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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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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
Author: Sean R. Roberts

This book explores the reasons and justifications for the Chinese state’s campaign to erase Uyghur identity, focusing, in particular, on how China’s manipulation of the US-led Global War on Terror (GWOT) has facilitated this cultural genocide. It is the first book to address this issue in depth, and serves as an important rebuttal to Chinese state claims that this campaign is a benign effort to combat an existential extremist threat. While the book suggests that the motivation for this state-led campaign is primarily China’s gradual settler colonization of the Uyghur homeland, the text focuses on the narrative of the Uyghur terrorist threat that has provided international cover and justification for the campaign and has shaped its ‘biopolitical’ nature. It describes how the People’s Republic of China (PRC) was able to successfully implicate Uyghurs in GWOT and, despite a lack of evidence, brand them internationally as a serious terrorist threat within the first year of the war. In recounting these developments, the book offers a critique of existing literature on the Uyghur terrorist threat and questions the extent of this threat to the PRC. Finding no evidence for the existence of such a threat when the Chinese state first declared its existence in 2001, the book argues that a nominal Uyghur militant threat only emerged after over a decade of PRC suppression of Uyghur dissent in the name of counterterrorism, facilitating a ‘self-fulfilling prophecy’ that has served to justify further state repression and ultimately cultural genocide.

Roger Singleton-Turner

television. There is more to it than that: factors like the positioning of the cameras, the framing of shots, the angles, the cutting points and the cutting rate can make the audience feel more (or less) involved with what is going on. On well-written and directed studio dramas, I have often felt that the camera and sound crews, the Vision Mixer and the Director as well as the actors are all taking part in the same performance, rather than merely observing. I’ll come back to drama later. Multimedia formats This book focuses on multi-camera video content suitable for

in Cue and Cut
Jonathan Blaney, Sarah Milligan, Marty Steer, and Jane Winters

‘carry out fundamental research to develop next generation computer vision methods that are able to analyse, describe and search image and video content with human-like capabilities’. 13 It will take years before these techniques are as well developed as they are for text, but this is arguably the next big challenge for digital history. AN ENVIRONMENTAL BACKLASH? We hope you will forgive us for concluding this chapter with a note of caution. Much of this book has concerned how we can work with more: more text, more images, more of everything. The practice of

in Doing digital history
Andy Campbell

the popular form of the video bar, a nightlife architectural assemblage wherein programmed video content sets and amplifies the mood of the bar while providing visual distraction from the sometimes anxious scene of sociality. In the grimiest (i.e. best) gay bars the video content is invariably pornography. Moseying up to Die Kränken’s bar and watching the video, I felt a haunting of history. There is a striking gap between being in a gay bar and being in an exhibition approximating a gay bar. In a bar people talk and drink, touch and laugh, argue and watch from the

in Bound together
Paratexts of hope and care
Matt Hills

though the thirteenth Doctor was explicitly presented as a pedagogue in video content made to promote the UK government’s social distancing guidelines and reassure audiences (Chibnall, 2020b ), she operated as an implicit pedagogue in the BBC’s short story paratexts. ‘The Simple Things’ was no different, representing the Doctor as appreciating life’s small pleasures whilst educating a female Draconian about the rules and skills of football: The Doctor smiled. She doubted a quick kickabout could

in Doctor Who – New Dawn
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Clare Wilkinson and Emma Weitkamp

media-production standards (e.g. steady shots, good-quality audio and visual imagery), and Haran brings these qualities to the PTOV project. However, when it comes to content, there is considerable flexibility and potential for innovation in the way you tell a story in a video intended for online consumption. Kim ( 2012 ) suggests that YouTube video content, while influenced by the mainstream media genre, tends to be short, humorous and accessible – characteristics not always associated with mainstream broadcast programming. This suggests that people may be looking

in Creative research communication
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Paul Reilly

which content about these contentious parades and protests was shared online. In the case of the YouTube videos analysed in Chapter 4 , video content was scrutinised and field notes taken in order to capture the events caught on camera by these eyewitnesses. For Twitter, a coding scheme building on the work of Lotan et al. (2011) was devised to analyse the user profiles identified in the corpora. A total of 10 categories were created to fully capture the range of actors contributing to these Twitter streams, including professional journalists, bloggers, political

in Digital contention in a divided society
Open Access (free)
Christopher T. Marsden

operators both favouring their own and affiliated content providers (‘friends and family’ as I termed it) using zero rating, especially of video content, and discriminating against rival content by charging extra for service that is barely different in any respect from standard best efforts Internet traffic (‘specialised-service your enemies’). The questions from the workshop suggested that there will be

in Network neutrality