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A practical approach to working in multi-camera studios

This book is about producing video content with a multi-camera set-up. The principles apply whatever the form of distribution: digital network, Internet, mobile phone or 'other'. It is intended to be used alongside practical courses or modules, both in teaching institutions and in professional training environments. The book centres on Health and Safety in TV studios, which are potentially dangerous places. It gives a lot of key information about television studios and the people who work in them. The book focuses on exercises to practise some basic principles and shows how to build on these and develop proposals and projects. It goes into more detail on Drama, Music and Action, both in the context of student projects and in the professional world. The book explains detail of television aspect ratios; and a little about the meanings of Continuity. Since many multi-camera video productions use inserts shot on single camera, there are several references to single-camera shooting. The necessary elements in multi-camera production are: a vision mixer (switcher) for selecting the images to be recorded or transmitted; a Director co-ordinating the content; an assistant to keep track of timings and where the Director is in the script; and a Camera Operator for each camera, with a tally-light to show when the particular camera is on-shot.

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Jonathan Bignell

Introduction This chapter examines the significance of the production technologies used in making the five dramas written by Beckett for television and compares and contrasts these production technologies with those used in realising Film and television adaptations of theatre texts by Beckett. The British television plays were recorded in television studios and were shot on film, with the exception of Eh Joe (1966), which was a videotape production. The German productions of Beckett’s plays in the 1980s were

in Beckett on screen
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Roger Singleton-Turner

Cue and Cut is about producing video content with a multi-camera set-up. The principles apply whatever the form of distribution: digital network, Internet, mobile phone or ‘other’. It is intended to be used alongside practical courses or modules, both in teaching institutions and in professional training environments. Part I centres on Health and Safety in TV studios, which are potentially dangerous places. This is a primary concern and that is why it is given so much space early in this handbook. Part II gives a lot of key information about television

in Cue and Cut
Roger Singleton-Turner

What follows are some general points about safety in TV studios, whether student or professional. In the professional world, you will find regulations covering all these topics – and more – affecting every production unit in the UK. YOU MUST ALSO MAKE YOURSELF FAMILIAR WITH YOUR CENTRE’S HEALTH AND SAFETY GUIDELINES. These pages are intended to complement those. Other countries will have their own laws and regulations, but the general principles apply everywhere! There are some points here about safety on location because it is sometimes necessary to

in Cue and Cut
Abstract only
Roger Singleton-Turner

; specially trained staff should prepare and operate them. The UK rules (so far) are slightly more relaxed about some kinds of smoke-gun, but black or coloured smoke is not allowed in TV studios. In enclosed spaces, it is toxic! Great care has to be taken and expert advice in these areas must be heeded. Health and Safety legislation is quite clear on the necessary standards of care! Chases Chases in a studio are difficult to arrange because they tend to require speed and therefore distance. Few TV studios in the UK exceed 30 metres square (though there are

in Cue and Cut
Derek Paget

(continuous legal vetting) ➝ cast and crew assembled. • P roduction Read-through ➝ rehearsal ➝ shooting in studio and on location ➝ ongoing research + re-drafting/script editing + legal checks. • P ost-production Editing ➝ dubbing ➝ research updating for website + continued legal checks ➝ television: scheduling + press preview/film: focus-grouping + re-editing. • T elevision transmission/Film release  Docudrama reaches audience. • R eception post-transmission/post-release  Public discussion (for example: radio and television studio debate, newspaper articles

in No other way to tell it
John Wyver

stage, a selection of which would be recorded in Granada’s nearby television studios. The critic Kenneth Tynan ( 1968 ) suggested in the Observer that the idea ‘may turn out to be the most exciting bridge yet built between TV and the living theatre’. For the next two years, the ITV contractor funded The Stables Theatre Company as it mounted an ambitious theatre programme and transferred fifteen of its productions via the

in Screen plays
Jonathan Bignell

adaptation of Beckett’s Krapp’s Last Tape (1963) as well as a more recent 2007 version in order to analyse the television studio as, and in contrast to, a theatrical space. In both cases a three-sided set was left open on its fourth side, producing an imaginary separation of audience space from stage space. Similarly frontal modes of address can be seen in the short film adaptation of Beckett

in Screen plays
Brett Mills

. The interplay between audiences and performers in comedy is demonstrated by the shooting style of many television sitcoms, which garner a real audience to watch the recording, re-creating the theatrical experience within a television studio. This audience is seen as so vital to the comic performance that its oral responses are recorded, resulting in the laugh track which accompanies many sitcoms. It is significant that many

in Genre and performance
Stephen Lacey

The starting point for this chapter is a comment by theatre director turned television producer Simon Curtis, then in charge of BBC2’s Performance strand of theatre play adaptations, in an interview with Jeremy Ridgman about the origins and development of the series: ‘It is true that naturalism works better in the [television] studio’, Curtis said. ‘And it is much easier

in Screen plays