty much restricted to the one location, but field shows can go anywhere. If you are interviewing someone about their hobby or about their job, consider interviewing them at their job. Iit’s even a good idea to interview them while they’re actually doing whatever it is you’re interviewing them about. Take for example a short documentary called The Alchemy of Glass, which was produced by a group of our public access volunteers. This program was about local glassblowers, all of whom were interviewed at the glass blowing studio, many of them while actually blowing glass. Keeping your subject active like that can add a great deal of visual interest to your program. If, however, you cannot get your subject to do what it is you’re interviewing them about, for whatever reason, you should still try to shoot them somewhere interesting and, if at all possible, doing something. A good example of what we’re talking about here is a memorable interview from Penelope Spheeris’ 1988 documentary The Decline of Western Civilization Part II: The Metal Years. Here, heavy metal rock and roller Ozzy Osbourne talks about his heavy metal career while making a simple breakfast. The result is interesting looking and has a lot of activity. It is also pretty funny, since it offers a humorous counterpoint to Ozzy’s image and to the debauchery he is discussing. The result is the best remembered part of the entire film. The point to all of this, to Ozzy and the glass blowers, is simply that you should think about where you shoot your interview and that you should have a reason for shooting it where you do. Spend even just a little bit of time thinking about it and your interview will be that much better. More of Penelope Spheeris’ creative interview settings from The Metal Years. Alice Cooper (above), Lemmy (top right), a heavy metal groupie and her son (center right), and Paul Stanley (bottom right). HOW TO MAKE A TV SHOW | 41 42 | B Roll Shooting To get an even better idea of how creative, visually stimulating backgrounds can enhance your program, take a look at these stills, all with identical, bland backgrounds from one of the bonus features from the DVD of John Carpenter’s The Thing. Ozzy Osbourne spills some orange juice in this B Roll shot from The Metal Years. a place, an object, or event that your subject may be talking about. Compare these stills with those from The Metal Years and ask yourself which look would work best for you and your show. B ROLL SHOOTING B Roll shots can be used in a couple of ways. One reason you might use a B Roll shot would be because you feel it is important to show a close up of whatever action your subject is performing. These are common in cooking shows, craft shows, decorating shows, and even home renovation shows, all programs where it is important for the viewer to see a close up of what the subject is doing with thier hands. Another essential part of many productions is the B roll. Think back to the Ozzy Osbourne interview we dicussed earlier. During that interview, Ozzy memorably pours a glass of orange juice, spilling much of the juice on the counter. The shot is a close up of the glass and it is one of the few times we do not see Ozzy’s face during the interview. This is a B Roll shot. B Roll shots are any shots that do not focus on your subject (footage of your subject is considered A Roll), but instead show something else. B Roll shots can be a close up of some action the subject is performing (such as the orange juice example) or a shot of some interesting item in the room. It can even show This still from the cable TV show Bathroom Renovations show a B Roll close up of the host’s hand as she makes a mark on a piece of timber. HOW TO MAKE A TV SHOW | 43 Another reason would be to simply show what your subject is talking about. For example, during the episode of In Focus we watched in class, we saw footage of the velodrome when Fran talked about the velodrome, footage of the show she did about dog sledding when she talked about the production of that show, and we saw some footage of her host Jo when she talked about Jo. Another great example of this particular use of B Roll footage is the film The Thin Blue Line, a documentary about the fatal shooting of a police officer and the man who was wrongly convicted for the murder. Since director Errol Morris made his film 12 years after the murder, he was limited in what he could shoot. He anchored the film with interviews of Randall Dale Adams, who was wrongly accused of the crime, and David Ray Harris, the man who most likely actually committed the murder. Both men were imprisoned during the production of the film, meaning Morris was limited with where and how he shot the interviews. Further, no footage of the incident existed. As such, Morris made extensive use of B Roll to show relevant evidence, documents, press clippings, and even reenactments of the crime, making the film much more visually interesting than it would have been had it centered only on the two interviews, stills of which can be seen below. Four B Roll shots from The Thin Blue Line: an illustration of a gun, a shot of a related motel, a document from the coroner’s report, and a nnewspaper clipping. At left A roll interview shots. 44 | B Roll Shooting that is to cover the cut with a B Roll shot. This is almost certainly the case with the Ozzy orange juice shot as there is no other particular reason to cut to a shot of the subject pouring orange juice. One more point about B Roll shooting, B Roll shots are almost always taken at a different time than the A Roll. That means that you don’t need to worry about moving the camera off of your subject when interviewing them. In fact, you should keep your camera on the subject the entire time to ensure that you get all of the footage of them that you need. Then you should shoot your B Roll footage a few minutes or even a few days after you’ve shot the A Roll. This may mean asking your subject to repeat actions they’ve already performed, which you would have to do in a cooking show, for instance. Ozzy’s orange juice shot is another example of this. According to Penelope Spheeris, that shot was definitely shot later in the day and it wasn’t even Ozzy holding the juice. That you think he was is part of the magic of B Roll and editing. The major benefit of shooting this way, though, is that you never have to worry about not having footage of your subject saying or doing something in the wide shot that you might need for your program. Three more B Roll shots from The Thin Blue Line: a police car, a map of the city the murder took place in, and a shot from a reenactment of a police interrogation. The other main reason you might use a B Roll shot would be to cover a cut. Let’s say you want to remove a part of your interview. This might be a large portion or it may be as small as a couple of lines or words. If you only have one camera angle, this can create a jump cut, which is a cut from one shot to the same shot at a different time. The sudden subtle change in the image can be very jarring for the viewer, so you will want to hide it. The easiest way to do HOW TO MAKE A TV SHOW | 45 9 Post Production Once all of your filming is completed, you are ready to enter the final, crucial stage of making your TV show: post production. In post production, you will take all of the separate show elements you have created and piece them together into a finished program. As you will see, these show elements consist of everything from the video you shot in the studio or in the field to still images, music, and more. The process of piecing these elements together is called editing. EDITING At North Metro TV, we use a program called Final Cut Pro to edit our programs. As the name implies, Final Cut Pro is a professional editing program and is, in fact, the second most popular editing software in the film and television industry. In 2010, the Oscar nominated True Grit and The Social Network were both edited on Final Cut Pro, with The Social Network taking home the Academy Award for Best Editing. The most popular editing program in the industry is called Avid. The reason we do not use Avid here at NMTV is simply because I feel that Final Cut Pro is a much more user friendly program. True, Avid may be just a little bit more robust, but it can really be a pain to work with. NMTV has two Final Cut Pro editing suites and either can be reserved during regular office hours. We are not going to go into a lot of detail on exactly how are not going to go into a lot of detail on exactly how the program works here. If you would like to learn how to use Final Cut Pro, you can sign up for our Basic Editing Tutorial. Unlike most of our classes, this is a self taught tutorial (featuring a tape of sample footage and a tutorial written by yours truly) and can be scheduled at your leisure. Don’t worry, I will make sure to be on hand in case you get stuck or have any questions. What we will talk about here, though, is the workflow of editing. Years ago, before programs like Final Cut Pro were popular, editing was accomplished by placing tapes in three different VCRs. The first two VCRs held the footage you shot in the studio or in the field and were literally the A and B roll. You would then record footage from these two (or more) tapes onto a third tape. This style of editing was called linear editing because projects had to be put together in order. The first scene would go onto the record tape first, then the second and third and so on with the editor carefully placing things like B roll along the way. If a mistake was made early in the process, say the third scene was accidentally left out, an editor would have to erase everything from the second scene on and, essentially start over. Programs like Final Cut Pro allowed for the prominence of what is known as non-linear editing. Projects no longer need to be cut in order. You can, for example, edit the fifth scene first. Non-linear editing also allows for a fluid and evolving editing process as changes can be made to any part of the 46 | Editing program at any time. If an editor today forgot to put in the third scene, all he has to do now is click a button to fix the mistake without having to redo any of the work he/she’d already done to that point. Non-linear editing also allows an editor to focus on the project step by step, allowing them to focus only on getting shots in the right order without at the same time worrying about things like graphics and B roll placement. This is largely because most non-linear editing programs use a timeline where an editor can arrange his/ her clips in whatever order they like. Rearranging is as easy as clicking and dragging. Still, since most people are used to working on things start to finish non-linear editing can be tough to get your head around. Because of that, we will now take a little time to discuss a standard editing workflow that will hopefully help you better manage the editing process. CAPTURING The first step of editing any program has to be capturing the video. Capturing is the term for copying your video onto the computer so it can be edited. To capture, you simply need to place your tape into a VCR that is attached to the computer via a firewire. While the tape plays, the computer records the footage. Capturing is a very simple process, but it can also be a very time consuming one. Video capturing is a real time process, meaning if you have three hours worth of footage, it will take the computer three hours to capture it. There is no way to speed it up. ROUGH CUT Once your footage has copied to the computer, you can begin putting together your rough cut, which is basically just a rough draft your program. At this stage, I am only concerned about A Roll. B roll, text, graphics, and music will all come later. Right now, I just want to take my primary footage, cut away any mistakes or bad takes, and arrange my clips in the order I think I will want them for the final show. For In Focus, this means taking our studio footage and rearranging it, along with the “best of ” clips I selected of Fran’s show, into the proper order in the timeline. Remember that when we shot our episode of In Focus, we shot the interview first and then I did an opening and closing for the show. While recording this opening and closing I probably made several mistakes. In the rough cut stage of editing, I will choose the best take of that opening, trimming away any excess, and place it at the start of the timeline. This will be followed by the first “best of ” clip, then the first part of the interview, another “best of ” clip, The timeline for the final cut of In Focus: Positive Investigations. Each set of boxes comprises one clip. One blue box and two green ones make up a set, with the blue boxes representing video and the green boxes representing audio. the second part of the interview, a final “best of ” clip, and then my closing remarks. At any time, I can rearrange these items in the timeline. For example, if I want, I can easily change the order of the “best of clips” or swap them out for different ones entirely. HOW TO MAKE A TV SHOW | 47 TITLES AND GRAPHICS Now it’s time to add in the end credits, my special In Focus opening animation, the ID tags seen throughout the program, which, in the industry, are called lower thirds, and any other text, logos, or still pictures.I A portion of the tail end of the rough cut timeline for In Focus: Positive Investigations shows a rough cut assembly of the program. B ROLL My rough cut complete, I can now go through the program, adding B Roll wherever I like. Sometimes, I will need an opportune clip to cover a jump cut, but, more often, I will choose to illustrate something that Fran said with a clip from Positive Investigations, for instance, the footage of the Velodrome or dog sleds that I used when she told those particular stories. B roll can be placed in the timelines second video track, right above the footage I want to cover. Final Cut Pro will automatically default to showing the video in the top most track. A close up of the same timeline, now with B roll shots added to the second video track. A shot from In Focus with a text effect added in Final Cut Pro. Most of these text elements can be added using a special text creation tool in Final Cut Pro. The animation is a Quicktime movie and any stills should be brought in as JPEGs or PSDs (from Photoshop). Like the B roll, these can all be placed in the second or third video tracks of the timeline. Once your titles and graphics are in place, take some time to review your project, making sure that you like the way everything looks and cuts together and making any adjustments you like along the way. Once 48 | Editing this is done, you will have a picture lock, meaning that you are, basically, finished with the look of your program and that you are ready to move on to the sound. MUSIC AND SOUND MIXING In this phase, you can add any music you want for your show. You can bring in your own music (remember to make sure it isn’t copyrighted or, if it is, that you have permission) or use our large library of copyright free songs. In Focus doesn’t have many music needs, so I’ll just be adding music for the opening and closing credits. This music will go in the timeline’s third and fourth audio tracks. The sound meter (at left) should be kept close to 12. These pink lines( above), often referred to as “rubberbands” allow an editor to adujust sound levels. TRANSITIONS Now it’s time to add transitions between scenes and shots. Transitions are anything other than a hard cut that bridges two adjoining clips. A good example of a transition is a fade. Final Cut Pro has a large variety of built in transitions. Once the music is added, I need to mix my sound. Mixing means adjusting the volume of each clip and element so that it doesn’t over modulate and that it is balanced with the other sounds around it (i.e. making sure background music is sufficiently softer than dialog). To do this, I will need to keep an eye on my sound meter, which works pretty much the same way as the meters on the cameras and the sound board. I want to make sure that my primary sound is consistent around the 12 mark on the meter. To increase or decrease the volume of a clip, all I need to do is raise or lower the little pink lines in the audio tracks with my cursor. A transition can be applied to the seam in between any two clips simply by dragging and dropping. (Above left) a clean seam between two clips. (At right) a seam between a clip and end credits with a transition applied. The gray squiggle represents a transition. For In Focus, I primarily use simple cross dissolves, a fancy name for a standard fade, or a dip to color dissolve, which fades to and from black. REVIEW That’s it, your project’s almost done, but, before you start making copies to air on TV and bring home and show your friends, you should really review the completed program. This simply means sitting down and watching it from start to finish. This is a great way to catch any last minute mistakes, like misspellings or forgotten transitions. This is a step a lot of producers skip, figuring their program is fine, but I can’t tell you how many times a producer has found out about some mistake they missed and asked for their show to be pulled from the air so they could fix it. I’m not immune to this particular hubris myself. After failing to review a Wednesdays with Barbie, I had to go back and fix a couple of typos not once, but twice! Thank goodness, Barbie decided to watch the show herself before it went to air! DISTRIBUTION Once you’ve reviewed your project and are happy with the results, you can start distributing the show. Typically, this will mean making copies for yourself, your friends, and, of course, NMTV. You can even make copies to send to other public access stations if you want. I keep all of the appropriate forms on file in my office and am happy to help you distribute to other stations around the metro or even around the country. Distribution can also be digital and I’m more than happy to help you put your videos on Facebook, YouTube, or anywhere else on the Internets. Making copies for yourself is pretty easy. Our edit HOW TO MAKE A TV SHOW | 49 suites are outfitted with a program called DVD Studio Pro that can help you make both simple and elaborate DVDs of your shows. It’s a fairly easy program to use and, while I don’t have a tutorial written for it yet, I’ll be happy to show you how to use it. Just make an appointment. Once that first DVD is made, we can use our DVD tower to make up to five copies at once. You are welcome to make as many copies as you want (as long as you don’t go too crazy). You can bring in your own discs or buy them from NMTV for a dollar apiece. The DVD tower is also pretty easy to use and I’ll be happy to show you how any time. SUBMITTING YOUR PROGRAM TO NMTV Submitting your program for air begins with either giving us a DVD copy of your finished show or, better yet, giving us a digital copy. Making a digital copy is a breeze and actually makes things a little easier for us. All you need to do is export the file from Final Cut Pro, which is something we’ll go into in detail in the editing tutorial. Once you’ve made your digital copy, just let me know where you’ve saved it and I’ll move it onto one of our servers. You’ll also need to fill out a Statement of Compliance form, which can be found on page 56 of this text. This form is simply a way for you to assert that you take full responsibility for the content of your program. There is also a space on the form for you to put the total runtime of your show. Be sure to write down this time to the nearest second. This helps Michele, our programmer, and the whole station immensely. If your show is 28:04 (28 minutes and 4 seconds long) and you put 30:00 on the form and we input that information into our system, figuring that it is right, we’ll be off the air for 1:56 and no one wants that. If you need help figuring out the precise 50 | Finding Your Show on the Schedule length of your show (and you probably will the first time or two), just let me know. Finally, take your filled out form and give it to Eric (if you’re submitting a digital file) or place it and a DVD copy in the basket behind the front desk. FINDING YOUR SHOW ON THE SCHEDULE That’s it! You’re done! You’ve made a TV show! Of course, you’re going to want to tell your friends and family when they can watch your show on Channel 14. To find out, just visit our website at northmetrotv.com. Then, click on Channel 14 Schedule and type your show’s title into the search box. Click on the episode in the search results and you’ll be able to see the schedule. Don’t worry if the schedule information says “This show is not currently scheduled.” Michele tries her hardest to have the week’s schedule finalized every Monday, but sometimes it can take a little longer than that. “This show is not currently scheduled” means just that. It isn’t scheduled to play right now, but it may be soon. Just check back or shoot Michele an e-mail at [email protected]. HOW TO MAKE A TV SHOW | 51 10 Your Future at NMTV Congratulations. You now know how to make your own TV show. Hey, you even helped make an episode of In Focus, which will air for the first time on the first Wednesday of the month. You are now authorized to check out any of our equipment and to use Studio B. If you’d like, you can sign up for more classes, like Beginning Editing and Intermediate Camera and even volunteer for some of the productions I run right here at the studio, like Wednesdays with Barbie. Just keep an eye on your e-mail in box for crew calls for that show and many other fun crew opportunities that will pop up throughout the year. It was my absolute pleasure having you in class and I can’t wait to work with you again, whether that’s on one of the volunteer opportunities I just mentioned or by helping you make your own shows. Remember, just because this class is over, doesn’t mean I’m going anywhere. I’ll always be right here, ready to help you make your own shows and put them on Channel 14. Thanks! The North Metro TV Public Accesss Productions logos and a still from Wednesdays with Barbie, one of the shows you can volunteer on. 52 | Supplemental Material APPEARANCE RELEASE I, the undersigned, at the request of producers,__________________________________________ __________________________________ and ________________________________________________ who are producing a program tentatively entitled_______________________________________________ ______________________________________________________________________________________ do hereby, on behalf of myself, my heirs, executors, administrators, and assigns grant, deliver, assign and forever release to the above named producers, their successors, agents, licensees, joint ventures, and assigns all of my right, title, and interest in and to all photographs, motion pictures, negatives, prints, videotapes, magnetic and digital recordings, and other forms of technology not presently known, and any and all reproductions of the above, now or hereafter made of me by the producers named above, to exhibit, broadcast, publish, display, copyright, reproduce, televise, use, edit, license, dispose of, exploit or use in any way whatsoever. I further release the above producers, their agents, employees, successors, licensees, joint ventures and assigns from any and all claims for compensation, consideration, or damages for libel, slander, invasion of my right to privacy, violation of my right to publicity, or any other claim based on the use of this material. IN WITNESS WHEREOF, I hereunto affix my hand this____________ day of____________, 20_______. _________________________________________________________________________________(Print) _____________________________________________________________________________(Signature) ________________________________________________________________(Parent or Guardian, Print) _____________________________________________________________(Parent or Guardian, Signature) HOW TO MAKE A TV SHOW | 53 LOCATION RELEASE Date: ___________________ Name (Owner/Representative): ______________________________________________ Phone: _________________________________________________________________ Mailing Address: _________________________________________________________ Owner/Representative hereby grants to ________________________________________ (the producers) permission to enter upon and use the property and contents thereof and the appurtenances thereto located at _____________________________ (the property) for the purpose of photographing and recording certain scenes in conjunction with ____________________________________________ (working title) on ____________________ (the date). After completion of the work, the above mentioned producers agree to leave the property in as good condition as when received. The undersigned acknowledges that the producers are photographing and recording such scenes in express reliance upon the foregoing. The undersigned represents and warrants that the undersigned has all rights and authority to enter into this agreement and to grand the rights granted hereunder. The producers may at any time elect not to use the property by giving the owner written notice of such election, in which case, neither party shall have any obligation hereunder. This is the entire agreement. No other authorization is necessary to enable the producers to use the property for the purpose herein contemplated. AGREED AND ACCEPTED By: _________________________________________ (Signature) Date: ________________________________________ 54 | Supplemental Material CALL SHEET Date: March 30, 2011 Production: Producer: Producer Phone: Producer E-mail: Call Time: 6:00PM In Focus Eric Houston 763-231-2803 [email protected] Location(s) North Metro TV Studio B Contact Name Eric Houston Phone # 763-231-2803 Crew Member Rick Bostrom SEGMENT ONE Patrick Biden Robert Pajak John Merchant Mary Olson Steve Caron Janese Olson SEGMENT TWO Steve Caron Mary Olson Robert Pajak John Merchant Janese Olson Patrick Biden SEGMENT ONE John Merchant Janese Olson Patrick Biden Position Associate Producer Call Time 6:00 Approx Wrap Time 8:30 Director Sound Engineer Camera 1 Camera 2/Floor Director Camera 3 Production Assistant 6:00 6:00 6:00 6:00 6:00 6:00 8:30 8:30 8:30 8:30 8:30 8:30 Director Sound Engineer Camera 1 Camera 2/Floor Director Camera 3 Production Assistant 6:00 6:00 6:00 6:00 6:00 6:00 8:30 8:30 8:30 8:30 8:30 8:30 Director Sound Engineer Camera 2/Floor Director 6:00 6:00 6:00 8:30 8:30 8:30 Talent Devry Foss Eric Houston Role Star Host Special Needs (Props, Equipment, Etc.): Directions to Location: Call Time 6:30 5:00 Approx Wrap Time 8:30 9:00 HOW TO MAKE A TV SHOW | 55 CALL SHEET Date: Call Time: Production: Producer: Producer Phone: Producer E-mail: Location(s) Contact Name Phone # Crew Member Position Call Time Approx Wrap Time Talent Role Call Time Approx Wrap Time 56 | Supplemental Material How to Make a TV Show
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