Fundamentals of Radio and TV Production by CBPena

Fundamentals of Radio and TV Broadcasting Carlo Venson Pe単a, MDS

Fundamentals of RTV Production | CBPeña

2013 ©happyhoursproductions No part of this e-book may be used, reproduced or quoted without prior approval from the author. Written in East Coast, Singapore 2012 Design and layout by CBPeña

For my wife, Grace and my daughter, Carla

Fundamentals of RTV Production | CBPe単a

Fundamentals of Radio and Television Broadcasting Carlo Venson Pe単a, MDS

Contents Introduction

Chapter 1 Understanding Basic Broadcasting: Technology and Skills Definitions Exercise: Free Writing Understanding Broadcasts: Programming Structure Format Purpose Exercise: Programme Formats Exercise: DJ Camp 101 Guidelines in Radio Broadcast Performance Broadcast Ethics Exercise: Broadcast Ethics

9 9 9 10 10 10 11 12 13 14 14 15

Chapter 2 Language and Delivery Language Delivery Using the Pie Chart Exercise: Pie Charting

16 16 16 17 18

Chapter 3 Understanding Speech Performance Speech Exercises Identifying Optimal Voice Mic Principles and Practices

20 20 21 21

Chapter 4 Scripting for Radio: News and Features Writing Guidelines Most Used Radio Script Terms Exercise: Writing News Updates Jingles, Stingers and Spiels Sample Script Producing Radio Shows Exercise: Other Productions

24 25 25 26 26 27 28 29

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Chapter 5 Producing Podcasts Terms and Processes

32 32

Chapter 6 Producing Basic TV Broadcasts The Broadcast Process Simplified Advantages and Disadvantages of Television Exercise: TV Programme Formats

34 34 34 35

Chapter 7 Capturing Visuals for Video Productions Shots and Angles Rules of Composition Rule of Thirds Rule of Proportion Improving Video Productions

36 36 38 38 38 39

APPENDIX Rubrics for Radio and Television Productions Solo Performance Tandem Performance Jingle Production Cold Stinger Production Hot Stinger Production DJ Spiel Production Radio Drama Production Radio Music & Talk Production TV News Field Report Production

42 43 44 45 46 47 48 49 50

Fundamentals of Radio and Television Broadcasting Carlo Venson Pe単a, MDS

Fundamentals of RTV Production | CBPeña

Introduction G

rowing up in a media-aware family has always been the primary reson why I went to the communication field. My father would wake up at five in the morning, turn on the transistor radio, and listen to the early morning news. He would also buy the dailies during the weekends, asking his brood to read through the news and features. On our dinner table, we seldomly talked about school; instead, we talked about the prevailing news of the day, and what the latest politicians said about issues. Radio and television production has always been my favourite course to teach in the communication field. Having started early in commercial broadcast, as a student deejay during my local internship for Speech and Broadcast Performance class under Mrs Rivera, the radio industry had been my springboard to understand the vocation and profession of communication. This book intends to become an introduction to the processes that pervade radio and television production, and admits it merely touches the tip of the production iceberg. It should be used to give students a bird’s eye view of the production process, by first imbibing the values that should be the foundation of their journey through the media landscape. The book is divided into seven short chapters, each looking at a specific skill that students should learn before they go do more complex productions. These chapters include an introduction to the broadcast process, common terminologies and practices, principles of broadcast, audile and visual compositions, and an introduction to podcasting, among others. I am fully aware that the book needs to be beefed up with even more production aspects, inputs and snippets of information, but I leave that for your production mentor to fill. Put full confidence in your teacher; they know what they’re doing. At least we think we do. Enjoy the journey; learn from every step.

CBPeña, MDS

Chapter 1 UNDERSTANDING BASIC BROADCASTING: TECHNOLOGY & SKILLS The radio and television industry are two of the largest media enterprises that have delighted, informed and shocked humanity in the past two centuries. Since its inception in the 1800s, radio, and eventually television, has gone a long way in terms of technology and delivery, as well as broadcasting standards and programming. Like its predecessor, the printing industry, broadcasting has several key purposes: to inform; to entertain; to persuade; and to instruct. DEFINITIONS To broadcast means to deliver information to a mass audience, using a means that is either audile or visual, using a medium of delivery. As Marshall McLuhan, father of modern mass communication puts it, the medium is the message, thereby defining the strategy of delivery and the mode of understanding of the content. In the case of radio, it uses microwaves to send out messages, using air as its medium of delivery. The process is relatively simple to understand. Audio waves are received by a transducer (a device that changes sounds into electrical signals, such as a microphone), and then are combined with other sounds, like music, in a mixer and are then sent through the transmitter. The transmitter, in turn, changes the electrical signals into microwaves and blasts these into the air, using an antenna that is found atop a tower. These radio waves are then received by your radio receiver at home or in the car, with the waves decoded by your radio, and translated back into sounds, using a system of oscillators, tuners and amplifiers. On the other hand, television uses fairly the same concept, except that since television is both audile and visual, it blasts three signals into the airâ&#x20AC;&#x201C; a microwave for the audio, another for the video, and a synchronising wave to ensure that both audio and video signals are received at the same time. We will discuss the television broadcast process in the coming sessions. EXERCISE: FREE WRITING Answer the following questions in not less than three (3) sentences. Present your answers in class. What is your favourite radio show? Why is it your favourite? _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ 9

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What is your favourite TV show? Why is it your favourite? _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ UNDERSTANDING BROADCASTS: PROGRAMMING As both a business and a social enterprise, radio uses a variety of programming standards and formats to entice listeners and maintain a following. Although in this age of synergised media, where the former understanding of radio broadcast has been morphed into more than just the audile platform, i.e. the emergence of convergence media in mobile communications and the Internet, radio has stayed true to the formats and ideals it has forwarded, regardless of the variety of platforms it has married itself to. What do you think are the advantages of radio over television? WRITE THEM HERE!

1. _______________________________________________________ 2. _______________________________________________________ 3. _______________________________________________________ 4. _______________________________________________________ 5. _______________________________________________________

TYPES OF PROGRAMMES: According to Structure There are several general types of radio programmes according to structure: • VERTICAL. Vertical programmes are aired on a specific day, regardless of whether they start on time or not. These types of programmes may also include episodal programmes and special or thematic programmes that might be aired only once a week or during special seasons in the year. • HORIZONTAL. Horizontal programmes are aired on a specific time of the day, such as news programmes, usually on a daily basis. TYPES OF PROGRAMMES: According to Format According to format, there are also several types of programmes: • NEWS. News programmes generally provide up-to-date information about current events. They have diversified into programmes that have both straight news deliveries to those with commentaries either in between or towards the end of the programme. Some news programmes can be as short as five-minute updates to as lengthy as

an hour or more. • TALK. There are several types of talk programmes: panel, forum, and interview. Panel discussions on radio usually have experts discussing on a given topic, moderated by a host. On the other hand, forum discussions comprise of one or two guests, moderated by a host, and have questions thrown by a larger audience. Interview programmes usually invite experts, or those whose profile fall under the elements of newsworthiness, as guests and are interviewed by an anchor. • MUSIC. Although there is no pure music programme that has survived since the inception of music on radio, it has branched into several categories that you may want to pursue: pure music; music and talk; and music and variety. With the emergence of the disk jockey in the 1950s, and their rise to power in the 1960s (to the extent that they controlled the music that played, and received big amounts of money to “read” commercials), music and talk is still one of the most sought after radio formats. Music and variety is the combination of music, talk and games and gimmicks on radio. • VARIETY. Variety programmes present a hodgepodge of songs, games, music and features in the programme. • MAGAZINE. These programmes could either be human interest, travel or biographical, among others, depending on the topic that the station intends to use. • DRAMA. Over the years, radio dramas have been used to influence voters, improve delivery of services through the implied or indirect use of existing situations, and entertain the massive audience located in small towns and villages that have no electricity or access to television. In countries like Vietnam Cambodia and Philippines, radio dramas are used to raise awareness on agricultural practices, reproductive health, and family values, all the while entertaining audiences with well-constructed plots and characters. Dramas can either be tragedies, comedies or melodramas. They could also be episodal or continuous in nature. TYPES OF PROGRAMMES: According to Purpose As for purpose, there are five general types of programmes: • INFORMATIONAL. Informational programmes provide specific information on given topics. News programmes are generally informational. • MOTIVATIONAL. Anchored on features, motivational programmes are created to inspire and incite high human emotions. Most magazine shows are motivational 11

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by nature. • EDUCATIONAL. A newbie in the radio industry, educational programmes were introduced in the early ‘70s in the ASEAN region, through rural development programmes launched by several governments. Using the existing medium of their time, i.e. radio, these programmes are usually linked to local universities, using broadcast-based distance learning courses that address specific needs for identified stakeholders. • INSTRUCTIONAL. Cooking shows, both on radio and TV, are a perfect example of instructional programmes. Most instructional programmes ask listeners (or viewers) to create a finished product in the end. • COMBINATION. With the development of a variety of programme formats, most radio shows have a combination of purposes when they air. EXERCISE: PROGRAMME FORMATS Do you think you can identify radio programmes that use the following formats? Write the programme titles and their radio frequencies here, and be ready to present them in class. ACCORDING TO STRUCTURE

• HORIZONTAL ________________________________________________ • VERTICAL ___________________________________________________

ACCORDING TO FORMAT

• NEWS _______________________________________________________ • TALK _______________________________________________________ • MUSIC ______________________________________________________ • VARIETY ____________________________________________________ • MAGAZINE __________________________________________________ • DRAMA _____________________________________________________

ACCORDING TO PURPOSE

• INSTRUCTIONAL _____________________________________________ • MOTIVATIONAL _____________________________________________ • EDUCATIONAL ______________________________________________ • INSTRUCTIONAL _____________________________________________

EXERCISE: DJ CAMP 101 Answer the following questions. Please be as honest as you can. Avoid giving motherhood statements and be as specific and as personal as possible. Prepare to present your answers to the class. Why do you want to be a disk jockey? Are you sure? _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ What do you get out of becoming a DJ? What can you offer that others donâ&#x20AC;&#x2122;t have? _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ What drives you to become a DJ? Do you have what it takes to become one? _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________

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GUIDELINES IN RADIO BROADCAST PERFORMANCE There are several do’s and don’ts that you need to understand in broadcast. Here are several things that you need to remember: 1. Always check radio equipment prior to broadcast. Ensure that microphoness are working; that all jingles, spiels and ads are properly cued; and that all materials and equipment have been tuned for broadcast. Doing so, reduces glitches during broadcast. 2. Always follow the assigned programming schedule and/or radio log designated by the programme director. Most radio stations follow a pie chart to guide disk jockeys and announcers of programme formats and flows. News programmes usually have an assigned script. 3. Always follow ethical and style standards mandated by the station. All radio stations have written and unwritten codes of ethics in terms of broadcast. Discuss these with the programme director to ensure that all broadcasts meet the station’s requirements. 4. Use a script if necessary, but learn to know your lines by heart. It is understandable that for first timers, it can be daunting to sit in front of the microphone and start doing broadcast. A good script, which includes your spiels and log can be very helpful while you learn your lines by heart. BROADCAST ETHICS Most broadcast industries in the region are governed by either self-regulating bodies or by the government. Either way, they are sanctioned by strict industry principles and guidelines that ensure that delivery of information and entertainment are one, at par, and two, as professional as possible. The choice of language and the manner of delivery in radio broadcasts are as much a part of broadcast ethics, as handling news and people involved in the news. Both the broadcast and print industries share a code of ethics for journalists. Every country which has a journalists’ guild has one. Here is the Singapore National Union of Journalists Code of Professional Conduct: 1. Every member shall maintain good quality of workmanship and high standard of conduct. 2. No member shall do anything that will bring discredit on himself/herself, his/her union, his/her newspaper or other news media or his/her profession.

3. Every member shall defend the principles of freedom in the honest collection and dissemination of news and the right of fair comment and criticism. 4. Every member shall realise his/her personal responsibility for everything he/ she prepares for his/her newspaper or other news media.

5. Every member shall report and interpret the news with scrupulous honesty.

6. Every member shall use only honest methods to obtain news, pictures and documents. 7. No member shall accept any form of bribe whether for publication or suppression nor permit personal interest to influence his/her sense of justice. 8. Every member shall respect all necessary confidence regarding sources of information and private documents. 9. Every member shall keep in mind the dangers in the laws of libel, contempt of court and copyright. 10. Every member shall observe at all times the fraternity of their profession and shall never take unfair advantage of a fellow member. EXERCISE: BROADCAST ETHICS What do you think is the gravest mistake that a radio journalist could commit? Browse the internet and look for cases that involve journalists and the breech of their sworn code of conduct, in support of your stand. What impact does this have on the industry? _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ 15

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Chapter 2 LANGUAGE AND DELIVERY LANGUAGE Generally, it is unacceptable to use vulgar or derogatory terms on the radio. There is one principle that guides all radio broadcasters: “Once it’s out there, it stays there.” As in print, when a libelous mistake is published, and an erratum or public apology is given out, such wanton disregard to the language used during broadcast is a dagger plunged into the chest of a radio programme. Broadcasters need to exercise caution, and thus it is advised that as budding broadcasters, being guided by a script is not taboo, since most announcements-on-board are read anyway.

These are several things that you need to remember:

1. Avoid vulgar, profane and obscene terms.

2. Avoid double-meaning words, especially those of a political, sexual or religious nature, whose use is intended to demean or cast aspersions on particular individuals or groups. 3. Avoid using too dialectic or colloquial terms, unless the programme format calls for it. As much as possible, use the assigned language of the station. 4. Double-check names and pronunciation of people, places and events whose pronunciation may sound demeaning, obscene or vulgar. 5. Always use a script if you are having problems with stuttering, short-term memory gaps and nervousness during airing. DELIVERY Depending on the type of programme formats that your station has assigned to you, delivery is mandated by several factors: your voice; the type of content; and the station’s genre. The following exercises in the next few pages on vocal performance, will enhance your voice, but more than voice, delivery of information is heightened by the type of content you are able to give your audiences. For DJs, it is not enough that you know the title of a song and its artist. Knowing the history behind the song, the record label that carries the song,

and the current news about the artist highlights how important and how challenging a DJs work is. Most people assume that all DJs do is introduce the song, but little do most people know that they also need to â&#x20AC;&#x153;knowâ&#x20AC;? the song, sometimes, including the number of seconds it takes to introduce a song and to exit it. TRY THIS: What is your favourite song? What do you know about it? Write it here. _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ USING PIE CHARTS Most radio stations use pie charts or logs to ensure that flow is maintained in the programmes that they broadcast. For many radio stations playing contemporary music, here is a sample CHR pie chart for your reference.

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A clock hour is usually started with a Top-Of-The-Hour: the station ID and programme ID. Breaks could either be talk (spiels) or ads, depending on the log that is prepared by the traffic manager. Some radio stations use chronological musical programming, starting with the oldest songs to the newest or vice versa, while others like the Top 40 format, play the top songs using a particular chart, such as the US or UK Top 100 Billboard Charts. For many stations though, it is the genre of the station that mandates the type of songs they play, whether contemporary or periodic. TRY THIS: What is your favourite radio station? What type of format does it use? _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ EXERCISE 5. USING THE PIE CHART Using the following CHR format, try to arrange the following songs, using 1 to 5, with 1 being the fastest and 5 as slowest. SET A

_____ Complicated (A Lavigne) _____ Through the Years _____ Addicted To You _____ Stan _____ A Thousand Miles

SET D

_____ You and I _____ Alejandro _____ Bad Romance _____ On the Edge of Glory _____ Telephone

SET B

_____ Super Bass _____ Single Ladies _____ Lighters _____ Spaceship _____ Louder

SET E

_____ Goodbye Baby Goodbye _____ Fire _____ Bring the Boys Out _____ Bonamana _____ Mr Simple

SET C

_____ Thank You _____ These Hands _____ Fame _____ Wet _____ Buttons

SET F

_____ What You Waiting For _____ On the Floor _____ Iâ&#x20AC;&#x2122;m Sexy and I Know It _____ Rumour Has It _____ One Thing

SET G _____ I Want It That Way _____ Evergreen _____ Walking in the Rain _____ Sorry Seems to be the Hardest Word _____ Nobody Wants To Be Lonely SET H

_____ Genie in A Bottle _____ Ooops I did It Again _____ Till the World Ends _____ Fighter _____ Beautiful

SET I

_____ Hands Down _____ Six Feet On The Edge _____ The Graduate _____ Tomorrow (Silverchair) _____ Accidentally in Love

SET J

_____ You Raise Me Up _____ My Heart Will Go On _____ Silly Love Songs _____ Dreaming of You _____ Hero (E Iglesias)

SET K _____ Nothings Gonna Change My Love For You _____ Rock DJ _____ Your Song _____ Iâ&#x20AC;&#x2122;ll Be _____ Bleeding Love

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Chapter 3 UNDERSTANDING SPEECH PERFORMANCE Radio performance is anchored on the principles of speech. Speech, as a process, involves four sub-processes: breathing, phonation, articulation and amplification. For the purposes of radio broadcast, we will focus on breathing and phonation, the tenets of vocal play. The instructor will now guide you in diaphragmatic breathing. Take the following steps: 1. Stand straight, aligning your spinal column. Inhale and hold your breath for five seconds. Exhale and push your tummy as you do, making sure that it is tight. Do this several times.

2. Now, do the same step, but this time, as you exhale, say “Hah!”

3. Bend over, and do the first two steps several times.

This breathing exercise will help provide you with more air in your lungs, and help you perform even though your voice is course. The exercise teaches you to speak using your diaphragmatic voice and not force your vocal chords during broadcast. Sadly, although the lungs have impressive capacities to process air, people use less than 30 percent of their lungs when breathing, attributing to low oxygen content in the blood for most of us. To improve breathing, and lengthen speech capacity, one is advised to do breathing exercises, such as the following: 1. Stretch your arms over your head. Yawn. As the breath rushes in, notice that the torso expands, especially around the center. If the muscles don’t respond, relax for a bit. 2. Stand erect, chest up and forward. Raise your arms at the side, shoulder level, the palms of the hands facing downward. Easily inhale. As you exhale, drop your arms to the side. 3. Inhale. Sustain breath for three seconds. Every second day, increase the number of seconds by one, until you can reach 20 or 30 with one breath.

4. Select your favorite jingle or sing. Practice whispering or humming it.

TRY THIS: Read/Recite the following in just one breath:

1. Repeat the English alphabet four times or more. 2. Count from 1 to 10, five times.

How did you fair? Was it difficult for you? Why so? _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Now, read each of the following passages once:

There was once an old woman who lived in a shoe. She had so many children; she didn’t know what to do. She gave them some milk, and fed them some bread, then tucked them all in, to sleep in their beds.

Works of moral and religious instruction written for children gained increased importance under the influence of Puritanism in the 17th and 18th centuries. The New England Primer (1690), printed in Boston, Massachusetts, by English-borne publisher and journalist Benjamin Harris, is a typical example.

IDENTIFYING OPTIMAL VOICE To identify your optimal voice, inhale and hold your breath for three seconds, and then release the air, saying “Ah” at the same time. Cover one of your ears, and repeat the process. Listen intently to the tone of your voice. This is your optimum Do, the pitch which you should use when talking over the radio. Anything lower than this tone means you are glum, while anything higher means that you are overly excited or panicky. MIC PRINCIPLES AND PRACTICES There are several things that you need to remember when you handle the mic for broadcast: 1. Test all mics before broadcast. Make sure mics are turned on, but are turned off in the mixer. Turning on mics during broadcast create thudding sounds on air, which 21

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are not nice to listen to. 2. Never blow on the mic or tap it when testing. These will damage the diaphragm of the microphone. Test the mic by saying “Mic Test… 1… 2… 3.” This will determine the highest gain of the mic, a major concern for the technical operator. 3. Hold or mount the microphone six inches away from the mouth. Speak directly on the mic. Most mics have filters. These reduce the noise and hiss in the sound. Speaking too close to the microphone shall produce muffled sounds. 4. Don’t move yourself or the mic too much. This will create too obvious variations in the volume. It will make your show sound very disorganised. 5. Ensure the optimum volume of your mics so that they do not produce excessive sounds, feedbacks and hissing during broadcast. TRY THIS: Read aloud the following words and phrases. Take note of your phonation and pronunciation. SET A Dirty

Fixer-up

Terrible

Lindenburgh

Commence

Specificity

Fractious

Volkswagen

Artificial

Trickery

Duration

Mercedes Benz

Benz Make-believe

Mugged

Time allotment

Mariah Carey

Bustah Rhymes

Duel

Frowned at

Vices

Functions

Fast cars

Deluge

Massive volumes

A mix-up

SET B Travel time

Fusion

Traffic posts

Simplicity pays

Nausea

Customer care

Nursing aide

The cops

A braggart

Fox trot

Heater

Down the block

Good evening

Demolition derby

The edge of town

Much obliged

Grand prix

Try this

Go around

There you go.

TRY THIS: Write a spiel for yourself. Think of an air name, and try to construct an introductory spiel for you. Write your spiel here. AIR NAME: ________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Think of a name for your radio station then write a catchy tagline for it. _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________

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Chapter 4 SCRIPTING FOR RADIO: NEWS AND FEATURES Radio scripts are very different from television scripts, needless to say. For one, formats are different, as well as delivery. Look at the sample script below for a oneminute news update: Take note that one-minute news updates should not be more than three paragraphs. The anchor still needs to read an introduction and an extroduction, which adds up to the minute’s TRT or total running time. Here’s a sample. BODY: Uses

SLUG

easily understood terms; attributions-

KIDNAPPING AT SENGKANG

sensitive

The Evening Recap 10 April 2012 | 8pm update

Police operatives are still baffled by reports that four teen-

agers have been abducted by unknown kidnappers along Sengkang, with parents frantically calling police outposts and demanding speedy action. Police have yet to find any evidence.

According to the local parents watch group WE KNOW, most

of their members are seriously thinking of creating neighbourhood watchers to do roundabouts along the alleys and main streets.

WE KNOW representative Mary Ng says that reports such as

these have been scaring most of the parents, to the point that they have cancelled C-C-A’s for the rest of the month, and with more rescheduling working hours to accompany their teens when they leave the house.

PAPER: Half-page, double spaced, uses TNR or Arial at point 12

Sample of One-Minute News Update

WRITING GUIDELINES: NEWS & FEATURES Here are a couple of writing guidelines for scriptwriting: 1. Always write for the ear, not for the eyes. Have enough descriptors, but more so, have more solid information to support the script. Putting in too many modifiers would confuse your listeners. Do not assume that they “see” the news, because they don’t. 2. Use the inverted pyramid structure for writing radio scripts. Start off with a general statement, followed by supporting details. You don’t need to make a fancy introduction, since you only have a minute. But you do need to engage your listeners. Finding the right angle to the story does this. 3. Be mindful of attributions. Since people remember what they hear first, you would want to put attributions on statements at the beginning of the paragraph so that quoted lines are properly tagged. 4. There is no need for a headline, but there is always a need for a slug. Headlines are only read during the presentation of the headlines at the beginning of the programme, if it is for news, for example. 5. Write with the audience in mind. Use simpler language to engage a wider range of audiences for the broadcast. COMMON RADIO SCRIPT TERMS For lengthier scripts, writers use a variety of terms to indicate flow and movement. Here are a few of them: QI/QO – Cue in; Cue out. These indicate the beginning and ending of a sound bite insertion, say from a field report ANNCR/NARR – Announcer; Narrator. The radio jock or commentator on board. AOB – Announcer/Announcement-on-board. Real-time announcements made during the broadcast, say a sponsor or a read advertisement. MSC BG – Musical background TRT – Total running time. The length of the programme or sound bite. NATSOT – Natural sound on tape. This refers to any background noise that may be heard during the broadcast SFX – Sound effects. These can be used to enhance the audile experience, specially for dramas. 25

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EXERCISE 7. NEWS UPDATES Using an upcoming school event, fill out the following information and write two one-minute news updates: one straight news and one feature. The instructor shall provide you with a standard intro and extro for your news performance. Make sure that your news updates are typed on correct measures of paper. Submit a duplicate copy of the news updates for comments, on the day of the performance.

WHO _______________________________________________________ WHAT ______________________________________________________ WHEN ______________________________________________________ WHERE _____________________________________________________ WHY _______________________________________________________ HOW _______________________________________________________

DEFINING JINGLES, STINGERS AND SPIELS There is a variety of material that one can use to spice up a broadcast. For starters, aside from the music, you can use jingles, stingers and other spiels to provide more colour to your performance. JINGLES. They are musical sound bites that introduce programmes or stations. They can also be themed music or lyrical compositions for in-house and paid advertisements, and similar marketing tools. STINGERS. These are short sound bites that either stress a point or re-introduces an announcer, a programme or a station. Stingers can either be cold (without musical background) or hot (with musical background). SPIELS. These are taglines and scripted lines that are memorised by heart, or AOBs that need to be read at specific spots (time slots) in the day. They may include station IDs, DJ introductions, and read ads. Generally, there are no differences in writing scripts for jingles, stingers and spiels. The variation greatly depends on the prevailing industry standards that the radio station uses for the production. The following page shows a sample of a jingle, a cold and hot stinger, and a spiel. Take note that these samples are just a few of the types of script formats that are used in the industry. Each media outfit may have a different set of guidelines for writing format. It is for this matter that one needs to be adaptable. The industry is very competitive and will not wait for anyone who adapts at a slower pace than everyone else.

SAMPLE JINGLE

TITLE : STATION ID, GALAXY FM TRT : 30 SEC PROGRAMME : N/A ___________________________________________________________ 1

MSC BG UP AND UNDER FOR 3 SECS

2 3

VO:

We take flight, in the wings of change

and understand your needs.

We pay homage to the land

that makes our heart jump with glee!

7 8

MSC BG UP AND UNDER FOR 3 SECS

9 10

VO:

This is your station, your pride!

Your voice of destiny – 102.8

Galaxy F-M!

13 14

MSC BG UP AND OUT -o0o-

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QUICK QUERY! What do you think are the numbers for at the side of the script? _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Are there any other means of ending the script aside from using “-o0o-“? _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ PRODUCING RADIO SHOWS: DRAMA Radio dramas have long been used for both entertainment and educational purposes, specially in places where there is a dearth of electricity and access to other forms of media. In general, there are several key elements to effective radio dramas. Can you tell the importance of each element? SETTING ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ CHARACTERS ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ ANNOUNCER ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ PLOTS ______________________________________________________________ ______________________________________________________________ ______________________________________________________________

VALUES ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ MUSIC AND SOUND EFFECTS ______________________________________________________________ ______________________________________________________________ ______________________________________________________________ Are there other elements that you think contribute to the success of a radio drama? Write your thoughts here. _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ EXERCISE: OTHER PRODUCTIONS You already know the types of radio talk programmes. Now try this short exercise to see whether you can organise a plausible talk show: SET A. You are assigned to handle a radio panel on a new scientific discovery. The event will be aired live on your radio programme. Complete the list below. TOPIC: _____________________________________________________________ LIST OF PANELISTS/DESIGNATION: _____________________________________________________________ ______________________________________________________________ ______________________________________________________________ LIST OF POSSIBLE INITIAL QUESTIONS: 1. ______________________________________________________________ 2. ______________________________________________________________ 3. ______________________________________________________________ 4. ______________________________________________________________ 5. ______________________________________________________________

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SET B. You are assigned to handle a forum on a new policy for HDB dwellers at Bukit Panjang. The local mayor will be invited to grace the forum, which will be aired live in your radio station. How would you start the show? How would you introduce the mayor and the policies? _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ SET C. Your station sends you to do a live interview with the Prime Minister. What questions will you ask him, based on the following areas of interest? HEALTH AND SANITATION _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ HOUSING _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ PEACE AND SECURITY ______________________________________________________________ _____________________________________________________________________ _____________________________________________________________________

_____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ INFRASTRUCTURE _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ SOCIAL SERVICES FOR THE ELDERLY _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ EDUCATION _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ PS: Please be mindful of your questions. Take into consideration the existing libel laws and the prevailing code of conduct for journalists in your country. 31

Fundamentals of RTV Production | CBPeña

Chapter 5 PRODUCING PODCASTS A podcast is digital media that consists of episodic files of either audio or video, that are downloaded or streamed online. The term is derived from the portmanteau of “broadcast” and the “iPod,” since most podcasts are often listened to using portable mobile media devices, although all podcasts can be downloaded and “consumed” using desktops as well. Podcasts are usually maintained centrally in the distributor’s servers, which are either paid for using a third party, or is maintained by the distributor itself. They are convergent media that bring together the medium, the user and the content, disrupting the “gatekeeper” concept of the media institutions, since consumers of media content can now produce the content themselves and broadcast it in episodes over the Internet. Over the past few years, podcasts have evolved into vodcasts, that are anchoured on the concept of the video log; and into enhanced podcasts that displays simultaneously with the audio. Other forms have also emerged, such as podcast novels, which are serialised versions of audio books that are presented over a period of time, and afterwards is offered as a complete series. These podcasts novels are also sometimes used as promotional materials by budding authors and by distributors who transform classic novels into podcasts. Servers are a major concern to many who intend to create podcasts for themselves. Here is a list of free hosting services that you could check out to host your podcasts, aside from the hosting server from your school, if facilities are provided for: www.podomatic.com www.poderato.com www.soundcloud.com www.caster.fm www.listen2myradio.com HOW TO MAKE A PODCAST There are quite a number of easy steps to creating a podcast. Depending on your intentions to broadcast, you can use blog sites to publish your podcasts. Before you produce your podcast though, consider the following first: 1. Have something to talk about. It would be best if you have a theme or topic that your podcasts will focus on. This provides more coherence in your podcasts. 2. Have consistency. This refers to schedules, styles and formats that your podcasts would carry. Doing so will ensure that you highlight the uniqueness of your podcasts, and the possible marketability of your broadcasts.

Now you’re ready to produce a podcast. Make sure you have the necessary hardware and software. Have a microphone, a computer with internet access and any sound recording software installed in your desktop or laptop. 1. Using the software, record your show. Label it and save your information. Using the MP3 format is the usual format used for podcasts. Edit out background noise or long periods of silence. Spice up your episode by adding some music or sound effects. You can add these while you edit the audio. 2. Create an RSS podcast feed. The feed must meet industry standards for a valid 2.0 feed with enclosures. Use a free service. Create a blog for the podcast, but don’t post anything on it yet. 3. Put your RSS podcast feed on the Internet. You can go to FEEDBURNER and type the URL of your blog, and click “I am a podcaster!” Then configure your podcast on the next screen. Only add elements that are directly related to your podcast. Your feedburner feed is your podcast. 4. Upload your MP3 files and publish it. Enter the URL of your media file and tag it with a description. Put a direct link to your file. 5. Find listeners and subscribers. Put subscription buttons on your site so people can drop by and anticipate your next episodes. It is a wise move to list yourself in directories as well. EXERCISE; PODCASTING Write a script for your own podcast. Choose a news topic and record a fiveminute podcast about the topic. Save your MP3 file, and tag it using the following format: NAME_SCHOOL_PODCAST1.mp3 _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ ___________________________________ _________________________________ 33

Fundamentals of RTV Production | CBPeña

Chapter 6 PRODUCING TELEVISION BROADCASTS Television comes from the combination of two words: “tele” meaning from far away; and “vision” meaning “to see.” Television is literally seeing from afar, since it reduces the proximity of news and information into minute extents, bringing the viewer closer to the event, person or thing it covers. The very first television sets were the size of a refrigerator, but had only six-inch screens. It was the invention of the transistor and other forms of nanotechnology that has given birth to the television screens that you and your parents know: cathode ray tube (CRT) TV sets, LCD-screened sets, and light-emitting diode (LED) sets. Television uses the concept of apparent motion, also known as the “phi phenomenon,” whereby a sequence of pictures are flashed on the screen so fast that the naked eye finds it difficult to distinguish one frame from the other. A regular CRT TV flashes 29 frames, or photos, per second. That’s 1740 frames a minute, and 104,400 frames in an hour. THE BROADCAST PROCESS From the studio or field, the broadcast process starts with a transducer, i.e. a microphone, and a video recording device, i.e. a video camera. The transducer captures all the sound and translates them into electrical signals; on the other hand, the camera captures the footage and translates them into data. Using today’s technology, processors for most high-definition (HD) and charge-coupled devices (CCD) have capacity to store both sound and video into one file. These are then mixed together during post-processing, or during a live feed, and are sent as electrical signals through the transmitter and then reproduced as microwaves and synchronizing waves through the air or thrown towards satellites that bounce back the signals. The television set then receives the data via antenna, cable, fibre optics, or digital encryption, depending on the type of service the consumer has. Inside the television set, the tiny dots of light produced on the TV screen, called pixels, flash according to a specific pattern provided by the video signal. Depending on the type of television set you have, the definition of the patterns can either be by lines, as in the case of the CRT TVs or based on the thinner grids of pixels, as in the case of LED and LCD TVs. TRY THIS! Advantages and Disadvantages of Television Can you name at least five (5) advantages and five (5) disadvantages of Television as a Medium? _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________

EXERCISE: PROGRAMME FORMATS Do you think you can identify television programmes that use the following formats? Write the programme titles and be ready to present them in class. ACCORDING TO STRUCTURE

• HORIZONTAL ________________________________________________ • VERTICAL ___________________________________________________

ACCORDING TO FORMAT

ACCORDING TO PURPOSE

Do these programmes have longevity? Are they still in the market now or have they folded up? What do you think contributes to the sustainability of a television programme? _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________

Although there are a variety of means to capture visuals for video production, there are steadfast basic guidelines in composing materials for broadcast. For one, you have to familiarise yourself with the types of shots that you can compose on screen, as well as the basic rules for composition. SHOTS AND ANGLES Here are the basic types of shots you can compose with your camera. Can you see the differences in the angles? Can you tell which type of shot and angle is suited for which type of scene?

photo retrieved from www.jasonohler.com

Fundamentals of RTV Production | CBPe単a

Chapter 7 CAPTURING VISUALS FOR VIDEO PRODUCTIONS

photo retrieved from www.jasonohler.com

Fundamentals of RTV Production | CBPe単a

RULES OF COMPOSITION RULE OF THIRDS. In the rule of thirds, the screen is divided using three horizontal and three vertical lines. There are two kinds of combinations: (a) 1/3 Earth and 2/3 Sky; and (b) 2/3 Earth and 1/3 Sky. Subjects are placed to occupy at least 1/3 or 2/3 of the frame and thus are never set at the middle.

RULE OF PROPORTION. In this rule, the frame is divided into four equal quadrants, with each side having the exact element as the other, thus creating apparent proportion in the frame.

IMPROVING VIDEO PRODUCTIONS Remember the following tips on your next video production: 1. Use a tripod. Have solid support for your camera to avoid jittery videos. 2. Use medium close-ups and close-ups for basic material. These will be easier to edit afterwards. Wide shots are used only for establishing locations. video.

3. Don’t be scared to ditch shots that do not contribute to the overall feel of the

4. Cut away from the shot after the initial message has been conveyed, especially if the shot is static or has little movement from its elements, i.e. the people or event. 5. Don’t pan or zoom too often. These are lazy shots. Jump-cut your shots to get better angles. 6. Make sure your talent doesn’t wear white or is against a white or very light background. This will affect your camera’s white balance. 7. Observe a pre-roll. A three to five second pre-roll will ensure that you don’t cut away parts you don’t want to cut.

8. Use auxiliary mics for interviews and use B-rolls to explain shots further.

9. Have leaders to your material, and properly tag every cut or shot.

10. Have a shot list or a log to record your progress. This will make it all easier during post-processing. EXERCISE: TV PRODUCTIONS The class shall be divided into groups. Using the principles and practices learnt in class, write scripts and produce a three-minute MTV introduction. Ensure that all basic elements are included in your production: scoring, props, lighting and an assigned VJ. Use the existing broadcast equipment of the school, and innovate! Use the following page to write down what you need for the production and how you would assign job functions to your groupmates:

Fundamentals of RTV Production | CBPe単a

NOTES _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________

Appendices RUBRICS FOR RADIO AND TELEVISION PRODUCTIONS

Fundamentals of RTV Production | CBPe単a

SOLO PERFORMANCE CRITERIA

Broadcast Performance 1. The DJ used the appropriate voice for the chosen genre. 2. The DJ used enough vocal play in engaging the audience. 3. The DJ was knowledgeable of the content he/she was delivering. 4. The DJ was convincing in terms of content, timing and performance. Handling & Delivery 1. The DJ was confident in handling the programme, regardless of unforeseen glitches in programming. 2. The programme was fluid and had minimal or no glitches. 3. The DJ made the audience feel entertained and comfortable with the performance. Commercial Appeal 1. The programme was very similar to existing commercial broadcasts. 2. The DJ followed standard principles and practices for radio broadcast. Audience Impact 1. The programme was entertaining. Total:

Total

TANDEM PERFORMANCE CRITERIA

Broadcast Performance 1. The DJs used the appropriate voice for the chosen genre. 2. The DJs used enough vocal play in engaging the audience. 3. The DJs were knowledgeable of the content they were delivering. 4. The DJs did not overwhelm or outperform each other. Handling & Delivery 1. The DJs were confident in handling the programme, regardless of unforeseen glitches in programming. 2. The programme was fluid and had minimal or no glitches. 3. The DJs made audience feel entertained and comfortable with the performance. Commercial Appeal 1. The programme was very similar to existing commercial broadcasts. 2. The DJ followed standard principles and practices for radio broadcast. Audience Impact 1. The programme was entertaining. Total:

Total

Fundamentals of RTV Production | CBPe単a

RADIO PRODUCTION: JINGLE CRITERIA

Content 1. The production has the necessary elements of radio production. Delivery 1. The announcer was confident in delivering the production. 2. The production was fluid and had minimal or no glitches. 3. The announcer made the audience feel entertained and comfortable with the performance. Commercial Appeal 1. The production was very similar to existing commercial productions. 2. The production followed standard principles and practices for radio broadcast. Audience Impact 1. The production was entertaining. Total:

Total

RADIO PRODUCTION: COLD STINGER CRITERIA

Total

Fundamentals of RTV Production | CBPe単a

RADIO PRODUCTION: HOT STINGER CRITERIA

Total

RADIO PRODUCTION: DJ SPIEL CRITERIA

Total

Fundamentals of RTV Production | CBPe単a

RADIO DRAMA PRODUCTION CRITERIA

Performance & Content 1. The performers used the appropriate voice for the chosen genre. 2. The performers used enough vocal play in engaging the audience. 3. The performers did not overwhelm or outperform each other during the broadcast. 4. The production has the basic elements. Handling & Delivery 1. The performers were confident in handling the programme, regardless of unforeseen glitches in programming. 2. The programme was fluid and had minimal or no glitches. 3. The production had appropriate scoring and sound effects. Commercial Appeal 1. The programme was very similar to existing commercial broadcasts. 2. The production followed standard principles and practices for radio broadcast. Total:

Total

MUSIC & TALK PRODUCTION CRITERIA

Total

Fundamentals of RTV Production | CBPe単a

TV FIELD NEWS REPORT CRITERIA

Performance & Content 1. The group used the appropriate voice and composition for the chosen genre. 2. The group used enough visual and audile elements to engage the audience. 3. The group did not overwhelm or outperform the event/person covered during the broadcast. 4. The production has the basic elements of the assigned radio format. Handling & Delivery 1. The group was confident in handling the programme, regardless of unforeseen glitches in programming. 2. The programme was fluid and had minimal or no glitches. 3. The production had appropriate scoring and sound effects. Commercial Appeal 1. The production was very similar to existing commercial broadcasts. 2. The production followed standard principles and practices for radio broadcast. Total:

Total

Fundamentals of Radio and Television Broadcasting Carlo Venson Pe単a, MDS

Fundamentals of RTV Production | CBPe単a

ABOUT THE AUTHOR A writer, a language teacher-cum-trainer and a multimedia editor, Mr Pe単a has a decade of teaching experience in Philippine universities and colleges and two years of conducting creative writing workshops and a publishing background in Singapore. Trained in communication arts, he has background experience on radio and television broadcasting, film, and journalism, events management, customer relations and marketing. In Singapore, Mr Pe単a has managed educational and publishing tasks, functioning as a senior educational and training manager and as magazine editor for a childrenoriented company.