Studio Package Manual by Team_FPA

Studio Package MANUAL

Studio Package Manual Index (v. 11.2020) General information (The following general production tips are a sample of the content provided in the Producer’s Workshop course, which covers station TV Producer policies and procedures) -Steps to Getting Your TV Show on the Air…………….……………Page 3 -Scheduling Facility and Equipment………………….……………...Page 4-5 -Staff production flyer………………………………….….……………..Page 6 -Helpful production tips……………………………….…………………Page 6 -Talent tips……………………………………………….…………………Page 7 -Crew tips…………………………………………………………………...Page 8 Crew Positions and Guidelines -Crew General Info……………………………………………………....Page 9 -Crew positions…………………………………………………………….Page 9 -Camera Operation guidelines………………………………………...Page 10 -Studio A+B cameras overvi……………………………………………..Page 11 -Camera Operator Vocabulary……………………………………….Page 11 -Camera Movements/Field of View…………………………………..Page 13 Set Design Guidelines……………………………………………………Page 14 Floor Director Guidelines………………………………………………..Page 15 Helpful hand singnals…………………………………………………….Page 17 Technical Director Position Highlights…………………………………Page 18 FPA Asset folder………………………………………….………….…….Page 21 Lightworks ………………………………………………………………….Page 22 Ross XPression Character Generator -CG guidelines……………………………………..……………………..Page 22 Lighting -Basic concepts…………………………………………………………..Page 23 -Three point light system………………………………………….…….Page 29 -Lighting tips & the lighting board…………………………………….Page 31 HOW To setup / Use the lights: The Pathway Cognito Lighting Board (Studio A and B)…………..Page 32 Basic Audio -Audio……………...………………………………………………………..Page 39 -Types of mics……………………………………………………………...Page 40 -Audio Board……………………………………………………………….Page 44 -Audio vocabulary………………………………………………………..Page 46 Sequence of events in a typical A/B show………………..………...Page 53 Skype and call-in tips…………………………………………………….Page 55 Television Technical Standards…………………………………………Page 56 Studio Planning Guide……………………………………………………Page 57 Rundown sheet sample………………………………………………….Page 58 FPA Facility Operation Hours……………………………….……………Page 59

Steps to Getting Your TV Show on the Air I.

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II.

Complete Your Producer Certification

Complete the Studio Camera class and the ONE session volunteer requirement for the class. Complete and Pass the Producer’s Workshop course and test. If you are planning in personally operating production equipment then complete additional facility/equipment certification courses as needed (such as this Studio Package course to operate studio A / B gear and better communicate with the crew)

Submit a Television Program Proposal to our Programming Director      

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Note: TV and Radio shows need to be renewed every FPA 6 month season Once a member is certified as an FPA TV Producer by completing the Producer’s Workshop course a TV Proposal form can be submitted to the FPA’s Programming Dept. for approval. Approval takes 10 business days. You will receive a letter with a final approval for your show from our Programming Director. (If there are any questions or problem regarding the proposal programming will call the producer for clarification). Reserve equipment and facilities that you need for your production through the Equipment Room (571) 749.1111. Check the last page in this manual for facility hours. As a certified Producer you must reserve the Studios. Do not ask your crew to make equipment or studio reservations. If you need to use Field equipment for your program (but are not certified yourself in its use) you must submit the name of a certified field equipment operator that will be working on your show. The certified field equipment operator/volunteer will need to come in to pick-up the equipment. For a studio show ARRIVE EARLY. At the equipment room submit your request for additional equipment for the taping (when picking-up studio equipment you will be asked to turn in keys or driver's license until the end of the taping). Once the show is taped, a Staff Member will walk through the studio with you to make sure everything is left in order. Afterwards, your keys or license will be returned to you. Once a program is approved TV producers have the option of using a certified volunteer crew or FPA’s Staff Productions. Staff Productions is only offered for studio programs. Staff production scheduling is done thru FPA’s Post-Production Dept. To register or for more information contact Lisa Clarke at ext. 1121 or lclarke@fcac.org. Networking with other members and producers is key when attempting to gather a volunteer crew. You can also contact FPAs Training Dept. to assist you in sending out volunteer notices and producers can refer to the latest volunteer list to try and recruit help. Edit your show. Submit your Master Tape / DVD / File to the Programming Dept. along with the Program Submission Form. Once your tape has been approved by the ER for correct technical standards, speak with our Programming Department concerning air times.

SCHEDULING FACILITY AND EQUIPMENT Only producers with an approved program proposal on file may reserve equipment or FPA facilities. Only an FPA certified member has approval to use station equipment. All users must comply with the time limits placed on the use of FPA facilities and equipment. *The only exceptions are students currently taking a class. They can contact the equipment room and reserve the studio under student time for practice if available. Any person, who abuses any FPA facility or equipment, agrees to pay for the cost of replacement or repair. This can include FPA’s expenses and losses, legal proceedings and attorney fees as well as other obligations. Any FPA property that is not returned within a 72hours period (without written permission from the Executive Director) may be reported as stolen. RESERVING FACILITIES Users may reserve facilities and equipment in person or by phone: (571)749-1111. Reservations will be accepted during FPA hours of operation. All requests are subject to verification of the user’s FPA status. The equipment room is open weekdays 12pm-10pm and weekends 8am-8pm. CONFIRMING RESERVATIONS Written confirmations are available on request. Producers must supply their name, show title, and dates for which they want confirmation. CANCELING RESERVATIONS To cancel a reservation, producers should call (571)749-1111 and speak to the Equipment Room staff. It is not acceptable to leave a message. EQUIPMENT CONFIGURATIONS Much of the equipment at FPA is complex and requires precise placement and tuning. Users may not alter equipment configurations or attach other equipment to FPA property without permission of the Executive Director and/or Engineering Department. WAIVE REQUESTS Waivers forms give producers the opportunity to use FPA facilities at times when facilities are not normally available. Producers wanting to use field equipment, studios and/or edit suites at any time or in any way that varies from standard usage (as defined in the Operations Manual) must obtain an approved waiver. BLOCK THE TIME IN THE RESERVATION BOOK Producers wanting a waiver should begin by making a preliminary reservation for the equipment, studios or suite desired. The Equipment Room staff member will “block” the time by noting the request in the reservation book along with the words “Waiver Pending”. COMPLETE A WAIVER FORM Then, the producer must complete a Request for Waiver form. The producer should keep the last (pink) copy and submit the top two copies to the Equipment Room Producers should make their waiver request as detailed and as specific as possible: List the start and end dates and times. -Cite the program for which the waiver is requested.

-Describe how the equipment or facilities will be used (if not in the normal manner). And most important….. -Cite the reason(s) why the project cannot be done during normal operations. The Equipment Room staff will initial the waiver signifying that the time (or equipment) requested has been placed on “waiver pending”. WAIVER REVIEW AND APPROVAL Most waivers will be reviewed the day they are received, but review could take up to three days. When (and if) a waiver is approved, the reservation book will be updated: “Waiver Pending” will be replaced with “Waiver Approved” and the white copy of the Request for Waiver form will be filed in the Equipment Room. Producers should check with the Equipment Room to see if a waiver has been approved. If a waiver is denied or if more information is requested, the Producer will be called by the Operations Department. OTHER GUIDELINES  Waiver will only be granted to the Producer of an approved, active program for use on that program.  Equipment and facility will not be released on “pending” or verbal waivers.  Producers must be self-sufficient as no tapes will be sold and no equipment will be distributed. Technical support will not be available

First time FPA TV Producer support program Staff Productions -FPA has a program to help first time TV producers using the studios. -Staff will help crew and edit the first 3 studio productions. -Be aware that staff productions can only be used for studio shoots. -To enroll FPA members must be FPA producers and have an approved TV program proposal. See the figure below for additional details.

Helpful production tips What to Wear (Talent) Don’t wear lots of pure white. If you are wearing a white shirt or top, try to cover most of it with a jacket. Solids work better than stripes, plaids, or small patterns. Small patterns may cause moiré or look like they are vibrating. Due to the nature of TV phosphors, pure blues are the easiest colors for TV to reproduce, and reds are the hardest. Don’t wear the FPA badge on camera, or other shiny things like pens in pockets that may glare into the camera.

What to Wear (Crew) For the most part, no one really cares. Remember to bring your ID badge. Wear something you wouldn’t mind getting dusty. A dark or black polo shirt makes you look like a professional AV tech.

Where Talent should be Looking In general, guests should ignore the cameras, tally lights, and monitors, and concentrate on the host or other guests. Tell them before the show starts. (Hosts may look at the camera when they are talking to the TV audience.)

Makeup It’s a great idea for talent to use makeup, but they should supply it on their own.

Sandbags Sandbags are available in the prop room to weight down some props that might otherwise fall over

Camera Motions Directors usually want no camera motion when your camera is live. When they do request a live camera motion, they usually want a slow, smooth one. Zooming is the most “unnatural” motion since the eyeballs don’t zoom. Some cameras have a knob to control speed, and all can be controlled by your “touch” on the zoom switch. Panning or tilting at the same time as zooming helps to keep the zooming from being seen as unnatural. Practice doing this smoothly.

Lavalier mic Positioning Lavaliear mis should be positioned about 6” below the chin, on the side of the chest that the person’s head will be turned towards when speaking to others.

Don’t turn the cameras off Instead, switch them to standby when done

To Focus First zoom all the way in, then focus, then zoom out to compose the shot. To focus, twist the second handle on the left.

Steering the pedestal The big metal wheel on the pedestal controls which way it will truck or dolly.

Documents    

Video Story Board Studio Planning Guide Rundown Sheet (Scripted Running Times/Scripted Source Times? Guest releases

Talent tips Talent - Anyone who appears in front of the camera to transmit a message or performance, whether a host, guest, narrator, or reporter. Be yourself What makes you feel comfortable makes you look comfortable. Trying to emulate your look, style, or laugh lines of someone else may not work for you. Don’t dull your sense of spontaneity There’s no substitute for preparation, but memorizing one liners or catchy phrases may appear overly sick and unappealing to the viewer.

Don’t take yourself too seriously You are talking to a camera, which is basically a metal box! Don’t get an attitude unless you last name happens to be Brokaw! Don’t stand out Don’t wear something that will detract from your performance. Clothing that is too contrasting, including neckties, shirts, or jackets, or jewelry (which is too shiny or large) will detract from your performance. Hair should be kept combed and/or pulled back from your face. Watch the shine on your face Your facial oils will have a natural glare from the lights. Use some powder for the glare and some makeup base to cover your imperfections, but avoid looking like a mannequin. If you use makeup, keep it even and make sure you bring along a mirror to check it often. Don’t rush It’s better to have too little to say rather than trying to rush to get it all in. Speaking slowly and enunciating will give you a more relaxed and professional look. Be able to laugh at yourself If you do something which you think is embarrassing; the viewer may not even notice it. Having a sense of humor will make both you and the viewer forget the whole thing. Trying to make up for a mistake will throw your timing off and make you lose your concentration.

General crew tips Crew The most valuable and often the most temperamental component of the television production. The lighting director, audio operator, and camera operators, technical director, floor director, production assistant(s), playback operator and set designer can work together as a team if the producer becomes a coach. The earlier the better Punctuality is a mark of professionalism. Everyone has a job to do and being there makes everyone’s job easier. Communicate, communicate, and communicate Before the tape starts to roll - make sure any and all doubts or uncertainties are cleared up. If a question occurs which hasn’t been answered in the preproduction meeting, it might have occurred to other crewmembers. Headsets should be used by the director to communicate to the crew in the studio, not the other way around. When the director gives an instruction follow it immediately. Don’t hear and tell A lot goes on in the control room and not all of it should be communicated to the talent. If the director is talking about the talent, technical director, or anyone else in the control room, don’t smile, laugh, or make any motions or noise in the studio that may distract the talent. Know the signals Review the hand signals or cue cards, which will be used prior to air. Just because the show may be live to tape and can be edited later is no reason to leave out important details of communication.

CREW POSTIONS PATTERNS OF COMMUNICATION FOR A STUDIO CREW

During production

Producer Director

Technical Director

Mics, Lighting, Cameras operators

Editor for Post-production

Audio board operator Floor Director / Production Asst.

CG/Deko, VTR Operator Teleprompter

Talent

Crew Positions overview Producer – overseas the entire production from conception and preproduction through taping, editing, and distribution. Responsibilities include, but are not limited to, coordinating all the elements of production, obtaining a crew, signing up for studio time, and may be the writer and director as well. Director – while tape is rolling this person is responsible for all the production. The director is responsible for coordinating all the technical elements of the production (camera shots, pacing, transitions) according to the producer’s instruction. Technical Director – responsible for video transitions of the production. Following the director’s commands, the T.D. selects and mixes the video sources (cameras, tape roll-ins, etc.) on the switcher. Floor Director – the director’s eyes and ears on the studio floor. Relays commands from the director to the talent. Responsible for cueing talent and giving time cues throughout the production. Camera Operator – responsible for the operation of the camera, basic shot composition, and set-up/break down of the camera. Character Generator Operator - responsible for the preparation of tiles and other graphic material.

Audio Operator – responsible for all audio and sound for the production. Selects microphones, positions them to the set and the talent, tests microphones in use, does sound checks, and mixes the audio during the production. Talent – performer for the production. Talent can be either on camera or used to create audio voice-overs. VTR Operator – operates all VTR machines during the production, including both the recording VTR’s as well as roll-in/playback VTR’s used. Lighting Director – responsible for the design and function of all lighting instruments needed for the production. Selects which lights are to be used, positions and adjusts them on the lighting grid, and operates any additional lighting for effects used during the production. Set Designer – responsible for designing the set for a production. Works closely with the producer during the preproduction planning stages to decide what kind of set is best suited.

Camera Operation Guidelines The camera operator is responsible for the operation of the camera, basic shot composition and set up/break down of the camera 1. Carefully move your camera into the position called for by the Director. 2. Put on the headset. Test to make sure you can hear and speak over the headset communications. 3. Wait to see if the Director wants to reposition your camera. 4. After your camera is in position, loosen the Pan and Tilt locks; adjust until they feel comfortable to move. 5. Zoom in all the way and focus on the eyes of a person or an object at the rear of the set. This will set the focus back. Each time the camera is repositioned you will have to refocus. When the distance relationship between the camera and the subject is changed, the back focus changes. 6. Zoom all the way out to allow the Director to see the widest possible shot your camera can cover without moving. 7. The Director should explain to each camera operator the type of shots and the sequence of shots for the production. This is when you should ask questions if you are unclear. 8. Never take off your headset or leave the camera, without first asking the Director. 9. When the Director indicates tape is ready to roll, get your first shot ready and hold it!

10. When the production is under way the Director will give you a standby cue just before your camera is to be used. Have the shot ready to go! 11. After the production has stopped and the Director gives the cue, lock down your camera. Put the camera in its location and coil the cable in a figure eight, and assist the crew with the remaining clean up.

STUDIO A/B camera equipment overview

1 FPA: Studio Camera

2 4

1. View Finder 2. Camera 3. Pedestal 4. Headset 5. Pan arms/panhandles (focus and zoom buttons)

Camera Operation -Vocabulary Arc – Movement of the entire camera unit in a semi-circle fashion. Burn-in – the retention of an image on the camera’s tube. This is usually caused when either the camera is pointed at a bright object or if it has been focused on a single object for an extended period of time. Camera Head – the part of the camera above the mounting mechanism including only the camera and its internal controls. Camera Unit – the entire piece of equipment used by the camera operator and includes the camera head, mount, pedestal, and the base. Close-up – a shot in which the subject or any part of it is framed tightly and at a close distance.

Dolly – movement of the camera unit either forward or backward. Headroom – the space between the top of the screen and the top of the subject’s head. Knee Shot – a shot in which the subject is seen from the knees up. Long Shot – a shot in which the subject is seen as being relatively far away. With people, it is at least head to toe. Medium Shot – a shot that is somewhere between a long shot and a close-up. With people, it usually frames them from head to waist. Nose Room – the space between the subject’s nose and the side of the screen. Over the Shoulder Shot – the camera looks at one subject over the shoulder of another subject. The back of the head and shoulder of the subject is included in the shot. Pan – movement of the camera in a left or right direction. Panning (or pan) handles – handles that extend from the lower back of the camera head. These are used by the camera operator to control movements of the camera head. The ZOOM and FOCUS controls are usually attached to the ends of the panhandles. Pedestal – the lower part of the camera unit which enables the operator to raise or lower the positions of the camera head. The term is used as a director’s command for this movement “Pedestal Down.” Reaction Shot – a shot showing a person or audience reacting to an event. Tally Light – a small red light on the camera which serves as an indicator for on air. When the tally light is on, the camera is being used as the on-air camera. Tilt – movement of the camera head in which it is pointed either up or down using the pan handles. Two-Shot – a shot which centers two people on the screen. Viewfinder – the small screen on the top back of the camera head which allows the operator to see what they are shooting. Zoom – the internal mechanism which allows the operator to vary the shot between very tight (zoom in) to very wide (zoom out) framing.

Camera Movements/Field of View Camera Motions – When Directors request a live camera motion, they usually want a slow, smooth one. Panning or tilting at the same time as zooming helps to keep the zooming from being seen as unnatural. Practice this. Don’t turn the camera’s off – switch them to standby when done. To Focus – First zoom all the way in, then focus, then zoom out to compose the shot. To focus , twist the second handle on the left. ECU, or extreme Closeup – Includes a very small portion of the human body (eye, palm of hand). CU, or Closeup – head near top of frame, top of shoulders on bottom. Often called a head and shoulders shot. CS, or Chest Shot – Bottom of frame just above the breast of chest. WS, or Waist Shot – Bottom of frame at waist level. If at a desk, could include a desk top. KS, or Knee Shot – Cuts a person off just above or a bit below the knee, not at the knee. FS, or Full Shot – Whole figure of the talent is in the shot. FIELD OF VIEW In the Television studio, the human figure is usually the main subject. So, it is often convenient to define the field of view of a camera shot in reference to cutoff lines on a person’s body. The terms bellow are those which will be used during the workshop. Learn them, and refer to the enclose diagram. (Note: Others may use different terms, or define cutoffs line in another way.)

……………………ECU, or Extreme Close up

………CU, or Closeup .......CS. or Chest shot ........WS, or Waist shot

.......KS, or Knee shot

........FP, Full Shot 13

Set Design Guidelines 1. Make sure that all your elements interrelate, they are balanced, believable on camera and has continuity. Don’t clutter your set, but don’t leave it bare. Wall hangings should enhance, not detract. Have a medium shade or neutral color for your background with subtle, if any, pattering. 2. Are any of the scripted movements impeded by the replacement of props or furniture? Does the camera person have an unobstructed view of all the shots the director wants? 3. Avoid Shiny or bright colored objects – they reflect the lights. What does the viewer see through the windows if applicable? What kind of mood are you trying to create? Is it an intimate setting where people will be sitting close together or is it to be a formal or business setting? TIPS 1. You want your set to look believable on camera. Pay attention to details. 2. Make sure that all your elements interrelate. Your set should have continuity. 3. Don’t clutter your set, but don’t leave it bare. Find a happy medium. 4. It is usually a good idea to have a medium shade or neutral color for your background with subtle, if any pattering. 5. Be aware of the talent movement when placing props and pieces of furniture. Are any of the scripted movements impeded by the placement of props or furniture? Does the cam operator have an unobstructed view of all the shots the directors want? 6. Wall hanging should enhance, not detract. 7. Avoid shiny or bright colored objects – they reflect the lights. 8. Be aware of balance. Is most of the furniture on one side or the other? If there are windows, do the windows match? What does the viewer see through the windows? 9. What kind of mood are you trying to create? Is it an intimate setting where people will be sitting close together or is it to be a formal business setting? 10. Don’t put anything on the set that doesn’t have a reason for being there. 11. Make all sets easily transportable. Use simple materials and simple construction techniques.

Floor Director Guidelines 1. Go over details of the production with the producer and director prior to the actual production time. This should be done at a planned production meeting including all crew members. 2. During the production, maintain order on the set and keep pre-show operations running smoothly. 3. Once the production has begun, all cues should be given using hand signals or Time cards. 4. Give cues to the talent within their line of sight so that they don’t have to shift their eyes or body to see the cues. If they are looking at the camera, give the signals just below the lens – be careful not to hit the lens. 5. Be sure to give distinctive cues, which can be easily interpreted by the talent on the set. 6. Camera operations are preoccupied with the activity in front of the camera. When they are asked to dolly or truck, be aware they will most likely not be looking behind them. Assist them when you hear the director’s cue for a truck or dolly movement. 7. The floor director is responsible for general straightening and returning the studio to order before it is locked. a. Are all cables coiled and out of the way? b. Are the camera, headsets, and microphones stored properly? c. Are the props and related set material stored? d. Are extra lighting instruments returned to original condition? e. If the air conditioner was turned off, is it back on? Standard Directing Cues (In order of use with cues bolded when encountered for the first time. All cues are in capital letters.) 1. STAND-BY in the studio 2. READY to roll tape 3. STAND-BY on the set 4. ROLL TAPE 5. READY (color) bars and tone. 6. TAKE (color) bars 7. BRING UP tone 8. SET tone level 9. READY to take back to black 10. TAKE back to black 11. READY to fade up on Camera 2 (C2) with graphic 12. READY music 13. FADE UP C2 14. FADE UP music 15. READY to fade out music 16. READY to cue talent 17. READY to open mics

18. FADE OUT music 19. OPEN mics 20. CUE talent 21. READY talent graphic 22. FADE IN graphic 23. FADE OUT graphic 24. READY to take C3 25. TAKE C3 26. READY guest graphic 27. FADE IN graphic 28. READY C1 29. TAKE C1 30. READY C3 31. TAKE C3 32. READY to give talent 30-second cue 33. Give talent 30 SECOND CUE 34. READY to give wrap cue to talent 35. Give WRAP UP CUE to talent 36. READY C2 37. TAKE C2 38. READY to close mics 39. READY to fade up music 40. READY to roll credits 41. CLOSE MICS 42. FADE UP music 43. ROLL CREDITS 44. READY to fade out music 45. READY to fade to black 46. FADE out music. FADE to black

Hand signals

The Technical Director Position Highlights & the Ross Carbonite video switcher The Technical Director is a key position in any production. The TD is responsible for video transitions of the production. Following the director’s commands, the T.D. selects and mixes the video sources (cameras, tape roll-ins, etc.) using the video switcher. 1. If the show is scripted, go over it and learn the transitions needed and their order. If the show is not fully scripted then you will have to rely on the skills you have developed. If you are unsure about how to produce an effect, learn it before the production starts. 2. Allow yourself enough practice before the production. Practice the opening and closing. Normally, these are the mostcomplex portions of the show. 3. For best practice purposes - The Director will give you a ready cue, shortly before he/she calls for the camera. This is a warning, not a command! Then the Director will give you an execution command like – “Wipe to camera ONE”; this is the time that you switch to the next shot. For special transitions the Director may give prepare cues, before the ready cues which allows you time to set up the special effects so you are ready to go when the Director says “READY effect, TAKE effect.” Be careful; do not anticipate the Director. You do not want to switch shots before the Director calls for them.

Video Switcher Vocabulary The video switcher is a device used to select between several different video sources and in some cases compositing (mix) video sources together to create special effects. Bus – a single row of 5-7 buttons on the switcher. Sometimes referred to as a BANK. Color bars – a test signal developed by engineers to set the colors on the NTSC video. This is used to setup monitors and TBC’s. Chroma Key – the cutting through of 100% video over a color incorporated in the set. This is used a great deal in newscasts where the picture is seen as a display behind the anchor. Cross fade (dip to black) – similar to an audio cross-fade. In video one picture FADES TOBLACK and a second picture is brought up from black. Cut – an instantaneous change from one picture to another. Dissolve – a transition where one picture is gradually replaced by another with no black in between.

Effect bus – the portion of a switcher that holds the effects. By using these buses the Technical Director can set up keys, wipes, dissolves, and chroma effects. Fade – a dissolve to or from black. FADEUP: a dissolve from black to a picture. FADE-OUT: a dissolve from a picture to black (other colors are available). Fader bars – a lever or levers that can produce a variety of effects. Hue – refers to the color of the picture. The HUE control on the switch is used to change the color background in the matter generator. Key – the “cutting through” of 100% video over another picture. Usually the key is for the graphic information but it can be used for special effects. Line Monitor (program monitor) – this monitor displays exactly what is being sent to the VTR’s and potentially other recording sources. Preview Bus – a row of buttons that directs a signal to the preview monitor at the same time as another source is on the air. Preview monitor – a monitor that is generally showing the next shot a director intends to use. Program bus – usually located on the bottom of the switcher, this is the main bus of the switcher which selects the source being sent directly to the VTR’s. Saturation – the amount of true color present in an image (a deep blue is highly saturated color while a light blue is a low saturation of the color blue). Superimposition – the overlapping of two images for an extended period of time. This effect is useful in art presentations or to show two perspectives on the same scene. Use this transition sparingly for best effect. Inexperienced directors tend to abuse and confuse with “supers.” Switcher – piece of equipment that allows video sources to be selected, mixed, combined or in other ways manipulated. Take – 1. A cut from one source to another. 2. Any section of a script that is taped as one small unit. A good take is the successful completion of a show segment, A bad take is not used in the final editing program. Technical Director – usually the TD is the person doing the switching, In some cases the TD is also responsible for the set-up and patching for the switcher. Time base corrector (TBC) – an electronic device used to stabilize video signals. TBC’s are most often used with external devices. Wipe – a transition where one picture is replaced by another. This differs from a dissolve in that the pictures do not overlap; instead one image replaces the original completely as the pattern of the wipe is expanded.

Default inputs for studio A / B video switcher

Ross Carbonite switcher default inputs From LEFT to RIGHT 1. In studios A and B: BK (Black) 2. In studios A and B: CAM 1 3. In studios A and B: CAM 2 4. In studios A and B: CAM 3 5. In studio A: CG (EXPRESSION); in studio B: MEM. DROP (Member drop) 6. In studio A: MEM. DROP (Member drop); in studio B: UTIL PC (Desktop of Utility PC) 7. In studio A: UTIL PC (Desktop of Utility PC); in studio B: CG (EXPRESSION); 8. In studio A: RTR-A-1 (default is Skype A); in studio B: RTR-A-1 (default is Skype B) 9. In studio A and B: RTR-A-2 (default is NDI 1)  These are inputs from the router. Anything can be routed to these by requesting help from staff.

Ie. Skype from A/B/C, NDI inputs, studio B and C sources.  Anything routed to these inputs has their audio available on the audio board, labeled A-1 & A-2.

10. In studio A: LWKS (Output from Lightworks and Output 1 of AJA card on Lightworks PC) 10. In studio B: VTR 1 11. In studio A and B: SSD 1 12 In studio A: CG (Background Generator); in studio B: LWKS (Output from Lightworks) 13. In studio A and B: M1 (Media Store 1) 14. In studio A and B: M2 (Media Store 2)

SHIFT (the following shift options are strictly for the studio A switcher. It may vary slighting if using the studio B switcher) 15. CLR BARS (HD Color Bars) 16. PV (Preview) 17. PGM (Program) 18. CLN (Clean Program. Program without DSK’s) 19. MinME1 (Output of Mini M/E 1) 20. MinME2 (Output of Mini M/E 2) 21. MinME3 (Output of Mini M/E 3) 22. MinME4 (Output of Mini M/E 4) 23. VTR 1 24. LWKS 2 (Output 2 from AJA card on Lightworks PC) 25. UTIL 1 (Output 1 from Blackmagic card on Utility PC) 26. UTIL 2 (Output 2 from Blackmagic card on Utility PC) 27. M3 (Media store 3) 28. M4 (Media store 4) 29. ME1 CLN (M/E 1 Program Out without KEYs) PLEASE refer to the Carbonite manual for further details -Take advantage of free Carbonite reference tutorials online in YouTube and thru web searches FPA Assets folder Attn: CG Operators / Technical Directors     

A new folder has been added in the utility PC in each of the studio control rooms. This folder named “FPA Assets” contains HD format PSA’s as well as a sound effect library. In the control room this content can be used in live-to-tape productions using Lightworks or during additional post-production work. If you’ll be editing from home save a backup of any materials you’ll like to use for the episode. This folder is also available in our Edit 1 lab. If using the folder as part of postproduction work in our edit 1 lab remember to have the editor copy the content into their scratch disk.

Lightworks video editor program Lightworks is a professional non-linear editing system (NLE) for editing and mastering digital video in various formats.    

FPA has Lightwork stations setup in each of the TV studio control rooms, the kiosk station near the conference room and in classroom 1. Lightworks is an easy to used editing program to help live-to-tape studio producers finalize their recording or correct any problems prior to submitting their episode to our programming dept. For extensive post-production work or for those interested in adding lower third graphics and enhanced visuals we recommend producers to work using Adobe Premiere or Avid. Please refer to the Lightworks user manual for additional information.

Ross XPression Character Generator/Graphics Guidelines A character generator, often abbreviated as CG, is a software program that produces static or animated text (such as news crawls and credits rolls) for keying into a video stream. The XPression CG system can generate graphics as well as text. PLEASE refer to the XPression manual for further details. -Take advantage of free XPression tutorials online in YouTube and thru web searches as well. 1. Allow enough time before the production to prepare the graphic Material needed and then review it with the director to decide where the material will go. Any hard copy material brought in from outside the studio must be in the proper aspect ratio. 2. Before the production begins, the following information must be prepared using the Xpression CG system if the goal is to include all graphic elements such as credit rolls, lower thirds, openings credits during the actual recording of the show. 3. Determine the order of the graphic material and prepare it in the order it will be used. Copy the pages and their number on a separate sheet of paper and keep it available during the recording sessions. This will cause less confusion than searching for a page while the show is on the air or being taped for the later playback. Information for the slate –  Date, name of the show, approximate running time, director, producer, and segment name or show number.  Opening title/credits – what is the program name?  Keys-names and title of talent or any other titles that will be used in the production. Plus contact information Ph, Email, Website addresses  Closing credits – crew position titles and names, acknowledgements if any for underwriting or sponsorship. 4. CHECK THE SPELLING OF EACH GRAPHIC! 5. REMEMBER: Certified Studio Package / CG operators can also reserve classroom 1 upstairs to work in preparing such graphics ahead of time.

BASIC LIGHTING Studio set lighting, enhances the mood, focuses attention, and enables the audience to clearly see what the producer wants them to see. Overall, it affects and controls the quality, color temperator and intensity of the recorded image. This makes lighting a powerful element of the television show. Lighting can emphasize important details or hide them. It can flatter a subject by bringing out positive attributes and it can de-emphasize or hide less attractive attributes. Lighting can even impart sinister/hostile or serene/calming looks. It all depends on the tools you use and how you choose to use the various lighting concepts. Overall television is based on the medium of light; in fact, without light there could be no video. Just as sound must be skillfully controlled in audio production, light must be expertly controlled in television. As video – especially HDTV – has begun to emulate the more artistic dimensions of film, there has been a great emphasis on creative lighting. To successfully control light, you need to understand and control the three basic characteristics:   

Coherence (Quality) Color temperature Intensity

Light Coherence (the first light characteristic) Coherence, often refer to as quality, is the hardness or the softness of light. Light quality is probably the least understood and the most neglected of the three characteristics.

1a -

1b -

In image 1a the objects and two of the characteristics of light are exactly the same. These are intensity and color temperature. The only difference is the third variable; the coherence of light. The first photo was shot with soft light, the second (image 1b) with a hard light source. Hard Light Light that is transmitted directly from a small point source results in relatively coherent rays (illumination). This gives the light a hard, crisp, sharply defined appearance. The light from a clear, unfrosted light bulb, a focused spotlight, or the noonday sun in a clear day, all represent a hard light source. Hard light casts a sharp, clear defined shadow. When hard light is used to illuminate a face, imperfections in the skin stand out. The result is less than flattering. However, in other applications, such as bringing out the texture in props or jewelry, this can be an advantage. 23

2a 2b Note in the image 2a how the writing stands out and how clear the shadow of the flower is. Compared this to image 2b, which uses a soft light. The letters are more difficult to read and the shadow of the flower has all but disappeared. Several types of lighting instruments are used in the TV to create hard light, such as the ellipsoidal spotlight. Soft Light Soft light sources are used in production to create a broad, even area of light. In field productions, the crew often rely on umbrella reflectors to create a soft lighting effect and diffuse the light (see image 3a). This is done by simply bouncing the light inside of a silver or white umbrella style reflector. The image below (3b) shows a LED softlight, which consumes much less power and generates less heat than incandescent versions. LED lamps also have the benefit of readily switching from daylight to incandescent color temperatures. Basic LED lights are non-directional, however, the light output on some can be focused to make them more effective at greater distances.

3a -

3b -

Because soft light tends to hide lines, wrinkles and blemishes, it’s desirable in doing talking head shows. A soft light source laced placed closed to the camera minimized surface details. This effect is commonly referred to as flat lighting. Note: Although useful in certain situations, like in extreme close-ups of objects where shadows would obscure important details, flat lighting leaves subject matter somewhat dimensionless. If used on a large area, it can create the sense of an arid or sterile appearance. Ultra-soft Lighting There are occasions when ultra-soft lighting might be necessary to keep video equipment from exceeding its brightness or contrast range limitations and as a result loose important detial. 24

Note how in image 4a when using standard lighting the reflections from the shinny objects drive down the video levels in the darker areas. As a result, important details are lost. This problem can be solved by using an extremely soft lighting setup such as a lighting tent. Image 4b shows the differences after using a lighting tent. To create this ultra soft lighting solution the subject matter was surrounded by a whilte sheet, leaving only a small opening for the camera lens. Three lights placed at different angle lit the outside of the sheets. Sample image 4c.

4a -

4b -

4c-

Color Temperature (the second light characteristic) Althought the second attribute of light refers to its basic color, we’re also speaking of a characteristic of light that goes beyond the obvious. For example, in imaage 5a both sources of light (sunlgiht on the right; a standard light bulb on the left) normally appar as white to the eye. It’s when we see them together that we notice the difference in color temperature become obvious.

5a Generally, under normal conditions when we look at subject matter such as the image in 5a our eyes make perceptual adjustments to approximate color consistency for the different sources or light. However, when we look at video or film the approximate color consistency doesn’t work the same way. Unless color corrections are made when using the video cameas (white balance), we’ll notice significant color shifts between scenes when recording a show. Although light can be any color between infrared and ultraviolet, there are two basic color standards: 3,200K (Kelvin) for incandescent lamps used in TV studios and 5,500K for average daylight. The latter can vary depending on the whether, clouds etc…

Light Intensity (the third light characteristic) The last variable is intensity. The control of light intensity (guantity) represents a major variable in dramatic productions. For exmaple, in image 6a the inside and outside illumination levels have to be balanced to keep one from overpowring and spoiling the effect.

6a Note: the different color temperatures. Blue for moonlight and red for the intererior add to the effect. Light Intensity (quantity) is meassured in foot-candles in the US. Most other contries use lux to measure intensity. Recenlty this second method is becoming the general standard even in the US.   

Intensity control through varying distances. As the distance between a light source and the subject increase, the light is pread out over a larger area and the intensity drecreases. Focusing lights. Many lighting instruments can be focused, which influence intensity. By adjusting it the light you can concentrate it over a narrow area, or flood out to cover a larger space. Dimmers. Brightness can also be reduced by reducing the voltage of the lamp. This will also affect color temperature.

LED Lights (Note: All FPA now use LED lighting equipment) LED (Light-emitting diode) lights –(see image 7b) have several advantages over other type of lighting elements.        

They produce more light per watt than incandescent bulbs, while reducing power cost. They can emit light in a range of color temperatures without the use of color filters. Unlike incandescent and fluorescent sources that often require an external reflector to collect and direct ligth some LED instruments are designed to focus and direct light. When dimming an LED the light does not change color. They are sturdier and tend to have a long life. They are quick to setup and weight less. They do not generate the amount of heat as other lights. Accessories: The FPA equipment room now has a few lighting GOBO stencil accessories to allow producers to add patterns and shapes on their set. https://en.wikipedia.org/wiki/Gobo_(lighting)

Some disadvantages of LED lights.    

They are more expensive than conventional lighting. The require stable voltage and electrical current. Some LED lights have a dip or a hole in the color spectrum that cannot be corrected with white balancing. Eventually with age LED lamps will dim.

7a-

7b-

7c -

C-clamp (See image 7a): A c-clamd is used to attach the light to the studio’s ceiling grid. The distance between the internal lamp and the Fresnel lens can be adjusted with such types of lights to either spread out (flood), or concentrate (spot or pin) the light’s beam. This adjustments provides a convenient control over the intensity of th light, as well as the coverage area. Safety tips     

Because of the heat produced by Fresnell lights the production crew must handle the equipment with care. Unplug the lights and let them cool once finished. Care must be taken not to subject the lamp to jolts while they are turned on, or the fragile internal components can fail. Falling hazard. When moving lights in a studio light grid always secure them to the pipe along with a safety cable or chain. When using a lader to adjust lights always wear close toe shoes, avoid flip flot etc….

(Field) Camera Lights: In ENG (electronic newsgathring) where quality is often secondary to getting a story, camera-mounted, LED (getting more common), tungsten-haologen, or HMI lights (also named sun-guns) are sometimes used as a sole source of lighting. These lights can be mounted on the top of the cameras as seen in image 7c. Camera lights are typically powered by batteries, often the same that power the video camera itself. Note: When used as the only source of lighting this creates a questionable quality due to the straighton angle involved, picture details and depth are sacrificed. For a more appearling look use camera lights as a fill along with a more dominant source of light. Light meters: Light meters are used to measure light intensity. Being able to establish rather exact intensities for the lights is important for professional video work. Uneven light around a scene will cause variations in video levels and even dark or washed out skin tones. By subtly manipulating the brightness in the primary and secondary areas of a scene you can achieve a sophisticated means of visual control. Tip: Our eyes are drawn to light areas in a scene. Therefore, you can use light to emphasize the scene’s center of interest and downplay secondary or potentially distracting elements. Since the eye is a rather unreliable judge best practice recommends using either a light meter or a keen eye coupled with a hight quality color monitor. There are two types of meters: Reflected and incident.

Reflected Light Meters: These measure the amount of light being reflected from (off of) subject matter. This is the type of built-in light measurment system used in most still cameras. (Reflected light meters are programed to assume all subject matter reflects 18% of the light falling on it). Incident Light Meters: Incident light meters can tell you how bright the light is that’s falling on a scene. To get an accurate reding in the studio with this type of meter you must point it directly at the light you are measuring while standing in the position of the talent. FPA recommends using these type of meters. See sample image 6b.

6b -

Controlling Light Intensity Once you know the measure of the brightness of the light(s) you’ll be able to better understand how to control it. There are several ways of doing this.

Lighting attachements for lights Barn Doors: Barn doors are adjustable metal flaps that attache to some lights to mask off unwanted light and to keep it from spilling into areas where it’s not needed. See image 8a. While barn doors provide a soft cutoff (edge) to the perimeters of the light, flags provide a sharper, more defined cutoff point.

8a -

8b -

8c-

Flags: Flags consist of any type of opaque material that can block and sharply definie the edges of the light source. They are often created and shaped, as needed, from double or trippl layers of alluminum foil. See sample 8b image. Filter Frames : Theres frames are can be used along with barn door attachments that slide over the front of the lighting instruments. To hold items such as diffusers and color gels to alter the color of the light. Gobo light stencils: The FPA equipment room now has stencils to add in our studio B lights to help producers add patterns and shapes on their sets. https://en.wikipedia.org/wiki/Gobo_(lighting) 28

The Typical Light Setup and the Three-Point Lighting Formula In a typical FPA studio B lighting setup you’ll be working with the following instruments    

Key lights –establish the dimensions, form, and surface detail of the subject Fill light –helps reduce shadows Back lights –separates the subject from the background Background lights –illuminate background area to add depth and separate scene elements

The three-point lighting formula - is one of the oldest lighting techniques used in visual media. By using three separate positions, the camera operator can illuminate the person however desired, while also controlling the shading and shadows produced by direct lighting. The key light This is the main light, it shines directly upon the subject and serves as its principal illuminator; more than anything else, the strength, color and angle of the key determines the shot's overall lighting design. The KEY light represents the sun and casts the shadows that determine the apparent source of light. Watch the nose shadow and move the key for the most pleasing effect The fill light Also shines on the subject, but from a side angle relative to the key light. For best results when possible the fill light is often placed at a lower position than the key light, about at the level of the subject's face. It balances the key by illuminating shaded surfaces, and lessening or eliminating the treatment of light and shade in a work of art, especially to give an illusion of depth, such as the shadow cast by a person's nose upon the rest of the face. The FILL light is used to soften the shadows of the key light without creating net shadows. The back light This light shines on the subject from behind, often but not necessarily to one side or the other. The BACKLIGHT is a subtle, but very important light. Its purpose is to outline the subject with light and separates it from the background, giving the picture more “depth” and avoiding a flat look. About equal intensity to the KEY, use more for dark hair and clothing, less for light coloring. Side Light: This half key/half kicker hits subjects at an angle of about 90 degrees. Also see: Cross Light. Set Light: The term some Lighting Directors use to refer to Background Light, and others may use instead of "Base Light." Items to consider In the three-point formula the key light is placed in an angle of about 45 degrees frome eithe the right or the left of the camera. The fill light should be 90-degrees from the key light. See image 9a and 9b to help.

9a- From above (camera in the middle, key to the left, fill light to the right, and back light behind the subject)

9b. From the side (the vertical angles of the cameras)

In multi camera productions with different camera angles, ALWAYS light the subject for the close-up camera. To consider which camera should be use mostly as the close-up think of these items:    

Follow the source of light - If there is a strong source of light in the room (window, lamp) use the key light from this direction. Consistency – In most scenes it will look odd if one subject is key from the right and another from the left. The subject’s best side – place the key light on this side. It will emphaisize the positive and downlplay the negative characteristics. What’s the most practical – if space is limited arrange the scene in order to allow you to use the key light in a 45-degree angle.

What you do not want to do is put lights everywhere in an effort to wipe out every shadow from every camera angle. The simpler design is often the best. Control shadows gives the subject more dimention and the illusion of three dimentions. In multiple camera angle productions it’s sometimes necessary to sacrifice form and dementions to cover multiple angles. 30

Tips regarding the fill, back and background lights Fill light The key light by itself produces distracting shadows. The purpose of the fill light is to partially fill in the shadows created by the key light. Usually, the fill is placed just above the camera. This usually makes it slightly lower than the key light. The fill should also be slightly softer than the key. In this position it can easily do what its intended, which is t osoftly fill in the shadows and created the perception of three dimentions. The back light The function is to separate the light from the background by creating a subtle rim of light around the subject. This light should be placed directly behind the subject in relation to the close-up camera. From an overhead perspective you should be able to draw a straight line from the close-up camera, through the subject, directly to the backlight. A 45-degree angle is recommended. Compared to the key light, a smaller, lower-wattage light should be used. Background light Background lights are used to illuminate the background area and add depth and separation between scene elements. Remember, the back light is meant to light the back of the subject. While, a background light is designed to light up the front of background. Any type of light can be used as a background light as long as it provides fairly even illuminations and it does not reach the front or central subject matter, and is appropriate intensity. If the background has details you want to show, make sure the background light is on the same side as the key light. This keeps the dominant light consistend in the scene.

Light intensity tips Unless each of the four basic lights are in the proper intensity, the three-point formula approach will not work. Since the key light is the dominant light on the subject, it must be stronger than the fill light. In color production the fill should be about one-half the intensity of the key. This key-to-fill brightness difference is express in terms of a lighting radio. If the key light is twice as bright as the fill, that radio will be 2:1, which is the standard for most TV applications. However, some directors/producers in news shows prefer to make the key and fill the same intensity. This results in a flat effect. Using the 2:1 ratio, if the key light is 2000 flix, the fill will be 1000 lux; if the key light is 90 footcandles the fill light would be 45 foot-candles. Althought many lights may be used in a scene the lighting ratio refers to the ratio between just the key and fill.

HOW To setup / Use the lights: The Pathway Cognito Lighting Board (Studio A and B) In a typical studio production with the number of lights in use being able to control all these lights – switch them on and off, dim them to the required settings etc… can be a daunting process. To assist our members our studo A and B lighting console have available set presets.

10a Studio A Lighting console presents -News set -Kitchen set -Kitchen set with table Studio B Lighting console presents (check console for latest info) –subject to change -Interview -Standup -Part front blue -Part front ember etc…. *In the touch screen use the blue left / right arrow to select different presets then select the proper physcial fader and move it up. FPA Studio A / B Lighting system Remember: Lights in studio A are not to be altered/moved but can be dimmed using the lighting console in A. Lights in studio B can be altered and additional lights can be checked-out from the equipment room. To Turn On: 1. Touch the touchscreen panel to wake it up.

2. Click Play.

3. If you are already in the Play menu click Memory.

In the top left hand corner you’ll see three prefilled scenes.

a. If using the news set: bring up the physical slider #1 b. If using the kitchen set: bring up the physical slider #2 c. If using the kitchen set and the dining room table: bring up slider #3

To Turn Off: 1. Bring down the physical slider down. NOTE: Never hit the power button. The board should always be on! 33

FPA Studio C Lighting system Remember: Lights in studio C are not to be altered/moved but can be dimmed using the lighting console in A. 1.-Touch the “Black Out” (blue) button

2.- Bring up the physical slider “IND-1” or “IND-2”

3.- Once done to turn the lights off, lower the sliders down and then push the “Black Out” button

AUDIO BASICS Sometimes TV producers become so focused on the visual part of television that the audio component becomes an afterthought. However, with the improvements in home entertainment systems and the move to HD visuals the viewer expectations for high quality sound is also higher than ever. Always keep in mind that even if your show looks great if the audio component is bad nobody would be able to follow the program.

During preproduction please consider the following items regarding the sound portion of the final program. ● What sounds do we need in the program? All audio should have a purpose (Examples: host/talent, music, voice over work, prop sounds etc..) ● How do we acquire these sounds? (Will you record these sounds yourself or use effects from a sound effect library) ● What audio equipment is needed for the recording of the actual program? (Types of mics and set-up) ● Do we need to manipulate or edit any sound into the program during postproduction or add ambient sounds to improve the quality of the show?

TIPS: 1. During Preproduction: List all needed audio needs for the show. Make appropriate plans to accomplish the goals 2. During Production: Capture the desired sounds 3. During Postproduction: Processing or manipulation of sound can involve adding sounds obtained from sources other than those from the production recording. In the professional field its standard to only record voices/dialogue during production and to wait until postproduction to add background sounds if needed. *This will not apply for shows with music / singing but producers might wish to have editors enhance some parts of the audio during postproduction. Responsibilities of an audio operator – An audio operator / audio technician is responsible for all audio and sound for the production. The operator selects microphones, positions them on the set and talent, tests microphones in sound checks, and mixes the audio during the production.

UNDERSTANDING SOUND Two physical characteristics of sound that are helpful to understand are Amplitude and Frequency. -Sound amplitude is what we often call loudness, or volume. -Sound frequency refers to the musical note of a sound, how high or low it is. This at times can be referred to as “PITCH”. Frequency is measured in cycles per second, which are called Hertz (Hz). The frequency range of human hearing begins at about 20Hz and ends around 20,000Hz (or 20 Kilohertz). Amplitude The strength of power of a sound wave, known colloquially as loudness or volume. Amplitude also refers to the strength or magnitude of a varying electrical signal.

Frequency The number of times an object vibrates or a wave (sound or electric) completes a full cycle in both magnitude and polarity. Frequency, when applied to audible sound, is commonly known as pitch and in measured in Hertz (Hz). *Important note: Audio generated from a microphone is weaker than audio generated by a line source by as much as 50 dB. Mic sources need to be amplified before mixing with line sources. A line source is an audio source that is generated as a normal signal strength from a CD player or a Video Tape Recorder in the control room.

SELECTING THE PROPER MICROPHONES The best microphone for a given situation depends on many factors. Please consider the following when making a selection. ● Microphone visibility: is it permissible to show the mic on the shot (newscasts, sport shows, music events), or should it be hidden (acting shows such as sitcoms or a movie) ● Mobility of the talent: will talent move or be stationary? Are the talent’s hands free to hold the mic? ● Number of sound sources to be miced in the shot: Will one microphone do the job or will you need more? ● Danger to the equipment: indoors or outdoors, weather, who will use the mics, do they know the handling rules? ● Pickup pattern required: Close to the sound or far away? Will there be a lot of ambient noise? ● Frequency response: How does the mic respond to high and low fast frequency changes? ● Sensitivity: Will the microphone need to put out a strong electrical signal when low-amplitude sounds are present, or must the microphone be able to tolerate very loud sounds without distortion?

TYPES OF MICROPHONES AND THEIR PICKUP PATTERN For every microphone there is a property known as pickup pattern or polar pattern. “Pickup pattern” refers to the 'shape' of the sensitivity field of a microphone. Basically it refers to the area around a microphone that a microphone can hear well or has the optimal sound pickup. When selecting a microphone it is important to know what these patterns are to determine the best way you can use them when recording, and how to decide what you'll need for your studio or live recording setup. Every microphone is different; it takes understanding how they work and how they function acoustically to use them properly.

Omnidirectional microphones: A microphone pickup pattern in which all sounds are received equally well from all directions. FPAs “Omni” Mic Pick up pattern: Omni directional Possible Uses: -Single Sound Source -Ambient Sounds/Crowd noises -Group discussions -Stage play w/only one microphone Note: Requires XLR cable

Cardioid or Unidirectional microphones: Essentially picks up sound from one direction and little from the sides or back of the mic. Typically the pickup pattern of a unidirectional microphone is heart shaped. FPAs “Uni” Mic Pick up pattern: Unidirectional Possible Uses: -Interviews in noisy locations -Cross two in “X” to cover groups or stage productions -Best for handheld interviews, general recording and music Note: Requires XLR cable

Bidirectional microphone A microphone that is sensitive predominantly to sound arriving from only two directions. Also called a Figure-8 microphone, after the shape of its pickup pattern. The active live pickup angle is 90-100 degrees on each side. -Best used in audio recording studios

Supercardioid A unidirectional microphone that has a more narrow heartshape pickup pattern than a standard cardioid but is less directional than a hypercardioid microphone. FPAs “supercardioid” Mic Pick up pattern: Supercardioid Possible Uses: -Isolate sound at a distance with narrow pick up pattern -Pick up dialog wrap microphone must stay out of frame Note: Requires XLR cable

Other FPA microphones “CLIP-ON” (Lapel. Lavalier) –Wireless studio kit Pick up pattern: “Unidirectional” or “Omnidirectional” Possible Uses: -Small and unobtrusive -Clips on lapel, stays close to voice -“Uni” type helps isolate sound

“PZM” (Pressure Zone Microphone) –Wireless Field use Pick up pattern: Omni directional Possible Uses: -Broad pickup -Surface on which it’s put becomes collector -Lavaliere

ADDITIONAL MICROPHONE TIPS How to hold microphones  Lavaliere  Fastened below neck, such as clipped to jacket collar.  Hand-Held  The performer holds the mic. These mics should have internal shockmouths to reduce handling noise.  Microphone stand  request mic stand from the equipment room Principle of Operation Microphones convert sound to electrical signals (transduce) in a variety of ways, depending on design.  Dynamic microphones a diaphragm moves coil in a magnetic field, generating an electric current.  Ribbon microphones  A microphone using a thin metallic ribbon moving within a magnetic field as its transducing element. Also called a “velocity” microphone.  Condenser microphones  A microphone using a pair of electrically charged metallic plates separated by an insulator as the transduction element. Condenser

microphones require a power source for operating the microphone’s associated amplifier and sometimes for charging the metallic plates of the transducer. -Electret condenser microphone A special type of condenser microphone in which the metallic plates of the transducer are permanently charged. If they need a cable running back to the mixer  Wired these type of microphones needs a cable. Professional mics used low-impedance, balanced cables with 3-pin XLR connectors.  Wireless  These type of microphones will use a UHF signal instead of a wire. Each wireless mic needs a separate channel

*Important note about Impedance: FPA uses low Impedance cables because they cause less interference. Impedance can be defined as: ● The opposition to the flow of alternating current in a circuit. Represented by the letter "Z" and measured in ohms, impedance is the combination of resistance, inductance and capacitance of the circuit. ● The opposition that a speaker produces to the alternating current coming from an amplifier. The lower the impedance, the more power required. Regardless of their impedance, microphones are generally designed to work with audio equipment with an impedance of five times the microphone input. For example, a 250 ohm mic will work and equipment rated 1250 ohms. Low impedance microphones can be used with a high impedance tape recorder by matching transformer. A transformer can be used to convert a high Z mic to a low Z imput as well. Low Impedance (LO-Z) – Favored overwhelmingly in recording and video industries; can be used with long cables runs. Impedances range fro m150 to 250 ohms; but can go as high as 600 ohms. High Impedance (HI-Z) – Less expensive microphones in most cases, max cable run is 18 feet. More common in PA systems and less expensive gear. Impedance range is from 10,000 to 100,000 ohms.

MIKING SITUATION TIPS: Two person interview For an interview situation with two persons talking to each other across a table, an omni-directional or bidirectional microphone works well. A small group discussion with the participants seated around a table can be recorded using an omni-directional microphone, face up, in the center of the table. Some sound insulating padding under the microphone will reduce unwanted noise pickup. Ideally, a uni-directional microphone would be used at 6-12 inches from each speaker’s mouth. Singers A cardioid microphone is usually best for recording singers and choral groups because of the pickup pattern. Singers should generally be one to five feet from the microphone, and if a voice has a great volume range, the singer should move his head back slightly away from the microphone on loud passages. Instruments like a piano an omni or cardioid works best but it also depends on the room. Usually place the mic 10 fee from the instrument. When recording a group of instruments place the louder instruments farther from the mic. Judge results by ear if one mic cannot pick up all the instruments clearly attempt it with two.

Choral groups should be arranged in the conventional manner with sopranos together, bases together, etc. Weaker voices should be closer to the microphones. A good starting point is to place the microphone a little above what would be considered the average height of the singers. MICROPHONE CARE TIPS: Do’s -Do exert care when plugging and unplugging -Do keep microphones covered when not in use -Do keep microphones in a dry place Don’t -Don’t blow into a microphone (tap the case lightly) -Don’t tangle cords, coil them loosely -Don’t store microphones in hot or cold places

THE AUDIO BOARD

The audio board located in the control room is an audio selection device that is operated by a crew member (usually the audio operator or audio technician). The outgoing audio feed from the audio board is called Audio Program, this is the final mix of audio sent out for recording or airing. Common incoming audio sources that an audio operator can select from include: ● All the studio microphones (MIC 1, MIC 2, MIC 3….) ● Audio from the video tape recorders (VTR 1, VTR 2 …) ● An audio from a CD or flash drive ● An audio from a computer connected to an audio/video source - internet, webcam etc… * ● The audio board itself is an audio source, providing test tones for example. The following example is an attempt to visualize how the console functions. Each audio input is connect to a single fader in the console that controls the flow of that audio. When the fader is UP the audio is flowing. When the fader is DOWN, the audio is stopped. *The Console also has a master fader which controls the overall flow of the audio from going out. -It is possible then to allow audio to flow in and out if both the input fader and master fader are pushed up

-To allow audio to flow in and not out and input fader is pushed up and the master fader is pushed down -To allow no flow at all (all faders must be down). Mic 1 Mic 2 Mic 3 CD

VTR 1 Telephone ….. (Audio inputs)

Audio console Has one fader for each input device plus a master fader

Audio Program (final mix of audio to be sent for recording or airing)

VU METERS (Volume Unit) A measurement scale of audio signal strength. VU meters are the traditional devices used for visually monitoring the console’s combined audio output. The VU meter eliminates the subjective judgments of sounds intensity that occur when loudness is determined by ear alone. There’s a VU meter for each output channel (fader) of the mixing console. Most audio consoles provide VU meters only for the console’s output, but elaborate consoles also use VU meters for monitoring each input circuit as well. As a very general rule, good audio levels require the signals leaving your audio console to show up on the VU meter as audio speak between 80 and 100 percent of modulations (-2 to 0 decibels, or “dB,” on the VU’s scale). *Always avoid the vu meter from peaking on high or “red” for too long or it will affect the quality of audio in a negative way. Although VU indicators show if the audio level is technically too high or low, they can’t tell you if the sound mix is aesthetically correct. A meter may show a perfectly normal level when the background music is so loud the talent’s words can’t be understood. The only way to properly adjust the mix is to listen to it critically sing headphones or speakers.

For a detail descriptions with pictures highlighting the features and channel controls please refer to the Studio A and B Audio Mixer User Guide provided in the class manual.

Glossary of Audio Terms Accessory shoe A clip or bracket that allows mounting an auxiliary external microphone of the operator’s choice on the camera. Acoustical feedback or simply called “feedback. “A loud screeching sound created when a microphone picks up its own output over a nearby speaker and recycles it through the system. AGC (automatic gain control) An internal control device, for either audio or video signals, that automatically increases and decreases (as needed) the strength of the incoming sound or picture in order to maintain optimum signal strength for recording, playback, editing and other production purposes. Ambient sound Naturally occurring sounds intrinsic to a particular location that contribute to the mood of a scene. Amplifier A device that can magnify an electrical signal, either audio or video for mixing, distribution, and transducing purposes. Amplitude The strength of power of a sound wave, known colloquially as loudness or volume. Amplitude also refers to the strength or magnitude of a varying electrical signal. ATR (audio tape recorder) Although technically applicable to any audio tape recorder, the term usually refers to open-reel analog devices using tape from 1/4 to 2 inches in width. Audio cassette recorder A recorder/playback machine that uses two reels of 1/6-inch tape contained in a plastic container (cassette), thus combining features of the open-reel and cartridge tape recording systems. Most cassette recorders use analog techniques, but some cassette machines record audio in digital format. Audio compressor An electronic device used to bring weak audio levels up to an average volume. Audio mixing console A devise that allows the operator to control the selection and mixing of various audio signals to form the sound portion of a television production. From it all audio signals can be amplified, combined, shaped and channeled. Also called an “audio board,” “board” or “mixer”. Audio Operator Responsible for all audio and sound for the production. The operator selects microphones, positions them on the set and talent, tests, microphones in sound checks, and mixes the audio during the production. Audio signal flow The theoretical schematic model that sequentially traces every step of the audio path from microphone (or other audio source) to the home radio or receiver. Audio snake A cable containing bundled audio lines that terminates in a box containing multiple audio hookup. Balance In audio, the achievement of the correct ratio among several sound sources. *Bidirectional microphone A microphone that is sensitive predominantly to sound arriving from only two directions. *Boom (mic boom) Any device consisting of a moveable base, an adjustable stand, and a long arm for suspending a microphone above and in front of a performer.

Bus In audio a common audio circuit that collects signals from several audio sources and feeds them into one source (ex. A mix bus feeds the combines audio signal to the master potentiometer). Channel The specific pathway used to be signal from source to destination. In audio, it may refer to one of a number of available lines (input channels) within an audio console where various control functions such as volume, equalization, and routing take place for the specific line. *Cardioid microphone Also known as a “unidirectional” microphone, the cardioid is sensitive predominantly to sounds arriving from only one direction. The area of greatest sensitivity has the general shape of a valentine, or heart. *Clip-on microphone A microphone using a pair of electrically charged metallic plates separated by an insulator as the transduction element. Condenser microphones require a power source for operating the microphone’s associated amplifier and sometimes for charging the metallic plates of the transducer. *Condenser microphone A high-quality microphone whose transducer consists of a vibrating condenser plate and a fixed back plate. Connector box A metal box with many female XLR connectors providing a central point into which microphones used during a production are plugged. The connector box and its multiwire cable leading to the audio mixing console is often called a “snake.” Cross Fade (cross-fading) An aesthetically pleasing audio mixing technique in which one sound is faded out while another is simultaneously faded in. The two sounds blend briefly during the transition between sources. Cue In audio, to prepare an audio source (CD or audio tape) for a precise start at some predetermined time. Cue position (Cue circuit) A position on most audio posts and faders that connects the audio source to a separate non-program cue amplifier and speaker to enable the audio operator to listen to the source without interfering with a program audio. Cut To end production or eliminate some program material. Decible (dB) A scale for measuring the strength of an audio signal. Desk microphone Often a hand microphone supported by a heavy-based stand or by a flexible gooseneck mount attached to a desk or podium. Also called a “stand” or “podium” microphone. Diaphragm In audio, the vibrating element in a dynamic microphone that responds to the compressed air molecules of sound waves. Digital audio tape (DAT) recorder A type of cassette audio tape recorder that records and reproduces audio using digital techniques. DAT provides higher quality audio reproduction than analog recorders. Director While tape is rolling this person is responsible for the production. The director is responsible for coordinating all the elements of the production (camera shots, pacing, transitions) according to the producer’s instruction. Dissolve A slow cross fade. A type of edit in which one source of video or audio gradually fades out while at the same time another source fades in, with the two pictures overlapping briefly. Also called a mix.

Double system A production method such as film in which the synchronous sound and picture are recorded as two separate elements. Dubbing 1. Erasing an audio track and recording new words, music or sound effects in its place. 2. Making copies of a tape, ie., duplication. Duration The length of time indicated in hours, minutes, seconds, and frames, that a section of audio, video or effects materials last. *Dynamic microphone A rugged microphone whose transducer consists of a diaphragm connected to a movable coil. *Electret condenser microphone A special type of condenser microphone in which the metallic plates of the transducer are permanently charged. Equalizer An electric device used to increase or decrease the levels of different audio frequencies. Fade A control on an audio mixing console that adjusts the loudness (volume) of an audio signal. Feed A program signal, studio, and/or video brought into a mixer (audio console) from an outside (non-studio) source. Frequency The number of times an object vibrates or a wave (sound or electric) completes a full cycle in both magnitude and polarity. Frequency, when applied to audible sound, is commonly known as pitch and in measured in Hertz (Hz). Filter In audio, a device that can be used to eliminate selected low frequency or high frequency overtones. Gain When relating to audio a control on the audio board that permits the amplification of an incoming signal. Hand microphone A microphone designed to be held vertically in front of the talent’s chest.

Headset microphone A small microphone on a (usually) flexible rod along with one or two earmuff speakers attached to a clamp mount worn on the talent’s head. The microphone’s close proximity to the mouth helps ensure the talent is heard clearly above the ambient noise level. Usually used during sport events. Hertz (Hz) basic unit of frequency measurement. *Hypercardioid microphone A microphone that accepts sound only from one direction along a very narrow axis. The most highly directional cardioid pickup pattern. Impedance – resistance to the flow of an audio signal in a microphone cable. Lavaliear microphone (lapel mic / clip-on mic) A very small microphone that can be worn around the neck on a cord or clipped onto an article of clothing such as a tie/jacket. This is the most common type of studio microphone. Level Sound volume or intensity from a specific source or talent.

Live to tape production Program that is recorded on videotape in its entirety, or in long complete segments; the viewing audience watches the performance, unedited, as it actually took place. Looping An audio technique where by a single loop of audiotape can be repeated endlessly on either a reel-toreel recorder or an audio cart machine. Master Control Room Primary engineering control center where all video and audio signals are ultimately channeled; program input (both studio and network feeds), camera controls, video recording, and transmitter distribution usually are all handled for his location. Master fader (or volume) control A special fader on an audio mixing console that simultaneously increases or decreases the signal strength of all audio sources. Mic source Audio generated from a microphone is weaker than audio generated by a line source by as much as 50 dB. Mic sources need to be amplified before mixing with line sources. Noise In audio, specific audio interference (unwanted sound or static) or video interference (electronic disturbance or snow). Off-camera Any sound or action that takes place out of the camera’s view. Off-mic The audio quality resulting from a sound source that is a great distance from the microphone or out of the pickup pattern of a unidirectional mic. *Omnidirectional (non-directional) A microphone pickup pattern in which all sounds are received equally well from all directions. Output fader A sliding knob on the audio board that controls the output signal strength of Audio Program. *Parabolic microphone A dish-shaped concave reflector with a microphone at its acoustic focal point facing inward, toward the dish. The parabolic reflector and its associated microphone provide good pickup of distant sounds. Phantom power A feature of some audio boards that sends a 48-volt channel of direct current (DC) upstream in order to power a studio microphone. Playback A process where the recorded material on a tape is played back to recreate the original video and/or audio signals. Pre-production planning The preparation and planning which takes place before the cameras are powered on and the studio is set. Producer Oversees the entire production from conception and pre-production through taping, editing, and distribution. The producer’s responsibility include, but are not limited to, coordinating all the elements of production, obtaining, a crew, signing up for studio time, etc. Sometimes the producer is the writer and director or even the host. *Ribbon microphone A microphone using a thin metallic ribbon moving within a magnetic field as its transducing element. Also called a “velocity” microphone.

Reverberation (reverb) The process of adding an electronic echo to music or spoken sound to produce a deliberate artificial resonation. Ribbon microphone A microphone using a thin metallic ribbon moving within a magnetic field as its transducing element. Can also be called velocity microphone. Rundown sheet(show format) Abbreviated scripting format that simply lists the various program segments in sequence. Running time The length of time a performance or a taping takes from beginning to end. Scratch Track An audio track used for synchronizing video animation of effects in an off-line situation or if the final audio track is to be edited after the visual elements have been edited. Segue An audio transition in which one sound is completely faded out and then a second source is immediately faded in (similar to video cross fade). SFX Abbreviation for sound effects. *Shotgun microphone A highly directional microphone, used for picking up sounds from a distance. Signal-to-noise ration Sometimes identified as S/N, it’s a comparison of the desired audio (music/voice) to the undesired noise (such as tape hiss). Audio with little inherent system noise compared to the desirable voice and/or music is always preferred. Snake See connector box Sound bit A short “newsworthy” quotation from a person, usually someone involved in a news story or feature. *Supercardioid microphone A unidirectional microphone that has a more narrow heart-shape pickup pattern than a standard cardioid but is less directional than a hypercardioid microphone. Sweetening The process of enhancing an audio track during post-production editing by adding pre-recorded laughter and other audience reactions. Synthesized audio Audio signals generated by electronic oscillators and amplifiers rather than by vibrating physical bodies in contact with the air. Transduction The process of converting energy in one form (such as sound) into energy in another form (such as electricity). Tone A 1-kHZ audio signal used to calibrate the audio board and the VTRs. Unidirectional microphone See Cardioid microphone Voice-Over A script instruction indicating that the voice of an off-camera unseen narrator is to be heard over a specific picture segment. Video Tape Recorder (VTR) An audio/video playback and recording tape machine.

VU Meter (volume unit meter) A monitoring device that provides a visual indication of the loudness (volume, amplitude) of audio passing through and audio recorder or mixing console. Wireless microphone Also called a R.F (radio frequency microphone). A microphone with a self-containing miniature FM transmitter built in; the microphone transmitter can send its signals to the control room, eliminating the need for mic cables. XLR cable a three-wire audio cable (three-pin).

Audio Cables location in Studio B Microphones and Lines

Sequence of Events Taping a “Talking Heads Live to Tape Show in Studio A or B” 1. Studio and control room are unlocked. 2. CG person works on titles and credits in control room, blacks tape if needed. (Blackening the tape is helpful in preventing control tracks breaks) 3. Studio work lights are switched on; cameras switched from standby to on; camera monitors adjusted for brightness, contrast, etc.; big color monitor turned on in studio. 4. Studio lights positioned and adjusted as needed (studio B only). 5. Studio lights switched on. 6. Platforms, carpets, props, and chairs set up. 7. Mic cables run if not using wireless mics. 8. Cyclorama positioned. 9. Audio checks performed with stand-ins. 10. Work lights switched off and white balance done by FPA techs. The white balance target is placed on a music stand near where the talent will be to get the same height. The cameras are focused on the target and zoomed so the target fills the picture. 11. Talent arrives on set and is wired for sound. 12. Camera people don headsets and adjust volume. 13. Camera people zoom in all the way on talent to adjust focus, then zoom out to compose shots. 14. Sound levels are set as talent talk. 15. Tapes are positioned, and tape rolls, with bars, tone, and possibly an intro copied from a playback tape. Music is cued as appropriate. 16. The director informs the floor director to tell everyone in the studio, “Quiet on the set.” 17. The director gives the floor director a 5-second countdown, which the floor director give the talent by hand signs, finally cueing the talent to begin. 18. Simultaneously, the director switches to the appropriate opening shot of the host, and the host begins. 19. The director directs shots (“ready 1, take 1; ready 2, take 2; pan left on 3; OK; ready 3; …”) 20. At the halfway point, and at certain times such as when 10, 5, 2, and 1 minutes are left, the director will tell the floor director to signal the host, so the host can pace the show and end on time. 21. The floor director waits until the host is off camera before signaling the host. The host acknowledges the signal. 22. After the final fade to black and tape stops rolling, you may or may not be done, depending on if there are any errors that need to be re-shot.

23. Switch the cameras to standby, dim the on-camera monitors, put the cameras back in their marked positions, use the figure-8 coil for the camera cable. 24. Restore the Cyc to its original position; remove and coil audio cables using anti-twist technique; put back the props, carpet, and platforms; turn off the big color monitor in the studio. 25. Turn off the studio lights, remove any gels from the lights, turn off the work lights. 26. Return materials you checked out to the cage. Get volunteer time sheets signed as appropriate. 27. Get an FPA tech to inspect studio …

Remote guests tips:  Each of our studios have the capability to invite guests using Zoom.  A tutorial on how to use Zoom in our studios is available online at: (youtu.be/7NpQyPyZVVs)  Zoom guests should be told the following: o If using Zoom, you can have up to 100 guests but for security reasons producers cannot use personal Zoom accounts. o Avoid a Wi Fi connection at all times. Using Ethernet is always better. o They need to wear headphones when using their computers. If they don’t, it creates an echo and their audio is distorted. (If they don’t have headphones they must keep their speakers low) o Find a room for the taping day that has a door so you can block out any unnecessary noise. o Unplug any phones. o Don’t sit in front of a window AND don’t sit in front of a plain white wall. o Close all other applications that are running on the computer. o Have them add fpa-studioa / fpa-studiob / or fpa-studioc to their contacts. o Tell them that they will be able to hear all talent in the studio. When it comes to video, one skype guest will see what's in program and the other one will only see black. If you don’t want to use “program” you must ask staff to route a different video source (example: host camera).Be sure to get their Skype name so that you can add them to our Skype contact list. o They should look directly into their camera the whole time. o They should keep their computer speakers down as low as possible in order to avoid feedback. o Specify if you will initiate the call or if they should (I recommend you initiate). o Have them be ready 15 minutes prior to their segment so that you can run some final checks with them.

In studio call-ins: o If you are planning on having guest(s) or viewers call-in to the show the control room phone numbers are as follows. o -Studio A: (571).749.1129 o -Studio B: (571).749.1130 o -Studio C: (571).749.1142 o Please have your audio operator setup and control the audio levels using the audio console. o Remember to screen your callers.

TELEVISION TECHNICAL STANDARDS

Our Programming Dept. accepts the following formats: DVD, Blu-ray, SD File or HD File

*SD File Requirements All SD files must be 720x480 pixels

*HD File Requirements All HD files must be one of the following resolutions:  720p - 1280x720 59.94fps  1080i - 1920x1080 29.97fps

MPEG-2 Program Stream

The following HD formats are accepted: Note - Bold formats are native to the playout system, and will require less transcoding time to be available on the playout system. Use of these formats is recommended when possible.

   

    

Main Profile, Main Level Audio Codec: MPEG1 Layer II or Linear PCM 4:2:0 chroma format Closed GOP Structure (Group of Pictures) with one I-frame and four P-frames every 15 frames, using the pattern IBBPBBPBBPBBPBB. Video sequence frame before every GOP. Interlaced Bottom Field First Audio bit rate of 192, 256, or 384 kbps Audio sampling rate of 48 kHz Constant bit rate Strict maximum program mux rate of 9Mbps for video, audio & overhead

MPEG-2 Program Stream  MP2 or PCM Audio  I Frame Only or Long GOP  Fixed GOP Structure  Max of 2 B-frames within GOP  Closed GOP recommended  .MPG or .MPEG file extension XDCamHD/XDCamHD422  PCM Audio  .MXF file extension

Apple ProRes/ProRes 422 Avid DNxHD QuickTime H.264 MPEG-4  High Profile/HiP or greater

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For more on technical standards please see page 42 of FPA’s Policies and Procedures Handbook

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For the latest accepted formats please visit: www.fcac.org/standards

Planning Guide –Sample Program Title:

1. 2. 3.

______ Step by Step Tips

Producer: Schedule Studio Time Contact talent and crew Hold production meeting Production Date:

Pre-Production

Crew Call:

Production 1. Set up scenery and props 2. Set and test lighting 3. Set and test audio 4. Bring in guest or talent

Guest Call: Shoot Time: Position

Name

Telephone

Assistant Producer Director Technical Director Editor Host 1 Release Form Host 2 Release Form Guest 1 Release Form Guest 2 Release Form Guest 3 Release Form Guest 4 Release Form Guest 5 Release Form Floor Director Camera 1 Camera 2 Camera 3 Audio Lighting Set Design Character Generator Production Assistant

RUNDOWN SHEET –Sample A rundown sheet is a simple review of the script with directions for the various crew members. It breaks the show into "blocks" and it lists all the different pieces of the show and what should happen during these pieces (e.g. a graphic will display, or a video tape will be played). This is useful for the crew so that they do not have to read through an entire script during production, they have the show in a simplified form. TRT

SEGMENT

VIDEO

AUDIO

00:00

:05

Title Graphic on Deko

Theme Music on CD

00:05

:04

Dissolve to CAM 2: WS Host and Guest

Theme Music fades out

00:09

:07

Cut to CAM 3: MCU of Host

00:16

:02

Cut to CAM 1: MCU of Guest

:05

Cut to CAM 3: MCU of Host

:07

Cut to CAM 1: MCU of Guest

00:18

00:23

Host: Hi, Welcome to “Dreams do come true.” Today, we have with us Jermaine Williams. Mr. Williams was recently a Struggling filmmaker, However, his fortune Changed when his family Decided to collectively Provide funding for his Long awaited film. His Film opened this past Weekend and has grossed Over five million dollars. Thanks for joining us Mr. William. Guest: It’s my pleasure. Thanks for having me on. Host: Tell us about your Film and how long you Were searching for funding Before your family decided To finance. Guest: do you have all Day? (guest laughs)

FPA: HOURS OF OPERATION

HOURS OF OPERATION

RESERVATION HOURS FOR EDIT SUITES AND STUDIOS Editing Lab Slots DUB Suite Slots STUDIO A Slots

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday

12pm-4pm 4pm-7pm

12pm4pm 4pm-7pm

8am-12pm 12pm-4pm

7pm-10pm

7-10pm

7pm-10pm

4pm-8pm

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday

12pm-10pm

12-10pm

8am-8pm

Monday

** Reserve in 1 hour blocks $2.00 per hour** Tuesday Wednesday Thursday Friday

Saturday

Sunday

12pm-4pm

8am-12pm

8am-11am

4pm-7pm 7pm-10pm

12pm-4pm 4pm-8pm

11am-2pm 2pm-5pm 5pm-8pm

Monday STUDIO B Slots

Tuesday

12pm-4pm 4pm-7pm 7pm-10pm

Monday STUDIO C Slots

12pm-4pm 4pm-7pm 7pm-10pm

Tuesday

12pm-4pm 4pm-7pm 7pm-10pm

Wednesday 12pm-4pm 4pm-7pm 7pm-10pm

Thursday 12pm-4pm 4pm-7pm 7pm-10pm

Friday 12pm-4pm 4pm-7pm 7pm-10pm

Saturday Sunday 8am-12pm 12pm-4pm 4pm-8pm

8pm-12pm 12pm-4pm 4pm-8pm

Saturday Sunday 8am-12pm 12pm-4pm 4pm-8pm

8am-11am 11am-2pm 2pm-5pm 5pm-8pm

Friday

Saturday

Sunday

8am-8pm

Saturday

Sunday

EQUIPMENT ROOM OPERATION HOURS: 571-749-1111 Hours

Monday

Tuesday

Wednesday

12pm-10pm

TRAINING DEPARTMENT Monday Hours

Tuesday

Wednesday

12-10pm

HOURS:

571.749.1102

Thursday

Friday

Call the equipment room for reservations: PH#: 571.749.1111

8am-4:30pm

PROGRAMMING DEPARTMENT Hours

Thursday

8am-4:30pm

HOURS:

571-749-1135

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday

11am-10pm

8am-10pm

9am-8pm

11am-8pm