Emb305 Multicamera Video Production -- Midterm Flashcards

Front 1

what are the six things multi camera production is?

Back 1

(1.) it's LIVE EDITING, (2.) it's ORCHESTRATING the execution of multiple technical positions and people/actors, (3.) it's FOLLOWING A SCRIPT, (4.) it's NOT FOLLOWING A SCRIPT, (5.) it's "QUASI-SCRIPTED", (6.) it requires EXTREME ATTENTION AND LISTENING and WORKING UNDER PRESSURE

Front 2

something that is unscripted but contains certain elements that are staged, as in sports pre-game shows

Back 2

"quasi-scripted"

Front 3

directors often give _____, meaning that camera has to have a shot ready when the director comes to them

Back 3

ready cues

Front 4

what are the 4 kinds/examples of multicamera production?

Back 4

(1.) newscasts, (2.) talk/variety shows, (3.) live events, (4.) scripted TV entertainment/narrative shows

Front 5

like Oprah or The Tonight Show; take place in a studio and involve multiple cameras so that one camera can be on the host, another can be on the guests, a third can be on the band, etc.

Back 5

talk/variety shows

Front 6

like sitcoms, these are basically like a theatre production in which cameras are put in different places to shoot things

Back 6

scripted TV entertainment/narrative shows

Front 7

What are the three (3) major types of multi camera productions?

Back 7

(1.) live studio productions, (2.) live-to-tape studio productions, (3.) remote productions

Front 8

similar to a live studio production, _____ means that whatever you are filming is NOT going out live, but you are making a master recording of it and you are not stopping or going back as it unfolds

Back 8

live-to-tape studio productions

Front 9

occurs when you have an event that happens somewhere out in public (like a stadium or an arena) and you have to bring all of the equipment needed (control room, everything in the studio, etc.) into the back of a semi truck, which acts like the control room

Back 9

remote production

Front 10

What are the six primary areas of production within multi camera production?

Back 10

(1.) studio, (2.) control room, (3.) green room, (4.) master control, (5.) newsroom, (6.) post-production editing suites

Front 11

the main performance area, the _____ is where all talent (actors, actresses, news anchors), camera people, and technical people usually are

Back 11

studio

Front 12

essentially a room with big monitors on the wall to see everything that happens, the _____ is where lots of key personnel are located; primary home of the director/conductor as well as the computer graphics (CG) person and video switcher

Back 12

control room

Front 13

basically a reception area, the _____ is where you put guests that are going to be on your show so that the producer can brief them on what is going to happen

Back 13

green room

Front 14

the _____ is where a TV station inputs all of its satellite feeds; in addition, any other feeds that come in (syndicated programming, etc.) will come in via satellite and be recorded here; during live productions, the director is in contact with someone from here

Back 14

master control

Front 15

in multicamera productions such as SportsCenter or Entertainment Tonight, the _____ is where reporters put together the content that is going to be shown within the production

Back 15

newsroom

Front 16

used when someone puts together a pre-produced piece which will run within a multi camera program

Back 16

post-production editing suites

Front 17

What are the three types of trucks which can be used for remote productions?

Back 17

(1.) production truck, (2.) satellite truck, (3.) microwave truck

Front 18

one of the three types of remote production; basically a big semi that includes a control room with all necessary equipment inside of the truck

Back 18

production truck

Front 19

one of the three types of remote production; a smaller type of vehicle with a large dish on the back of it; used during live events so that the feed can be sent back to the network

Back 19

satellite truck

Front 20

one of the three types of remote production; a lower-quality signal truck; primarily used by a lot of local TV and radio stations during live shoots and includes a remote which raises an antenna that shoots a signal to a nearby antenna that continues to reflect off of others until the signal gets back to the station

Back 20

microwave truck

Front 21

What are the five top-line production positions within a multicamera production?

Back 21

(1.) executive producer (highest), (2.) producer, (3) associate producer, (4.) director, (5.) assistant director

Front 22

the highest position in the top-line production positions within a multicamera production

Back 22

executive producer

Front 23

basically the boss working for a specific network; the _____ has put up money and invested in a particular production or a person that works for a big production house or studio and has been given the power to make big decisions in terms of TV shows; note that sometimes these people hire professionals and trust them to do everything but other times choose to micromanage everything

Back 23

executive producer

Front 24

has a lot of duties depending on what the project is; basically, the creative person in charge of the content of a production; this person puts all of the content together for the show, does most of the writing and creates the "rundown" so that they know when certain elements should happen; also responsible for hiring creative people below them to execute what they are thinking

Back 24

producer

Front 25

the creative person in charge of the content of a production

Back 25

producer

Front 26

the person who puts all of the content together for the show, does most of the writing and creates the "rundown" for the show so that they know when certain elements should happen

Back 26

producer

Front 27

depending on how big a production is, there may be a need for this person to be hired; if there are a lot of scripts, for example, this person might help to manage those scripts

Back 27

associate/assistant producer

Front 28

the person who orchestrates the entire production like a conductor, the _____ essentially tells everyone in the crew what to do and when to do it; also has to troubleshoot technical problems as well as working around people not doing their job properly; they also need to be good at time management because they often need to be off the air at a particular time to the exact second

Back 28

director

Front 29

has a headset and essentially tells everyone in the crew what to do and when to do it

Back 29

director

Front 30

must be good at time management because they often need to be off the air at a particular time to the exact second

Back 30

director

Front 31

directors in multicamera productions also need to be good at _____ because they often need to be off the air at a particular time to the exact second

Back 31

time management

Front 32

often utilized in big productions; helps with various tasks, most notably time management

Back 32

assistant/associate director

Front 33

What are the ten control room positions within a multicamera production?

Back 33

(1.) director, (2.) technical director ("TD"), (3.) computer graphics ("CG"), (4.) audio, (5.) "A-2", (6.) teleprompter operator, (7.) video, (8.) tape operator, (9.) Elvis (EVS) operator, (10.) engineer-in-charge (EIC)

Front 34

What are the ten control room positions within a multicamera production?

Back 34

(1.) director, (2.) technical director ("TD"), (3.) computer graphics ("CG"), (4.) audio, (5.) "A-2", (6.) teleprompter operator, (7.) video, (8.) tape operator, (9.) Elvis (EVS) operator, (10.) engineer-in-charge (EIC)

Front 35

control room position; the person who sits in front of the video switcher, which is a big board with buttons corresponding to the different video sources on it; their duty is to push these buttons when the director tells them to and to set up and make transitions from one source to another

Back 35

technical director ("TD")

Front 36

the person responsible for operating the video switcher

Back 36

technical director ("TD")

Front 37

a big board with buttons corresponding to the different video sources on it

Back 37

video switcher

Front 38

their duty is to push the buttons on the video switcher when the director tells them to and to set up and make transitions from one source to another

Back 38

technical director ("TD")

Front 39

control room position; this person is responsible for creating all of the graphics that appear on-screen, such as lower-thirds

Back 39

computer graphics ("CG")

Front 40

also called the lyrics operator, font coordinator, and Chiron operator

Back 40

computer graphics ("CG")

Front 41

responsible for creating all of the computer-generated graphics that appear on-screen

Back 41

computer graphics ("CG")

Front 42

true or false? the process of doing CG for all of the different types such as Chiron, Infineat, Maxine, etc. is completely different

Back 42

true

Front 43

control room position; runs the audio board and controls each channel of audio (including volume faders) as well as all sources of audio for the production

Back 43

audio

Front 44

the audio person in the control room is responsible for operating the _____

Back 44

audio board

Front 45

control room position; the person who actually goes out and sets up the microphones that will be adjusted by the audio

Back 45

"A-2"s

Front 46

control room position; controls and puts text into the teleprompter, a piece of equipment right in front of the lens of a camera used by anchors; the tricky part is that the teleprompter goes at a certain speed and the operator must maintain a proper flow with the speed of the person reading it, and it is sometimes difficult to find this proper rhythm and pacing

Back 46

teleprompter operator

Front 47

control room position; in a live production, the person who uses a piece of equipment called the camera control unit (CCU) to adjust the colors, temperatures, etc. of video sources within the production

Back 47

video

Front 48

the video person in the control room uses a piece of equipment called the _____ to adjust the colors, temperatures, etc. of video sources within the production

Back 48

camera control unit (CCU)

Front 49

true or false? the person responsible for video has a camera control unit (CCU) for each camera involved in the production

Back 49

true

Front 50

control room position; though the term is becoming dated now, the _____ is primarily used for sporting events in instant replays; there will be two or three people (one in a low-budget production) who record video in 3 or 4 decks; when a great play happens, the director will say "where are my looks," and this person will say which cameras have good replays, and it is this person's duty to ensure that the camera actually captured the play and to display that replay in slow motion

Back 50

tape operator

Front 51

this person is primarily used for sporting events in instant replays

Back 51

tape operator

Front 52

this person is primarily responsible for instant replays in sporting events and ensures that a given camera actually captured that replay before displaying that replay in slow motion

Back 52

tape operator

Front 53

control room position; an early adopter of video source playback, the _____ is primarily responsible for doing highlights to be played back before going to commercial break

Back 53

Elvis (EVS) operator

Front 54

primarily concerned with the highlights that get played before going to commercial break

Back 54

Elvis (EVS) operator

Front 55

control room position; basically the go-to-person when something goes wrong in a multicamera production

Back 55

engineer-in-charge (EIC)

Front 56

What are the four studio positions in a multicamera production?

Back 56

(1.) camera operator, (2.) stage manager/floor director, (3.) lighting director, (4.) production assistants

Front 57

What are the three (3) types of cameras that can be operated in a studio?

Back 57

(1.) "hard camera", (2.) a buildup camera, (3.) a handheld camera

Front 58

the main giant camera in a studio production

Back 58

hard camera

Front 59

has what looks like a shoulder mounted camera but with a large piece of lens

Back 59

buildup camera

Front 60

the go-to camera for certain places where you cannot get a hard camera, such as the stage of a concert; can be physically intensive as a result of running around for a long time and weather elements

Back 60

handheld camera

Front 61

studio position; the _____ is the person in the studio whose primary duty is is to give time cues to the talent; this person needs to overemphasize their movements to ensure the talent sees their cues beyond the key lights; this person also has a headset and talks with the director to see if anything needs to be adjusted

Back 61

stage manager/floor director

Front 62

primary duty is to give times cues to the talent in the studio through overemphasized movements

Back 62

stage manager/floor director

Front 63

studio position; also known as "grips," "runners," and "cable pullers," an entry-level position to get your foot in the door that involves doing whatever is asked of you while learning how to do all of the positions so that you can fill in for someone if they get sick or don't show up; typical duties include getting drinks for announcers, getting people from airports, getting statistics and giving them to the announcers, etc.

Back 63

production assistants

Front 64

special position; involves a large, unbalanced-looking teeter-totter in which the camera is high on one end and the operator is low on the other, allowing the camera to sweep low and get interesting shots

Back 64

jib operator

Front 65

a large, unbalanced-looking teeter-totter in which the camera is high on one end and the operator is low on the other

Back 65

jib

Front 66

special position; basically like a security surveillance camera that can be operated with a small joystick

Back 66

Fletcher cam

Front 67

special position; placed high above the stadium on pulleys which allow for wide panoramic shots

Back 67

skycam

Front 68

special position; basically a brace connected to the cameraman that ensures the shot is more stable; a shot taken with this looks like a dolly or truck

Back 68

steadycam

Front 69

special position; operates a microphone that is highly directional and surrounded by a small transparent satellite dish; the only time this is used a lot is in football when trying to get sound from the line of scrimmage; operators have to be careful because even a small tilt upward when the crowd roars will blow your eardrums out

Back 69

parabolic microphone operator ("the parab")

Front 70

a microphone that is highly directional and surrounded by a small transparent satellite dish

Back 70

parabolic microphone ("the parab")

Front 71

special position; the floor director on the field who is responsible for telling officials they can start or resume a game

Back 71

red hat

Front 72

someone who stands at the table with a headset on and is responsible for keeping the statistics that develop throughout the game; they are in touch with the CG person so that the CG can generate the percentages, etc. that will be placed on the big screen

Back 72

stats

Front 73

operated by the technical director/TD, this piece of equipment allows for the transitioning between video sources

Back 73

video switcher ("switcher")

Front 74

in a live setting, the cut is known as a _____

Back 74

take

Front 75

a _____ is what a cut is called in a live setting

Back 75

take

Front 76

a take is a what a _____ is called in a live setting

Back 76

cut

Front 77

very prevalent in multicamera production; you have them all over so that you can see all of the different sources of video; examples include video, TV, and in the studio where the talent can see what is actually going out live

Back 77

monitors

Front 78

there are several ways _____ work; one way involves having an XLR cable plugged into an ICON box; a headset is connected to this ICON box and the headset has a microphone to talk to everyone

Back 78

intercoms

Front 79

intercoms have both channel _____ and channel ______, which allows the audio person to set it up so that everyone can communicate on one channel or the other

Back 79

1 "A" / 2 "B"

Front 80

when the crew has a problem with the director (who may be getting people's cases, etc.), the person doing audio can set up a _____ through which everyone is communicating on the engineering side, thereby allowing the crew to talk without being heard by the director

Back 80

love channel

Front 81

allows you to hear the audio of the actual program that is being produced; this audio can be assigned to, say, your right ear; for example, in sports, you may have the director going in one ear and the program itself (play-by-plays, etc.) going into the other ear so that you can be aware of possible shots, etc. that you may need to get

Back 81

program audio

Front 82

essentially a monitor placed near the lens on the front of the camera which contains a scrolling script from the producer for the show being produced

Back 82

teleprompter

Front 83

"CG" stands for

Back 83

computer graphics

Front 84

what all sources go into and is primarily handled by the person doing audio

Back 84

audio board

Front 85

all lighting sources are plugged into this piece of equipment which allows you to change the intensities of all lights

Back 85

dimmer board

Front 86

all lighting sources are plugged into a similar _____, which allows you to change the intensities of all lights

Back 86

dimmer board

Front 87

the _____ is the large structure in the ceiling from which you can hang lights

Back 87

lighting grid

Front 88

the _____ is basically a way for the producer of a news program to communicate with a reporter in the field; a reporter will have an earpiece in their ear which allows the producer to talk to them to give them updated information; can also include program audio so that the reporter can hear when their news package is over and when to begin speaking; also, this is the only way for reporters to hear if anchors in the studio ask questions

Back 88

IFB/interruptible feedback/interruptible foldback

Front 89

basically a way for the producer of a news program to communicate with a reporter in the field

Back 89

IFB/interruptible feedback/interruptible foldback

Front 90

the only way for reporters in the field to be able to hear the anchors in the studio

Back 90

IFB/interruptible feedback/interruptible foldback

Front 91

the _____ is used by the person responsible for video and allows them to make technical adjustments to each individual camera (adjusting the white balance, etc.)

Back 91

camera control unit (CCU)

Front 92

the _____ allows you to send out the video source you are producing to multiple streams; can send copies of that video to all places it needs to go, thus allowing the video to be distributed in multiple places, amplifying the signal in the process if the video needs to go further away

Back 92

distribution amplifier/"DA"

Front 93

allows you to send the video source you are producing out to multiple streams

Back 93

distribution amplifier/"DA"

Front 94

What are the three color terms?

Back 94

(1.) hue/chroma, (2.) saturation, (3.) luminance

Front 95

also known as chroma

Back 95

hue

Front 96

basically, means A GIVEN COLOR (i.e. red, green, or blue) and answers the question "what is the color"

Back 96

hue

Front 97

has to do with a color's RICHNESS; different colors can have different levels of richness (i.e. a green can be either a normal green or a lighter green)

Back 97

saturation

Front 98

has to do with a color's BRIGHTNESS and is the color's levels of black and white; the more white you have in the video, the higher this level; the more black you have in the video, the darker the images and the lower this level

Back 98

luminance

Front 99

the more white you have in the video, the _____ the luminance level; the more black you have in the video, the _____ the luminance level

Back 99

higher; lower

Front 100

a _____ has three knobs on it -- one for hue, one for saturation, and one for luminance

Back 100

processing amplifier (ProcAmp)

Front 101

a _____ has three knobs on it -- one for hue, one for saturation, and one for luminance; in a multicamera production, all cameras must be displaying the same colors, so this tool is used to adjust hue, saturation, and luminance until they all look the same way

Back 101

processing amplifier (ProcAmp)

Front 102

basically the video equivalent of a V/U meter

Back 102

processing amplifier (ProcAmp)

Front 103

a _____ is a piece of diagnostic equipment that works with color information -- HUE AND SATURATION SPECIFICALLY; basically a big circle broken up like a pie, containing one box each for red, blue, magenta, green, yellow, and cyan; if a color is correct, a dot will fall within the box; if a color is too saturated the dot will be near the center; and if the color is too unsaturated/washed out, the dot will be over by the edge; essentially, when dealing with this, you want the dots for each color to fall within their respective boxes

Back 103

vectorscope

Front 104

a piece of diagnostic equipment that works with hue and saturation specifically

Back 104

vectorscope

Front 105

essentially, when dealing with a vectorscope, you want the dots for each color to fall within

Back 105

their respective boxes

Front 106

a piece of diagnostic equipment that works with color information -- LUMINANCE specifically; has a vertical scale that goes from 0 to 100, with waves going up and down; a high peak (like 100) will indicate that your image is too white and therefore overexposed, which is a problem since any white that goes over 100 percent is considered "broadcast illegal"; essentially, when dealing with this, you want the bottom tips of the wave touching 7.5, anything lower than which will result in dark images that are "crushed"

Back 106

waveform monitor

Front 107

a piece of diagnostic equipment that works with color information -- LUMINANCE SPECIFICALLY

Back 107

waveform monitor

Front 108

when dealing with a waveform monitor, you want the bottom tips of the wave touching _____; anything lower than this will result in dark images that are "crushed"

Back 108

7.5

Front 109

on a waveform monitor, a high peak (like 100) indicates that your video image is too _____ and therefore _____, which is a problem since it could be considered "broadcast illegal"

Back 109

white; overexposed

Front 110

placing video which have disparate frame rates into a _____ allows all footage to come out as up to speed so that it can then be sent to the switcher and used within the multicamera production

Back 110

frame-sync generator

Front 111

syncs up video to be the same frame rates so that small "flash frame hits of black" that normally result from video sources not being timed properly are not seen

Back 111

frame-sync generator

Front 112

What are the 2 things to be aware of in a professional production?

Back 112

(1.) make sure ALL VIDEO SOURCES MATCH IN COLOR, and (2.) make sure ALL VIDEO SOURCES ARE SYNCED (in framerate)

Front 113

though you can normally only see what YOU are shooting through the viewfinder, hitting the _____ button allows you to see what is actually being shown in a program; used a lot in sports, where there is often "one big play" which a camera would want to see this of so that they know what shot is currently being used so that they can get another shot from a different angle instead

Back 113

return

Front 114

allows you to see what is actually being shown in a program in your viewfinder (as opposed to just what you are shooting)

Back 114

return

Front 115

a lever on the lens usually represented by "2x," the _____ turns your lens into a telephoto lens by placing another piece of glass/lens in the camera which will allow you to zoom in even further on a subject

Back 115

extender

Front 116

turns your lens into a telephoto lens by placing another piece of glass/lens in the camera which allows you to zoom in even further on a subject

Back 116

extender

Front 117

in sports, it is smart to shoot with the _____ in because television is a "medium of close-ups" and the added zoom provided by this allows you to really get inside facemasks, etc.

Back 117

extender

Front 118

a lever on the lens usually represented by "2x"

Back 118

extender

Front 119

the three types of zoom lenses commonly found in studio productions

Back 119

55x, 75x, 110x

Front 120

the lens that is traditionally used is a _____, so even a 55x is a super-zoomed shot

Back 120

16x

Front 121

most zooms on modern cameras where you rock back and forth is an electrical signal called a _____, whereas most old school cameras used a crank that you had to turn in order to zoom in or out

Back 121

servo

Front 122

a _____ is a hydraulic tripod device on wheels used in studios which allow the camera to physically move up ("_____" up) or down ("_____" down)

Back 122

pedestal

Front 123

the first popular cable used for setting up a remote production, the _____ is basically one big (and heavy) cable made of copper that carries a lot of information; can carry audio information for headsets, video information, sync information, and power information; though an analog cable, the _____ cable has enough bandwidth that it is able to carry HD video through the cable

Back 123

triax cable

Front 124

basically one big (and heavy) cable made of copper that carries a lot of information

Back 124

triax cable

Front 125

though an analog cable, this cable has enough bandwidth that it is able to carry HD video through the cable

Back 125

triax cable

Front 126

a _____ is built like a triax cable but is made of glass, making it a lot lighter

Back 126

fiber cable

Front 127

a cable made of glass that communicates similar information to the triax cable

Back 127

fiber cable

Front 128

a _____ cable is the cable used to hook monitors up; it gets its name from the Bayonette Connector which connects it; an important note about this cable is that it has a collar on it, and when connecting or disconnecting it you have to twist and turn the collar or you will break the cable

Back 128

BNC cable

Front 129

the cable used to hook monitors up

Back 129

BNC cable

Front 130

an important note about this cable is that it has a collar on it and, when connecting or disconnecting it, you have to twist and turn the collar to disconnect it or you will break the cable

Back 130

BNC cable

Front 131

the primary cable for audio

Back 131

XLR cable

Front 132

an audio cable; has a small latch that you have to undo when disconnecting it, because merely yanking it will break the cable

Back 132

XLR cable

Front 133

a method used for wrapping cables properly; when working a remote production, you have to be doing this properly because the cables involved with it are so long

Back 133

"over-under" technique

Front 134

with a remote production you are often running thousands of feet of cable from a truck to the other side of a building; in doing so, you want to be certain that you don't accidentally run the wrong end of the cable from the truck to the shoot, a concept known as _____ which means that the male end of each cable needs to be going to the truck and the female end needs to be going out into the actual remote production

Back 134

"fuck the truck"

Front 135

in the "fuck the truck" concept, the _____ end of each cable needs to be going to the truck and the _____ end needs to be going out into the actual remote production

Back 135

male; female

Front 136

What are the three major types of microphones used in multicamera productions?

Back 136

(1.) lavaliere mics/"the lav", (2.) handheld (stick) mics, (3.) wireless mics

Front 137

true or false? wireless mics often involve no interference

Back 137

false

Front 138

What are the three major types of power levels used in multicamera productions?

Back 138

(1.) line-level audio, (2.) mic-level audio, (3.) mic-level +48v phantom power

Front 139

a type of audio that has been amplified, as in an audio board at a press conference through an XLR cable attached to a molt box that provides audio from their speakers

Back 139

line-level audio

Front 140

a type of audio that has been amplified

Back 140

line-level audio

Front 141

audio coming directly from the particular microphone you are using that has not been amplified in any way

Back 141

mic-level audio

Front 142

a third switch on the audio board that involves sending the electricity from the audio board to a specific microphone; if you have, say, a lav mic in the studio, you need to be careful of having both a battery and this power it, because you would have two competing power sources which would cause the quality of audio to decrease

Back 142

mic-level +48v phantom power

Front 143

when micing someone with a lav mic, you need to be sure to _____

Back 143

hide the wire under a shirt or collar

Front 144

true or false? in a studio production you will never see a person's full body so it doesn't matter how the lav is hidden

Back 144

false (you need to ensure the wire cannot be seen at all on a person's body because oftentimes there will be shots of the entire person)

Front 145

in which audio is picked up from only one particular direction; almost all microphones will be this way, and you have to ensure the microphone is pointed in the correct direction

Back 145

unidirectional

Front 146

in which audio is picked up from all different directions; often used in studio productions in hanging above the live audience to get sound from all sides

Back 146

omnidirectional

Front 147

you often use _____ microphones in studio productions in hanging them above the live audience so that you get sound from all sides

Back 147

omnidirectional

Front 148

deals with how a microphone expounds to frequencies; all sounds have a different frequency to them (low sounds with big waves, high-pitched sounds with small waves), but most microphones have a _____ designed to respond to the human voice, no matter how low or high-pitched it is; if you try to record something very high or low pitched (a band, etc.), the audio will sound bad because microphones are not built for that; basically, THE RANGE OF FREQUENCIES THAT A MICROPHONE IS SENSITIVE TO

Back 148

frequency response

Front 149

the range of frequencies that a microphone is sensitive to

Back 149

frequency response

Front 150

deals with the loudness of sounds and is the volume that the microphone can pick up; means you can whisper as quiet as you can or yell as loud as possible and the microphone will still be able to pick it up; essentially, VARIATIONS IN LOUDNESS THAT WE CAN HEAR

Back 150

dynamic range

Front 151

variations in loudness that we can hear

Back 151

dynamic range

Front 152

measures the strength of the audio, measured in decibels (dB)

Back 152

volume units (V/U)

Front 153

volume units (V/U) measures _____, measured in decibels (dB)

Back 153

the strength of the audio

Front 154

volume units (V/U) measure the strength of the audio, measured in _____

Back 154

decibels (dB)

Front 155

when recording field audio, you have to make that it is loud enough to be audible when you play it back without being too loud to avoid overmodulated or "_____" audio, which has sort of a rattling sound

Back 155

hot

Front 156

analog V/U meters should peak around _____; they can peak here but should not go past it

Back 156

0 dB

Front 157

digital V/U meters should peak around _____; peaking at 0, as in analog, would result in vastly over modulated audio

Back 157

-20 dB

Front 158

when recording audio, err to the side of having audio be on the low side since nothing can be done with _____ audio

Back 158

overmodulated

Front 159

the _____ states that audio should not go above 3/4ths of the meter, but should also not fall under 1/4th

Back 159

three-fourths rule

Front 160

the _____ is unique to studio production and is basically all of the audio that you have mixed together minus the audio from the people in the studio

Back 160

"mix minus"

Front 161

all of the audio you've mixed together minus the audio from the people in the studio

Back 161

"mix minus"

Front 162

What are the three points of three-point lighting?

Back 162

(1.) key light, (2.) back light, (3.) fill light

Front 163

primary function of illuminating the subject

Back 163

key lights

Front 164

primarily help to separate the object from the background so that the person does not look two-dimensional

Back 164

back light

Front 165

used to kill any unwanted shadows and controls falloff

Back 165

fill light

Front 166

"high key lighting"

Back 166

flat lighting

Front 167

utilizes all three functions of three-points lighting and attempts to achieve even illumination across the shot while avoiding shadows as much as possible

Back 167

flat lighting

Front 168

used primarily for news coverage, documentaries, and comedies/sitcoms or things taped in front of a studio audience

Back 168

flat lighting

Front 169

involves manipulating one of the three point lights (possibly even turning one of them off) for some sort of dramatic effect

Back 169

stylized lighting

Front 170

wanting hard shadows, introducing chiaroscuro lighting, or adding gels/colors or other effects to lighting are all examples of _____

Back 170

stylized lighting

Front 171

musical performances often utilize _____ lighting

Back 171

stylized

Front 172

a knob on the back of good lights; when turned in one direction, the light gets more narrow and brighter, while turning it in the other direction will cause light to become more diffused; because television lights are very bright, making light beams less intense using this is the best way to protect against overexposure (because you can only close your iris to a certain point)

Back 172

beam controller

Front 173

a diffusion material placed on the front of the light to lessen the light's effect/diffuse the light

Back 173

tuffspun

Front 174

looks like fabric softener and is connected to the light by the barn doors to lessen the light's effect/diffuse the light

Back 174

tuffspun

Front 175

small metal doors around the light that allow the user to adjust the direction of the lighting beam

Back 175

barn doors

Front 176

professionally, clothespins are known as _____ because that is the place on taxes where you can write them off

Back 176

C-47s

Front 177

a plastic material of different colors that manipulate the color of light for a dramatic effect or to create a certain mood; can also be used to even out color temperatures when you have competing light sources

Back 177

gels

Front 178

can be used to even out color temperatures when you have competing light sources

Back 178

gels

Front 179

true or false? you should handle lightbulbs with your hands

Back 179

false; lightbulbs are very sensitive and the oils on your finger may cause the bulb to pop when turned on because of a photochemical reaction; instead, you should take a piece of cloth and hold it in order to screw the lightbulb in

Front 180

What are the three varieties of studio lights?

Back 180

(1.) scoops, (2.) ellipsodials (with cookie), (3.) fresnels

Front 181

What are the three varieties of studio lights?

Back 181

(1.) scoops, (2.) ellipsodials (with cookie), (3.) fresnels

Front 182

big round studio lights, significantly bigger than any other lights you will see; should only be used as back lights and fill lights, but are often used as key lights anyway (and do a good job at it because they are fairly diffused lights)

Back 182

scoops

Front 183

little lights that shoot a very narrow beam, usually used to shoot a splash of light (sometimes of a color) across a background; often have an insert which can put in them called a _____, named because the inserts allow you to shoot specific designs across a background

Back 183

ellipsodials (with cookie)

Front 184

more of a rectangular shape, _____ are the studio lights that should be used for key lights because they have more of a directional beam

Back 184

fresnels

Front 185

a shot that involves two people

Back 185

2 shot

Front 186

a shot that gets three people in the frame

Back 186

3 shot

Front 187

a shot that involves shooting the person from top to bottom with a little headroom at the top of the frame and a little space at the bottom by the feet

Back 187

head-to-toe shot

Front 188

a shot of an unspecified number of people in a group; in getting these, you should be sure to eliminate any "dead space" in the shot (in other words, make sure you show all people but eliminate all of the empty space off to the sides)

Back 188

group shot

Front 189

the concept of if you put objects or subjects too close to the edge of the frame, it looks like these subjects are "stuck" to the edge of the frame; for this reason, you want to create a type of buffer zone on the edge of the frame so that you don't call attention to the shot

Back 189

magnetism of frame

Front 190

a _____ is essentially a slow zoom-in

Back 190

push

Front 191

a slow zoom-in

Back 191

push

Front 192

an extremely important concept in live TV productions; basically says that you can't have a tilt or pan that is not smooth and that camera moves should glide steadily as opposed to going at a certain speed and then speeding up or slowing down

Back 192

camera moves should be transparent

Front 193

camera moves should be _____

Back 193

transparent

Front 194

the camera should be balanced using the _____

Back 194

drags

Front 195

the _____ adjust tension; essentially, you change the amount of resistance/tension you have to put into camera moves, meaning you will have to apply a certain amount of pressure so that you can move the camera loosely

Back 195

drags

Front 196

the drags adjust the amount of _____/_____ you have to put into camera moves

Back 196

resistance/tension

Front 197

for sports, you would want to _____ your drag knobs because there are a lot of jerks and motion which requires putting muscles into moves (in a shot going from the third to the first baseman, you can't go past the first baseman or it will look amateur)

Back 197

tighten

Front 198

placing someone not in the center or at the edge of a frame (as it would look like their face is being pulled into the frame) but rather three-quarters within the frame, giving them room to "look"

Back 198

look space

Front 199

giving subjects in motion enough space to be able to move by not placing them in the center of the frame while also not allowing motion to get to the edge of the frame; while following motion, you want to consistently maintain this within the frame while rolling your focus to ensure that the subject stays in focus the entire time

Back 199

lead space

Front 200

a subject should have some breathing room in the form of a buffer zone at the top and edges of the screen

Back 200

headroom

Front 201

_____ are what should ALWAYS be focused on and should ALWAYS be placed in the upper third of the frame

Back 201

eyes

Front 202

eyes should always be placed in the _____ of the frame

Back 202

upper third

Front 203

television is a "medium of _____"

Back 203

close-ups

Front 204

television is a "medium of close-ups" means that when doing something professionally, you have to

Back 204

shoot close-ups that specifically tell the story along with wide shots that give the context for that story

Front 205

the idea that it is very important to shoot close-ups that specifically tell the story along with wide shots that give the context for that story

Back 205

television is a "medium of close-ups"

Front 206

if you are following someone in action and they get closer to you, then the depth of field changes and you have to _____ in accordance

Back 206

roll your focus

Front 207

rolling your focus _____ basically means that as things get closer to you, you roll your focus by moving the focus clockwise; rolling _____ is used as things get further away, and you have to move the focus knob counterclockwise

Back 207

in; out

Front 208

since most studio productions involve little movement, "rolling your focus" is primarily done in _____ productions

Back 208

sports

Front 209

related to how deep or shallow your focus is

Back 209

depth of field

Front 210

5 feet of depth one way and 5 feet the other way around a subject would be _____ depth of field

Back 210

shallow

Front 211

15 feet of depth around a subject would mean you have a _____ depth of field

Back 211

deep focus

Front 212

in live productions (especially sports), it is very helpful to have _____ depth of field

Back 212

deep focus

Front 213

in live productions (especially sports), it is very helpful to have _____ depth of field so that when a player runs from one place to the next you can continue shooting them and they will stay in focus

Back 213

deep focus

Front 214

depth of field is affected by recording speed, lighting conditions, etc., but one of the biggest things that affects depth of field and how you manipulate it is the _____ you use

Back 214

type of lens

Front 215

if the focus is only on one person (the person in front and behind them is out of focus), then you have

Back 215

shallow depth of field

Front 216

if the focus is on multiple people (as in all three people front, middle, and behind), you have

Back 216

deep focus depth of field

Front 217

any computer-generated information that takes up the entire screen

Back 217

fullscreens

Front 218

information (usually someone's title, ex. "president") that goes along the lower third part of the screen

Back 218

lower thirds

Front 219

when you create a fullscreen or lower-third, these elements -- along with all other CG -- have a different _____, which is basically a system of organization for the person doing CG

Back 219

page number

Front 220

a system of organization for the person doing CG

Back 220

page number

Front 221

the style of the particular lettering used in the CG

Back 221

fonts

Front 222

essentially the size of the font; note that there is a certain size of font that you cannot go below because if you go any smaller the viewer at home will not be able to see what is written

Back 222

points

Front 223

this concepts impacts the colors you choose for CG; you don't want to put pink on a purple background because they are similar and will look merged together; colors that merge the best and jump out from one another in television and are primarily used in making lower-thirds are white, black, yellow, and sometimes blue

Back 223

contrast colors

Front 224

when working on CG, you have a box called the _____ area which almost borders the magnetic area of the screen; you want to keep any graphics/CG you create inside of this box so that you do not risk the graphics running out of the screen onto someone else's monitor, which may have a different resolution

Back 224

title safe

Front 225

all CG will have _____, meaning that there are basically two separate pieces of information coming from the CG at any given time

Back 225

two channels

Front 226

a lot of times what happens with the _____ of CG is that textual information is placed on channel _____ while channel _____ holds a background animation, and the two are later combined in the switcher so that the textual information is displayed on top of this background information

Back 226

two channels; 1; 2

Front 227

a relatively new concept within the past 5-10 years, a _____ identifies a network or the program that is on

Back 227

bug

Front 228

a little icon that is always placed on one of the two bottom corners of the screen that identifies the show or network of the show

Back 228

bug

Front 229

usually placed at the very bottom of the screen, the _____ is some sort of update information such as news headlines, a stock market ticker, or updates of sports scores

Back 229

crawl

Front 230

true or false? a crawl is handled by the CG

Back 230

false

Front 231

true or false? crawls are usually a part of the control room

Back 231

false; usually all of the visual information that is created just gets squeezed down a little bit to make room for the crawl

Front 232

a _____ is a small, usually very annoying, image or animation at the bottom of the screen in which someone or something comes up promoting a new show or something similar

Back 232

snipe

Front 233

What are the two things that CGs must keep in mind?

Back 233

(1.) fonts (2.) points

Front 234

What are the four (4) main parts of a rundown/the four basic types of stories that can be worked with?

Back 234

(1.) VO/voice over video, (2.) VOSOT (VOB)/voice over sound on tape (voice over with bite), (3.) package, (4.) reader

Front 235

a _____ means that you will have an anchor talking about a story with a video related to that story being played over their voice; usually :15 to :30 seconds in length

Back 235

VO/voice-over video

Front 236

a _____ involves having a news anchor or talent talking with video on top of their voice, followed by an 8-10 second soundbite of someone

Back 236

VOSOT (VOB)/voice over sound on tape (voice over with bite)

Front 237

the _____ is like the electronic media equivalent to a quote in print

Back 237

soundbite

Front 238

a big piece of video, a _____ usually runs 1:15 - 1:25 in length (2:25 at most) -- pretty long in terms of commercial television time -- and is a self-contained package created by a reporter who goes out in the field and creates or covers a story

Back 238

package

Front 239

a _____ is basically a talking head in which an anchor reads a news piece and there is no video or VOSOT to go with it; you should always be trying to put some kind of video with a VO, so this should be avoided as much as possible

Back 239

reader

Front 240

a news producer puts all of the elements together into something called a _____, which is responsible for telling the director all of the stories they are going with in a show, how long each story is going to be, and whether each story is going to consist of a package, VO, or VOSOT

Back 240

rundown

Front 241

what it is called when creating a rundown for a show

Back 241

"stacking a show"

Front 242

the _____ consists of all the stories that will be covered before the first commercial break (6-8 minutes long); the _____ is everything in your second commercial break, and so on

Back 242

"a-block"; "b-block"

Front 243

_____ is the running time THROUGHOUT THE ENTIRE SHOW

Back 243

backtime

Front 244

the director has to constantly ensure that actual time is running concurrently with the _____

Back 244

backtime

Front 245

_____, or _____, is basically a reader segment with an added logo or similar graphic related to the story placed over the shoulder of the anchor

Back 245

OTS; "over the shoulder"

Front 246

the _____ is a two-column script which contains everything the director needs to know on the left side and everything the talent needs to know on the right

Back 246

handout

Front 247

the "handout" is a two-column script which contains everything the director needs to know on the _____ side and everything the talent needs to know on the _____

Back 247

left; right

Front 248

an _____ is the last few words that are said in a package; when the director hears this, they know they need to prepare to go back into the studio as soon as possible; a standard one of these means all reporters sign of in the same way; some packages do not have a standard one of these and end on a soundbite, so in these cases the last three words of that package should be placed on the script

Back 248

outcue

Front 249

stands for superimposition and is anything that is placed over an image

Back 249

"supers"

Front 250

the part of the rundown which lets the director know where video is coming from

Back 250

video source