Codes of Practice & Regulation Research Log

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Codes of Practice & Regulation Grid

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Evaluation: Proof Reading

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Live Day Reflection

Summarise Your Role
My role throughout the production of our Magazine show was the Director, this meant that I would have to delegate jobs to the crew that needed to be done as well as being responsible for cueing the cuts/camera angles during the "As Live" recording, as well as doing the same for the pre-recorded interview with Tyra. I had to make decisions about all aspects of the set whilst allowing the crew members to have some creative control.

What Difficulties did you have?
At the begining of production I struggled to maintain a level of control over the camera shots being used whilst trying to solve any problems that arose during the Run-through's. There was some confusion over changes that were being made by each department and so I had to resolve these issues quickly. I also found it difficult to produce the Camera Script on time as it was much longer than I had anticipated.

What Solutions did you find for these Problems?
I was able to complete the Camera Script on time by getting a friend of mine, who also does media, to help me by reading out the lines of the script so that I didn't have to stop and look away from the screen whenever there was a new line. By repeating the Run-through's I got used to the stressful environment and was then able to perform competantly in my position. By talking with all crew members involved I was able to rectify the situation and prevent further confusion. 


What Skills have you gained?
I feel that I have improved my communication skills as I was having to tell Billy when I wanted the feed to cut to another camera angle and by relaying as much information as I could to Raees in the studio so that he could keep control. I feel that I also learned how to work well under pressure as their were some set backs leading up to the "Live Day" and the fact that the role of a Director is a stressful one anyway.


Advice for someone else?
My advice to someone else taking on this role would be to try and communicate as much as possible to the entire crew during pre-production as it ensures that there is no confusion over most aspects. I would also say that getting others to review the Camera Script and Timed running order provides a different perspective which could improve the show in many ways. Also keeping calm in the gallery during recordings means that you will be able to better communicate instructions and get a better feel for the flow of the dialogue allowing you to cut more effectively resulting in a better finished product.


How can you Extend your role?
Next time I would prepare by doing as much of the pre-production work as soon as possible meaning I could get feedback and make more improvements. Also I would attempt to vary the camera shots more by asking the Camera Operators to zoom and pan more and possibly moving their cameras from their original position to gain a different perspective, but this would require much more communication and planning.

Production Meeting Reflection 4

This week I finished my Camera Script and put it in the shared folder so that the others could use it as a base for their own role specific camera scripts. As there are a lot of shots involved with filming a 30 minute programme this took me longer than I had anticipated, and Miss Bains gave me some improvements that I could make on the draft that I sent her such as colour coding the three different cameras used and giving some more detail in the Segment Description column. 

• This week I need to work closely with Billy as he will be creating his cue list based on my Camera Script and specific lines from the Dialogue Script that Shriya and Morgan created. I will also have to make sue that Keren has produced graphics that match the questions being asked and that she has them in the correct order. I will also have to work with Mahdi on getting his cues for the sound effects and Raees about securing the props we need and when we will be able to get them up and into the studio.

• I feel that I will need to work on being confident with my cuts and communicating with the people in the Gallery as well as relaying as much information to Raees via the mic system so that he can have better control over the set.

• My main fear about next week is that I will not perform well in the role of director, meaning I will make bad decisions about when to cut the camera feed and I will not be able to keep a level of control over what camera positions I feel would look best as well as relaying instructions to Raees.

Camera Script

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Production Meeting Reflection 3

This week I finished Timmed running order and made copies so that all of the crew had a rough idea of what was going on at what time during the programme. I also helped to finalise the set layout and let Graphics know what would be needed.

• I found that once I had finished the Timed running order  was displeased with the final result so I went back and tweaked the positioning of some of the segments. I was pleased that I was able to work closely with Set Design to get the layout finished quickly which enabled us to move on to other issues.

• In the coming week I am planning to start the Camera Script which details every camera shot that takes place throughout the show as well as any pre-recorded content and VT's. I will also have to include what the set will look like, the positioning of the cameras and what graphics will be needed in each shot. I will also help to finalise the props list working with the floor manager and set design, this will let me plan what equipment needs to be collected when and from what department/ area of the school.

• This week I will have to work closely with the floor manager to finalise the props and set layout, I will also have to liaise with graphics to sort out any problems that may occur due to changes in the script and timming of each segment.

Timed running order

Timed running order:


This table shows each aspect of the programme in order as well as the amount of time that I have allocated for each segment. Using this running order the production team knows their time frame for each part of the show and what order that part is in, in relation to the others. This allows people to prepare for their roles and lets them know what other members of the production team they will have to liaise with.

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Risk Assessment: Gallery

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Production Meeting Reflection 2

This week we were given ours roles within the production team and I was assigned the role of Director. We also had our first production meeting where each of  us pitched our ideas for the music magazine show. Shriya's idea was voted in and we spent some time modifying it to include aspects from other people's ideas that we thought were unique and should be incorporated into the show.

• I had to create a Timed running order of the programme which involved working with Morgan, Shriya and Billy to work out what order each of the aspects should go in and tying to get a better idea of what Shriya's idea for the programme was. I also had to write a Risk Assessment for the Gallery as that is the area I will be working in during production.

• One of the problems that I had this week was trying to coordinate my time so that I was able to complete my work whilst still answering any questions the other team members had about the programme from the graphics to what the layout of the set was going to be. I overcame this by planning my time better and finishing my work outside of lesson time leaving me time to help others during the lesson.

• During this weeks production meeting I was given suggestions about pre-recording the artists interview in order to put less strain on the presenters. Another suggestion I was given was to liaise with the camera crew on the final positioning of each camera and whether to use the track system or dollies for the best outcome. Also I was able to see what stage each of the production team was at and what they were planning to do in the coming week.

Production Meeting Reflection 1

During the Production meeting each of us gave a small pitch  to present our ideas to the group this gave us the opportunity to see everybody's ideas for the programme and what made their idea unique. From the presentations I could see that other had some good ideas for the content of their programme and, depending on which idea was chosen, I would like to include some specific points in the programme that we produce.

• Nobody questioned my idea after my pitch and I felt that the group responded well to my idea and liked that I had taken the time to develop some creative elements as well as thinking up names for some of them.

• I voted for Morgan's idea because I liked her idea of a very urban, edgy look incorporating graffiti and other ideas into the design of her set. I also liked that she had taken some elements from a variety of existing programmes and put them together in a way that enhances their combined effect whilst still maintaining her own style and identity.

• I liked how she described in great detail the style in which she wanted her presenters to dress, her ideas gave boundaries while still allowing for some personal touches. This means that she can control the overall look of her programme but with out the presenters feeling limited. I also liked how she had picked three words to base her entire design on, Fun, Bold and Urban as this would appeal to the 14 - 20 age range of our target audience.

• I feel that we would need to change the name of her programme as R.I.P could put across the wrong message about the programme and some adults may confuse the meaning of the abbreviation which in this context stands for Rest.In.Perfection and not allow their children to watch the show. Apart from this I feel that Morgan's idea was well thought out and could become a popular T.V. show.

• I liked Amrit's idea of incorporating audience participation into the show such as people sending in pictures of themselves "Planking", and I also thought that Alysia's idea of having a variety of locations, the hallway for the intro for example, would give our production a more professional look.

Treatment

In this post I will be developing my ideas for a Magazine Show produced using the multi-camera format that is aimed at a target audience of 14 - 20. I will be designing the layout of the studio, the logo and name of the programme and deciding what music videos to include as well as what people are chosen to present the show.

Mood board:

This is my mood board which consists of images and themes that I have taken inspiration from and would like to include some elements in my programme, for example i would like there to be at least 2 presenters in order to have different views and a more varied conversation with artists. 

Programme Format:
I am going to model my show on T4, this is because that format is very popular and has been going for 10 years without changing the programme layout much. I will take elements from the show such as the studio layout and combine it with my idea for a show more associated with some less mainstream music genres as well as the more current popular music.

Title of Show:
I have decided to call my programme FLM (Forever Loving Music), I have also created a logo for the programme loosely based on the T4 logo.  This accurately portrays the image that I want my show to have. As the title says this programme is all about music all the time and is aimed at an audience that truly loves music. Also abbreviating the name so that its quicker and easier to say, similar to the way teenagers text each other, this increases its appeal to the audience. 



Content ideas:

• Rate 'n' Slate Wall - One idea that I had was to include a wall of the studio dedicated to rating and slating current and old songs/bands, called the"Rate and Slate Scale" this is based on the cool wall on top gear. 
• White Washed - This includes a section of the show where the presenters talk about any songs or artists that were expected to do well with a new single or album and have failed miserably or have been "White Washed". This appeals to the nature of some of teenage viewers and will increase the viewers. 
• News - In my programme I would include a news section where the presenters discuss new artists and any up and coming artists that people should know about, giving them more publicity and helping unknown artists gain publicity.

Running Order:

• Opening sequence / Graphics ( 1 minute)
• Intro of presenters and the topic of today's show ( 2 minutes)
• Introduce artists / watch first music video ( 4 minutes)
• Interview 1st artist ( 3 minutes)
• Rate 'n' Slate Wall ( 2 minutes)
• Watch 2nd and 3rd music videos ( 6 minutes)
• Interview other two artists ( 6 minutes)
• White Washed section ( 2 minutes)
• Music News ( 3 minutes)
• Introduce next programme ( 1minute)
• Total ( 30 minutes)

Studio Design:

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Sketch of Background:
For the background of the set I will have a Large 3D model of my programmes logo it will be placed in front of a coloured background, I have linked the title of my show into the set design emphasising it even more.

Visual Style:
My programme will be in keeping with the standard layout of a magazine show like the One Shoe or T4 with a three camera multi-cam format that will shoot the presenters with one camera from the right, another will shoot the guests from the left and a third camera set further back will be able to show long shots of the entire set. I Will also have Camera 2 pan around following the presenters as they walk across to the Rate 'n' Slate wall so as not to have any of the other cameras in shot. I would also use a 4th camera to film a close up of one presenter as they gave the daily Music News, this would be shot with them sitting behind a desk to give it a more formal feel.


Presentation Style:
For the show Morgan & Shryia are the presenters, they have been chosen because they both have upbeat personalities that are well suited to this type of programming and their personal style is in keeping with the current styles and trends. I would have them present in a fairly informal manor, using current slang and using humour a lot more than some other Magazine shows. I think that this will relate more to the target audience and improve the image of the programme.
They will be dressed in relatively casual clothes which will be in keeping with the feel of the show and help them to feel more comfortable on set, but not to the extent that they could be described as scruffy. 

Job Roles (T.V. Studio)

In this post I will produce a report on the duties and skills needed for each of the ten job roles involved in the production of a television show listed below. Each of these jobs has a specific set of skills and qualities needed and so a variety of individuals are drawn to the field.

• Camera Operator
• Sound Mixing
• Vision Mixing
• Set Designer
• Director
• Floor Manager
• Presenter
• VT Operator
• Graphics Generation
• Lighting Desk

Camera Operator
Duties:
One of the main duties of a camera operator is deciding what camera, lenses and other equipment to use for each section of filming, This requires a knowledge of the equipment in use and what equipment is best suited to the needs of the shoot. Another duty is to help with making the decision on where the final position of the camera should be, this is made easier by understanding how the camera reacts to certain conditions of lighting and the environment. They also have to take responsibility for the 1st and 2nd Camera Assistant as well as the Camera Trainee.


Skills:

• Knowing how to operate the equipment safely and proficiently
• Being able to provide creative input
• Having an understanding of all relevant equipment and to be proficient in the use of equipment

Qualifications:

There are no specific qualifications for this job as most of the skills are learnt through experience whilst working up through the positions of Trainee, 2nd and 1st Camera Assistant and then on to Camera Operator. Although having qualifications in Media, Film and TV production and Cinematography may provide additional knowledge.

Camera Operator

Sound Mixer
Duties:
One duty of a Sound Mixer during the production stage is to collaborate with the director and production manager about what equipment is best suited to the needs of the shoot and to select additional gear if required. Another duty is to help with the selection of other crew members such as Sound assistant, Boom operators and Sound Crew runners. Also the sound mixer is in charge of producing log sheets for each piece of film or digital unit in conjunction with camera assistants and script supervisors.


Skills:

• Having a trained ear for the state of the audio being produced
• Must be able to communicate effectively and delegate roles to sound crew members
• Must have a precise attention to detail and the patience to work achieve this

Qualifications:

Before starting out at a junior level they must undertake specialist training and then progress to the level of Sound Mixer, although there are some degree and undergraduate opportunities available. FT2 (Film and Television Freelance Training) offers training in an apprentice style set up with short course training also available.

Sound Mixer

Vision Mixer
Duties:
Vision Mixers are responsible for timing and executing the transitions between two shots of a programme, whilst simultaneously listening to the instructions of the director or producer. Another duty is being responsible for cutting away from a shot on a live programme if the shot becomes compromised in any way. Also Vision Mixers use rehearsals in Soaps and Sitcoms to practise where and when they will cut from one camera to another making the transitions in the finished programme smoother.


Skills:

• An understanding of the language used on set
• A good sense of rhythm to put transitions on the beat (music)
• Must be able to multitask in a high pressure environment

Qualifications:

No specific qualifications are required but a degree or other higher learning qualification in Media or a related subject will provide valuable additional information. The most desirable characteristic is experience due to the high pressure nature of the job so practical job experience is suitable.

Vision Mixer

Set Design
Duties:
The set designer must present drawings of their design to the director and producer and adapt it where necessary. Another duty is selecting the types and styles of materials / furniture that is to be used on set. Also a set designer must integrate specific aspects from the script into their design and location whilst keeping within a budget.


Skills:

• Must have the ability to convey their idea through drawing / sketches
• The ability to design a set that uses the space available fully
• Being able to take criticism and the persistence to  see each project through to the end

Qualifications:

Most set designers have graduated from courses such as interior or 3D design as this has taught them how to enhance their creative abilities and contain it within set perimeters. Also some choose to complete a specialist course in theatre or film production design. Experience is also a vital aspect and so they may have to work as an assistant set designer until they have reached a certain level of experience and knowledge.

Theatre Set

Set designer

Director
Duties:
The main duty of a director is to instruct the rest of the production team throughout the programme, by giving orders, collaborating with department heads and considering inout from other team members. Another duty they have to perform is ensuring that the footage shown to audiences contains sufficient coverage of specific script related issues such as scenes or presenters. Also a director must be able to change the running order at short notice and still be able to produce a programme that meets broadcasting standards.


Skills:

• Must be able to effectively delegate jobs/roles to crew members
• Must be able to spot potential talent quickly and capitalise
• Being able to communicate with the entire crew easily whilst maintaining control

Qualifications:

The numerous courses and training books on directing provide a wealth of knowledge but no formal qualifications are required in order to become a Director. The main characteristic of any good director is experience but by studying and learning from an established successful director valuable skills and techniques can be picked up.

Director

Floor Manager
Duties:
One duty of a floor manager is to check and prepare any equipment that is to be used in the production of each programme before filming to ensure the safety of crew and cast, as well as helping the show to run smoothly. On some studio productions a floor Manager may also be required to prep the audience before the live recording, this may involve explaining the rules of audience participation as well as giving cues for the audience to applaud or react in some manner. Another duty of a floor manager is to work closely with both the crew and talent/presenters to ensure that the whole production runs as smoothly as possible.


Skills:

• Must demonstrate a willingness to work long and unsociable hours during production
• A high level of maturity and competence is needs to keep to keep the crew motivated and working well
• Needs to be able to cope with the high levels of stress associated with this job

Floor Manager

Presenter

Duties:

One duty of a Presenter is relaying line from the script to the camera thus  giving the feel of the presenter addressing the audience personally. Another duty would be to research and then contribute to the script collaborating with the producer and director. Also being able to improvise if needed on a live broadcast such as if on a news programme the live feed from a report is lost.

SKills:

• A basic knowledge and understanding of the terminology used in a tv studio
• The ability to cope with stress and improvise if needed
• Must be able to multitask e.g. presenting whilst receiving information via an earpiece

Presenters

VT Operator

Duties:

One of the main duties of a VT Operator is editing the footage together to form a complete and aesthetically pleasing piece of footage, reading for broadcast. Another duty would be cueing or playing video items at set time or at the directors instruction. Also a VT Operator may have to in some situations produce a master tape of the production.

Skills:

• Must display a precise attention to detail when editing footage
• Need advanced IT skills in order to use equipment proficiently
• Excellent communication skills are needed to take instruction from the director as well as giving feedback

Qualifications:

Having degrees or other qualifications in I.T. or engineering although not a requirement can provide useful skills for operating equipment.

VT Operator

Lighting Desk

Duties:

Setting up and controlling the lighting for the entire programme is probably the most important duty of the Lighting Desk. Another duty is to read the script and set up lighting cues accordingly as well as spontaneous cues from the director or producer. Also the lighting desk has to use the rehearsals to get the equipment into place so that preparations to programme the lighting desk can get underway.

Skills:

•  Must be able to think creatively and plan a lighting scheme that complements the actions on stage
• Must be willing to work long hours to set up and pack away lighting equipment and large volumes of cable
• A logical and methodical approach to setting up and striking the equipment is a valuable skill

Lighting Desk

Graphics Generation

Duties:

The main duty of a graphic generator is to ensure that they arrive on set with the graphics needed for that specific programme, this helps to keep the recording or broadcast running smoothly. Another duty is to ensure that all equipment is set up in the correct manor and meets all current health and safety requirements. Also graphics generators are responsible for all of the equipment they use in the production of a graphic and accordingly should keep up to date with any new equipment that becomes available.


Skills:

• Being able to draw/sketch the designs for a new graphic in order for it to be presented to the director or producer
• A willingness to work long hours in order to achieve the desired result within the given time frame
• A high level of I.T. knowledge is a necessity in this career as all the work is done on a computer

Graphics Generator

What programme fomats use Multi-camera production?

In this post I am going to produce a report on the practical and aesthetic reasons for these 6 genres using the Multi-camera format of in the production of their programmes.

Genre:
Live

• Live Sports
• Concerts
• Public Events

Studio

• Game Shows
• Chat Shows
• Magazine Shows

 Live

Live Sport

Live sporting events such as Rugby union games need to use multi-camera production because of the large area in which the game takes place,so that when play quickly moves from one end of the pitch to the other the variety of cameras can pick up on events that others may not have been able to see. This also makes it a lot easier for the "Television Match Official" or TMO who has to review the footage during a game and use it to make decisions about a score when called upon as seen here from 29 seconds in.

Another practical reason for having the multi-camera set up is that the variety of camera angles makes it much more enjoyable for viewers watching at home, as they can get close ups of players, coaches and the audience to see their reactions to passages of play. This is also  way of suggesting to the audience how they are supposed to react as well, by showing people who are displaying the same emotion. This clip perfectly displays how the multi-camera set up is used to cut between images of the players, coaches and the crowd to see their reactions to the event, from 54 seconds in.


One of the limitations of a multi-camera set up is that it requires a lot of coordination to run all of the cameras and switch to the appropriate one at the right moment, this is why there is a job role dedicated to cutting between the cameras, the Director. This limitation is especially highlighted when the director or one of the camera operators makes a mistake during a Live feed.Another problem with this format is that to have this many cameras and a person controlling each camera individually, the costs of producing a programme like this can get very high. This is one explanation for the large amount of advertising and sponsorship that has become a part of all large sporting events.

The multi-camera format allows the director to put his own style to the programme by cutting the shots in different ways and with the variety of camera movement in each shot. This can be seen when the logo transition comes onto screen and a replay of a specific event is played from a variety of different angles and cut at different points during a lull in play.



Concerts
A live concert like the Foo Fighters at Wembley has to have a multi-camera format due to the unscripted, spontaneous actions of both the performers on stage and the reactions of the crowd. The huge area that is used for this and other events like it require a multi-camera format simply so that the production team can cover all performers on stage as well as the audience. Also the large amount of available footage means that if during a live programme something inappropriate occurs the director can cut away to another camera to avoid that behaviour being shown on television.




A practical reason for using the multi-camera format is that it enables the director to show individual members of the group during the performance that people in the audience and at home might not be able to see. Also with the amount of cameras involved in the performance the director is able to show the viewers angles that people in the audience would not be able to see, for example the above shot of the keyboard artist below.

A limitation of this camera format at this venue would be that because there are so many cameras there is a chance that their view may be obstructed by the audience or another camera, this would ruin the viewing experience for people watching the show and would mean that the director would have to choose the shots he uses carefully throughout the entire performance. A way around this problem would be for the production team to map out where they want to place the cameras and predict how the audience will fill the allotted space before the performance starts.
Another limitation would be that having so many cameras all in one event means that the director has to work hard to ensure that all the cameras in use are getting the right shots as well as coordinating when the feed switches from one camera to the next and which shot is best suited for that moment.


Public Events
During public events such as Prince Williams marriage the multi-camera format is necessary because they also televised the procession on the way to the ceremony and more than one camera is needed to film this, let alone the crowd and ceremony itself.


An aesthetic reason for using the multi-camera format to cover the Royal Wedding is that it allows the director a greater choice of shots to use and he can cut to a shot that he feels is poignant to a specific time in the event. An example would be when the camera cuts to a shot of the Queen singing the hymn with Prince Phillip, whilst Prince William and Kate are at the altar. 
A practical reason for choosing this camera format would simply be that in order to cover the procession to the Abbey and th ceremony inside more than one camera is needed. This means that we can follow the entire course of the marriage ceremony throughout the day without missing sections, which would occur if one camera had to move along and film at the same time.


A limitation of the multi-camera set up would again be that it takes a great deal of precision and coordination in order to be effective and is a far more expensive to run than a single camera format, this means that all of the channels covering the event have to spend large amounts of money on equipment and staff. 


Studio
Game Shows
Game shows require the multi-camera set up because of the unpredictable nature of the events on screen. A show like Total Wipeout has spontaneous actions occurring throughout the programme and without a multi-camera format most of those events would go unseen.


 A practical reason for using the multi-camera format would be that as one participant falls and another attempts a obstacle cameras can catch both actions on film meaning there is more footage available during the editing of the show. This means that the programme can cut from one piece of action to another during the same obstacle without missing large parts of the event.
An aesthetic reason for using this format would be that it allows the viewer to see some of the best parts again, as they can be replayed from different angles, this means that some aspects that may not have been easily visible from one direction can be viewed from another providing more entertainment.
A limitation of using this set up on a show like Total Wipeout is that it is expensive to keep all of the cameras and camera crews working, which results in the show costing more to produce than if only one camera was used.


Magazine Show
A magazine show like top Gear needs to have the multi-camera format in order to display each of the cars on set in a unique way when the presenters are talking about them.


An aesthetic reason for using more than one camera whilst filming is that if the director wants a slightly different angled shot of one of the cars then they can switch camera feeds. This helps to show the car in a different light and with a different presenter in the shot as well as other members of the audience.
A practical reason for using this format is that it enables the presenters to stand in separate areas of the studio next to different cars, talking about separate subjects and can cut between the two when the subject changes.
An advantage of using this technique in this studio setting is that if one of the presenters or a member of the audience says or does something out of script then it can be recorded from a variety of different angles.


Chat Show
A multi-camera format in this setting enables the production team to cut between, the typically 4 cameras, as and when the conversation dictates or changes.


A practical reason for this set up is that the camera each face a different direction and so can focus on the presenter and the guests, This means that, as each of the guests would have different reactions, each reaction can be caught on an individual camera.
A limitation of this set up is that there is a limited amount of space in a studio and so there is a limit to the amount of cameras that can be used meaning that not every angle is covered. This results in the cameras involved having specific subjects to film mainly the guests so that any speech or reactions are not missed.