JCU Production Bootcamp Midterm Study Guide

Producer

In charge of creative quality. Hires director to be in charge of shooting. Ensures the production meets the requirements of the client.

Director

In charge of coordinating the shoot, answers to producer. On a TV set directors generally have 3 or more cameras shooting. For a sports broadcast or large entertainment it could be anywhere from 12-25.

Technical Director (Switcher)

Executes directors commands by selecting and mixing various cameras and video sources on the switcher to go out over-the-air or to the program video recorder/server. Performs transitions and electronic SFX.

Audio Technician

Responsible for miking, mixing, and sweetening audio for a production. Mixes remote audio, sound on tape, and all other aspects of audio.

CG Operator (character generator)

Responsible for operating the CG which produces the electronic titles and graphics used in a show (roll credits, lower 5th keys), often create moving graphics. Sometimes referred to as Viz Operator or Chyron operator.

Camera Shader/Studio Engineer

Ensures the camera remote control system (Camera control unit) is adjusted during the production to maintain proper video levels. Before shooting begins they make sure each cameras color matches .

Talent

Supply dialogue/visual action in front of the camera. Take orders from the director.

Floor Director

Coordinating the action on the set by relaying the director’s commands to the crew and talent via hand signals.

Camera Operator

responsible for framing the shot, focusing the shot, zooming in or out, and performing any camera moves on-the-air. Generally have camera shots written on script for scripted productions or have assigned areas/shot types for unscripted productions. Occasionally assist in finding creative shots.

Teleprompter Operator

Controls the speed at which the words scroll down the screen so that the person reading it can speak continuously while still looking into the camera. Makes changes to the teleprompter as the order of a show/live production changes.

Side lighting

Light illuminates half the face, gives a slimming effects. Main light placed level with subject, no fill.

Broad lighting

Widens features of the face, used on people with narrow face. Main light placed 45 degrees to the side of the camera. Placed on the side of the subjects face thats facing the camera. No fill

Short lighting

Most common technique in portrait lighting. Main light placed off to the side of the subjects face that is turned away from the camera. No fill

Rembrandt lighting

Characterized by illuminated triangle on subjects face (just under eye but not below nose). Main light high above and aimed down on subjects head. Fill light placed level with the subject (fill can be replaced with reflector).

Camera shading basics

White should be at 100%, black at 7.5%, color bars within vectorscope boxes, and blackfocus of camera is solid.

Tools required

Calibrated reference monitor, a waveform/vectorscope and a switcher to go  between the camera control unit (CCU) outputs.

Reference monitor

The monitor all the cameras are referenced on.

Reference monitor calibration

Tried and true method is using 75 percent SMPTE color bars and the blue-only feature.

Waveform/vectorscope

Vectorscope shows accuracy of colors (each point in box). Waveform monitor shows video levels (white/colors), black levels, and sync pulse.

Charts and test patterns

For on the fly set-ups use 11-step grayscale chip chart and a back-focus chart. If no chart is available or the placement of the cameras makes charting them impractical, find a source of white, and balance all of the cameras to that.

Setting up the cameras

Line up a full frame shot of the card on each camera. With each camera pointed at the chart, close the camera iris, and set the master black level at the 7.5 IRE. Open the camera iris until the white card is about 90% video.

Back focus

Not considered camera shading, but is critical to get clear pictures. Should be performed anytime the cameras are moved, a lens is changed or removed, or whenever it is suspected that the camera is out of focus.

Shading the scene

General convention is to set the iris where the face is at about 75 IRE to 80 IRE. Examine the black levels. Be careful about bright items like white shirts blowing out or going above 100 percent video and clipping. If in environment with controlled lighting, adjust the light levels so that your iris is around F/2.8.

Save settings

Done so you don’t have to re-shade scene every time.