Production Protocol
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INTRODUCTION Welcome to the SUSUtv Production Protocol. The term ‘protocol’ may be a bit misleading. This document is not meant to be the definitive guide to how to make a SUSUtv video. Instead, think of it as a guideline of how to produce the type of content our station usually makes, from Nightlife, to Interviews to Live Broadcasts. This book merely acts as a foundation of information that will help you understand the requirements and necessities of each video platform. The guidelines are loose - each section is designed to facilitate an entire area of videography as opposed to specific videos. Please learn from them, please build upon them, please tailor them to suit the needs of your individual vision. So if you’re unsure of anything - from how to expose the cameras, to how to book out kit, to the protocol of live shows - you’ve come to the right place. If you’re new to the station, take the time to digest the information ahead as it will become increasingly relevant as you produce more and more videos. But don’t forget: enjoy yourself. This station is about making memories as much as making videos. So have fun first, and by following this guide, your video will be ready for SUSUtv release.
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2017/18 COMMITTEE
Danny Rickard
Danny is the student leader and head of SUSUtv, representing the station at Union Senate and the Creative Industries Zone meetings. All content must be approved by Danny before being broadcast onto Facebook, YouTube or our website. Danny is the spokesperson of SUSUtv, liasing with NaSTA and ensuring the smooth running of committee meetings and exec productions. danny@susu.tv
Station Manager
Dave Williams
Dave supports the Station Manager, assisting in administrative roles and writes minutes of meetings. He is responsible for SUSUtv training sessions and all commercial projects. As Assistant Station Manager, Dave acts as the SUSUtv treasurer and oversees the departmental finances, advising the committee on the state of the allocated budget and is the decisive vote on committee funding. dave@susu.tv
Assistant Station Manager
Tom is responsible for all creative productions, overseeing the Original, Winchester, Culture and Music Execs. He ensures the smooth running of pre-production, production and post- production through organising development labs and facilitating, encouraging and guiding the methods of production teams. Tom also co-leads the NaSTA submissions process.
Tom Pethick
creative@susu.tv
Director of Creative Production
Tom Brown Director of Factual Production
Tom is responsible for all factual productions, overseeing the News, Factual, Union and Sports Executives. Tom leads the running of all three areas of production; curating production meetings, facilitating and encouraging the execs and individual production teams. He and Tom lead major events like Varsity, Elections and the submission process to the National Student Television Association Awards. factual@susu.tv
Ben McQuigg
Ben is the housekeeper-in-chief for SUSUtv, regularly updating the inventory, creating and maintaining the booking out systems, organising room bookings for meetings and events. Ben is also responsible for the signing of the SUSUtv contract, the station’s clothing and the management of all risk assessment forms. Beyond this, Ben continues to create and advise on productions. operations@susu.tv
Head of Operations
Rob Winn
Rob is the chief of all technology for SUSUtv, maintaining our Website and orchestrating the enormous technological side of Live shows. Rob liases with CMT to upkeep station hardware and software and co-leads training sessions with Assistant Station Manager. He is also responsible for the storage and maintainance of equipment and a tidy studio with the Head of Operations. technical@susu.tv
Head of Technical
Lydia Pallot
Lydia is the leader of audience engagement for SUSUtv, scheduling and writing regular updates to the station’s social media platforms. Lydia oversees the unilateral cohesion of the brand, working alongside the Head of Design & Graphics on promotional material, photos, posters and title designs. She also edits the SUSUtv newsletters and runs competitions for our audience. publicity@susu.tv
Head of Publicity
Harvey’s role is more for the SUSUtv members themselves than the audience. He organises regular socials, including one non-alcoholic social per term, and trips for the station to broadcast media events. Harvey leads organisation of SUSUtv presence at Union events such as the bunfight and maintains and updates the SUSUtv social and production meeting calendar.
Harvey Rickatson Head of Events
events@susu.tv
The Execs Our execs are the ones actually responsible for SUSUtv’s output. They head up our production and decide exactly what it is we’re going to be making. They’re the first port of call for members, and work with the whole committee on some really exciting videos. This is a great opportunity to get fully involved with making exactly what you want!
Imogen Arthur
Katie Duke
Jess Steen
Culture Exec
Factual Exec
Music Exec
culture@susu.tv
factualexec@susu.tv
music@susu.tv
Alice Johannessen
Wasa Sitali
News Exec
Originals Exec
news@susu.tv
originals@susu.tv
Brandon Mulliner
Molly Ellis
Selina Hamilton
Sports Exec
Union Exec
Winchester Exec
sports@susu.tv
union@susu.tv
winchester@susu.tv
Vacant Positions Head of Design & Graphics The Head of Design & Graphics is responsible for SUSUtv’s branding. Working with the Head of Publicity, and the rest of the committee and SUSUtv’s membership as a whole, you will create templates, assets and bespoke motion graphics sequences for our productions, all within the station guidelines.
How to Apply Look out for news of our General Meetings! Alternatively just talk to Danny or Dave if you’re interested in running in the mean time. The next opportunity is at our AGM, in April.
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WHAT IS SUSUtv?
SUSUtv was officially born on 30 October 2006 with the introduction of Station Manager as a Student Leader position within SUSU. You can view the policy document formally recognising the station’s conception at bit.do/itbegins. The creation of SUSUtv is said to be credited largely to Nick Culley, Pete Wood and The Third One. The station quickly established itself, with the first official video being coverage of 2006’s Halls Ball. Within the first year, a wide variety of videos were published, from informative content about the university to a skydive and the hilarious Student Scene and even the first Freshers’ DVD was produced. SUSUtv grew quickly, hosting the NaSTA (National Student Television Association) conference and awards in 2009. Over the years, the station has been responsible for many infamous productions, from Cash Magnets and the Top Gear special to huge live shows covering Union and General Election results. We’ve picked up a number of awards over the years, from the aforementioned NaSTAs to local film challenges and festivals. Our members are also regularly recognised for their individual contributions to SUSUtv and the wider community of student television We were also the first student station to broadcast live in High Definition and are always working on developing and improving our technical capabilities, from the plug-and-play ‘Strack’ (stream in a rack) unit to purpose-built broadcast software. Many of our former members have gone on to work in the television and film industries, with alumni securing positions at companies such X, Y and Z. In 2017, SUSUtv is on as strong form as ever, making now the perfect time to come and get involved! SUSUtv Station Managers
Nick Culley
Aaron Stokes
Jeni Bolitho-Jones
Katrina Sale
2006/07
2007/08
2008/09
2009/10
Dax Wood
Dom Kullander
Carly Brown
Catherine Darcy
2010/11
2011/12
2012/13
2013/14
Joanna Sheldon
Chris Evans
Alex Smith
Danny Rickard
2014/15
2015/16
2016/17
2017/18
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STUDIO LAYOUT
Patch Bay 1
Sofa
Patch Bay 2
Tall Blue Shelves
Patch Bay 4
Small Blue Shelves Patch Bay 3
Whiteboard
Control Room Patch Bay
Strack
Green Shelves LH PC
RH PC
Cupboard Cupboard Cupboard 1 2 3
Corner Cupboard
Noticeboard
Desk & Mac
Awards Shelves
Item
Patch Bays
Contents/Description Used in live shows to route video and audio from the studio to the control room. (from top shelf to bottom)
Tall Blue Shelves
1
Older Cameras (Panasonics), Crane Equipment
2
New Panasonics, Blackmagic Cinema Camera
3
Lighting Equipment (including Dedolights, LEDGOs & exteriors)
4
SDI Cables, Miscellaneous Lighting Equipment
This is where Panasonic batteries are charged - find them on the shelf frame. (from top shelf to bottom)
Small Blue Shelves
PCs
1
Computer Monitors
2
XLR5 Comms Cables, XLR3 Audio Cables, HDMI Cables.
3
IEC Cables, Extension Leads, Ethernet Cables
These are where we do all our editing and online work. These can be booked in the same way as all our other kit. (from top shelf to bottom)
Corner Cupboard
Tools, spare screws, whiteboard pens, blank DVDs. Certificates, photos, kit manuals, first aid kit.
Green Shelves
Miscellaneous items, but most notably this is where we store our SD Cards, pens, blutack, electrical tape and The Mug.
Cupboard 1
Hotshoe Lights, Slider, Steadicam, Gimbal. Misc DSLR kit. Tripods.
Cupboard 2
Power supplies, converters, wireless handheld mics. Lapel mics and sound bits ‘n’ bobs. Technical supplies and equipment.
Cupboard 3
Shotgun mic and accessories, live comms kit. Zoom H6 Sound Recorder, capture card. Various technical equipment.
Whiteboard
This is where SUSUtv’s finest ‘comedians’ usually feel compelled to immortalise their favourite one-liners. Check the noticeboard for actual useful information.
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BOOKING/COLLECTING KIT
At SUSUtv our members are our lifeblood, and the kit the station has invested in is intended to last you a long time. For this reason it’s important we look after it and take good care, so we have an online and physical booking system. The first step is to go to tinyurl.com/SUSUtvKitBooking, where you’ll find a list of all our items available for members to borrow. Before you start filling out the form, it’s important to check what’s already booked out. There’s a link in the description at the top of the page, or you can just visit tinyurl.com/SUSUtvKitCalendar. After checking that the kit you want is free at the time you were planning to record or edit, fill in the details about yourself and the project you need equipment for, then tick the boxes next to everything you want to borrow. Finally, enter the times you want it between. There isn’t a strict limit on how long you can have kit for but it’s not normally necessary to keep it overnight. Once that’s done, submit the form and you should get a confirmation email within a few minutes. Of course, if someone already has a piece of kit booked, it’s always worth talking to them in case there’s some compromise in terms of timing that you can come to between you. Submitting the form also sends an email to Danny (Station Manager), Rob (Head of Tech) and Ben (Head of Operations). If there is any problem with what you’ve booked, such as a clash of equipment or times, one of these three will contact you. When you come to pick up kit for a project, you’ll need to get out a SUSUtv Studio key and possibly a kit key from SUSU reception. You can find out if something you’re intending to use is stored in the back half of the studio (thus requiring the kit key) by consulting Section 4. You will need to exchange your student ID card for these keys at the reception desk, and you get your ID back once you return the keys. Please sign out any kit taken on the hard copy in the blue folder, which is kept on top of the cupboard next to the editing PCs.
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KIT GUIDES
Cameras Canon EOS 5D Mk III The EOS 5D Mark III is a full-frame 22.3 MP DSLR with 61-point autofocus and manual control over everything from frame rate to audio. The 5D delivers good picture quality whatever the lighting conditions; keep shooting handheld even after the sun goes down, thanks to an ISO 100–25,600 sensitivity range (extendable to ISO 102,400). As with all our cameras, it has an internal mic and you can plug external microphones into the 5D to eliminate the need for post-production synchronisation. The 5D has a strong magnesium chassis that provides weather sealing with protection against dust and moisture. It is, however, probably our most essential and treasured piece of kit - not to mention being very costly to repair or replace. For this reason, have fun with shooting, but please take care of the camera and lenses. This does of course go for all our equipment, as it’s only our members who will suffer ultimately, but the 5D is our baby so pls play nice.
The most experienced operators of DSLRs - specifically the 5D - at SUSUtv, and so the best people to come to with any questions, are Danny Rickard, Tom Pethick, Wasa Sitali, Ben McQuigg and Dave Williams.
Panasonic AG-AC160EN We have three Panasonic AG-AC160ENs, which are industry-standard broadcast cameras. These are excellent cameras to learn on, as they have intuitive controls and are very forgiving, We usually use these for live shows, as having three allows us to easily match pictures to maintain the professional standard of the broadcast. These are especially good for sporting events thanks to the option of Variable Frame Rate, and hence this is possibly the one of the only occasions you would use it on a single-camera shoot. That said, don’t underrate these; they are very solid, workhorse cameras.
1) Built-in Microphone 4) Handle Zoom Switch 7) Input 2 Mic Switch 10) User Button 13) Focus Switch 16) Scene File Dial 19) Operation Lever 22) Zoom Ring 25) Gain Switch 28) Shutter Rate Dial 31) Auto/Manual Switch 34) WFM Button 37) EVF Button
2) Input 1 Phantom Switch 5) Diopter Adjustment Dial 8) OIS Button 11) ND Filter Dial 14) Push Auto Button 17) Menu Button 20) Audio MON/ADV Button 23) Iris Ring 26) White Balance Button 29) Dial Select Button 32) Audio Level Knob 35) Audio Ch1/Ch2 Select Switch 38) LCD Button 40) Auto/Manual Audio Switch
3) Input 2 Phantom Switch 6) Input 1 Mic Switch 9) LCD Monitor 12) Focus Assist Button 15) Zoom Switch 18) Exec Button 21) Focus Ring 24) Iris Button 27) Function Knob 30) Display Select Button 33) Zebra Button 36) BARS Button 39) TC Set Button
Lighting Lighting is a crucial aspect of every shot that can often be overlooked at student television level. On professional shoots, Directors of Photography and Lighting Cameramen are employed to take care of this area, but when operating in small teams under time constraints on an amateur production, this can easily be dropped or forgotten. It is, however, one of the most influential factors on how the final product will instantly be judged by viewers; if the picture in the first three seconds is not visually appealing, it is unlikely our audience will continue watching the rest of the video. You can also save yourself a lot of effort in post-production by achieving a pallatable look in the first place. Unless there is a stylistic reason not too, you will probably be trying to achieve quite a neutral look for your picture. How you approach lighting will vary depending on the type of shoot you are undertaking, but one thing remains constant: lighting to make your picture look natural is far harder than a stylised setup. It is impossible to detail every possible scenario, but we will go through the three most common experienced at SUSUtv. The first is when shooting voxpops or events coverage. Here, your location will be changing constantly so there is no way to have a fixed lighting setup. You should still almost always use some kind of artificial lighting. The only exception to this is if shooting outside during ample daylight - but think about which way you are shooting depending on the position of the sun, and therefore which way shadows fall. At all other times, we usually recommend one of the hotshoe lights being fixed to the camera - but bear in mind what other kit you’re using. For instance, if the camera is on the gimbal, this setup won’t be very effective. Be creative with other ways of capturing the footage you want if you have your heart set on using both the gimbal and lighting. Adjust light intensity and temperature using the controls on the reverse of the hotshoe lights. The second situation is for an interview or studio setup. This can be for a live broadcast or off-air recording. Here, we usually employ a three-point lighting setup. More about the Key Light theory behind this and how best to use it can be found all over (brightest) the internet, but the basic setup is as shown left. Fill Light The same diagram, and more details on how and when to use it and which particular lights to use, are included in the Interviews segment of the Production Templates chapter. Always be mindful here, as with the third scenario, of two of the most common pitfalls. Firstly, make sure your shot is framed such that none of the lights can be seen onscreen; and Back Light (for depth) secondly, ensure only desired parts of the studio location are illuminated. For example, it is very easy to accidentally see the lights in the reflection of the glass walls of Media Resources. Finally, when shooting short films, it is especially important to use control the light of each shot. Is it the temperature you want? Is it too bright? Do the shadows distract from the point of the shot? There are infinite matters for the director and DoP to consider. Bear in mind all the types of lights SUSUtv owns before making your final decision.
Editing As with all other parts of the SUSUtv equipment arsenal, there isn’t a single correct way of using editing software and, again, the difficult part is not operating the programme but knowing what you want from it and achieving that successfully. We have two high-spec computers in our studio which are both kitted out with the full suite of Adobe Creative Cloud programmes. For the bulk of video editing, we use Premiere Pro, which is becoming more and more of an industry standard; 2016’s Deadpool, for example, was one of the first major Hollywood pictures to be edited in Premiere Pro. There is no easier or better way to learn ‘how to edit’ than trial and error. We have a wealth of footage from the last 11 years accessible from the studio, so there is no excuse not to book a PC, come down and have a play. The majority of the editing files for projects from the last five years or so are still available, so you can always have a look at those if you want to find out how a specific technique was achieved, or just for general guidance. Our committee and exec are all competent editors too so if you have any questions, it’s more than likely they will be able to help you. All that said, we are going to run through the basics and some practices a few of us adopt when editing. Once again, this is a creative process so there are no rules. If you want to find out how to do something, YouTube or Linda tutorials are an amazing thing, and show you far better in video form than pictures in a book can. What follows is by no means an exhaustive list of commands and how-tos but should help you get started or refresh your memory. Creating a new project should be fairly intuitive from the available tools, so we’re going to start after that stage. Importing Media At the top, click ‘Editing’ to make sure you are in the correct workspace. Navigate to the ‘Project’ tab in the bottom left. Double click in the blank area or press Ctrl + i. Navigate to the folder where your clips are and select the desired ones and press ‘Open’.
Adding Media to Timeline Before you begin editing, you will need to create a Sequence. You can either do this by pressing Ctrl + n or by dragging and dropping a piece of media from the ‘Project’ tab to the ‘Sequence’ tab in the bottom right. The second method is recommended because this then matches the new sequence’s setting to those of your clip. To create another sequence you can either press the ‘+’ button or do Ctrl + n. You can rename your sequences at any time. Adding Effects and Transitions to Clips From colour correction to removing unwanted background noise, it’s unlikely any clip in a production will go without effects. To find what you’re after, navigate to the ‘Effects’ panel in the bottom left and either search or browse the folders. Once you’ve got the desired effect, drag and drop it onto the clip in your timeline you want to apply it to. To edit and keyframe the properties of the effect, navigate to the ‘Effect Controls’ panel in the top left. Here, you will be presented with all available options. If you want to apply an effect with the same properties to multiple clips, click the effect name in ‘Effect Controls’, hit Ctrl + c, then highlight all the applicable clips in the timeline and hit Ctrl + v. Another way of adding the same effect to multiple clips is to create an Adjustment Layer (File › New › Adjustment Layer) add it to a channel above the clips you want to apply it to. Then apply the effect to the Adjustment Layer and every clip on a channel below it will act as if it has had the effect applied in the traditional way. Please note that this only works for video effects, however. To add transitions - video or audio - just find the one you want in the ‘Effects’ panel, and drag and drop it onto the intersection of the two desired clips. You can then change its length and position in relation to the change of clips. Cutting Clips It is doubtful you will ever want the entirety of a clip, whether video or audio included, so it’s important to know how to divide and extend/shorten them. This is mercifully simple. Either press c or find the Cutter tool in the centre-bottom toolbar. To exit the tool, press v. Quickfire Top Tips • Group clips by colour to make it easier to find your way around an assembly. Go to Edit › Label to change a clip’s colour. • Divide your media between bins to speed up the editing process and keep more organised. This also makes life easier for a Second Editor. To make a new bin, simply press the icon. • Use multiple sequences. Whether editing a short film or nightlife compilation reel, this will undoubtedly make it simpler to follow and assemble your edit. • Use the ‘Preview’ panel (top left). Before adding a clip to a sequence, use the In and Out tools to select the desired segment.
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PRODUCTION CODES
Before we work through how to produce each individual type of video, there are a couple of major things to keep in mind at all times, regardless of what type of video you are creating. The basis of all video production is to capture what you’ve come to record as cleanly and with as much completeness as possible. As such, most of these production must-do’s are common sense, universal tips: a checklist to keep ticking off thoughout a production.
Keep Kit Safe and Dry The first few production codes go without saying. Keeping kit safe and dry is absolutely essential to making videos - you can’t film something with a broken or stolen camera. Between periods of using the gear, put things back in their travel bags and keep you eyes on them. Dedicate someone to stay with the excess gear if you can’t take it exactly where you want to go. Try not to film in the rain.
Always Bring Spare Batteries The SUSUtv studio has a huge stockpile of spare batteries - there’s no excuse for not bringing any. They power the hotshoe lights, the wireless microphones and various other pieces of invaluable kit. If there’s enough, take enough batteries to completely re-power the kit you’re taking out.
Never Record Without Sound Apart from when recording footage that is undoubtedly B-Roll footage, always record with sound. Furthermore, always record with external recording devices. The type of microphone will vary depending on your production, but always record through a wired or wireless microphone into the Panasonic cameras, and always record through wired or wireless microphones into the Zoom when on the 5D or the GH5.
Bring Headphones To monitor this sound, making sure it doesn’t peak, bring headphones! It makes it so much easier to hear the levels as opposed to the inbuilt camera speakers.
Always White Balance White Balance (WB) is the process of removing unrealistic colour casts, so that objects which appear white in person are rendered white in your video. Proper camera WB has to take into account the “colour temperature” of a light source, which refers to the relative warmth or coolness of white light in the recorded scenario. To do this on the Panasonic cameras, bring a white sheet of paper (or the pop-up WB sheet in the studio) and hold it in front of the camera, making it the largest surface area in the image, whilst keeping some of the outside action visible. On the lower section of the buttons on the side is a ‘White Balance’ button. Switch this to automatic. On the front of the camera (to the lower right of the lens as you look at it) is a button labelled ‘AWB’. Press and hold this until the LCD screen briefly blackens. Then release. The camera will automatically White Balance the image. The Canon 5D automatically adjusts its White Balance, just simply press the ‘WB’ button on the surfer on the top of the console. If you want to change the images’ tint you can adjust the WB manually through the menu, setting different light temperatures until you achieve your desired image.
Watch Your Focus Optical lenses converge light onto a sensor to produce an image. If the convergence of the reflected light from an object isn’t exactly over the sensor, then the image appears blurry. Blurry focus is the biggest reveal of hastily made video. The easiest way to keep focus on the Panasonic is to ensure the subject is well lit and set the camera to its auto-focus function (See Diagram). It is incredibly intelligent and almost always will pull focus perfectly. If it does not, simply allow the camera to focus as closely as it can, then set the camera to manual focus mode and push/pull on the focus ring until the image is as sharp as possible. The 5D’s autofocus ability is less intelligent, however, and often manual focus is the best method of achieving a sharp image. To achieve quality focus, use the digital zoom functions on the upper right of the main face of the 5D to digitally enhance the image. Double press the magnification button to zoom in as far as possible, get this magnified focus as sharp as possible, then press the digital zoom button again and begin recording. For the best focus quality when racking focus, plan your shots ahead of time and note the focal lengths of each subject of focus. If you’re wanting to slowly pull focus onto an object, film it in reverse: set your focus on the object and slowly pull focus away. In post-production, simply reverse the clip. Ultimately it takes time and practice to improve focussing skills. Use B-Roll, training days and your spare time to practice and read up about the mechanics and physics behind it and it will all become easier!
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Ensure Your Tripod Is Level Beyond the picture being out of focus, nothing strips a video’s professionalism away more than a slightly off-kilter tripod. Of course, you shouldn’t always use a tripod experiment with movement and hand-held photography to achieve different looks. But if you are using a static perspective, make sure the camera is level. When setting the tripod up, extend the legs stage-by-stage: in essence, only use the lower leg extensions when absolutely necessary. This will minimise the differences between each individual leg’s height. Once you’ve got your camera to the desired height, and the legs are roughly evenly extended, level the tripod’s head. You can do this by adjusting the head from underneath the ball socket and can check it using the circular bubble level underneath the tripod’s hotplate. Check this periodically throughout filming - especially after re-mounting the camera or before you press record.
Format Your SD Card Before Shooting Most SD cards will be relatively full after shooting with them, and most users won't remove their files from the card once they have finished using it. So, in order that you have enough space on the card to film everything you want, ensure you format the SD card at the beginning of shooting. You can do this on the Panasonic by pressing the Menu button, scrolling with the operation lever until you find ‘Card Format’ option, and select it by pressing down on the operation lever. Choose the slot which holds your card (Slot 1 is above Slot 2) and select that. The camera will then wipe the card. On the 5D, again select the Menu and scroll across to find the yellow menu options. Scroll down and select ‘Format’, accept the pop-up formatting questions and the card will then be wiped. If there are spare SD cards, consider checking the one you have chosen to see if any work is on there. If you recognise it as work that isn’t backed up, and spares are available take the time to back it up for them and remind them of the protocol in place.
Back Up to Duffman Duffman is the mass storage drive in the studio, where all raw files, editing files and upload files should be stored. By keeping these larger files on Duffman, the computers themselves will perform better - making editing easier and faster. After filming, ensure that you back up all your video (and if separate, audio) files onto Duffman. Store them in the appropriate place, which for raw footage is under ‘2017/18 > Back-Ups > Project Name’. Please keep the file structure neat. Label your files clearly and store them in the correct places. Separate your files: days of filming from other days, video from audio, even scenes from other scenes. Smart labelling and appropriate use of folders make it far easier for you to find your material in the editing applications.
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PRODUCTION TEMPLATES
Reporting Broadcasts First up are Reporting Broadcasts. Typically, these are static camera, single-presenter pieces spoken directly to camera. They can cover news reports, promotions for upcoming events, theatre shows, film reviews or act as the opening for event coverage. On occasion, the presenter will engage with a guest or interviewee. These usually last between 1-2 minutes - long enough to get the desired information, but short enough to maintain a viewer’s interest.
Kit List
Preparation
Panasonic
Handheld/Lapels (two if interviewing) Manfrotto
Hotshoe Light (low light scenarios)
Obviously before a news broadcast, a plan of exactly what the presenter will discuss, from facts to statistics to relevant people’s names. Planning a relevant location is absolutely vital to a good Reporting Broadcast and travel may be required to this location. Ensure in advance that you are allowed to film in the location if on private property. For the presenter, practicing what will be said may be helpful. Usually, to-camera reporting is all one take and practice will help ensure a smooth delivery.
On-Site Methodology Make sure that the tripod is set up straight and it is levelled. White Balance the camera and set it to auto-focus mode. Set the microphones up and check the levels. If you’re using a lapel microphone, try to obscure it from view. However, don’t compromise on sound quality; it is better to have it visible and audibly clean than obscured and muffled. If you’re using a handheld microphone, set the sensitivity such that your voice is clean and well heard with the microphone between 6 and 10 inches from your mouth. Frame the shot nicely - viewers don’t want too much headroom and they certainly don't want to see people’s midriff and knees. If you’re self-shooting, mark your standing spot on the floor so that after you cut or reshoot, you know exactly where you were happy with your framing. If the light is low, don’t up the ISO, simply light the subject. Try to have some movement or a feature in the background. If you’re talking about a theatre production, try to report on it in front of a rehearsal or queueing theatregoers, or the theatre’s sign. If you’re talking about football, get the players or some goalposts in the background. Attempt to make even the blurred backdrop interesting.
Exemplar Videos
Common Pollple (2017) As part of our General Elections coverage, Tom (then News Exec) interviewed attendees of the Common People Southampton festival about who they’d be voting for and why. This was a more student-oriented spin on traditional exit polls.
As with all of the videos, the shot is well exposed, in focus and well framed on Tom. The action in the background is visually stimulating; you gain an immediate understanding of location and the content.
Junior Doctors’ Strike Report (2016) Cameron went into the city centre to report on the events related to junior doctors’ strikes occurring and interview protesters. This was a timely and relevant report for SUSUtv’s audience.
Again, the shot above is focussed and well exposed. It appropriately places Cameron both within the frame and in the location. Again, the background is visually stimulating. This frame below shows appropriate research for the video production - getting name and role correct in the lower third. The angle is inventive, the shot is well framed, well exposed and in focus.
Sports Coverage Sports coverage, again, takes a variety of forms and functions. Sports coverage can range from round-up videos for occasional matches, promotional videos to entice viewers into participating, or live coverage of sporting functions. Our previous efforts have included live and package coverage of the Southampton-Portsmouth Varsity event and award-winning coverage of Women in Sport week. As the required kit changes for nearly every sport, and live broadcasts are to be covered later, this section will focus on what to focus on when planning sports pieces.
Planning The main thing when covering any sport is knowing your stuff. Ensure that, if you have a presenter, they have at least a basic understanding of the sport, so that the won’t be talking waffle when discussing the game with players or to camera. Furthermore, details on the team’s form, key players, names and numbers, opposition form and competition details will immediately enhance the professionalism of the broadcast. If you’re doing a package piece from a sports fixture, take a handheld mic, camera and a tripod. Film as much of the game as possible for you to have as much room for editing. Record an intro and outro to camera, play the highlights reel, and attempt to get interviews with either players or coaches after the game. Remember, people aren’t always interested in speaking to you - especially after a loss - so don’t push them too hard for the sake of coverage. In any professional sports broadcast, you’ll see an extrapolation from the sport itself to a decided narrative: underdogs, crunch game, fierce rivalry etc. Our own narrative was slightly less orthodox for Women in Sports - we persisted with a narrative and content on the role of women at uni as a whole, with a focus on participation and enrolment. Having a narrative element to your sports pieces will not only make them feel more professional, but it will also pad your questioning out, offer a wider range of discussion topics, VT ideas, and will inevitably keep the programme fresh and away from formulaic intro/match/outro videos. We will discuss the ins and outs of live broadcasts later, but it is worth assessing the near-universal necessity for sports coverage: a three-point camera set-up. This consists of a Master Angle (wide, raised and central), a Focus Angle (close and ground-level) and a Crane Angle (either in the corner or behind the goal). The Master Angle is what you’ll most often associate with sports coverage. It should be from as good a vantage point as possible. The higher, usually the better. The angle should be wide, always keeping about 50% of the field in view at one time. Lastly, it should absolutely be centred on the half-way line, panning left and right to keep up with the play. The Focus Angle is closer and on ground level, in front of the crowds as to not obscure the view. This camera should keep track of the ball at all times, and is
largely in place to freshen the view of the broadcast and give audiences a feel for the pace of the game being played. Lastly (and optionally) a Crane should be employed behind the goal. This is to improve professionalism even more - giving the main goal-scoring moments a cinematic edge. Take note when preparing for live sports broadcasts the range of talent that you’ll need available: commentators, in-studio anchors, pundits, guests, camera operators for every angle, a huge and capable tech team. It’s a massive operation for student audiences.
Exemplar Videos
Varsity (2017) This was our broadest coverage of Varsity yet, with loads of teams roaming around Portsmouth, capturing all the action. It was all anchored with a studio setup with a competitive edge all of its own.
Interviews Often, as part of documentaries, larger reports or as VTs for Live shows, a formal sit-down interview will be necessary. Typically, unless the host is part of the narrative of the piece, these are multi-camera set-ups of a single subject. The piece will cover their reaction to questions posed. Interviews are informative segments for any topic. Last year they encompassed Sexual Consent Awareness, University Sports Reforms and both local and national politics. There is no set time scale for a formal interview, as they usually make up but one part of a larger video. Just make sure you ask them as much as you can.
Kit List
Preparation
5D (second camera?) Lapels
Manfrotto
Three-Point Setup (see below)
The interviewee will be doing most of the work here. Communicate; offer them a copy of the questions in advance and plan extensively so that the conversation can roll fluidly. The main preparation is to ensure that your interviewee isn’t waiting around. Arrive early and get set up before they arrive to ensure a smooth filming session. Ensure that a quiet, visually stimulating, relevant location is available to use throughout the interview slot.
On-Site Methodology Set up and level multiple tripods and cameras. Set the Panasonics to auto-focus and White Balance all of the cameras to ensure as unilateral image quality as possible. Key Light (brightest) A three-point light set-up is the industry standard for interviews: key light, fill light and back light. The key light is Fill Light the main and brightest light, coming at the subject from a similar angle to the main camera. The fill light ensures that there isn’t too harsh a shadow on the opposite side of the subject’s face, and as such is dimmer than the key light. The back light either shines light on the backdrop or Back Light is shone onto the subject from behind to differentiate the (for depth) subject from the background and create depth. The most important thing in an interview is maintaining clean audio. Bring headphones and do a little soundcheck before you begin filming. Use a lapel and obscure it as much as possible without compromising on sound quality. Don’t think that just because it’s an interview it doesn’t need to look good. Maintain focus and consider your location; is a sporting arena or bookcase appropriate?
Performing Arts Performing Arts, and therefore the videos covering them, span a huge range of styles: from narrative trailers, to interviews, to the filming of live theatrical performances. Such a range means PA coverage largely treads over previously discussed protocol. For this section, we will largely cover the recording of full live shows in a multi-camera set-up. But with such range of possible focus, the platform can be a rewarding way to mix television production with the buzz and culture of live theatre.
Kit List
Preparation
5D or 3 Panasonics Zoom
Manfrotto
For narrative trailers, writing a basic plan of the main plot/character points (ask the cast director if you’re unsure) is essential to ensuring that everything gets covered concisely. Plan for the selling point of the show - its humour, its performances, the dancing - to be the focus. For interviews, prepare a variety of questions and an appropriate location - rehearsal rooms, on tage or in the Nuffield lobby are all sound choices. Access to any show is essential, and ensure you arrive early so you don’t disturb performers by setting up or moving equipment.
On-Site Methodology Quickly, before we get onto the methodology of filming full theatrical performances, we’ll go over narrative trailers and cast interview styles. A narrative trailer is shot in a quasi-cinematic style, hinting at some of the core plot points. Refer to the ‘Originals’ section for more guidelines on style and necessary equipment. In an interview style trailer, put the cast and production team into groups of 3 or 4 and talk to them as groups, then follow the ‘Formal Interview’ section’s advice on planning and equipment. As for filming actual PA shows, two main set-ups can be used: single or three-camera. One-camera setups are easier during editing as all that is needed is to sync the audio and graphics. Use the 5D here, positioned and levelled on a tripod on the highest row in the centre of the auditorium. Attach the Zoom to the hotshoe on top, and link the two through a 3.5mm jack. The second setup, a three camera setup, consists of the same arrangement, this time with a Panasonic, with two further Panasonic cameras to the left and right of the auditorium, closer to the action. In this instance, either record audio from the Zoom independently and sync them to the track in post-production, or record audio directly through each camera.
Nightlife SUSUtv cover a lot of student events across the year, from Freshers’ to Grad Ball. Many of these are filmed at loud, manic events at nightclubs and are usually recaps of the event itself: a compilation of interviews and B-Roll edited over relevant music. But there’s really no limit to what a Nightlife video can be: we’ve had political exit polls and drinking challenges. These can last between 90 seconds and 4 minutes depending on event scale.
Kit List
Preparation
5D Handheld Manfrotto (if use pre-planned) Hotshoe Light Spare Batteries
The first, and most important, area of preparation is ensuring that you have access to the event. Ahead of time, seek a media pass, or if it’s not an official Union event, seek permission to film on-site at the intended event. Nightlife filming is largely reactionary, so be on guard at all times to capture good B-Roll footage. Plan a narrative arc for your video and plan a variety of questions to pose to the interviewees.
On-Site Methodology Much of Nightlife filming is reactionary and is almost totally handheld. When you arrive, find a scenic place to film an introduction - and don’t forget to film an outro. Have some idea of a narrative arc to the video. If your presenter is good, make sure they're in the video often - but don’t forget that you're there to cover the event itself. With low-light, try not to over-expose. Keep the ISO down as low as possible whilst still being able to see the action. The recommendation with the 5D is not to go above 1600 ISO if you can help it. If you can’t see it over 1600 ISO, it’s just not bright enough to film. Turn up your light or find a different angle. When filming Nightlife handheld there will be a lot of variation of focal lengths, with people rocking back and forth or the cameraman being pushed by passing people. Keep it as sharp as possible. In clubs and big events, there will be a lot of background noise, so turn the sensitivity of the mic down and speak louder, as sound is crucial in Nightlife videos. Use headphones to really listen to the audio. Ensure presenters always keep hold of microphones and keep it 6 inches from mouths. When editing, construct the video around a relevant song - it really helps timing and rhythm and makes sure that you aren’t oversaturating the video by putting too much in. Spread the content as evenly as possible. It’s a really good idea when you’re editing to bin off your content - that’s to put various different types of content in individual bins. This will make your editing process a lot faster and easier.
Originals Even more than all the other formats, there are no hard-and-fast rules to Original productions. However, they require the most preparation and forward planning of all. Picture quality, soundscape, the framing, performances and attention to narrative detail are all being judged with far more scrutiny than a report or nightlife coverage. They are more cinematic, narrative-driven pieces and often constitute the realisation of several weeks and months of hard work of scriptwriting and cast, crew and gear organisation.
Kit List
Preparation
5D
Shotgun/Lapels
Manfrotto (for static or slider shots) LEDGOs/Dedolights
A dedicated crew is needed to create a quality piece of film, from director to camera. Some roles may overlap, but the more focussed an individual can be on their task, the more professional and better the production quality. Extensive shot plans, script notes, kit plans and schedules aren’t required to make an original. After all, you may be shooting an original improv sketch all set inside a lecture room. In that case, you wouldn’t need loads of gear or script. But largely, the more planning and preparation, the easier and better you will find the production. Of course, appropriate communication and delegation makes this easier, but pre-production of a cinematic short is a hard process.
On-Site Methodology Certainly if you’re filming an original, use the 5D (or GH5). It is much better in low light, more manageable and the shot is more customisable. It renders a far more cinematic image than a Panasonic. To maximise the ‘cinematic’ nature of the piece on a short time scale, consider getting a specific sound designer on board the project, totally in charge of recording and mixing the sound. Also consider framing the scene with moody lighting and plan shots to incorporate a post-production anamorphic squeeze. In total, though, there’s very little rules and regulations for the creation of an Original. Take the boom and shotgun mic (the basic industry standard) and be inventive with your style, looking at the total picture of a scene or film as opposed to each individual shot.
9
LIVE BROADCASTS
Planning and Preparation One of the staples of SUSUtv programming throughout our history has been the production and streaming of live shows. These span a range of formats, from live sports broadcasts to charity events to our annual coverage of the SUSU elections. As such, the technical and operational requirements of each live show will change depending on the content. For instance, live sports broadcasts usually require commentators to supplement the visual feed, and live political broadcasts require the utilisation of tickers and graphics to maximise an audience’s understanding of the topic. This section will cover the basics of live broadcasting by SUSUtv - equipment, planning and execution. Always try to adapt the guidelines of the following section to the rigours of your live show’s specific platform. Being as prepared as possible before broadcasting live shows is essential to the smooth running of the programme. Even simple lives require talking points, cue cards and a full understanding of the topic from the presentation talent. We will, however, divide the concept of the ‘Planning and Preparation’ of a live show into several individual sub-zones to show the extent to which the crew should prepare for going live: Content Planning, Set and Prop Preparation; Talent Preparation and VT Planning. Content Planning This stage is where the foundations of the show are laid. The key figures organising this live should sit down and answer some vital questions about the shape of the broadcast: how long is the broadcast going to be? What format is it going to take? How many presenters will there be? Opposite is a long list of questions that need to be answered before progressing into the physical production of the live. It is at this point that the individuals organising the live should think about the crew they require. Such organisers are the producers of the project: co-ordinating and managing the entire production. Directors guide and inform the content of the piece, make decisions on the look and tone of the presentation, and shepherd the on-screen talent through the content and production process. The last core member of each live production is the head of the technical team. It’s their job to ensure that the show actually goes live. Beyond these figures, larger shows require assistant directors, camera operators, vision mixers, sound mixers, VT operators, floor managers, tech crew and runners to support the on-screen talent. Later in this section is a table which runs through each position’s name, job requirements and hours of input, to show those who have never been part of a live crew what they are about and help them to decide which may be suitable for them. After the amount of crew is sorted, prepare the content of the show. What is going to be discussed? Do you need pre-recorded segments? Do you need guests? More of these questions will follow in the list opposite. Once this is established, you may want to create an overview of the production and get crew onboard. Even though one or two people are ultimately responsible, this is an entirely collaborative process.
How long is the broadcast going to be? What format is it going to take? Has it been done before? Where can we film it - what places are relevant? Can I gain permissions to film with large crews and equipment at this location? Will I need budget to produce this? When will this go live? Does it tie into any scheduling for SUSUtv? Does it tie into any SUSU initiatives? Do I need more people to help organise this? What professional shows will it resemble? What is going to be discussed in the show? Will there be a thematic thread or narrative arc across the show? Do I need pre-recorded segments? Do I need guests, and who will they be? What kind of look will the show take? What set is required? What props are required to be bought? Who will present the show and why? How can I maximise the viewers of the live by scheduling? Do I need to advertise the live show? Will the presenters also present the VTs? Who will make the VTs? When should I schedule the VTs to be made by? What order will the VTs go in? What length should the VTs be? (comparative to live show) Are there any Health and Safety hazards? What equipment will I need to execute the content? Do I need to borrow a second streaming unit from SUSU?
Role
Job Description
Input Level
Who Does This?
Director
Creating and leading content, directing camera operations, communication between crew and cast, manage set, ‘big picture’ thinking, ensuring smooth delivery of quality content.
High. Will be part of the production both before and during the broadcast to accountably shape and execute the content.
For big shows, only SUSUtv members with experience shaping and creating content and directing live broadcasts. For smaller shows, anyone with communication skills and a passion for the platform.
Producer
Creating and leading content, organising crew and production needs, facilitating the desires of the content, communication with cast and crew, control of the technical aspects of the show, planning and preparing the live broadcast, debriefing the operational crew on the requirements of the show.
High. Producers are the backbone of every live. Usually producers conceptualise the show, plan the show, prepare the show and help execute the show. Feel free to produce as part of a team, in order to spread the workload.
For big shows, only SUSUtv members with experience planning and preparing a live broadcast. For smaller shows, anyone willing to take control of the project and with the skill to execute the broadcast.
Leading the technical set-up of Strack, cameras, microphones, VTs and more technical kit. Essentially, managing the running of equipment such that the live show can happen.
Medium. Will require knowledge of exactly what is needed ahead of time, but is not necessarily required to participate in the content creation. A vital component of the on-site crew, the go-to on technical needs and limitations.
For big shows, only members with massive experience running live productions. As of September 2017, only Rob Winn, Danny Rickard, Richard Abrams and Cameron Ridgway. For smaller shows, anyone who is trained technically by Rob or Danny and has been part of a live crew previously.
Aiding the director’s execution of content, communicating with presenters, organising crew, taking charge of camera angles or positioning, deputising on directorial responsibilities.
Medium. This position is somewhat an understudy to the director, taking on the extraneous tasks of the position to help smooth production.
Anyone with a desire to learn more about the production process, content creation, or someone looking to help out production without committing huge chunks of time to the show.
Setting up cameras, setting up lighting, operating the cameras, liaising with directors and producers.
Low. Camera Operators are vital to the professional feel of a production - and have to stay attentive to keep pace with the talent, keeping the shot focused and framed to the director’s desire.
Anyone with camera training!
Head of Technical Team
Assistant Directors
Camera Operators
Role
Job Description
Input Level
Who Does This?
Setting up cameras, cutting between camera feeds, smooth transitions into and out of VTs, aiding technical needs.
Low. Vision Mixers execute the cuts of the piece as they happen, and usually are only part of the on-site team. However, full understanding of the content is vital.
Anyone looking to shape the look of the show from the technical gantry!
Sound Mixer
Setting up microphones, maintaining clean and quality sound, smooth transitions into and out of Vts, aiding technical needs.
Low. Again, Sound Mixers are vital components of the team that are only required on the day of filming.
Anyone who is competent and confident with sound equipment!
VT Manager
Organising VTs, queueing VT playback, smooth transitions into and out of VTs, aiding technical needs.
Low. Once more, the VT Manager often executes the content already recorded for the needs of the live show.
Anyone with training on Strack or in VT playout.
Ensuring the safety of the set, welcoming and organising cast and guests, catering for the on-set needs of the producers and directors.
Low. Whilst an organisational role, the Floor Manager does not necessarily have to be part of content creation, merely knowledgeable on the running order such that they can manage the guests, cast and crew.
Anyone with experience of at least one live show.
Aiding the head of technical in the setting up and running of the technical aspects of production.
Medium. Whilst not needing to know about the content, Tech Crew will require knowledge of needs of the show and therefore may have to be forewarned in order to prepare.
Anyone who has been adequately trained by Danny Rickard or Rob Winn.
Aiding crew and on-screen talent with miscellaneous tasks.
Low. Runners are vital cogs, literally ‘running’ errands and jobs for the core crew such that the production runs smoothly.
Any contracted SUSUtv member!
Vision Mixer
Floor Manager
Tech Crew
Runner
Always create a running order for a live show. A running order is a time-coded schedule of the show for the cast and crew to stick by. It should have a start and end time that are (for the audience’s sake) executed, it should account time for each segment of discussion or presentation. It should account time for all pre-recorded stings - intros, bumpers, VTs and outros. Intros and outros are self explanatory: the former are usually introductory graphics prepared to establish the show, and the latter are credits or wrap-up graphics. Bumpers are small graphic sequences to segue between segments, advertisements, or VTs. VT stands for Video Tapes, which are pre-recorded videos spliced into the live show. The running order should be the definitive source of help for all cast and crew aboard the project. Directors and producers should take time to carefully go through running orders with their respective departments, and crew should be completely comfortable that they can fulfil the requirements of the running order. For reference, here’s an excerpt one of our own running orders from a large-scale sports live we produced in the autumn of 2016:
Set and Prop Preparation This is a little easier and a little lighter. When the major content decisions and location decisions have been made, an extensive plan - segment by segment - should be drawn up of the prop and set needs for the show. For instance, most lives involve a presenter speaking with guests. If so, you will need to source seating for all involved and a table to balance the visual aspect of the production. Finding props that suit the show’s tone is important to the professionalism of the production. If you’re after a sleek, modern sports show, you can’t film with a cheap wooden desk and wheelie chairs. The more thought put into this, the better. Make sure everything is lit and if there’s a colour scheme to the set and props, ensure the on-screen talent’s costume matches. It’s imperative that producers adequately vet locations to ensure that sufficient internet (i.e. ethernet ports) and power capabilities to facilitate the scale of the show. This helps inform the show’s technical requirements, and how and where the tech team will set up. If these capabilities are not up to scratch, it’s time to look for a new location. Acquire written permission to put up bits of set if you can. It’s vital to have a contact for the location such that if the lights, electric or heating break down, you know who to call to sort it. Talent Preparation Whilst it may be stressful and time-consuming to plan as a producer, remember that, largely, you will leave the actual delivery of content to your on-screen talent. It’s therefore vital they are as prepared as you: fully clued-up on the content, aware of the schedule and absolutely comfortable in delivering the material on screen. It’s the producer and director’s obligation to communicate effectively with the talent as the show is prepared, and encourage reciprocation from the talent so everyone knows what’s going on. On the day, it’s largely the responsibility of the director to go over everything again, and make the presenters feel comfortable in the moment. Take time to chat with them, get to know them and make sure they feel like you’re a reassuring voice in their ear. This way, if a crisis arises, they’ll feel capable of following your advice and direction. VT Planning VT stands for Video Tape and means any pre-recorded segment for use in the show. VTs are themselves videos, so it’s important to plan them early, so that they can be produced to the highest quality and graphics added in time. It’s usual to balance a show of over 20 minutes with at least two, so that the crew can have a break and the running order can be scheduled rigidly. VTs can be any length but make sure that they’re proportional to the live aspect of the show - if you’re only live for 20 minutes, don’t run a 15 minute VT. Label them clearly with a numbered order so that the VT Manager can easily load them ready for playback. If any music is being used in the broadcast, it is the responsibility of the VT Manager to prepare and check these. When streaming to Facebook, ensure any music you overlay is copyright-free, as will detect infringements and shut the livestream down. Royalty free archives are all over the internet, but the largest one is YouTube’s Audio Library.
On-Site Methodology Kit List It’s absolutely imperative that you have everything you need for setting up a live show upon arriving at the location. Everything, from cameras to Strack equipment to lights to set has to be brought, organised and accounted for. A member of the production team should be dedicated to making sure that all kit is checked off when transiting to the production location. We suggest making this an assistant director or one of the tech crew. On the SUSUtv Google Drive, there’s a list of everything needed for setting up a live stream, supposing you were organising as large a single stream production as possible. Ensure you have someone check these items off of this list as they leave the studio and check them back into the studio after the broadcast. It is undoubtedly a tedious process, but it ensures that we keep losses and damages to a minimum, leaving kit intact and available for other members. Production Methodology On the day of production, so much technical work has to be done in order to set up a live show that the creative aspects of the production can get swamped down. Of course, if the technical aspects of production are erroneous, the show won’t stream. But it’s important to remember that viewers take streaming for granted and will judge the show only on what they see. It’s therefore vital that, during set-up, the core crew persist with the content and look of the show ready for when the cameras go live. This section will take a step-by-step look at that creative side, whilst a later section will outline the technical requirements of a live show set-up. Aesthetics As previously mentioned, taking time to plan your set eases on-site production massively. Remember though that the real-life look of the set is irrelevant; focus on the on-screen look. For instance, don’t position your guests opposite the presenter, as this will make it impossible to have them both facing the camera at once. Instead, position the presenters perpendicular to the guests. This means a master wide angle can get the full picture presenters and guests. Remember to utilise locations to your advantage, and try to make wherever you film relevant to the content or the ease of production. Take notes from the shows that have inspired you to make this broadcast, and try to apply some of the set design to your own. Simply put, take pride in your set. Make it look as good as possible for the show; assume when audiences aren’t looking at your talent, they’re looking at the set. Again, make sure your presenters tie in with the format and set. It’s imperative the talent tis seamlessly into the show. If you are aiming for casual, light-hearted content, try not to have your presenters stiff in a tight dress or tuxedo. If you are aiming for professional news style broadcasts, ensure your presenters and guests look the part. If
you have a colour scheme in mind, let your talent know and see if they can match it. Sorting out this aspect of the aesthetic design can be achieved through communication making sure that your presenters know what they’re doing and what you expect of them. Cue cards are everywhere on professional television. Please don’t be afraid to use them. It’s not a sign of weakness as a presenter to have to glance at your cue cards, and it’s not a massive eyesore for the viewer to have them onscreen. Just make sure the cards themselves are either ungarish or SUSUtv branded, and ensure that the presenters use them at a glance, rather than reading from them wholesale. In the spirit of talking about ease-of-operation for presenters, try to set up a playback or viewing monitor for them to see the livestream. This simply means that they know when they’re off screen, or know when a VT has been cut to. How to set this up is outlined in a later segment. Visual Technical Set-Up In a typical single-set talk show live, there will be three cameras in operation. One will act as a master angle - usually a wide shot of the whole set. A second will be a close up, usually more straight on, of the presenters. A third will be a close up, again usually more straight on, of the guests. This gives complete coverage of the whole show, from focusing on everyone, to just the presenters, to just the guests.
Setting up cameras is the same in a live production as it is in a pre-recorded segment. Ensure that the tripod sits level and at the right height. If the talent is sat, then lower the camera, otherwise the image will look overbearing. Ask the talent to sit as they will during the show, and frame the shot to the director’s desire. Make sure the subject and set is lit appropriately and then expose, white balance and activate autofocus. The greatest difference between camera set up for pre-recorded and live shows is the need for all visual outputs to look as similar as possible. This means that different feeds from Panasonic, Canon and BlackMagic cameras should be adjusted to make their outputs look as similar as possible. This can be done by having a director, assistant director or vision mixer stand at the multi-view screen and communicate with each camera operator as to what adjustments need to be made for the pictures to match. The set needs to be lit sustainably, meaning the look of the show can be constant across the entire broadcast. As such, most lives are filmed in a room either totally removed from natural light, or are heavily reliant on artificial sources. Use all lights at your disposal. For broad, soft light to illuminate the set, use LEDGOs, soft boxes and the panels. If this doesn’t provide enough light for each of your subjects, add Dedo Spotlights. Again, setting the lights and cameras up can be a tedious process during a live. Make incremental changes and always check back with someone at the multi-view screen to uphold the desired homogenous look.
Audio Technical Set-Up See later in this section for exactly how to set up the microphones in relation to Strack, but it’s worth noting that SUSUtv only has capability for four lapel microphone inputs to our live streaming system. This means that the producers and directors have to pick wisely as to what microphones they use, who they use them for, and when. The ideal situation is a show with less than four people requiring microphones. In this scenario, it’s easiest to lapel them all up before the show begins, to note their transmitter numbers and mute the offscreen users when needed. However, if you require more than four mics, you may want to consider using boom microphones positioned carefully above the presenters and guests. This would cut the mic usage in half, and free up lapels for the most prominent individuals, or those who will be on screen for the longest amount of time. It’s also acceptable, if guests are continually rolling across the broadcast, to have them share or rotate the use of several handheld wireless microphones. Judge the situation carefully and try to work out the best course of action. In most cases, lapels are the best way to get clean, isolated audio, and they are innocuous on screen, so try to use these. Beyond setting up the equipment for audio capturing, ensure you set-up audio communication equipment too. On set, it’s vital that the crew and presenters can hear the direction of the core team. For this, all on-site cast and crew must communicate through a connected intercom. SUSUtv currently uses the “Discord” application for our comms link-up. Either bring your own headphones or borrow some of SUSUtv’s, log into the app and join the Discord group. This way, the technical gantry will be able to communicate with everyone without distracting either the presenters or the audience watching. In an ideal situation, the presenters will be on a different comms loop to the crew. This is to allow them to remain focused and do as good a job as they can. For instance, they don’t need to hear instructions detailing camera moves or instructing the floor manager to prepare a guest or prop. It is often not possible to have a dual system in operation, but regardless, instructions should always be clear and direct. This distracts as little as possible from the task at hand. This doesn’t mean all communication has to be entirely functional however, particularly in the kind of live show scenario SUSUtv operates. Simple courtesies such as a “please” or “thank you” can go a long way to ensuring a smoother overall show, and measured humour can also sometimes help by keeping crew enthused and alert. Keep in mind that at the end of the day this is a team effort everyone is giving up their time for. In conclusion, there is a lot to keep in mind during a live show beyond the operation of Strack. There are individual checklists on both the SUSUtv Google Drive and in hard copy in the studio for each of the technical sub-positions within the live crew. This means that if you don’t feel confident as a Vision Mixer, Sound Mixer, Camera Operator or VT Manager, there’s a step-by-step checklist on what you have to do and how you do it. However, for a general overview of exactly what’s happening with the technical backend of lives at SUSUtv, read on...
Strack in a Nutshell SUSUtv’s Streaming Rack, or Strack, is a portable unit that is the core technical component of streaming lives. It’s the hub connecting and combining all the data being captured, from video, to audio to graphics, and it’s the machine that streams that combination to our website or Facebook page. It should be noted that reading this section alone does not qualify a SUSUtv member to lead the technical department of a live show. It’s imperative that to have had adequate practical training with our experienced tech leaders, and have live show experience of your own. This is a quick-start guide to setting up a live from a technical perspective, and so covers basic kit and methods of getting a stream up and running. Basic Kit Checklist • Strack & Power Leads • 2+ HD monitors • Multiview (seeing all Strack visual inputs) • VT Playout/ATEM Control • 1 SDI Cable per Camera • HDMI Cable for Multiview • 2 long Ethernet Cables • 2 IECs (kettle leads) • 1 XLR3 per Cabled Microphone (or to use camera audio) • Wireless (lapel) Microphones • Graphics and Sounds Pre-Loaded • VTs (numbered), Lower Thirds & Titles and Credits • Any Soundboard Clips or Music • Additional HDMI Cables as necessary for additional external monitors Strack Set-Up 1. 2. 3. 4. 5. 6. 7. 8. 9.
Power both screens on Strack using kettle leads. Connect Streamer DVI cable to the screen on Strack. Connect VT Playout DVI cable to the other screen. Connect the multiview HDMI out port on the patch bay to another screen. Connect the Streamer and Router Ethernet ports on the patch bay to external internet connections, or just Streamer if you only have one. Connect the special power adapter to the back of Strack and the mains. Power Strack on, checking that the multi-sockets on the back are all on. Start the Streamer and VT Playout PCs using the front power buttons. After a few seconds, the multiview screen should appear. Please note that all inputs will be black at this point.
Setting Up Video Connect video inputs to SDI or HDMI inputs as labelled on the patch bay. If you have the choice, always use SDI for the sake of reliability. Please note: you can’t use both inputs with the same number; for instance, you can’t use SDI 3 and HDMI 3 simultaneously. To use the DVI/VGA to HDMI converter, connect the DVI/VGA source to the converter (top shelf, accessible from the rear of Strack). Next, connect the HDMI Upscaler Out port (on the patch bay) to one of the HDMI inputs. Once the PCs are booted, you will need to change the configuration in ATEM Software Control to tell the ATEM whether you are using the SDI or HDMI input for each camera. Setting Up Audio Connect audio inputs either to the four labelled sections on the lower patch bay, or any of the inputs on the upper patch bay. Label the sound desk with the inputs for the show for the Sound Mixer’s benefit. Once everything is wired in, organise a soundcheck to set audio levels and check batteries in the transmitters and receivers. Login and Start Up The Streamer PC should login automatically. Start Adobe Live Media Encoder. The VT Playout PC requires logging in - the username and password are susutvvt. On the VT Playout PC start ATEM Software Control from the desktop shortcut and make sure that it is connected and works. Next, on the VT Playout PC start VT Manager from the desktop shortcut. In VT Manager, load the profile for the type of show, or set it up manually. Go to Panels › ATEM Connection and press Connect. On the main window, click Mixer, and check that works. Basic Troubleshooting The camera is switched on, connected and the ATEM is set to use the right input (HDMI or SDI) but I don’t get a picture on the multiview. All inputs must be the same resolution and format. In general, this is set to 1080i50. Most cameras have an option to set this in their menu. I’ve connected something via HDMI and there’s no picture. HDMI is a bit funny about connections sometimes. Unplug and replug and power - cycle the device(s), and also try changing the cable. The ATEM Software Control can’t connect to the ATEM. Wiggle the Ethernet cables or sacrifice something to the god of live shows. There’s literally nothing else for it.
10
BRAND OVERVIEW
SUSUtv underwent a brand overhaul in early 2017, unifying and simplifying the station’s output for both our members and our audience. As well as the more noticeable external changes such as our first new logo in over seven years, our programming was restructured into eight more accessible areas. The new logo has a number of options. We recommend you either use 1 or 2 as detailed below. The ‘combination’ logo (below left) is only to be used when it will be used at an extremely large size. Otherwise, one of the four alternatives should be used, as they are more aesthetically pleasing and find the brand better. 1
2
3
4
Below is the full spectrum to be used and the signature colours for each genre. FF2727
Originals
EF2727
FF9327
Sport
FF9327
FFFF27
Entertainment
26CB63
93E53D
Culture
26CBB6
26CB63
Music
26CBFF
26CB8C
Documentaries
268ECB
26CBB6
Nightlife
6326CB
268ECB
News
FF83DC
6326CB 8C26CB
F8F8F8
C127A4
2F2F2F
The font we now use is Sofia Pro, which is available through Adobe Typekit. We use a variety of weights and oblique, depending on context, but those we use most are displayed below.
Sofia Pro UltraLight Sofia Pro Semi Bold
Sofia Pro Medium Sofia Pro Black
Staying with a visual theme, we also strongly encourage the use of simple but effective graphic techniques - principally gradients and drop shadows. All these colours should still come from the palette but there is a massive variety of possible combinations. As with everything at SUSUtv, have a play around and see what works. We are also pushing for a more personable, receptive external image. After all, we’re a student media group, not a large commercial organisation. SUSUtv is made by its members. With this is in mind, we try to keep a professional approach in balance with the personal touch. This is applicable across our output, from the way in which we deliver content to the tone in which posts are written. The aim is for our brand to be entirely consistent but for SUSUtv to maintain its individuality to external parties. In line with this approach, the whole new brand has been crafted around putting the emphasis back on our members. We have simplified our message right down to its core; whether a particular video is Nightlife on SUSUtv, Sport on SUSUtv or Culture on SUSUtv, the essence of the station is You on SUSUtv. Your time with us will be what you make of it, and we want to encourage and re-empower members again to reach their potential, whether that be in production, technology, publicity or more. We have three key brand cornerstones that should be born in mind whenever creating content for external use, and should be reflected in everything we put out. Straightforward. Recognisable. Accessible. Further details of all of this and more are available in the dedicated Brand Guide, in the studio and on our PCs. Also available on the SUSUtv Google Drive and studio PCs are templates - both for still assets such as thumbnails and for motion graphic titles. Thumbnails have more rigid guidelines to match our overall brand but there is nothing wrong with experimenting with the titles/credits templates to get something you’re happy with. Any problems or questions, please just drop Dave or Danny a message!