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.
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 televisionstudios 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
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 TVstudios, 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
What follows are some general points about safety in TVstudios, 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
; 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 TVstudios. 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 in a studio are difficult to arrange because they tend to require speed and therefore distance. Few TVstudios in the UK exceed 30 metres square (though there are
(continuous legal vetting) ➝ cast and crew
roduction Read-through ➝ rehearsal ➝ shooting in studio and
on location ➝ ongoing research + re-drafting/script editing +
ost-production Editing ➝ dubbing ➝ research updating for
website + continued legal checks ➝ television: scheduling +
press preview/film: focus-grouping + re-editing.
elevision transmission/Film release Docudrama reaches
eception post-transmission/post-release Public discussion (for
example: radio and televisionstudio debate, newspaper articles
stage, a selection of which would be recorded in Granada’s nearby
televisionstudios. 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
adaptation of Beckett’s Krapp’s Last Tape (1963) as
well as a more recent 2007 version in order to analyse the televisionstudio 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
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
. 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 televisionstudio. 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