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A MODEL RADIO [TELEVISION PRODIL'I‘ION COIRSE

FORHIG-I SCHIDL

presented by

Dean R. Smits

has been accepted towards fulfillment

of the requirements for

Masters degree in Telecommunication

 

Date 3/11/5741

0-7639

 

M . 'o professor

MS U is an Affirmative Action/Equal Opportunity Institution

 

 

MSU
LIBRARIES
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RETURNING MATERIALS:
Place in book drop to
remove this checkout from
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A MODEL RADIO/TELEVISION PRODUCTION COURSE
FOR HIGH SCHOOL

By

Dean R. Smits

A'THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

Master of Arts

Department of Telecommunication

1982

ABSTRACT

A MODEL RADIO/TELEVISION PRODUCTION COURSE
FOR HIGH SCHOOL

By

Dean R. Smits

This thesis consists of a twenty minute videotape
program, and accompanying text, depicting the Radio/
Television Production course offered by the Lansing,
Michigan, school district.

Contained within this bound thesis is a detailed
course description, with accompanying classroom materials,
completed script, and a chapter describing the various
television production procedures and artistic considera-
tions addressed during the making of the videotape.

The author, who is also the instructor of the
course, was responsible for all aspects of the production:
planning, scripting, producing, directing, shooting,
and editing. This study consists of his knowledge and

experiences in these areas.

Accepted by the faculty of the Department of
Telecommunication, College of Communication Arts,
Michigan State University, in partial fulfillment

of the requirements for the Master of Arts Degree.

 

 

oCopyright By
Dean R. Smits

1982

DEDICATION

To my grandmother Auguste Smits

iii

ACKNOWLEDGMENTS

 

I would like to thank Mr. Gary Reid, my thesis
advisor for his guidance, patience, and understanding.

A very special appreciation is extended to Ms.
Darlene Nicholas for her assistance, empathy, and
encouragement.

Lastly, I would like to express my gratitude to
my parents, Volfgangs and Zina Smits, whose enduring
love and faith has been the catalyst for many of my
life's achievements, including the completion of

this thesis.

iv

TABLE OF CONTENTS

Chapter

I INTRODUCTION ........................ 1
II COURSE DESCRIPTION .................. 5
Background Information .............. 5
Cable Television Interaction ........ 11
Advisory Committee .................. 15
Beginning Class ..................... 17
Advanced Class ...................... 67
III FINAL WRITTEN SCRIPT ................ 73
IV SHOOTING SCRIPT ..................... 89
V PRODUCTION OF THE VIDEOTAPE ......... 99
VI CONCLUSIONS ......................... 123

APPENDICES

A VOCATIONAL TELEVISION/RADIO
PRODUCTION BUDGET SUMMARY,

1973-1982 ......................... 129
B TELEVISION AND RADIO PRODUCTION ..... 130
C TV PRODUCTION ....................... 134
D "CLOSE-UP EXERCISE" ................. 139
E PRODUCTION GRADING CRITERIA ......... 141
F LANSING SCHOOL DISTRICT--RADIO AND

TELEVISION PRODUCTION PERFORMANCE

OBJECTIVES ........................ 143
G DRIFTWOOD INN.. ...................... 144
H TELEVISION PRODUCTION TEST-AUDIO.... 145
I AUDIO EXERCISE #2 ................... 147
J TELEVISION EXERCISE #2 .............. 148
K STUDIO A FLOOR PLAN ................. 151
L LIGHTING TEST ....................... 152
M FIRST SEMESTER FINAL EXAMINATION--

TV PRODUCTION AM BLOCK ............ 155
N VIDEOTAPE EVALUATION ................ 161

CHAPTER I
INTRODUCTION

In 1972, Harry Hill High School was chosen as the
location for a radio and television production course
to be offered by the Lansing, Michigan school district.
Due to changes in student populations and school board
decisions, Harry Hill High School is currently known
as the Hill Academic and Vocational Center. The center
houses other vocational programs in disciplines such
as: construction trades, small engine repair, physical
plant services, commercial art, culinary arts, cosme-
tology, and child care.

Since its inception, the two year radio/television
production course has been designed to prepare students
with the skills necessary to secure entry-level positions
in the broadcasting industry, industrial and educational
media, advertising, and related fields such as cable
television. The preparation and placement of graduates
into a junior college or university program is a major
goal of the course as well.

The Telecommunications Center is a fully equipped
production facility containing two TV studios, two

radio studios, portable and remote video equipment,

editing facilities for radio and television, and a vast
array of related equipment. The facility also contains
modulators, video tape recorders, etc., for the purposes
of programming the two cable channels allocated to the
school district by the local cable television franchise,
and the one channel allocated to the Lansing Public
Library.

In recent years, groups representing school districts
from around the state have become frequent visitors to
the Telecommunications Center, and Radio/Television
Production classes. The groups usually consist of teachers
and administrators whose school district has recently
received cable television channel allocation by the
community's cable franchise. It is apparent that a proto-
type for a high school vocational program in radio and
television production is an immediate need. In addition,
a video tape would provide a concise and informative
complement to a general tour, as well as supply this
information to school districts unable to personally
visit the Lansing program.

A major objective of this thesis is to provide
a video-tape for prospective students, parents, and
counselors. The majority of students who initially enter
the program have been minimally counseled and hold very
vague ideas of the structure and requirements of the

course. These students may have developed unrealistic

expectations and misconceptions. Every student is not
necessarily suited to the radio/television production
program. The availability of a comprehensive video-
tape could alleviate a great amount of individual grief
and misunderstanding.

Parents of prospective, as well as enrolled students,
often express concerns regarding how the course will
benefit their children. A phone conversation, a studio
tour, and/or a limited question and answer session does
not always resolve their anxiety. This thesis and video—
tape program will allow parents to inclusively realize
the many facets, demands, and possible rewards of the
course. The tape will aid in any impending parental
decision and calm or justify their fears.

Due to the fact that the radio/TV production class
is comprised of students from three Lansing high schools,
it is impossible to convey all the needed information
to the several respective counselors. It is difficult
for these counselors to be aware of the many facets of
the class. Educating counselors with regard to the
requirements placed upon the students, as well as the
realities of the broadcasting industry, can enhance their
decision making processes when selecting students for
placement.

The video-tape portion of this "creative" thesis

will address the purposes cited. Coupled with the

contained text, the tape will present a model radio/
television production course for a high school level
program. The author's intent is to present a model
program that guides others in helping to provide the
best training possible for students entering the compe-
titive, demanding, interesting, and rewarding realm

of telecommunications.

CHAPTER II

COURSE DESCRIPTION

Background Information

 

The Radio/Television Production course consists
of a beginning class, which meets in the mornings, and
an advanced class meeting in the afternoons. Each class
meets for three hours each day of the week.

Maximum enrollment for each class is 24 students.
The beginning class is generally filled to capacity
each year. In fact, there's usually a waiting list for
enrollment. The advanced class varies in size each year.
This is due to several factors. Naturally a student
must complete the course work of the beginning class
before they're allowed to enroll in the advanced class,
or second year of the program. Due to natural attrition
some students don't return to the advanced class. Seniors
are allowed to take the beginning courSe, and are a factor
in determining class size for the following year's
advanced class. Another factor is the realization of
seniors that they need to take specific classes, other
than television production, to be enrolled in a particu-
lar college or university. When this occurs the televi-
sion production class is an expendable victim in their

curriculum plans. The class size generally ranges from

5

.‘Pl. .
1 pm.

 
 

9 to 14 students each year. This constitutes about 802
of those who qualify for the advanced class.

Students attending the class come from all three
Lansing public high schools. Each school is allotted
a maximum of eight student enrollment positions. If
these positions aren't filled by a particular school,
then they're made available to the schools where there
is a demand for the class.

Counselors at the respective high schools decide
which students are chosen for enrollment into the program.
The school district administration has established an
"open door" enrollment policy for vocational classes.
This means that no pre-requisites for a vocational class
can be established. The underlying principle behind
this philosophy is that all students should be given
an equal opportunity to either pass or fail the class.

The Lansing School District first offered Radio/
Television Production as a vocational course during the
1973-74 school year. Since its inception the course
and its facility have evolved, and continue to do so,
dramatically.

The radio and television industry is totally depen-
dent upon technology which is expensive to purchase and
maintain. In accordance, the expenditure of constructing
television studios, supplying those facilities with

adequate equipment, and maintaining that equipment was,

and remains, an expensive venture. Adding to this expense
are replacement costs, repair costs, and new equipment
purchase, as well as student supply costs. To date,
approximately $225,000 has been invested in the purchase
of equipment alone. This total does not include original
installation, and an assortment of related necessities
such as various cables to keep the facility and equipment
functional.

Yearly budgets have fluctuated for the program with
a high of $11,250 allocated in the 1975-76 school to
a low of $2,574 in school year 1981-82. (See Appendix A)
This variation is due primarily to the economic climate
of the state and the prioritizing of monies by the school
district.

The first year the course was offered it was lecture
in nature. This was due primarily to the inadequate
installation of the studio equipment by the company
contracted for the job. Equipment malfunction was so
great it prohibited any genuine attempts at realistic
"hands-on" exercises and experiences for the students.

Ultimately the entire facility was rewired for audio
and video. This was no small task when one considers
the facility is wired with over 8000 feet of audio cable,
and 5000 feet of video cable. The job was completed
by the engineer and instructor of the class with aid

from.students.

 

That first year only a morning class was offered
with afternoons allocated to the task of making the
facility functional.

Radio studios weren't installed until the 1975-

76 school year and radio production wasn't fully inte:
grated into the program until the following year.

During the first four years of the course, it was
called Television Production and Technician. A tele—
vision engineering training program ran concurrently
with the radio and television production skills taught.
The engineering aspect was designed to train students
for employment in technical positions within the broad—
casting industry and related communication fields. The
engineering element of the program ultimately evolved
into a separate class known as Electronics.

The most dramatic year of growth and change
occurred during the 1975-76 school year. Major improve-
ments included: studio lighting controls for both
television studios, a completely redesigned and rewired
audio system for the television studios, a sound treated
audio-production studio. Equipment improvements resulting
in a better learning laboratory for students included
4a Canon FTB 35 MM camera and lenses, stereo radio produc-
tion console, and associated recorders, and a vast improve-
ment in the videotape equipment with Instructional Media

Center supplied portable videorecorder, camera, editing

videocassette recorders, and videocassette players. An
editing interface unit was purchased for use with these
recorders allowing for more exact control over the video
editing process. In addition, three videocassette player-
only units were purchased for the eventual playback of
produced tapes over cable channels or in the classroom.

Until these major improvements occurred students'
practical exercises were limited to simple two camera
television studio productions. With the growth and
development students were now able to prepare slides
for television production assignments, learn radio produc-
tion and operation, become involved with on-location
videotape recording, and begin learning the principles
of videotape editing. In short, the changes made during
the third year of operation resulted in a facility
equipped to train students in areas of radio and tele-
vision production thatwrealistically reflected skills
demanded and expected by the industry.

Since that year major equipment replacement and
addition has occurred in the form of a new video switcher
for the studio, portable video switcher, two additional
portable television cameras, two new studio cameras,
and assorted other equipment. These purchases have
allowed for greater professional standards to be met
and flexiblity in location productions, but no year in

the history of the program has had greater impact or

 

 

10

positive repercussions than the one just described.

It should be mentioned that most major equipment
replacement costs have not come out of the yearly budgets.
until recently, amortization moneys for all vocational
programs were distributed on a yearly basis to those
programs whose needs were prioritized. This process
was administered by the Vocation Advisor of each building
housing vocational classes, and decisions were made as
to which vocational program's needs were greatest with
input from the teachers of the respective programs. The
original control room video switcher was replaced in
1979 at a cost of $7,650 with these amortization funds.
Another funding source has been matching funds from the
state with certain criteria guidelines. Hill Academic
and Vocational Center is in its first year of existence
as an academic and vocational center. Prior to this
school year it was a high school, which also housed most
of the vocational programs in the schoolfdistrict. During
its conversion, which won't be fully completed for several
years, state matching funds became available for voca-
tional programs involved in the transition process. There
were alterations made in the Television Production area
namely the remodeling of the physical layout to include
a classroom” When the need for new studio cameras occurred
this past year, creative financing by the Director of

Vocational Education in the district allowed for the

11

purchase of the needed cameras with the matching funds
just described. The result has allowed the program to
purchase two broadcast quality cameras, which have greatly
enhanced the quality of productions at the center, and
benefitted the students immensely.

Cable Television
Interaction

 

 

Since the fifth year of the Radio/Television Produc-
tion program (1977-78) cable television has played a
vital and integral part in providing students with practi-
cal on-the-job training in the form of work experiences
on a variety of cablecast television productions.

Continental Cablevision of Lansing allocated two
cable television channels (channels 34 and 35) to the
Lansing School District as part of their franchise con-
tractual agreement.

After many meetings discussing the utilization and
potential of cable, the district created an Office of
Cable Television and named a director in the fall of
1977. It was surmised the district, with the cooperation
of the television production class, could become a model
in its use of CATV. Since its inception the Office
of Cable Television has provided the community with
original, taped, and purchased programming for six hours
a day during the school year. This programming schedule

is to expand to twelve hours daily during the 1982-83

12

school year.

All original cable productions, both studio and
remote (location), have been, and will continue to be
produced using television production students as produc-
tion personnel. The program content range has been
extensive and includes the televising of school board
meetings, athletic events, teacher inservice workshops,
music concerts, elementary school plays, instructional
programs, and a variety of other types of programs. Many
of these productions are video-taped, while a considerable
amount are cablecast live.

With the creation of this new department came an
influx of additional equipment to be used by the class,
the previously mentioned portable video switcher, and
two portable cameras being the most noteworthy.

A job responsibility guideline was agreed upon.

The Director of Cable Television was to assume respon-
sibility for such tasks as:

1) Working with steering committees and curriculum
consultants to develop program concepts

2) Oversee production

3) Develop scheduling patterns

4) Organize efforts to inform staff and community
of upcoming programs

5) Locate, arrange previews of, and schedule pro-

grams from outside sources

13

6) Coordinate activities with Continental Cable

It was assumed the instructor of the class would
direct the productions using students, primarily from
the advanced class as production personnel. The pro-
ductions would be engineered by the lst Class F.C.C.
licensed engineer from the class, and secretarial support
would be funded.

From the onset of cable it was stated by the Dis-
trict's Cable TV Committee that:

1) Primary purpose of cable was instructional

2) Pressure on the Broadcasting class was to be
minimal

3) Additional staffing would be sought

4) Realistic experiences for students would be
sought

When the Office of Cable Television was created
the development of Cable TV was listed as one of the
school district's t0p five priorities. Since that time,
due primarily to the economic climate, it no longer holds
that position. The initial genuine enthusiasm and finan-
cial support has dwindled along with its once lofty
standing.

Although cable television in the Lansing School
District continues to make strides toward becoming a
national model, and in many people's estimation has

already achieved that goal, it has done so primarily

14

through the efforts and dedication of an overworked
staff and enthusiastic group of students. The district
has been most supportive in providing the necessary
hardware, but the proposed additional staff has never
materialized. With state wide cutbacks in personnel,
future staff support seems highly unlikely.

There's no question the students have received
a wealth of practical experiences, and benefitted greatly
from.their involvement in cable productions. The ques-
tion remaining is how long can the existing staff push
themselves at their present pace before they burn them—
selves out.

Some relief seems forthcoming next year (1982-83).
The Lansing Public Library, which is part of the school
district, also has a cable channel allocated to it.
Their staff consists of a full time employee responsible
for producing and directing programs and programming
the channel as well. Several part time CETA funded
employees are on staff also. The transferance of
this staff, and all library cable television equipment
to the Hill location was completed in June of 1982.
The library cable channel and staff will now be under
the supervision of the Director of Media Services. The
Office of Cable Television was recently put under his
direction also. This new full time staff member has

been made available to direct nightly cable productions,

15

thus giving relief to the instructor of the class. How-
ever, with the addition of the library's equipment come
additional maintenance responsibilities for the engineer,
so it's a mixed blessing. Also, the staff person from
the library is now assuming additional responsibilities
with this move. The funding of the part time CETA
employees is questionable for the future, and their
responsibilities might eventually need to be assumed
by existing staff.

This scenario leads to the deduction that very little

needed staff support can be expected in the near future.

Advisory Committee

 

The Michigan State plan for Vocational Education
requires that all Vocational-Technical programs be
developed and operated in consultation with an occupa-
tional advisory committee.

An advisory committee is defined as a group of
persons chosen for the purpose of assisting local edu-
cational agencies and planning districts in program
development and upgrading. '

Recommended membership includes:

1) Experts knowledgeable in the specialized
occupational area

2) Educators knowledgeable in the specialized

occupational area

l6

3) High school student(s) and former students

4) One vocational education counselor, if possible

5) Representatives of community interests, including
persons familiar with the special needs of the population
to be served.

Functions of advisory committees include:

1) Course content. Another concern is the estab-
lishment of practices which keep instruction practical
and functional. Committees take an active part in help-
ing to develop goal statements and assist in determining
performance objectives, since members have the essential,
specialized knowledge of the work.

2) Placement of students. Committee members some-
times assist in the placement of students by employing
graduates, or recommending the employment of graduates
to other firms in the industry.

3) Equipment selection. Committee members offer
professional advice concerning the selection of indus-
trial equipment. Their experience in their area of
specialization is extremely valuable when equipment
specifications are being prepared.

4) Evaluation of program. The committee's
suggestions for improvement represent the opinion of
the industry and community and enable the district to
maintain a curriculum at a level of instruction practi-

cal for the needs of the industry.

17

The Radio/Television Production class has been
fortunate regarding the involvement of local professionals
from industry and education. At various times committee
members have included professionals from the local CBS,
NBC, and Public Television affiliates, local radio
personalities, faculty from Michigan State University's
TelecommunicatiOn Department, and Lansing Community
College's Media Technology Department, local cable public
access coordinators, and owners of private production
and comunications companies.

Their significant contributions in the previously
mentioned areas have helped maintain a program that is
viewed as a model by educators state-wide. Furthermore,
their recommendations have played a direct role in the
purchase of needed replacement equipment for the class,
such as the control room video switcher, the new studio

cameras, and a studio ladder for lighting purposes.

Beginning Class

 

Beginning students are given reading and workbook
assignments on a regular basis throughout the first
year, especially during the first twelve weeks of the
course. Reading assignments, coupled with lectures,
video tape instruction, and practical hands-on produc-
tion exercises allow the students to learn the basics

of radio and TV production, and have that knowledge

18

reinforced in a variety of ways. Skills taught in the
first year include studio and control room.equipment
operation, television lighting, audio and video editing,
portable camera operation, electronic field production,
graphics design, script writing, radio console operation,
on-air talent considerations, and beginning directing
skills.

To learn television production is not an easy

task. The major problem is that you should

know everything at once, since the various

production elements and activities interact

and depend on one another. Since nobody can

learn everything at once, we are more or

less forced to take up the production ele-

ments step by step. (Zettl, 1976, p. 2)

This step by step process is a laborious and sometimes
tedious responsibility for the high school juniors and
seniors who constitute the beginning production class.

The text used for class is the same one used for

many college courses in video production, Television

 

Production Handbook by Herbert Zettl. This is complemented
occasionally by Television Production: A Vocational
Approach written by Richard L. Williams.

The choice of a text for a high school production
course poses a bit of a problem. Most texts of any
substance require a proficient reading level on the part
of the student. This is due to the complexity of the
subject matter. Texts which cater to a simplistic

approach generally lack this substance, and are too

19

superficial. Due to the seriousness of the subject
matter, the length of the class, and the thoroughness

of the text, Zettl's book was chosen as the primary text
for the class.

It is important from the onset, for the beginning
students to be given parameters regarding class guidelines
and studio rules. The general information handout given
to all students accomplishes that purpose. Contained
within this handout is a course description, grading
policy, and detailed studio rules. Generally, if a person
knows what is expected of him/her, and given valid reasons
why certain rules must be followed, most respond
favorably.

To insure the smooth operation of any production
facility, studios muSt be kept clean, orderly, and ready
for use. Therefore, after every production, the studios
need to be struck (i.e., all cables re-coiled, cameras
placed back properly, all set pieces returned to storage
locations, all equipment placed back in its proper storage
locations, and whatever additional cleanup is needed
to put the studio in good order).

This procedure is the same as in industry, and if
stressed to students from the beginning, helps create
a good working environment. These students will be
working in a million dollar facility, with equipment

that is very expensive to replace and repair. That is

20

a tremendous responsibility on everyone's part. The
instructor needs to instill in each student a respect
of the equipment they will be working with, so that the
chance of careless accidents are lessened.

After the general information sheet is discussed,
a handout called "Terms You Can Expect To Hear From Your
Director" is given to the students. (Appendix B) This
important handout contains a definition of all the camera
movements a student will be responsible for learning,
as well as detiled responsibilities of all television
production crew members. Criteria for grading assigned
crew positions once students become involved in pre-
formated television production exercises is also included.

Television production, among other things, is team-
work. It takes the cooperation and coordination of a
group of skilled people to create a television program.
One or two people can not do a studio production by them-
selves. It takes a director, audio operator, engineer,
floor director, camera operator, on-camera talent, and
depending upon the complexity of the production, numerous
other individuals to create the final product. This
concept of teamwork needs to be firmly impressed upon
beginning students, and reinforced often.

It is difficult for anyone to be ”talked at" for
three hours and maintain interest. Therefore, as soon

as the forementioned handouts are passed out and

21

discussed, the class is broken into two groups and given
a tour of the facility. One group accompanies the
teacher's aide for a tour of the radio production facili-
ties, while the other group accompanies the instructor
for a tour of the television control room and studios.
After a sufficient amount of time, the two groups switch
places.

The tours consist of more than just the instructor
and his/her aide identifying equipment in the respective
areas. Students receive their all important initial
hands-on experience with equipment in the respective
areas. In the radio studios, they become acquainted
with the audio console, and are given the opportunity
to record themselves on reel to reel audio tape. For
many, this is their first experience in such a venture.
Very often, students hearing their recorded voice for
the first time find the result difficult to believe,
and some even seem embarrassed. '

This situation is always accompanied by one or two
students who feel they are "God's gift to radio," and
express their pleasure at hearing themselves accordingly.
The two extremes are complimented by many students
found somewhere in between these reactions. Students
become comfortable with one another during this initial
venture.

The television studio and control room tour present

 

22

l

a similar situation with similar results, only in another
medium. After instructions in proper camera locking,
unlocking, and various adjustments, the students are
allowed hands-on experience with the studio television
cameras. They perform all the camera moves defined on
the "Terms You Can Expect To Hear From Your Director"
handout, as well as compose the various camera shots

used most in a television studio interview. They use
each other as subjects. For most this will be the first
time they see themselves on television.

This initial hands-on exposure to the equipment
serves a valuable purpose other than a logical beginning
point. Most high school students dread lectures and
reading assignments, but opportunities allowing them
to work with such sophisticated electronic equipment
is alluring. Lectures and reading assignments are an
integral part of the class structure, and play a dominant
role during the first twelve weeks of the course. After
this initial exposure to the equipment and facilities,
it will be nearly three weeks before the students are
given as extensive a use of the equipment as this venture
affords. A positive initial disclosure helps to provide
student stimulus to persevere through the lectures and
reading assignments that lie directly ahead.

A major emphasis of the class is the teaching of

how and why a piece of equipment works, not only how to

23

operate it. For example, it is not sufficient for a
student to demonstrate he or she can operate a camera
correctly when given commands by a director in the
context of an actual television production. That same
student must pass a written test demonstrating knowledge
of the basic principles of how a television camera
works. When learning audio production, students are
taught not only proper microphone placement and use,
but the difference between sound generating elements,
pick-up patterns, and the physics of sound and its
reproduction.

As noted earlier, lectures, reading assignments,
and video-tape instruction complement the production
exercises the students are ultimately involved with and
prefer.

It is the instructor's responsibility to blend these
instructional elements and present them in such a manner
as to maintain student interest, while creating a con-
tinuous learning environment. The size of the class
and the duration of the class are two important variables
which have a direct bearing on this challenge.

Reading assignments the first three weeks include
Zettl's chapters entitled "Learning Television Produc-
tion," "The Camera", "Lenses”, and "Mounting Equipment
and Camera Operations." "The Production Crew" chapter

from Richard Williams' text is also included in these

24

assignments.

Lectures clarifying the reading materials and ex-
pounding upon the information are general format, as
well as assignments from Zettl's accompanying workbook
for the text. The workbook assignments are generally
rather simple, so they present little difficulty for
the students, but serve several purposes. The work-
book's simplicity reinforces the basic important elements
in a way that is comprehensible to almost all high school
students. Also, the workbook assignments assure the
instructor which students are applying themselves and
which ones are not.

Occasional reading quizzes are a good practice to
incorporate into lesson plans. When utilized, it is
amazing how more attentive most students become regarding
their in-class reading assignments. Some reading assign-
ments are given as homework, but most are given in class.
The reason is, once again, because of the length of the
class, and more importantly, because when reading assign-
ments are given in class, there is greater control and
assurance that most students will actually read the
assignment.

The principle points covered during these lectures
and reading assignments include: 1) the importance of
teamwork in TV production; 2) the production crew and

their responsibilities: 3) parts of the TV camera;

25

4) how the camera works: 5) types of cameras; 6) optical
and performance characteristics of lenses; 7) camera
movements; 8) picture composition; and 9) how to work

a camera.

Of the above mentioned information, camera Operation
seems to be the easiest for the students to comprehend,
although consistent composition presents difficulty for
many. The most difficult to grasp seems to be optical
and performance characteristics of lenses. This includes
focal length, focus, depth of field, and their interrela-
tions regarding camera lenses. It is suggested that
slides be shown to students to help them understand the
lens concepts. Because of their relationship to television
aspect ratio, 35 millimeter slides are preferable.

The reasons why students find it easier to under-
stand camera operation are apparant. Complementing the
lectures and reading assignments for this area of instruc-
tion are several trips into the studio, in addition to
a hands-on reacquaintance with this important
production element. Where F-st0ps, depth of field, etc.,
are merely concepts at this point, camera operation is
an element under their control. All of this material
culminates with a written test on the television camera
and lenses. (See Appendix C)

The final three weeks of the first marking period

are devoted to two television studio production exercises

26

and two audio production exercises sandwiched between
the lectures and workbook material, reading assignments,
and a test on audio.

Prior to the start of the production exercises,
several reacquaintive sessions take place allowing students
to review the television control room and studio areas.

The concepts reviewed include operation of the television
camera, video switcher, audio console, and production
crew responsibilities. Proper operation of the audio
console in the radio production area is also reviewed.

Students begin with elementary exercises, such as
a simple ad-lib interview between two students. Eventually
they will work their way to a half hour newscast complete
with visuals, edited videotape interviews, and commercials
they have written, edited, and produced. All practical
exercises are handled in this fashion. For instance,
the first practical lighting exercise requires lighting
two people, using the basic photographic lighting prin-
ciple. At the end of the first year, the lighting exercise
consists of lighting five people with.movement and chroma
key, and hod card considerations. This requires applying
an advanced lighting technique implementing multiple
lighting stipulations. There are exercises designed
in this sequential manner for all the skills taught the
first year.

Students are rotated through all the crew positions

27

demanded of a particular exercise. This means that
before each exercise is completed, every student in
class will have had the opportunity to perform the
duties of a camera operator, audio operator, switcher
(video), floor director, announcer, and on camera
talent for each exercise.

The more advanced exercises will also require a
projectionist, video tape operator, and several indi-
viduals to change graphics or visuals in the studio.
This process seems tedious at times, given the great
number of students in class, but the results are well
worth the effort.

The first practical television production exercise,
as previously mentioned, is a simple ad-lib interview
between two students called "Close-Up". (See Appendix D)
One serves in the capacity of host, and the other as
guest. The exercise places minimal production demands
on the students in their respective positions.

The camera operators need only to compose two-
shots, medium close—ups, and close—ups of the talent.

The audio operator's responsibilities are to properly
modulate the microphones of the host, guest, and an
announcer. No music mixing or additional audio sources
are incorporated into this exercise.

The floor director needs only to position him or

herself properly, cue the talent when asked by the

28

director, and give three basic time cues.

The announcer has a brief open and close, while
the host is responsible for a three minute interview
of the guest, as well as brief opening and closing
comments.

Needless to say, the exercise is very basic. The
importance, however, is great. This exercise helps
to shape and form the basic production principles that
form the basis from.which these young peOple will develOp
and grow as television production specialists. The
development of a good, solid foundation in basic prin-
ciples and equipment operation, begins here.

The instructor directs each rotation of the exer-
cise. He carefully gives positive feedback and con-
structive criticism. Grades are given for each student
in each position. The criteria for each position have
been established since the first day of class, and are
repeatedly discussed. Although the grading is sub-
jective in nature, the instructor uses a sheet listing
all the positions and a brief description of respective
"Do's and Don'ts" to keep the grading process as
objective as possible. This detailed sheet also helps
in writing evaluations of student performances for feed-
back purposes. (See Appendix E)

A few words about grading is relevant at this point.

All vocational classes in the state of Michigan are

29

required to use the competency based education philosophy
in grading procedures. Briefly, competency based edu-
cation incorporates the use of performance objectives

as a grading criteria. A performance objective is the
listing of a specific task/skill competency for an
individual student. To be evaluated pr0perly, the
conditions of the task, as well as the evaluation criteria
of the task, need to be made explicitly clear. The date,
or dates, the performance objectives were completed must
be noted for each student. Performance objectives need
to be included in each individual student's file.

The instructor decides how many performance objec-
tives constitute a particular grade each marking period.
All performance objectives for this class are not
accomplished on one particular date, but are an ongoing
process throughout an entire school year. For instance,
the P.O. for camera operation states the condition as:
"given a studio camera and verbal director's cues at
a normal pace, the student shall display knowledge of
all standard TV shots, camera set-ups, and camera move-

ments.‘ The evaluation criteria is 1002. Appendix F
contains examples of several performance objectives
utilized in the beginning class.

The production exercises are a learning vehicle

to help a student ultimately accomplish the completion

of performance objectives. The performance objective

30

itself, is the ultimate goal. The production exercise
is the vehicle. As such, the two are inseparable.

One could not rightfully expect any student to
accompliSh the performance objective-for camera operation
their very first time in the studio. It takes time
and repetitive opportunities for that to occur. Yet,
comparatively speaking, a student's first time on camera
must be evaluated for feedback purposes. This is when
the instructor uses his or her intuitive knowledge drawn
from previous experiences in the classroom, as well as
in the industry, to evaluate each student on an individual
basis in hopes of the student ultimately passing a
particular performance objective.

At the same time, the first television production
exercise is going on, students are involved in their
initial audio production exercise. This exercise requires
the recording of a 30 second commercial on a reel to
reel audio tape. The exercise (see Appendix G) is
designed to force the student to begin developing an
announcer's delivery. The copy (i.e. all material to
be read on the air) is highly visual. Without the aid
of music background, the student is forced to use only
his/her voice to create a mood through articulating
imagery.

Grading criteria for the initial audio production

exercise is rather lenient, but becomes quite strict

31

before long. Time is so very important in the radio/
TV industry. A 30 second commercial is not 25 seconds
or 38 seconds long, but 29 or 30 seconds exactly.
Consequently, timing is an essential evaluation cri-
teria. On this initial exercise, if a student is
within 5 seconds of the allotted 30 second time frame,
it is considered "A" work as far as timing goes.
Recording level is important for all recorded
exercises. Ideally, the students are taught to record
with the VU meter in the -3 to 0 range. This is the
acceptable standard in the professional setting. A VU
meter is a volume unit meter located on all audio con-

soles, which measures volume units, or the relative

loudness of amplified sound. If the needle on the meter

is primarily in the red line section on the far right

of the scale, the sound is amplified too much, and there

is a risk of distortion.
If the needle is so low that it is barely moving,
there is hardly anything being recorded. Ideally, the

needle is oscillated near the middle of the scale and

peaks at, or occasionally over into the red colored area

of the meter, which is the "overload" zone. Proper
audio recording level is something the beginning student
works on all year long.

The third grading criteria for this exercise is

delivery of copy, or the manner in which the copy is

32

announced. Students are taught to modulate their
voices and emphasize the words of a commercial. If

a commercial is delivered in a monotone voice, or is
too "Sing-songy", the commercial is not being delivered
properly. The criteria mentioned here are the basis
for evaluating all television and audio production
exercises.

Middway through all production exercises, television
and audio, several days are allocated to the playing
back of the recorded material. To be able to see and/or
hear what one is doing wrong and right is a very valuable
learning opportunity. If, for instance, a student has
been told that certain of his/her camera movements need
to be smoother, he/she can actually observe where improve-
ment is necessary.

This manner of feedback can be very worthwhile if
the students are attentive. unfortunately, after
several exercises are played back, the students generally
become restless. Their attention begins to dissipate,
and the purpose of the playbacks begins to deteriorate
for the majority of the students.

To date, the classroom lectures and book assign-
ments have been primarily concerned with the camera,
or a major component of the video, or picture portion
of television. The other essential part of television

is the sound, or audio portion. All one needs to do

33

to realize how very important sound is to television
is to turn the volume on a TV down completely while
viewing a program"

Zettl's chapter on audio is assigned reading,
in several installments. The accompanying workbook
material is also assigned to students. Students are
taught the various ways microphones are classified. The
various microphone sound generating elements, pick-up
patterns, and operational characteristics are covered
in detail.

Another element of audio covered at this time includes
the physics of sound in regards to how microphones convert
sound waves into electrical energy, and how this energy
is amplified and reconverted into audible sound waves
'by the loudspeaker.

Students learn how to use the appropriate microphone

for the demands of particular production situations.
The various types of sound recording and playback equip—
ment for television and the techniques for using them
are discussed and demonstrated, as well as the equipment
and techniques of creative sound mixing. Before the
next production exercises begin, students are given a
written test covering the aspects of audio just men-
tioned. (See Appendix H)

The next practical audio exercise requires students

to apply a most elementary sound mixing principle.

34

Students are asked to record a thirty second instructor
written commercial, and mix sound (music) with the
voice track. (See Appendix I)

As easy as this sounds, many students take all year
to perfect the proper balance between their recorded
voice and underlying music. The key is to have the music
loud enough to be heard, but soft enough not to draw
attention away from the spoken word, which should be
the dominant element, unless some special effect is being
sought. The proper selection of music is also important.
The music should compliment the announced copy, not
detract from it.

The first marking period culminates with the students'
second practical television production exercise. (See
Appendix J)

Talent requirements for this exercise are similar
to the first one in that a host is responsible for inter-
viewing a guest. This time, however, the guest needs
to bring something into the studio to demonstrate.

The whole exercise incorporates several new produc-
tion elements, as each successive exercise throughout
the remainder of the year shall.

The demonstration area is located a distance from
where the opening interview takes place in the studio.
This requires both talent to move from one area to

another. When doing so the student talent quickly learn

35

that their microphone cables don't necessarily aid in
the transition.

Camera operators are asked to make on-air movements
to follow the talent to the demonstration area. The
most demanding requirement of camera operators during
this exercise is to follow the actual demonstration
while on as close a shot as possible. This begins to
develop the fine motor movements, concentration, and
control of the television camera so greatly needed by
anyone with professional aspirations.

The audio operator needs to cue up open, and
closing music, from two different sources (record and
audio cart), and mix the music with an announcer's open
and close. The proper modulation of the guest's, host's,
and announcer's microphones are required also.

The switcher, or technical director, is responsible
for interpreting production terminology commands from
the director (instructor) and depressing the proper buttons
or moving fader bars on the video switcher to obtain
the visual effect asked for. During the first exercise
the switcher was responsible for performing a fade, take,
and dissolve. In addition to those switching techniques,
the demonstration exercise requires the switcher to per-
form an electronic effect called a key, which is the
cutting in of an image (usually lettering) into a back-

ground image.

36

What must be stressed here is the importance of
the demonstration. If the guest brings in an object
that just sits there, like a painting, and merely talks
about it, there's no demonstration for the camera operator
to follow. This defeats the purpose of the exercise.

This must be emphasized to students. Of course the other
extreme should be avoided as well. An example is the
guest who drove the camera operator half crazy by demon-
strating various tricks a person can perform with a yo-
yo. The demonstration was entertaining, but impossible
to follow with the close-up camera responsible for the
primary coverage. This needs to be taken into considera-
tion.

The second marking period begins with the topic
of television lighting.

Zettl's chapter on "Techniques of Television Lighting"
is assigned, complemented by the viewing of the 3M Company
professionally produced program titled "Lighting for
Video Tape Production."

Students are then introduced to the various studio
lighting instruments, such as the spotlight, scoop, and
broad, as well as taught how to use a light meter, light
patch panel, and light dimmer control.

Definitions of lighting terms, the photographic
lighting principle, operation of lights, and special

lighting techniques are covered in detail in lecture,

37

and during studio demonstrations.

Students are also instructed on how to properly
design a floor plan, and lighting plot, and then required
to design one of their own. A floor plan is a plan of
the studio floor drawn to scale showing the walls, the
main door, and the location of the control room, with
the lighting grid or batten pattern superimposed over
the floor area. (See Appendix K) The lighting grids
are metal pipes suspended from the studio ceiling, which
the lighting instruments are secured to.

A light plot is drawn on the floor plan showing
the lighting instruments, their location, and function
for a particular studio production.

Exactness in floor plan and light plot design must
be emphasized. Individuals responsible for lighting
studio productions interpret these designs to light most
studio productions. If lights are improperly placed
on the lighting plot then they will be improperly placed
in the studio, and in all likelihood will result in a
less than natural and unprofessional looking production.

During the studio demonstrations safety is covered
emphatically. Students will be working with high voltage
equipment and must take prOper precautions, such as
shutting off the circuit breakers to the studio light
dimmer controls and light panel when patching lights.

Students will also be required to climb studio

38

ladders to reach the lighting instruments they must move
to desired locations, and then adjust.

To expedite the process, most studio ladders are
on wheels, and one person remains on top the ladder
holding a light, while another pushes him/her to the
sought for position. This is an approach used by pro-
fessionals, as well.

Fortunately, to date, no students have fallen
off a ladder, nor have any lights been dropped on people
below. However, a student did receive a chipped tooth
from a wrench dropped by a student working atop the
ladder. The incident could have been more serious;
luckily it wasn't. It did reemphasize the need for cau-
tion and safety awareness at all times.

Although this has been the only injury to date,
horsing around and pranks of any sort are dealt with
immediately to deter behavior that could easily lead
to someone's injury. The students' intensive exposure
to television lighting concludes at this stage with a
written test. (Appendix L)

Design for television production is the next subject
covered in lecture. The two major features of design
are: 1) television graphics and 2) scenic design.
Graphics are all two dimensional visuals prepared for
the television screen, such as studio and title cards,

charts, and graphs. Scenery includes all

39

three—dimensional items used in the studio, such as
flats, furniture, and hand properties.

Zettl's chapter on "Design” and corresponding work-
book material is assigned the class, and students are
taught the major factors of preparing graphics for tele-
vision. These are aspect ratio, scanning, and essential
areas, readability and balance, and color and color
compatibility.

The students are then given a "hands-on" demonstra-
tion in the art of audio tape editing. Editing can
mean various things. In this context it is the cutting
and rejoining of pre-recorded audio tape with a temporary
joint. Editing is generally undertaken for one of three
reasons: 1) Getting the program timing_right, 2) shaping
the program: giving it a beginning, a middle, and an
end, 3) Cutting out mistakes. Students are introduced
to the equipment they will be using and given the oppor-
tunity to actually perform several edits. The various
equipment necessary for performing audio edits includes
a portable reel to reel audio tape recorder, audio tape
splicing block, a sharp razor blade, leader tape, a wax
pencil, jointing tape, and a take up reel. Safety must
be stressed to the students. They will be physically
cutting audio tape with a razor blade and approaching
this aspect of audio production without concentration,

and safety consciousness could easily lead to a painful

40

injury.

For the next week students work on four different
practical assignments applying what they've learned to
date. Working in groups of six, students are given a
studio lighting assignment, an audio editing task, a
60 second audio public service announcement to record,
and the task of constructing a simple framing guide to
aide them in proper graphic composition.

The requirements for their first lighting assign-
ment are quite simple. They are to design a floor plan
and light plot for one person, and then light the set
according to that floor plan. Grading criteria for the
exercise includes the use of proper lighting plot sym-
bols and proper placement of those symbols on the floor
plan. The instructor also evaluates the use of proper
lighting instruments for their intended purposes,
the actual placement of these lights, and proper inten-
sity, or brightness of the lights, as measured with a
light meter. This is done using the basic photographic
lighting principle technique as the evaluative concept.
The six different students working on the lighting assign-
ment daily are broken into groups of three. Each of
these groups work in one of the two studios to accomplish
their assignment. Although they are asked to approach
the lighting task as a group venture, it becomes indi—

vidulaized because each student is responsible for handing

41

in his/her own lighting plot. Furthermore, each student
is responsible for the patching, setting, and intensity
measurement of one particular light in the context of
applying the basic photographic lighting principle.

The audio editing exercise consists of students
editing out three mistakes purposely recorded during
a 30 second radio commercial. The commercial chosen
is the same one that was assigned as their first radio
production exercise. This allows them a familiarity
with the copy, and permits easy identification of the
mistakes. Grading criteria is simple. The three mis-
takes need to be edited out so that the edited commercial
remains in tact and mistake-free.

The 60 second public service announcement (PSA)
is an instructor written cancer PSA requiring the proper
mixing and recording of music, from a record source,
with an announcer's copy. Each student is given 30
‘minutes on the audio console to record this assignment
onto reel to reel audio recording tape. Timing, delivery,
mixing, and recording levels are the grading criteria
for this assignment.

The last component during this week of practical
assignments is the construction of a framing guide (tem-
plate) to aid students in preparing television graphics.
The application of aspect ratio, scanning area, and

essential area becomes apparent. Each student is given

‘42

a standard studio card, and with the aid of instructions
from the teacher, and illustrations from Zettl's book,
constructs the template: The 11x14 inch studio card
has a scanning area of 7.5x10 inches, centered within
the card. The essential area, centered within the
scanning area, measures 6x8 inches. Students cut out
four small slots to indicate the scanning area. Then
they cut the essential area from the center of the card.
By placing this guide on top of a studio card, students
can mark the respective areas accurately, and they can
easily check whether or not graphics are composed
properly.

The lighting assignments and templates are graded
daily. The audio editing and radio PSA's are graded
after the entire class has completed them. Two days
are set aside for the playback, grading, and constructive
criticism of the audio and editing exercises. The class
is divided into two groups, and this responsibility is
shared between the instructor and the classroom aid.

The students' input is always encouraged during these
sessions.

After this is completed the class is instructued
in scripting principles and formats for radio and tele-
vision. This element of production is important, because
all productions need to begin with a script. There are

basically four types of television scripts: l) the

43

semiscripted show, 2) the fully scripted show, 3) the
show format, and 4) the fact or rundown sheet. Examples
of each of these formats are given the students, as well
as a thorough explanation of each by the instructor.

A great deal of time is spent in the teaching of
proper script design for each media. Students are taught
about the separation of audio and video columns for tele-
vision scripting, and that all directions for both
entities need to be in capital letters (upper case),
while dialogue needs to be in upper and lower case
letters. 'Professional radio commercials and PSA scripts
from local stations are handed out as examples and their
format is discussed thoroughly.

The scripting lecture and previous graphics informa-
tion is designed to help prepare students for their next
series of practical exercises. The students are once
again placed into groups containing six members and their
assignments for the next week are: l) the writing, prepara-
tion of graphics, and the recording of a 30 or 60 second
television commercial; 2) writing and recording a 30
second radio commercial or PSA; 3) another studio lighting
exercise; 4) writing a 3 page report on an article from
Broadcasting Magazine.

The television commercial assignment requires the
script to be written in proper format. Visualization

of the commercial demands the preparation of a minimum

'44

of three student constructed graphics, and one key card
constructed of rub-on white lettering placed upon a black
studio card. All graphic materials are provided, and
students have the option of producing a 30 or a 60 second
commercial on a topic of their choice. Students are
given two class days to write their scripts, and prepare
their graphics, while one day is allocated to the actual
recording of the commercials. The instructor directs
the commercials and respective student group members
comprise the production crew. Students are given indi-
vidual grades for script writing, graphics preparation,
production crew responsibilities, and for their commer-
cials.

The TV script writing grade reflects application
of, or a lack of, the necessary demands of proper script
format (i.e., all directions in capital letters, double
spacing, separate audio and video columns, etc.). Graphics
grading criteria includes utilization of 3x4 aspect ratio,
and scanning and essential area considerations. Produc-
tion crew grading criteria has been previously discussed.
The grading of the commercials themselves presents some
difficulty. The industry, or commercials produced by
local stations are the yardstick by which commercials
are ultimately measured, but the instructor must take
into account the students' experiences to date, and the

individual student's capability as well.

45

When the assignment was originally given, numerous
professional and student produced commercials were pre—
sented the class for incentive and demonstration pur-
poses. That procedure helped acclimate students to the
instructor's expectations.

It should be noted at this time that when the class
is involved in various activities such as one group
writing a commercial, another lighting a set, another
recording an audio exercise, etc., the responsibilities
for supervision and instruction of these students in
various areas is distributed between the instructor and
an assistant. The instructor generally carries more
responsibility, but quite simply cannot be in two places
at once. The instructor usually oversees the television
production lighting and writing exercises, while the
assistant is responsible for the students in the audio
production areas.

The writing of the radio PSA is graded upon continuity
of copy, proper length, and proper script format. Examples
of various radio commercials are played back for students
at that time, and for the same reasons, the television
examples are played back for the class. subject matter
is optional for the student excluding vulgarity and
general poor taste. A music mix is mandatory. The stu-
dents are also given a grade for the recorded final

product.

46

The grading criteria for all exercises (audio, video,
lighting, etc.) throughout the year remains basically
the same. What changes is the level of competence expected
of the students. What constitutes a good, or "B" grade,
at the beginning of the year, would change once a student
has a certain amount of experience in a particular en-
deavor. Students are expected to continually progress
in their practical abilities, while performing the tasks
asked of them. Naturally, the instructors must use their
classroom experience and insight into human behavior
to determine what might be excellent work by one student,
yet good, or poor work by another based upon individual
competency.

The criteria for grading the lighting exercise is
the same as the initial one, as are the basic requirements.
There are, however, several exceptions. As opposed to
constructing a light plot and lighting one person in
the studio the students are now required to light two
people. This constitutes application of a simple multiple
lighting technique where the function of one particular
light, with minor adjustments, serves several lighting
purposes (i.e., one talent's key light will also serve
the function of another talent's fill light, and vice
versa). This, in reality, is what television lighting
is actually based upon. The beginning student often

gets the impression that if it takes three light fixtures

47

to light one person, then it should take nine fixtures
to properly light a three-person interview program. An
experienced lighting techniéian learns how to use his/
her lighting instruments for more than one function.
The realities of many studio productions demands it.
This lighting exercise begins to develop these skills
in the students.

The writing of a three page report from a Broad-
casting Magazine article is intended to be more than
just busy work for the students. In a profession as
competitive and dynamic as radio and television pro-
duction one needs to continually keep abreast of the
current circumstances, demands, and changes within the
industry. This assignment is conceived to do just that.
Intermittently throughout the year students are given
assignments from the magazine. Sometimes the reports
are handed in, other times they are presented to the
class for discussion. Although many students merely
copy material verbatim from their respective articles,
they nevertheless are exposed to important information
that hopefully will benefit their education in this
discipline.

The remainder of the second marking period consists
of a brief television exercise, and a disc jockey exer-
cise.

Once again, students are rotated through the various

48

production crew positions. The TV production exercise
is called "Break" and calls for only one studio talent
acting as the fictitious host of an afternoon movie
program. The host is responsible for delivering several
lines, which is the lead-in to a commercial break. The
commercial break consists of a film PSA followed by a
student produced commercial, from the previous week's
assignment. After the commercial break the production
returns to the studio for concluding comments from the
host.

Although the duration of the television exercise
is brief, several important new elements are introduced.
The exercise requires a videotape operator to not only
record each rotation for playback purposes, but to cue
up the student produced videotape commercial, and roll
it when asked by the director. A projectionist is also
needed, so the students learn how to thread the film
projector, cue up the film, and rewind it after use.
The video switcher learns how to preview film and video-
tape and then include either of these two valuable visual
sources when needed. The audio operator learns where
film sound (SOF) and video tape audio are located on
the audio console and learns how to incorporate these
two new audio sources into a production.

The disc jockey exercise requires the students to

follow a play list of five songs, and asks them to perform

49

voice over music lead-ins, or "segues", to several of
the records they are asked to play. They are also
responsible to begin their program and close it with

a pre-recorded audio cart. This requires the modula-
tion of a new audio source (cart) on their behalf. They
are also required to have opening and closing comments
prepared, and a brief weather segue as well. The exer-
cise is recorded on reel to reel audio tape and they

are graded on preparation, recording level, mixing,
delivery, and how closely they have followed the script
they were given. Other criteria include whether the
records were cued properly, and the amount of dead-air.
Dead air time is when nothing was being said, or no music
was being played. Their goal should be to have no dead
air at all.

This concludes the second marking period.

The third marking period begins with several days
allocated to playbacks of the television and audio pro-
duction exercises just completed. Once again, the pur-
pose of playing back these exercises is so the student
can genuinely understand what they are doing right and
where they need to improve. The playbacks are followed
by group production projects, and then a much needed
Chrismmas vacation. After the vacation the remainder
of the marking period is devoted to analysis of tele-

vision news and a television newscast production exercise

50

coupled with a more demanding disc jockey exercise. The
first semester concludes with a written final examination.

Generally students are a little restless at this
time of the year due to the continual rigors and demands
of the class, and the anticipation of the Christmas holi-
day that lies ahead. The group production projects are
designed as exercises compelling the students to apply
the various aspects of television production they have
learned, in an atmosphere of geniality. It is natural
for students to form friendships with certain individuals
based upon common interests. The instructor arranges
the groups taking this into consideration. In other
production exercises the grouping together of such
companions sometimes becomes disruptive and counterpro-
ductive, because of their silly behavior. The group
project exercise lends itself to placing them together
on account of their likeness and common purpose.

The project requires each group, consisting of four
students, to produce a television program that is a mini-
mum of 15 minutes in length and a maximum of 60 minutes
long. The groups are responsible for designing and imple-
Imenting a lighting plot, writing a script for the produc-
tion, preparing a mandatory minimum of four graphics,
and providing the talent for the production. The pro-
duction crew is made up of the other members of the

class. The subject matter of the programs are optional.

51

This puts a certain amount of pressure on the students
to come up with a program idea. The instructor assigns
a topic for those unable to decide on one themselves.
The students are graded on all aspects of the production
(i.e., lighting, scripting, etc.), as well as assigned
crew responsibilities.

The project is valuable because it forces the students
to apply their production skills in the context of a
"group dynamics" situation, which is a learning experience
in the realities of television production. The quality
of the resulting program.depends upon application of
acquired skills and production common sense, as well.
Students quickly learn the need for attention to even
the smallest details. Realistic pressures such as script
and production deadlines are valuable experiences. All
in all the projects are generally entertaining because
of the diversity of students' interests, and a construc-
tive and pleasurable way to head into the Christmas holi-
day.

After the vacation a thorough classroom analysis
of television and radio news takes place. Students are
taught the vocabulary of news, pacing of stories within
a newscast, accepted industry story length, visualiza-
tion of news, and how to write a news story. Examples
of professional newscasts, both radio and television,

are screened by the students. Newscasts from major

52

markets (Detroit) are compared to locally produced ones
for educational and discussion purposes. Aiding in the
effort is the use of a five part television series pro-
duced by the local public television affiliate called
"Broadcasting Journalism: The Hows and Whys." An under-
standing of radio and television news is indispensible
for any serious production student because of the great
number of employment opportunities associated with this
segment of the broadcasting industry. The majority of
originally produced programs on a local level are related
to news. Not to thoroughly explore this facet of the
industry would be an oversight.

The final two weeks of the first semester are alloca-
ted to a television newscast production exercise, and
the students' second "DJ" audio exercise.

Students are assigned to newscasting teams of three
members per group and quickly learn how much work is
involved in the producing of a simple half hour newscast.
The assignment requires the students to write all their
own news and a director's script and prepare a minimum
of two graphics per student. The individual stories
have a maximum time limit of ninety seconds. Three
commercial breaks are to be scheduled within the newscast.

In any group situation there will be members who
meet the challenge of the work and those that sit idly

by expecting others to carry the burden. This newscast

53

effort is no different. The instructor has to give a
great deal of thought in planning which students are
in which group.

Professionally produced newscasts put a great deal
more emphasis on visualization than the exercise just
described, so will subsequent newscast exercises. For
the time being, the major goals of this exercise are
the development of news continuity processes (the
decisions involved in establishing the order of the news
stories so as to maintain viewer interest) and good news
writing habits.

Students are given individual grades for the writing
of their stories (pass-fail), group participation, presen-
tation of their news, and individual production crew
grades. Each group presents their newscast a minimum
of two times. This allows an opportunity for the news-
casting team to improve and is also necessary so each
student has the chance to be placed in all the production
crew positions.

The disc jockey audio exercise requires the students
to record a half hour radio program following a station
play list. Contained within the playlist are commercial
and public service announcement breaks. The students
are asked to begin developing an "air personality." In
other words, it is not sufficient just to play the music

and commercials in the order asked. Several required

 

54

ad-lib "segues" are required of the students as well.

The emphasis during this exercise is proper audio console
operation and recording level. In later disc jockey
assigned exercises the emphasis will shift to the develop-
ment of their "air personality."

After the production exercises and playback of them
have concluded several days are spent reviewing informa-
tion in preparation for the written final examination
(Appendix M). The final examination completes the first
semester of the beginning class.

The second semester begins with an influx of new
students into the program. Their number varies depending
on how many students have dropped the class. This situa-
tion creates logistic problems with equipment. Also,
management problems need to be addressed by the instructor.
The circumstance dictates assistance, flexibility, and
patience on everyone's behalf, students' as well as the
instructor's. The instructor's primary concern is to
get the incoming students near a knowledgeable and per-
formance level already attained by at least three-quarters
of the class, and to do it as quickly as possible, so
as not to impede the progress of the returning students.
This is generally attained by the end of this marking
period.

The condition requires the in-coming students to

readily apply themselves to homework reading and workbook

55

assignments on a nightly basis for the first two weeks,
and intermittently thereafter throughout the remainder
of the marking period. During that tflme these students
cover Zettl's chapters and workbook assignments on
"Learning Television Production”, "The Camera", "Lenses”,
and ”Audio." In-class lectures help the student under-
stand the material. All handouts, studio tours, etc.
given students at the beginning of the year are given
these new students as well. Two objective written tests
are given covering the information on camera and audio.
In short, the in-coming students are exposed to the same
information and given the same tests as the returning
students were at an equivalent time in their education
in this discipline. The difference being that these
students take a "crash" course for a period of time.

Meantime, the returning students work on audio edit-
ing, lighting, and disc jockey exercises. Zettl's chapter
on "Directing" is alsoassigned these students.

The audio editing exercise requires students to
perform 15 edits, not only eliminating purposely recorded
mistakes, but inserting several sound effects at required
places.

The lighting exercise requires the application and
design of a lighting plot reflecting the lighting tech-
nique called cross key lighting. This is a simple modi—

fication of a four point lighting technique, which the

56

students have already been exposed to. The students

are required to light two people in the studio using
this method. Basically, cross key lighting is so named
because the two front lights, usually hard spot lights,
are crossed so that the light on the left is aimed at
the talent on the right, and vice versa. This lighting
technique is readily used in industry during panel shows.

The disc jockey exercise is a repeat of the last
one with more emphasis on air personality development
by the individual student.

The lecture, book, and workbook assignments on
Directing are planned with hopes that aspiring directors
begin to formulate good directing principles. So far,
‘the instructor and aid have served as director role models,
but there is much more to directing than what initially
meets the eyes and ears, and this assignment is designed
with that thought in mind.

The ad-lib interview exercise (Close-Up) is repeated
at this time primarily for the benefit of the incoming
(new) students. This is their initial exposure to the
demands of a television production, so a concerted effort
to put the situation in proper perspective needs to be
maintained by everyone concerned. All students participate
in the exercise. The experienced students are called
upon to help acquaint the inexperienced ones with the

various production tasks and responsibilities. Their

57

aid is valuable and lends itself to a positive learning
experience for all. It is during this repeat of the
interview exercise that experienced students are allowed
to volunteer to direct certain run throughs of the exer-
cise under the guidance of the instructor. This is done
to help maintain their interest. The rotations primarily
comprised of inexperienced students are all directed

by the instructor for obvious reasons. Students are
evaluated according to their experience with the same
applicable criteria as previously mentioned. The inex-
perienced students (referred to hereafter as "new"
students) also record the first two audio exercises
during this time.

After these audio and video exercises are completed
the class is diVided into groups of three students per
group and spend the remainder of the marking period pre-
paring and recording another newscasting exercise, comple-
ting an audio editing assignment, and presenting an in-
class report. The groups are composed of experienced
students working with no more than one ”new" student
per group. This allows the inexperienced students to
learn from their skilled peers as well as the instructor.
It also continually reinforces the knowledge already
acquired by the majority of the class and helps estab-
lish self confidence in the "veterans", because of the

leadership role they are placed in and the demands of

58

that responsibility.

The groups are given several days for the writing
of their news stories and director's script. Each new
student has several homework reading and workbook assign-
ments to complete during that time also. Zettl's
chapter, "Design” and a reading assignment on script
writing needs to be completed for them to better under-
stand the requirements of the newscasting assignment
and become a viable member of their assigned news team.
The newscasting group is responsible for producing a
half hour newscast. Each student is responsible for
the preparation of a minimum of three graphics, so that
at least nine stories will be visualized. Hundreds of
slides are also made available to each group so they
may better visualize their newscast. The groups are
required to use at least two video taped stories, or
interviews, within the newscast. These stories are made
available to them from a library comprised of recorded
and edited stories from previous classes. Three commer-
cial breaks are also required, and a choice of film
PSA's or student produced videotaped commercials are
to be used to satisfy this requirement. The students
are also held responsible for writing character genera-
tor information to be used during the weather portion
of the newscast. A character generator is a special

effects keyboard device, much like a typewriter, that

59

electronically produces a series of letters or numbers
directly on the television screen or keyed into a back-
ground picture. The required information is used during
the performance of keying this weather information over
a weather graphic. This is accompanied by music and
the weathercaster's report. Grading criteria is the
same as the previous newscast exercise with emphasis
placed upon planning and organization. With the numerous
visuals, videotape and film requirements, a great deal
of organization and implementation of production knowl-
edge is necessary. I

The audio editing exercise requires the ”veteran"
students to perform 30 edits. Students are given two
reels of pre-recorded audio tape. The master reel, or
what will ultimately be the finished product, contains
dialogue with ten mistakes. Also recorded on this reel
are instructions where sound effects and other informa-
tion has been recorded onto the other reel of tape. The
student's task is to edit out the mistakes and insert
the various segments in their proper order, without clip-
ping or cutting out words, so the finished product is
at least 70 percent mistake-free. The new students are
assigned the first audio editing exercise, which was
previously described. The veteran students work side
by side with the new students and aid them in acquiring

necessary audio editing skills.

60

The lighting assignment requires the design and
application of a lighting plot reflecting cross key
lighting technique once again. This time, however, stu-
dents are responsible for lighting three peOple in the
studio and not just two. The new students are also
assigned Zettl's chapter, "Techniques of Television
Lighting" and the accompanying workbook.material. They
are given explanatory handouts covering lighting terms,
safety requirements and other helpful information.

The students are given two days to complete the assign-
'ment, allowing ample time for the veteran students to
help instruct the new students on lighting techniques,
light plot deveIOpment, and other necessary lighting
information. The instructor is also available for in-
struction on these and other lighting principles and
devotes a great deal of time addressing the nuances of
lighting during the critiquing of the assignment.

The radio newscast assignment requires the students
to record a 5 minute newscast onto reel to reel tape.

No story is to be more than 20 seconds long. The students
also need to write and record a 30 second PSA, with a
music mix, onto an audio cart. This PSA is one of two
they need to use during a one minute commercial break.

The students are graded on delivery, timing, and recording
levels for both the newscast and the public service

announcement. Although students have played back audio

61

cassette carts as a source of music in previous exercises;
this will be their initial venture into recording onto

an audio cart. All their audio recording to date has
been onto reel to reel audio tape.

The marking period concludes with students present-
ing in-class reports on articles assigned them from
Broadcasting Magazine. The presentations always lend
themselves to good discussions and are presented between
playbacks of the newscast exercise just completed. This
helps to break up the general routine of the playbacks
and aids in maintaining student interest in both endeavors.

The second marking period of the second semester
is an important one for the class. .So far the students'
educational and practical classroom experiences have
been confined to studio productions. The state of the
art of the television industry also demands production
activities taking place away from the studio. Sometimes
these productions include large, single events, such
as athletic contests, requiring a multiple camera set
up interfaced with all the electronic components generally
found in a studio control room. Quite often these pro—
ductions are covered with a single camera (called mini-
camera) as in the coverage of news stories sent through
microwave relays to the station for live broadcast, or
more often recorded on a portable videotape recorder

to be taken back to the station, edited, and played back

62

on the evening's news. This marking period, and the
succeeding one, finds the instructor primarily concerned
with teaching students the skills necessary for portable
camera set up and use and video tape editing principles.
Although practical exercises in all facets of radio

and television production continue throughout these
remaining two marking periods, they revolve around, and
incorporate practical exercises in portable camera use
and videotape editing.

Students are given reading assignments from Zettl's
chapter on "Small-Format Television" and Richard Williams'
chapter entitled "Electronic VTR Editing." The class-
room lecture devoted to portable camera set-up and uses
allows the students to actually set up a portable camera
and recorder, video tape each other, and play back the
results. It is during the set up and operation of portable
cameras that students need to readily apply their acquired
knowledge in performance characteristics of lens (i.e.,
depth of field, F-stOp, etc.) and specific considerations
of how cameras function. New criteria such as camera
white balancing and use of necessary filters is explained.
A videotape produced by the Sony corporation is played
for the students, which explains in detail the set
up, operation, and care of the camera they will be using
and all its interrelated components (camera control

unit, AC color adaptor, Camera AC adaptor, portable VTR,

63

etc.). The students are eventually divided into small
groups and given practical tests on set up, operation,
and care of portable cameras and video tape recorders.
Video tape editing corresponds with portable camera
use because most of what is shot and taped with portable
cameras is ultimately edited. Video tape editing is
performed for many of the same reasons audio tape editing
takes place (cited earlier). In the early days of tele-
vision, video editing was accomplished similar to audio
editing. The editor would mechanically cut the video-
tape with a cutting device and splice the two ends
together with splicing tape. By contrast, the equipment
of today allows one to edit electronically and is
accomplished without physically cutting or splicing the
tape. The terms, techniques, and principles of video
editing are addressed to the students during lecture
to aid them in learning the skills of videotape editing.
However, learning the language of editing is one thing;
setting down at an editor and performing a series of
calculated edits is another matter entirely. Therefore,
after a brief written test on editing terms and techniques,
the students are exposed to the editing system and allowed
to perform the three basic types of video edits: Assemble
edit, video only insert edit, and audio only insert edit.
The editing system consists of five basic elements: 1) an

editing or record machine, 2) a playback videotape

64

recorder, 3) the electronic editor, 4) a video monitor
for the playback VTR, and 5) a monitor for the record
machine. Students are instructed in proper operation
of these components, and while performing the basic
edits, begin to grasp editing concepts and proper
equipment use. This marking period is comprised of
another disc jockey exercise, lighting exercise, and
radio news assignment that includes an edited radio
interView. However, the primary assignment is the writing
of a television commercial requiring the video to be
recorded with a portable camera, the audio track to be
recorded onto reel to reel tape and edited, and then
the commercial to be electronically edited together.

Radio news, disc jockey, and television newscast
exercises, in addition to an edited television interview
and lighting assignment, are all components of the final
marking period. A practical final examination exercise
concludes the school year.

The radio news exercise requires students to write
and record a six minute radio newscast. National, state,
and local stories need to be included, with two minutes
allocated to each area. Maximum length of each story
is 30 seconds. This requires the development of writing
discipline and editorial judgements. The students
also need to record an interview and edit it to a maxi-

mmm length of 90 seconds. The interview must contain

65

opening and closing comments. Grading criteria includes
timing, delivery, and preparation.

The final radio disc jockey assignment is similar
to its predecessors. Students follow a station playlist,
as described before. The primary criteria is how they
have developed as "on-air" personalities.

The lighting exercise consists of designing a floor
plan and lighting five people in the studio. The talent,
two at a time, will hypothetically be asked to move to
another part of the studio. Whenever talent is asked
to move from one lighted position to another, it is
necessary for students to consider three elements: both
positions where the talent will remain, and the transi-
tion area through which the talent will move. Students
also need to light the set for the implementation of
a special video effect called a chroma key. This
exercise teaches students that the most important aspect
of lighting the chroma key set area is even background
illumination.

The importance and practicality of portable camera
operation has already been alluded to. The television
interview assignment requires students to set up and
utilize such equipment on location, in and around the
school building. Students are once again placed into
news groups and interview each other. Students are

scheduled for video editing time after the interview

66

has been recorded and must include in the final edited
version an on-camera open and close (called a standup)
and at least one action cutaway. This assignment tests
students on portable camera set up, operation, and tech-
nique, as well as news interviewing procedures and
video editing skills.

This edited interview is then incorporated into
the final newscast television production exercise. News-
casting teams are comprised of three students, again.
The requirements and grading criteria for the exercise
are the same as the earlier ones with several exceptions.
All videotape commercials and interviews used during
the newscast are to have been produced by the current
class, as opposed to using materials produced by pre—
vious classes. Also the incorporation of the chroma
key special effect is required to be used twice during
the newscast. A chroma key is the "laying-in" electroni-
cally of a background image, such as a scene of a fire,
behind a foreground image, such as a medium close-up
of the newscaster.

The year concludes with a final examination con-
sisting of group video production projects. The
students are divided into groups according to similari-
ties and friendships, again. The idea behind this final
is for students to be tested on their production skills

during an actual studio production, which everyone has

 

 

67

fun being involved with. Students are asked to choose
a song with vocals that they, as a group, wish to lip
sync, and pretend they are the musicians performing the
selection for television. Each group is assigned a pro-
duction crew and the entire exercise is always enjoyable
and a pleasurable way to cap the year.

Additionally, the students have the opportunity
to gain valuable practical production experience through-
out the year by volunteering to be crew members on
school district television productions taking place
after school hours. These productions range from an
on location live cablecast of the Lansing Symphony
Orchestra, requiring a multiple camera set up with
portable color video switcher, to a talking heads studio
interview.

Students gain the opportunity to further their skills
as camera and audio operators, play by play announcers
for basketball games, and in some instances technical

directors.

Advanced Class

 

The primary objective of the advanced class is to
provide a positive and realistic working environment
for the students to sharpen and refine their acquired
skills in radio and television production. This is

accomplished in a variety of ways.

68

The Director of Vocational Education decided to
have a separate beginning and advanced radio/television
production class. Prior to the 1977-78 school year,
students, regardless of class experience, could enroll
in either a morning or afternoon class each semester.
The primary reason for the division was to provide the
school district with an experienced group of production
personnel for its cable television productions. The
administration believed an advanced class applying it-
self toward the aims of becoming totally involved with
cable productions could accomplish two major goals:

1) provide numerous and much needed programming for

the district's cable television channels, and 2) provide
the students with realistic and educational job related
experiences. The situation has necessitated the Office

of Cable Television to work cooperatively with the
instructor of the class, and vice versa, especially during
the scheduling of productions. So far, it has been a

good marriage with the students deriving the greatest
benefits in the form of practical work experience.

The second year of the program expects and demands
the students to apply what they have learned and to cul-
tivate their skills as near to professional standards
as hard work allows. Production goals vary from.marking
period to period each year because of the changing pro-

duction requests asked of the class. These goals are

69

set for specific learning areas such as television
directing, complete remote equipment set up and pro-
duction considerations and many others. Cable production
demands vary in scope and quantity yearly and have a
direct bearing on what subject matter will be taught
in which marking period. Therefore, an overview, as
opposed to a definitive description, of the advanced
class is in order.

Whenever possible, all cable productions, studio
as well as remote, are scheduled at the time the advanced
class is in session. The advanced class' primary res-
ponsibility is to set up and crew all cable productions
scheduled at this time. Due to the heavy production
schedule, students can sometimes be working on as many
as three productions per week. Idealistically, all pro—
ductions would be scheduled at this time. Reality, how-
ever, dictates a great number of night time productions.
Students' availability cannot be required for these
productions, but participation in a minimum of two night
productions per marking period is mandatory for students
wishing an "A" or "B" grade for the course. These pro-
ductions are viewed as functional homework by the instruc-
tor. Enough of these productions are planned well enough
in advance and posted on an accessible production calen-
dar to allow even working students the opportunity to

plan accordingly. Round trip transportation is provided

70

for students in need of a ride, so only a lack of self
motivation deprives them of attaining both valuable
production experience and a good grade.

Program subject matter varies greatly allowing
for a wealth of diversity and production challenges.
One day a student may be scheduled to be a member of
a crew videotaping an elementary school Christmas play,
while another day's assignment could be a crew position
for the Adult Education graduation ceremonies. Board
of Education meetings, boys and girls basketball games,
a studio interview with the Superintendent of Schools,
instructional music programs, musical concerts, and
teacher in-service programs are many of the television
programs the class has the possibility to becomeiinvolvéd
with. The number and types of programs produced seems
to increase each year, providing the advanced class with
an abundance of practical working opportunities. The
advanced student is given as much responsibility as he/she
can handle during these productions and, on some occasions,
a little more for learning purposes. Students are even-
tually held responsible for the entire setup of a mul-
tiple camera remote production. This responsibility
includes lighting, microphone and camera placement,
staffing the production crew, and properly striking
all the equipment.

The class is also required to produce a regularly

71

scheduled series of their own each year, beginning with
the start of the second marking period. The program
length and subject matter varies and depends upon the
interests of the class as a whole. One year the series
was a weekly newscast cablecast live from the studio.

The news concerned itself with school and district

wide news, as opposed to what most people view in their
homes each evening at 6 PM. This past year the series

was a bi-weekly sports program entitled "CAC Sports Scene.“
Complete with at least three video tape stories per show,
the series co-hosts and producers enlightened their cable
viewers with the latest information and scores from sport-
ing events involving members of the Capitol Area Con-
ference. The program was cablecast on the public access
channels in both Lansing and East Lansing as well as

the school district's channel.

The opportunity to specialize in a given area, or
work on individual projects in either radio or television,
is also an option. One of the most ambitious special
projects to date was an original murder mystery entitled
"Death Stalks the DJ." The two students who collaborated
on this tongue-in-cheek project keenly cast all the members
of the class as the staff of a fictitious radio station
experiencing a loss of all their disc jockeys due to
murder by strangulation with an audio patch cord. The

finished product was quite entertaining and was cablecast.

72

Advanced students gain valuable radio experience
by staffing WHBS radio. This student managed and opera-
ted station is cablecast live over cable channel 34 daily
betwen 11:30 AM and 1 PM. The students decide on the
play list, jock rotation, and all other managerial judge-
ments. WHBS has a station manager, music director, news
director, and a staff of disc jockeys. Class related
assignments include the writing and producing of promos,
public service announcements, and occasional radio docu-
mentaries. For those students interested in pursuing
radio as a career, F.C.C. 3rd class license with endorse-
ment material is taught them. The year culminates for
the advanced students with class assignments requiring
the production of an edited video resume tape and edited

audio resume tape, as well as a typed written resume.

CHAPTER III

FINAL WRITTEN SCRIPT

Definitions of Script

 

 

Abbreviations
BG - Background
CU - Closeup. Object or any part of it seen at close

range and framed tightly

FG - Foreground

4-SHOT -Framing of four persons

LS - Long shot. Object seen from far away or framed
very loosely

MCU - Medium closeup. Framing an object between a medium
shot and a closeup. )

MS - Medium shot. Object seen from.a medium distance

OS - Over-the-shoulder shot. Camera looks over the
person's shoulder (shoulder and back of head
included in shot) at another person or object

PAN - Horizontal turning of the camera

3-SHOT -Framing of three persons

XCU - Extreme closeup

ZOOM - Changing from a wide shot to closeup, or vice

versa, including any shot in between

73

M2110!!!

1.

2130-16231!"

:05

:22

:20

:10

:15

74

VIDEO

MS CAMERA OPERATOR

(He dollies in, out
of view)

XCU HANDS ON AUDIO CONSOLE

ZOOM OUT TO COVER SHOT
OF AUDIO OPERATOR

MS CABLE OPERATOR

(She's kneeling to patch
audio and video info.
Then stands and checks
on control box)

TILT UP AND ZOOM OUT TO

INCLUDE TV MONITOR

OS STUDENT EDITING
AUDIO TAPE

MS STUDENT THREADING
FILM PROJECTOR

ZOOM INTO CU HANDS

AUDIO

MUSIC UP

MUSIC UNDER ANNOUNCE

ANNOUNCER:

Radio and television production is a
two year vocational course offered by
the Lansing School District.

The class is designed to prepare
students with the skills necessary to
secure entry level jobs in the broad-
casting industry, industrial and
educational media, advertising, and
related fields, such as cable tele-
vision.

MUSIC UP AND HOLD FOR 5 SECONDS THEN
UNDER ANNOUNCE

The preparation and placement of
graduates of the class into a junior
college, or university program is a
major goal of the course as well.

MUSIC UP AND HOLD FOR 10 SECONDS AND OUT

6.

10.

ll.

:15

:05

:10

:07

:22

VIDEO

:20 MS INSTRUCTOR.AT DESK

ZOOM INTO MCU

3-SHOT STUDENTS IN
CLASSROOM STUDYING AT DESKS

ZOOM OUT AND PAN LEFT TO
COVER SHOT OP CLASS

MS STUDENT READING AT DESK

MS STUDENT WRITING AT DESK

MS STUDENT READING AT DESK

COVER SHOT OF STUDENTS
VIEWING VIDEOTAPE ON TV
MONITOR

(Camera is located behind
students)

AUDIO

INSTRUCTOR:

Hello, my name is Dean Smits, and I'm
the instructor of the course just
described. The class is housed here
at Hill Academic and Vocational Center.
The course actually consists of two
classes, a beginning class, and an
advanced class. The following program
was produced to let you realize what
this course, Radio and Television

Production, is really all about.

MUSIC UP

AND HOLD FOR 10 SECONDS THEN UNDER
ANNOUNCE

ANNOUNCER:

Television production is demanding
work and the work begins in the
classroom.

MUSIC UP FOR 10 SECONDS THEN UNDER
ANNOUNCE

Students are given reading and workbook
assignment on a regular basis,
especially during the first 12 weeks

of class.

Reading assignments, coupled with
lectures, videotape instruction,

and practical hands-on production

exercises allow the students to learn

12.

13.

14.

15.

16.

17.

:10

:05

:05

:12

:10

:40

76

VIDEO

ZOOM INTO CU OF TV MONITOR

XCU OF STUDENT'S HAND WITH
PENCIL

(Student is writing at desk)
ZOOM OUT TO MS

MCU STUDENT READING NEWSPAPER

TWO SHOT OF STUDENTS READING
PAN RIGHT TO REVEAL ANOTHER
STUDENT

4-SHOT OF STUDENTS

MCU STUDENT WRITING
SCRIPT AT DESK

OS CAMERA OPERATOR'S
VIEWFINDER

AUDIO

the basics of production, and have
that knowledge reinforced in a variety
of ways.

MUSIC UP AND HOLD FOR 10 SECONDS THEN
OUT

ANNOUNCER:

Besides learning how to run the equip-
ment in the radio, and television
studios, students learn how to run

a simple piece of equipment: the
pencil.

It takes more than just lots of techni-
cal equipment to make a television
program. It takes ideas, information,
and people who can write and communi-
cate those ideas.

These students are working on the
preliminary stages of a newscast
assignment. Long before the lights
and cameras are turned on, the news
has to be written, scripted, and
rehearsed.

Students are taught the mechanics of
script writing, and regularly write
and script their own news, and

commercials.

MUSIC UP AND HOLD FOR 15 SECONDS

18.

19.

20.

:10

77

VIDEO

ZOOM OUT TO REVEAL AUDIO
OPERATOR IN FG WITH CAMERA
OPERATOR AND TALENT IN BG

(Production crew's backs
are to camera)

PAN LEFT REVEALING
DIRECTOR AND VIDEO
SWITCHER SEATED AT CONTROL
ROOM CONSOLE NEXT TO AUDIO
OPERATOR

3-SHOT CONTROL ROOM
PERSONNEL

:03 MCU SWITCHER

:07 XCU SWITCHER'S HANDS

AUDIO

MUSIC UNDER ANNOUNCE

ANNOUNCER:

Television production is a process
that involves the use of complex
equipment and the coordination of a
team of production specialists. What-
ever part you play, you should realize
that television production is teame
work. Every person involved with a
production must work closely with
everyone else. This means that if one
person isn't doing his, or her, job
right, then the entire production
could be harmed.

MUSIC UP AND HOLD FOR 5 SECONDS THEN
UNDER ANNOUNCE

Communication between the members

of the production crew is vital.

The crew has a vocabulary all their
own and to do the job properly

a person must be in command of this
vocabulary.

This means a person must be able to
understand what they are asked to do,
and be able to respond quickly and

correctly.

21.

22.

23.

24.

25.

26.
27.

28.

29.

:04

:05

:05
:04
:03

:03
:05

:13

:23

'78

VIDEO
MCU SWITCHER

MS AUDIO OPERATOR

XCU AUDIO OPERATOR's
HANDS

MS CAMERA OPERATOR

XCU FLOOR DIRECTOR
MCU AUDIO OPERATOR

3-SHOT CONTROL ROOM
PERSONNEL (DIRECTOR IN
MIDDLE)

MCU CAMERA OPERATOR IN
STUDIO

ZOOM OUT TO REVEAL
PRODUCTION CREW AND
TALENT

(Talents' backs are to camera)

OS CAMERA OPERATOR WITH
TALENT IN BG

AUDIO

MUSIC UP AND HOLD FOR '5 SECONDS THEN
UNDER ANNOUNCE

The production crew consists of many
different people, all assigned one or
more jobs,

and it is their responsibility to see
that the job is carried out.

Some of the different crew members are
the camera operator (PAUSE)

floor director (PAUSE)

audio operator (PAUSE)

and the director. All of these people
must work closely together to create
the final product: the television
program.

With the aid of numerous scripted
production exercises, students receive
hands—on experience in equipment opera-
tion and production crew responsibility.
These exercises provide ample oppor-
tunity for students to begin to master
television production terminology, and
equipment operation, while working on
an actual television production.
Students begin with elementary exer-
cises, such as a simple ad-lib inter-
view, and ultimately work on programs
they've written and produced them-

selves,

30.

31.

32.

33.

79

VIDEO

:10 COVER SHOT OF PRODUCTION
CREW IN CONTROL ROOM

(Their backs are to camera

with camera operator and
talent in B)

:25 3-SHOT CONTROL ROOM
PRODUCTION CREW

:28 XCU CONTROL ROOM
TV MONITOR

ZOOM OUT TO 2-SHOT
(DIRECTOR AND SWITCHER)

=04 OS SWITCHER

AUDIO

like CAC Sports Scene, a bi-weekly
sports program written and produced
by advanced students of the class,
and cablecast throughout the Lansing

area .

STUDENT DIRECTOR:

Give them a standby.

VTR OPERATOR (Off Camera):

Anytime you're ready, John.

STUDENT DIRECTOR:

Roll and record B deck, please. Ready
to fade up on VTR, ready to give me
sound on VTR.

VTR OPERATOR:

B deck rolling and recording.
STUDENT DIRECTOR:

Roll A deck, please.

VTR OPERATOR:

A deck rolling.

STUDENT DIRECTOR:

Fade up on VTR.

Give me sound on VTR.

(CAC SPORTS SCENE PROGRAM AUDIO IN 36)
Ready to take Camera 1, ready to
mic and cue Jeff.

Ready to lose C.G. Ready to lose
sound on VTR

Lose C. G. Fade out sound on VTR.

34.

35.

36.

37.

38.

39.

:20

:18

:15

:05

:05

:10

80

VIDEO

3-saor CONTROL ROOM
PRODUCTION CREW

MS INSTRUCTOR ON LOCATION

PAN LEFT TO REVEAL
PRODUCTION CREW

CU ENG CAMERA OPERATOR

PAN LEFT TO 2-SHOT

(REPORTER AND SUBJECT)

OS SUBJECT

OS REPORTER

XCU PORTABLE VTR
PAN LEFT AND TILT UP
TO CU ENG CAMERA OPERATOR

AUDIO

Take 1, mic, cue Jeff. Ready to take
2, ready to mic'and cue Shane. Pan
right a little, Robert.

FADE OUT AUDIO

INSTRUCTOR:

Another important part of the tele-
vision industry is the ability to
report an event from the actual loca-
tion of the event.‘ Electronic news
gathering, or electronic field pro-

duction is just that.

With the use of portable video equip-
ment one can go right into the field
to get that necessary interview, or
program segment that enhances the
quality of a program, and is taken
for granted, as well as expected by
today's sophisticated television
audiences.

Although the studio is a flexible
environment, many events cannot be
brought into the studio,

so a knowledge of the set-up and
operation of portable videotape
equipment is important.

The current state of the art in tele-

vision demands it. In class, students

40.
41.
42.

43.

44.

45.

46.

:04

:04

:03

:08

:15

:08

:08

81

VIDEO

2-SHOT STUDENTS
WORKING WITH PORTABLE
SWITCHER (DIFFERENT LOCALE)

XCU SWITCHER'S HANDS

TWO SHOT STUDENTS
WORKING WITH SWITCHER

OS CAMERA OPERATOR
ON LOCATION

(Symphony orchestra in BG)

MS SYMPHONY TROMBONIST
ZOOM OUT AND PAN LEFT TO

REVEAL CAMERA OPERATOR ON
LOCATION SHOOTING ORCHESTRA

COVER SHOT STUDENTS
CARRYING EQUIPMENT
ON LOCATION

LS STUDENT SECURING CABLES

ZOOM INTO CU HANDS

AUDIO

have the Opportunity to work with
portable equipment, and learn its
set-up and many uses.

Additionally, students have the possi-
bility to apply what they‘ve learned
in class and gain valuable practical
experience by volunteering to be crew
members for school district cable
television productions.

These productions are actually cable-
cast over the Lansing School Dis-
trict's cable television channels,

34 and 35, throughout the greater
Lansing community.

A heavy production schedule each year
allows students to work on such diverse
programs as symphony concerts, basket-
ball games, elementary school plays,
board of education meetings, as well
as various other remote productions,
and numerous studio productions.

‘When working on a remote, or production
done outside the studio, a great deal
of preliminary work is involved during
the setting up of the equipment.
Camera, and audio cables need to be
laid properly, and secured, so no one
injures themselves, or disrupts the

cablecast, or videotaping.

47.

48.

49.

50.

51.

:06

:09

:13

:10

:28

82

VIDEO

MS STUDENT SETTING UP
SWITCHER

KNEE SHOT - DIFFERENT
ANGLE

ZOOM INTO CU HANDS

2-SHOT STUDENTS
SETTING UP CAMERA

MS CAMERA OPERATOR

(Operator pans left)

MS INSTRUCTOR ON
STUDIO LADDER

ZOOM OUT TO COVER SHOT

AUDIO
The cameras need to be set up, and
adjusted, as well as the video

switcher, the audio mixer, microphones,
and an enormous amount of related equip-
ment. Students working under the
guidance of professionals quickly learn
television production is not all bright
lights and glamour,

but hard work and sometimes tedious
work, as well. The students are given
as much responsibility as their ex-
perience allows, and before long
become seasoned veterans.

Like the human eye, the television
camera needs light in order to see

and function properly. However, the

television camera is much more demanding

as to the amount of light needed.

INSTRUCTOR:

Lighting for television is really hard
work. In the Radio/Television Produc-
tion course students learn the tech-
niques of television lighting, which
lighting instruments to use and why.
The lighting of a television production
can contribute to its overall success

as much as any other factor.

MUSIC UP AND HOLD FOR
10 SECONDS

THEN UNDER ANNOUNCE

'83

VIDEO

52. :40 EXTREME HIGH ANGLE LS
THREE STUDENTS IN STUDIO

(Students move about working
on lighting
Camera follows)

53. :25 3-SHOT STUDENTS
WORKING ON LIGHTING

(Students move about,
camera follows)

ZOOM OUT TO COVER SHOT
STUDENTS WITH LADDER

54. :17 UP ANGLE MS STUDENT
CLIMBING STUDIO LADDER

ZOOM INTO MCU

AUDIO

ANNOUNCER: ‘

As one of the photographic arts, tele-
vision is subject to photographic
lighting principles. Students work
closely together, and once again, team-
work is extremely important.

MUSIC UP AND HOLD FOR 10 SECONDS THEN
UNDER ANNOUNCE

Working from a floor plan, students
employ the most basic photographic
lighting principle, commonly known as
basic triangle lighting. This light-
ing set up consists of three main
light sources for every person to be
lit, and the lighting instruments are
positioned in such a way that they
fulfill their assigned function.
MUSIC UP AND HOLD 10 SECONDS THEN
UNDER ANNOUNCE

Safety is an important factor when
discussing lighting. Students work
with lighting instruments using high
voltage connections, and are also
required to climb studio ladders, so
they can reach the lights, which are
suspended from the ceiling, and
attached to metal pipes called grids
MUSIC UP AND HOLD 10 SECONDS THEN
UNDER ANNOUNCE

55.

56.

57.

58.
S9.
60.

61.

:22

:15

:12

:12

:05
:15

:13

84

VIDEO
XCU SPOTLIGHT

ZOOM OUT TO 3-SHOT
(two students with backs

to camera, other on ladder
adjusting light)

UP ANGLE Z-SHOT

COVER SHOT STUDENT
EDITING VIDEO

MCU STUDENT EDITOR
CU VTR.MONITOR

OS LS STUDENT EDITOR

CU HANDS ON EDITING
MACHINE

AUDIO

When the lights are on one has to be
very careful when moving and adjusting
the instrument. Special gloves are
worn, so hands and fingers don't get
burned, because the lights get very
hot quickly.

MUSIC UP AND HOLD FOR 10 SECONDS THEN
UNDER ANNOUNCE

In the actual operation of lighting
instruments, one should heed the rule
for all production activities: (MUSIC
OUT)

safety first! After working on
numerous pre-designed lighting plan
exercises, students eventually design
their own lighting plot, and floor
plan, and light a set according to that
floor plan.

SOUNDS OF VTR'S STARTING AND STOPPING.
AUDIO FROM VIDEO BEING EDITED

VT AUDIO CUEING (BACKSPACING)

EDITED VT AUDIO

SOUNDS OF VT BEING EDITED

ANNOUNCER:

Editing is a major part of the post
production process of television
production. Post production means
assembling shots and scenes that have

been previously recorded on film or

62. :05
63. :10
64. :05
65. :15
66. :15
67.1:05

85

VIDEO
OS STUDENT EDITOR

CU STUDENT EDITOR

OS STUDENT EDITOR

MS STUDENT EDITOR

MS INSTRUCTOR AT AUDIO
PRODUCTION CONSOLE

MS STUDENT DJ AT
RADIO CONSOLE

AUDIO

videotape into a meaningful program.
It is so called, because the editing
takes place after the production,

and not during it. In the Radio]
Television Production class students
are assigned to shoot their own inter-
view or commercial from a script they
have written, and then edit.

Most of‘what you see on television

is prepared for broadcast in this
manner.

Quite often this post production
activity takes longer than the pro-
duction itself. Editing is a pain-
staking process requiring a great deal
of preparation, patience, and

concentration.

INSTRUCTOR:

Many students are attracted to this
program because of the seemingly
glamorous world of the disc jockey.
The job looks and sounds easy, but
in actuality a great amount of work
and skill is required.

WHBS STUDENT RADIO SIGN-ON CART

STUDENT DJ:
Hello out there in Lansing. This is
R. Hollywood your mid-day DJ. I'm

68.

69.

70.

71.

72.

:05

:10

:04

:08

:05

86

VIDEO

(DJ cues record)

08 DJ

PAN RIGHT TO REVEAL CONSOLE

XCU AUDIO CONSOLE

PAN (RIGHT) CONSOLE

MS DJ AT CONSOLE

XCU AUDIO CART MACHINE
ZOOM OUT TO 08 DJ AT
CONSOLE

MS DJ AT CONSOLE

AUDIO

gonna be here for another 90 minutes
bringing you the best in rock and soul.
So, sit back and listen to the mag-
nificent sounds of the J. Geils Band
comin' Off their album Freeze Frame.

MUSIC UP AND OUT

ANNOUNCER:

Good physical dexterity is a must.
Quite often a disc jockey is doing
several things at once, such as cueing
the next song to be played, playing
that song and then controlling the
voice level of the introduction of

the song. A thorough knowledge of the
audio console is essential.

In class students learn which volume
control, or potentiometer controls
which audio source, how to modulate
music. and the art of developing a
good announcing voice. The class is
designed to help students acquire
these skills. Students learn to
‘write and record their own radio
commercials, public service announce-
ments, station promos, and newscasts.
Good diction is also important. Class
exercises help students learn to speak

clearly, correctly, and naturally.

73.

74.

75.

87

VIDEO

:10 XCU’VU’METER

:48 MS DJ AT CONSOLE

(DJ moves-camera follows)

TILT DOWN AND ZOOM INTO
XCU ALBUM RECORD LABEL.

DEFOCUS

:30 MS INSTRUCTOR AT DESK

AUDIO

During the second year of the program
students staff WHBS Radio, which is
cablecast into the community on
Lansing School District cable tele-
vision channel 34.

STUDENT DJ (OVER MUSIC):

That was Prince here at WHBS (MUSIC
OUT), and we'll be right back with
more music after this important

announcement from Wherehouse Records.

WHEREHOUSE AND WHBS STATION PROMO

INSTRUCTOR:

In closing I'd like to mention that
students wishing to enroll in the
Radio/Television Production class need
to be able to follow directions, work
cooperatively with others, and should
possess better than average reading
and writing skills, as well as a basic
math.background. I hope you've enjoyed
viewing this program, and trust that
it has allowed you to realize what

the Radio/Television Production course
offered by the Lansing School District
is really all about.

88

VIDEO AUDIO
FADE TO BLACK
FADE UP ON CLOSING CREDITS MUSIC UP

Production Support

AARON HEGMAN

AND THE RADIO/TELEVISION

PRODUCTION CLASS

Engineering

BOB DE MEESTER

THE PRECEDING PROGRAM

WAS A DEAN SMITS

PRODUCTION

FADE TO BLACK MUSIC OUT

CHAPTER IV

SHOOTING SCRIPT

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PAN LEFT TO. . .

 

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FOLLOWS TO. . . FOLLOWS T0. . .

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ZOOM INTO. . .

CHAPTER V
PRODUCTION OF THE VIDEOTAPE

The making of a television program is a complex
and involved process. It requires the implementation
of various production components and artistic considera-
tions to get from initial concept to finished product.

The means by which this is accomplished is common
to the making of most videotape programs. This chapter
will explain this step by step procedure, provide insight
into the methods specific to this videotape program as
well.

Before the productiOn went beyond the idea stage,
questions for evaluating the program idea were proposed
and answered by its producer. Was the program feasible
for production (i.e. sufficient production time avail-
able, obtainable technical resources, attainable per-
sonnel)? Would the cost be feasible? Would there be
an audience for it? Was the program suited for the
television medium? The answer to all these questions
was a yes. Students of the class could be utilized as
talent and production personnel. This would not only
provide them a valuable learning experience, but justify

the use of the television production facilities of the

99

100
school district for the project. Consequently, the
cost factor would be minimal. The audience has been
previously defined, and what better material could be
suited for the medium than a program about a component
of televison?

Once the decision was made to produce the program
the logical starting point was writing a script. The
fully scripted show format was chosen as the most
appropriate because of the production style that would
eventually be used. This format refers to a complete
script that includes every word that is to be spoken
during the show, as well as detailed audio and video
instructions. This format can be compared to the semi-
scripted show, which only indicates dialogue without
writing it out completely. The semiscripted format is
generally used for interview, variety, and other types
of programs requiring a great amount of ad-lib discussion
and commentary. The writing of a fully scripted show
of any length requires a great deal of work. The benefits
were well worth the effort. For example, knowing what
was to be said during each segment and what each scene
was to look like allowed the director to visualize the
production more thoroughly and begin the mental aspects
of the editing process while shooting. The fully
scripted format also enhances preparation and organiza-

tion while lending itself to keep the shooting ratio

101

lower and more manageable for editing purposes.

Before script writers can begin writing, they will
need to define the intended audience. The vocabulary
one chooses needs to be understandable to the targeted
audience. The script was written with this awareness.
This presented a challenge. The targeted audience (des-
cribed in the Introduction) would range from school
administrators, many with Ph.D.'s, to high school students,
some with very little reading and writing ability. This
factor was a constant consideration.

The actual writing of the script was approached
in segments as was the production. Since the videotape
was to convey a factual portrayal of what was actually
taught in the class, the following segments were decided
upon: classroom work, television studio production as-
pects, portable camera operation, location production,
television lighting, video editing, and audio console
operation.

The creation and use of a shooting script, or story-
board (Chapter IV), greatly aided in the visualization
and picturization process of the production. A story
board shows the key visualization points, the major shots
of an event, and gives some idea as to the composition
of different scenes. Storyboards helped the director
to communicate picture composition to camera operators

and other production crew members. The shooting script

102

also allowed the director to work out details of
visualizing the production.through the use of sketches,
before the actual taping started. In the long run this
helped eliminate potential production mistakes which
could have cost the production dearly in lost time.
Next, a production schedule was required. Its
development was no simple task. The production needed
to be recorded in the remaining six weeks of the school
year. Ordinarily this would have been easy to accomplish,
but the schedule was required to work around existing
scheduled cable productions and various classroom
assignments and projects. Eventually the shooting
schedule was completed reflecting student crew and
talent responsibilities and pre-production meeting
Considerations, as well as actual production dates and
times. The shooting schedule took into account potential
problems, and the ramifications they could have on
completing the project on time. One confining factor
was the limitation and pressure of scheduling and having
to record segments in three hour time frames. Both
classes met for three hours each day. This meant that
each segment, including all its scenes, had to be com-
pletely recorded on the day and at the time it was
scheduled. If not, the scene would require re-shooting
for continUity purposes because the student talent would

be all wearing different clothing on subsequent days.

103

The nature of most of the written segments demanded the
action within to flow continually.

The actual taping, or production, of the program
was done "film style." Film style shooting refers to the
technique of taping or filming an entire program.using
one camera to record all the scenes, and afterwards
editing, or selecting and arranging the scenes into seg-
ments and segments into a meaningful program. It is
important to keep in mind that film style techniques
can be used in the studio as well as on location.

The traditional studio director has been
trained to shoot programs as one long
scene, in chronological order, and often
with a "live” look. Film style directors,
on the other hand, break the program down
into specific scenes and camera angles.
Each shot is carefully calculated and
planned in advance and not necessarily
shot in chronological order.

(Williams, 1981, p. 159)

For example, the disc jockey segment was the last
major segment in the finished product, but it was
actually the first segment recorded. It was necessary
to schedule that segment early in production because
the radio studios were unavailable at a later time.

A director using film style shooting
must have extensive experience with that
technique to be able to keep all the
visual elements clear in his or her mind
during the shooting session. As a gen-
eral rule a director using film style
technique must be better organized and
prepared than the traditional studio
director. A studio director can shoot
with only an outline of a script, but

104

the film style director must have a detailed
script with exact instructions as to con-
tent, camera angles and so forth.

(Williams, 1981, p. 160)

This became clear to the students throughout the
production process, primarily during the recording of the
studio lighting segment. The first scene of this seg-
ment (scene 52) was shot with the camera zoomed all the
way out, and at an extreme high angle. This composition
was decided upon for several reasons. Suspended from
the ceilings of most televiSionxstUdios are metal pipes
l to 2 inches in diameter, strung either crosswise or
parallel. These pipes are suspended at least 10 feet
above the studio floor. The lighting instruments
(lights) used for studio productions are mounted to
these pipes, called grids, with the use of "C" clamps.
This network of grids and lights are the domain of
lighting technicians. This area of production speciali-
zation requires production personnel to spend most of
their time high atop ladders positioning, securing, and
directing lights. This area of the studio was an absolute
necessity to visualize for the lighting segment. The
only two choices were an up angle shot, shooting up at
the grid work, or a high angle shot, composing the shot
from above and shooting down.

The latter composition was decided upon for aesthetic

reasons, and the ease with which the scene could be shot.

105

Generally, when composing an extreme high angle shot

one needs the use of a crane, platform, or tall ladder

to get above the action to be shot. The production
facilities at Hill were designed to allow the instructor
to observe both television studios, from a perspective

one floor above them, through the windows of the radio
production area. This allowed scene 52 to be shot through
one of these windows. The result was a nice creative
touch, visually stimulating, and accomplishing its
intended goal.

Scene 52 was also one of the lengthier scenes in
the final program. Its composition allows the viewer to
observe three students actually working on a lighting
assignment in the studio, as well as the grid work and
lights. The students' movements and activities were
rehearsed and timed out to the second to correspond to
the script monologue. When teamwork was being stressed
in the script, the students were to be working together.
When it was stated, students worked from a floor plan,
while working on lighting assignments, that is what they
were to be doing. The intercom system aided greatly in
the timing and recording of the scene. The director,
camera Operator, and videotape operator were located in
the radio production area already described. The inter-
communication system at Hill allows one to communicate

from this area to the television control room.and from

106

the control room into the television studios. Working
from the detailed script, the director gave his cues for
"action" and specific movements to certain areas of the
studio via a student in the control room, who in turn
would relay the cues to the students acting as talent in
the studio. Coordination, communication, COOperation
and organization during rehearsals, and ultimately the
recording process resulted in the successful completion
of the lighting segment. The segment was not recorded
without its problems, however.

Quite often a television director using the

film style approach will not have a camera

monitor other than the camera's viewfinder

to see the framing and movement. In these

cases the director must depend heavily upon

the ability and experience of the camera

opearator for correct compositions and

movements based upon proper motivation. It

is necessary in these circumstances for the

director and camera operator to work as a

team. Film style camera operators generally

need more experience than most studio camera

operators. (Williams, pp. 159-160)

Proper motivation in regards to camera composition
and movement was dependent upon the actual action taking
place within a scene being taped. For example, when the
student DJ moved from behind the audio console to obtain
several audio carts located in a different area of the
radio studio (Scene 48) the camera operator was motivated
to pan in order to follow the action.

Although the director of this videotape was quite

often the camera operator, as well, students from the

107

advanced class were given that responsibility quite

often. This allowed them experiences in film style
shooting and electronic field production that many of
them may never have had. Scene 52 was shot by a camera
operator without the use of a camera monitor. The

taping went fine. Afterwards, the equipment was set

up in the studio, and the various other scenes for the
lighting assignment were recorded. Not until the scenes
were played back did the director and crew observe a prob-
lem. Scene 52 looked to have a brown tint to it, and

the video did not match up with the other recorded

scenes. One student suggested this might be due to record-
ing the scene shot through a window. The instructor
dismissed that suggestion because a test recording had
been performed several days earlier with no such results.
The camera operator had recorded the scene using the wrong
lens filter. Ordinarily this wouldn't have presented a
problem, but due to the limitations of using a student
crew available only at particular times of the day, and
only for a limited amount of time, a problem existed.
Scene 52 required re-shooting. For continuity's sake

the talent needed to wear the same clothing. Scheduling
conflicts and time constrictions for the re-shoot needed
to be worked out. Eventually everything worked out, but
not until one of the three talent received a ride home

to pick up the proper clothing necessary to re-record

108

the scene.

The entire production was shot with broadcast quality
studio cameras that could be adapted to the field or
location shooting. The scenes that were taped in and
around the production facilities allowed a camera tripod
to be used. The use of the tripod assured smooth
camera movements. Scenes 36 and 44 are two scenes
requiring the camera to be placed upon the camera opera-
tor's shoulder during production as opposed to the tripod.
This camera shooting style is sometimes referred to as
ENG (electronic news gathering) or EFP (electronic field
production). EFP camera operation requires experience
for smooth camera movements and operation. The lack
of that experience is noticeable in the final versions
of these scenes, especially scene 36, which displays
a great deal of unwanted camera movement. The director
was constantly concerned with quality but needed to work
with the realization that the project was a learning
environment for high school television production students.
This perspective was maintained by the director throughout
the production of the program.

For continuity's sake, when recording different
scenes, and one take ended and the next began with a
different camera angle or camera composition involving
the same talent, there would be an overlap of action.

That is, whatever action was performed toward the end

109

of the first take would be repeated at the beginning of
the next one. This allowed a choice as to what point to
cut at during the editing process and guaranteed no
gaps in the action, no discontinuity.

For example, the video editing segment (scenes 57-
65) was eventually edited to a length of one minute and
thirty-five seconds. The script called for nine different
camera angles (i.e. over the shoulder shots, etc.) and
numerous compositions ranging from a medium shot of the
student seated and working on video editing equipment
to a close-up of his hands on the equipment. To make
the final product appear as continuous action recording
an overlap of action was necessary. The camera was placed
behind the student editor to record over the shoulder
shots. The script called for a different take to appear
after each one of the three times the over the shoulder
shot was used in this segment. These different takes
were a close-up of the student's hands on the editing
equipment, a close-up of the student and a medium shot
of the student. When the close-up of the student was
recorded, he was looking up at the video tape monitor.
During the recording of the medium shot the student was
using his left hand, as well as his right, and looking
in various directions. It was important for those actions
to be repeated when the over the shoulder shot was recor-

ded for the reasons already described. Attention to

110

details such as these was a necessity when using the film
style shooting technique.

The vector line principle was adhered to whenever
necessary during the shooting of the production so viewers
wouldn't be confused with screen direction.

In order to make sense out of a series
of shots, we try to locate--organize and
stabiliZe in our mind--the‘picture field
as much as possible. We tend to preserve
continuity by remembering the relative
screen positions of objects from one shot
to the next. If, for example, you.have two
people talking to each other in an over—
the-shoulder two shot, the viewer expects
the people to remain in their relative
screen positions even during closeups or
reverse-angle shooting. By establishing
a vector line--or as it is also called,
'1ine of conversation'--and keeping the
cameras on one or the other side of it,
you will avoid many confusing picturiza-
tion mistakes.

(Zettl, 1976. PP. 270-271)

 

The proper use of the vector line principle is
most noticeable in scenes 35-38 or during the portable
equipment operation segment. These scenes depict a
portable camera operator taping a reporter who is inter-
viewing a subject. The reporter appears screen right,
along with the camera operator, and the subject appears
screen left during the establishing shot. That means
that all scenes recorded thereafter needed to take
this screen direction into account. Subsequently, the
script called for a two-shot of reporter and subject,

and an over-the-shoulder shot of each. If the vector

111

line principle would not have been applied by keeping
the camera on the same side of the talent for all
recorded shots, then the result would have been confu-
sion for viewers viewing this segment.

Film style technique also includes shooting ratio,
or the ratio of tape shot to final footage used. The
shooting ratio for this project varied from scene to
scene, but overall the tape was shot at an 15:1 shooting
ratio. A little over 300 minutes, or 5 hours, of video-
tape was recorded to complete the 20 minute final running
time of the videotape. Generally speaking, the greater
the shooting ratio the greater the flexibility of the
editor to edit the program. A higher shooting ratio also
allows for exceedingly more visualization of the final
product. However, this is not to be interpreted as the
more footage one shoots the better the final product will
be.

The majority of the programis audio track was
recorded onto reel to reel audio tape and consisted of
an announcer's off camera narrative, accompanied by an
occasional music track. The remainder of the audio was
comprised of the instructor's on camera deliveries and
recordings of actual sounds of: l) the student production
crew producing CAC Sports Scene, 2) video tape machines
in use during the video editing segment, and 3) the

student DJ's on-air delivery.

112

The instructor of the class also served in the
capacity of program announcer. Thus, it was decided that
it would be a good idea to include several on camera mono-
logues by the instructor. These recorded scenes served
two primary purposes. They added credibility to what
the announcer had to say because of the identification
factor of instructor as announcer. Also, they served
as valuable transition devices between various program
segments.

The reel to reel recorded audio track was completed
after the video scenes had been recorded. This was out
of necessity rather than design. Recording the audio
track prior to shooting the footage could have aided
in the timing of scenes and segments, but the program's
producer was still seeking appropriate music accompani-
ment during the time the video was being shot.

Maintaining an audience's interest throughout an
entire program should be one of the primary goals of
any television program.

The importance of gaining and keeping

viewer interest is usually one of the last

considerations affecting an educational,

or industrial presentation--if, indeed, it

is considered at all. But, as the videotape

program on vehicle safety suggests, where

there is a lack of audience interest, there

is also a probability of a lack of audience

content retention. It is very unlikely that

anyone will learn and retain information

from a videotape if he or she is not paying
most of his or her attention to what is

113

seen and heard...And since the goal of edu-

cation and industrial television is content

retention, continuous viewer interest is

highly important. (Williams, p. 230)

Maintaining this interest was accomplished through-
out the various stages of production in a variety of ways.

During the pre-production stage, which consisted
of script writing and extensive production planning,
audio and cinematic attention getting devices were dis-
cussed and eventually written into the script. These
ideas were realized during the second stage of produc-
tion, the production itself. Interesting shot compo-
sitions, such as scenes 52 and the initial stages of
scenes 28 and 32. Use of interesting and appropriate
music at critical portions of the program.were recorded
to help maintain viewer interest as well. However,
it was during the final stages of the production process
that lent itself most to accomplishing this goal and
helped shape the entire videotape. The final stage of
production was the editing or post-production process.

Many things have been written and said about editing,
but suffice it to say it is during the editing process
that the pacing, continuity and flow of a production is

created. The editor (person responsible for editing the

program) is much like a sculptor, who takes a mass of

substance and shapes it into its final form. The decision

making processes of editing included which takes of a

114

particular scene would be used in the final product,
sequential order of scenes, and the length of time the
chosen scene remained on the screen. The juxtaposition
of these factors and more had a direct bearing on what
the completed television program looked like and more
importantly, how an audience would eventually interpret
the information presented them.

Editing methods vary greatly depending

on how sophisticated your electronic

editing equipment is....In its most

elementary form, you simply depress an

edit button at the exact spot where you

want the next shot to adjoin the pre-

ceding one. (Zettl, p. 285)

This is accomplished with the use of two videotape
machines, synchronized with one another and specially
designed for electronic editing. One machine serves
as the playback machine supplying the various scenes.
The other is the recorder, which edits the scenes together.

More advanced editing methods do exist and are
actually the norm.in the television production industry.
These editing systems incorporate more sophisticated
videotape machines with SMPTE Time and Control Code
readers and computer-controlled editing systems to allow
an editor frame accurate editing. The SMPTE Time and
Control Code is an electronic signal that when recorded
on the cue track of a videotape provides identification

information for each frame of recorded videotape. Video—

tape is recorded at a speed of 30 frames per second,

115

compared to motion picture film which records at a

speed of 24 frames per second. This implies that a time
code, computer assisted, frame accurate editing system
is capable of performing edits with the precision once
only possible in the realm of filmmaking.

The editor for this project was limited to employing
the elementary form of editing due to the limitations of
available equipment. An electronic editor was accessible,
but as a result of its continuous malfunction in the
early stages of the editing process, it was discarded
in favor of the elementary method described.

Before the editing process actually began, all the
recorded videotape had to be viewed and catalogues. Since
a little over five hours of tape was recorded, the reader
can deduce the amount of time spent on this vital period
of editing process.

It is important for any editor to become as familiar
as possible with the material they will be working with.
This requires viewing it as often as is necessary to be
able to edit scenes into segments.and segments into a
professional looking and sounding product.

The cataloging process was accomplished with the
use of a counter on the videotape machine. Each recorded
scene was identified numerically and then described for
the purpose of expediency's sake during the editing pro-

cess. For example, the final version of the classroom

116

and news writing segment consisted of ten different
scenes edited together and lasting one minute and forty
seconds. Approximately twenty-five minutes of videotape
containing a great number of recorded scenes were con-
tained on two different videotapes. If each scene wasn't
identified precisely, then a great deal of time would
have been wasted in locating a needed scene during the
editing process.

Every editor has their own method of identifying
takes and segments. If a time code device is available,
the process is hastened. If not, the use of the video-
tape recorder's counter is essential. Using these two
devices will help locate a scene on a particular video-
tape with expedience. The actual form.of describing
scenes for further identification is generally left
up to the individual editor.

Although editors follow scrips when editing, quite
often they are given a certain amount of artistic freedom
in deciding which one of several takes to actually use.
For example, in the classroom segment, scene 8 calls
for a 5 second medium shot of a student seated at a deak
reading. The editor had a choice of at least 10 different
students to choose from. The eventual decision of which
take to use was derived by a knowledge of which students

were already used in preceding takes, what compositions

117

were asked for in subsequent takes and which takes
reflected a realistic portrayal of students' classroom
study behavior.

An editor's choice of the exact location of each
edit (edit point) can have a direct bearing on a viewer's
attentiveness, as well as interpretation. Even an extra
second or two can alter the viewer's perception. If a
scene is held a little too long, a viewer may become
subconsciously bored and tune out the material presented.

Scene 5 is a medium shot of a student threading a
film projector. It is the fifth and final scene of the
videotape's opening segment. Scene 6 is a medium.shot
of the instructor seated at a desk delivering his opening
comments. An artistic decision had to be made regarding
how to make a transition between these two scenes with-
out disrupting the flow of the program while maintaining
viewers' attention to the information presented.

This was accomplished with coordinating and pre-
planning the recording of these scenes based upon the
director's idea of how they would eventually be edited
together.

Scene 5's audio track consists of music, and this
music was faded out completely, during editing, as the
camera zoomed into a close-up of the student's hands
threading the film projector. Several seconds expired

without any sound. The combination of no sound for several

118

seconds, and the viewer's attention being brought to
focus closer to what is happening visually, as a result
of the zoom, was designed to create a feeling of antici-
pation in the viewer just before the take to scene 6.

By merely holding the close-up, at the end of scene 5
for several seconds without any sound, then making the
edit to scene 6, helped to create the desired feeling.
That is what the editing process can help accomplish.

The feeling of anticipation was repeated as a
transition device again between scenes 74 and 75, which
were the last two scenes of the videotape.

Cinematic transition techniques, such as these,
are important to incorporate into a creative project,
but one needs to be careful not to overuse them.

Transitions between segments, or for that matter
scenes, is generally accomplished through the cooperative
efforts of the writer, director, and eventually the editor
of a production. The writer gives specific shot composi-
tion descriptions in the script. The director sees that
they are recorded, and the editor puts them all together.
Each of these people need to have at least a superficial
knowledge of the other's responsibilities and needs for
any project to culminate in something worthwhile.

The script was written with a knowledge that each
scene had to be composed a certain way so the flow and

continuity of the program's material could be edited in

119

a manner that would lend itself to a defined audience
retaining and interpreting the information as the program's
creator had envisioned. The writer had to realize whether
the production demands were feasible because of time con-
straints, available production crew, and available equip-
ment.

The director had to make sure, among other things,
that all scenes were recorded long enough for editing
purposes. For reasons which will be explained later,
the videotape editing process requires a certain amount
of video recorded continuously before and after the
actual footage that is actually used in the midst of
editing.

The editor creates the mood intended by the writer
and director.

In short, everything and everyone is dependent on
everything and eveyone else.

The videotape was edited with the use of a time
base corrector. This is an electronic accessory to a
videotape recorder that helps make playbacks and trans-
fers electronically stable. The editing process consisted
of using both assemble and insert edits to complete the
videotape. An assemble edit is the adding of shots on
videotape in a consecutive order to make a program. In-
sert edits refer to inserting shots, or audio, in an

already existing recording without affecting the shots

120

on either side. An assemble edit records both audio
and video, while an insert edit can record both, or
either video only, or audio only. Because most of the
audio track was from an audio reel to reel tape source,
and the majority of the various scenes needed to be
edited.when exact words were being said or music played,
a combination of audio only and video only insert edits
were the types primarily used in the completion of the
videotape.

Prior to editing the program, "black" was recorded
onto the videotape which was to be the master program.
Black refers to the darkest part of a television gray-
scale and is a source of video obtained from a video
switcher. This needed to be done so that a control track
would be recorded onto the videotape. A control track
is the area of videotape that records synchronous infor-
mation which is essential for videotape editing. When
performing assemble edits, control track is recorded
simultaneously with the performance of the edit. However,
insert edits do not record control track. They have
to use existing control track, and if there is not any
recorded onto the videotape, an editor is unable to per-
form an insert edit. It simply will not record.

The editing process consisted of cueing up the
reel to reel audio track for each segment and then insert-

ing it into the videotape. Then the corresponding video

121

scenes were edited (inserted) together at the designated
places called for by the script and audio track. The
scenes comprised of both audio and video were assembled
onto the master edited tape at the appropriate places as
well. These editing activities were repeated until the
videotape was completed.
Because of the start up time delay in

VTR, there is a requirement in editing to

backspace the machine to a point before

the edit point. The amount of the back-

space is usually determined by how long

it takes the VTR to stabilize from.a

parked position. Typical backspace amounts

are from three to ten seconds.

(Williams, p. 134)

It is important to realize that continuous control
track is needed not only at the edit point, but prior
to the edit point for backspacing or cueing purposes.
This helps stabilize and synchronize the video signal
on both machines. Also, when performing an edit, it is
never ended at the point where the next edit will occur,
but several seconds beyond it. Consequently, control
track needs to exist beyond the point at which edited
scenes are actually recorded. This is particularly true
of assemble edits. An assemble edit begins with a clean
transition but ends with several seconds of recorded
video breakup or glitches. To compensate for this break-
up assemble edits are ended at least several seconds

beyond the ensuing edit point. Then, when the next

edit is performed, it has solid control track to "grab"

122

onto and merely records over the breakup. This was the
reason for the director's need to record video before
and after each scene, while videotaping the production.
This allowed for necessary backspacing and elimination
of video breakup during the editing process.

An awareness of the various stages of production
(pre-production, production, and post-production) and
their interdependence was incorporated and implemented
during the various phases of the production process that
evolved into the realization of the completion of this

videotape.

CHAPTER VI
CONCLUSIONS

In addition to partial fulfillment of the require-
ments for the Master of Arts degree, this creative thesis'
purposes were to:

l) PROVIDE A VIDEOTAPE FOR PROSPECTIVE STUDENTS

Quite often students entering the class know little,
if anything, about what is actually taught in the class.
This comprehensive videotape will hopefully help dispel
any misconceptions students may have. It is believed
time spent viewing the program during the first class
session can alleviate misunderstanding and allow students
to make valid decisions regarding their suitability and

interest in the course.

2) PROVIDE A VIDEOTAPE FOR COUNSELORS

Many counselors in the school district are unfamiliar
with what the Radio/Television course actually consists
of. As in any bureaucratic system it is impossible for
all its members to know the details of its various com-
ponents. This videotape can help enlighten those coun-
selors, so they may better make decisions regarding
placement of students. More importantly the tape can

become a valuable counselling aid while disseminating

123

124

information about the course.

3) PROVIDE A VIDEOTAPE FOR PARENTS

Often, parents of prospective, as well as enrolled,
students express concerns regarding how this course will
benefit their children. A phone conversation, a studio
tour, and/or a limited question and answer session with
the teacher does not always resolve their anxiety.

This thesis will allow them to inclusively realize
the many facets, demands, and possible rewards of the
course by viewing a television program. The tape could
aid in calming, or justifying, their fears and help in any
impending parental decision.

The flexibility of airing the program on one of
the cable channels for the convenience of parents is a

considerable option.

4) PROVIDE A MODEL FOR OTHER SCHOOL DISTRICTS

In recent years, groups representing school districts
from around the state have become frequent visitors to
the Telecommunications Center and Radio/Television Produc-
tion class. The groups usually consist of teachers and
administrators whose school districts have recently
received cable television channel allocation by their
community's cable franchise. Their immediate need is
a prototype and the facility and class provide that model.

Due to the multitude of questions these visitors

125

have expressed regarding curriculum, programming, and
equipment, the video tape will provide a concise and
informative complement to the general tour. Due to the
demands of the classes taught, there is never a suffi-
cient amount of time to address their inquiries, and
the recorded program could help compensate for that.

One of the positive repercussions of the advent
of cable television at its rapid rate has been the
allocation of cable television channels to educational
institutions, such as school districts. Just as impor-
tant has been the commitment of these school districts
to utilize these channels, and an initial step is the
development of a Television Production course.

With this persistent growth rate in mind, the need
for the Lansing School District's Radio/Television
Production class to continue to serve as a model is
apparent, and this videotape, depicting the program,
could be sent through the mail to those school districts
unable to visit personally.

As a means of evaluating the completed videotape,
a group of individuals viewed the tape and then filled
out an evaluation form (See Appendix N). The group con-
sisted of students, past and present, some of their
parents, school district counselors, the Director of the
district's cable television channels, several advisory

committee members, and local professionals working in

126

cable and public television.

The evaluation instrument used a Lickert Scale
asking the group to rate various aspects of the videotape
numerically on a scale from 1 to 5. The number 1 corres-
ponded to poor and 5 reflected excellence. Fair was
indicated by circling the number 2, while average was 3,
and good was 4. The various aspects included content,
technical quality, pacing, writing (script), flow,
understandability, editing, and information. Six questions
were also asked with space for comments. These questions
pertained to such matters as presentation of information,
improvement of attitude toward the course, strengths
and weaknesses of the videotape, and overall technical
quality.

The results were overwhelmingly favorable and posi-
tive. All but one evaluation rated the aspects just
explained as excellent, or good, with an excellent rating
being by far the most frequent response. The one exception
rated technical quality and pacing average, and the remain-
ing categories good, with content evaluated as excellent.

Various comments included "excellent display of the

elements of the course, good visual representation of
concepts," "it will give the students a more in-depth
view of what is expected of them," "I now understand what
my son is doing and talking about in class," "I've never

seen such an efficient crew," "Very clear. The information

127

was presented in a creative manner," "This was well
thought out to present details, yet understandable

to those as yet unexposed to the program," "it broadened
my knowledge of the complexity of the program and what
is expected of students in this instructional experi-
ence," "It offers a good close look at the students
actually performing in their learning experiences and
what those activities include," "I strongly believe
that this course has a great deal to offer Lansing
students," "If I were a student not knowing anything
about TV Production, I would sure know a lot of basics
about it now."

Several people commented that the audio during
the instructor's on camera lead-in to the lighting
segment was a little distorted and difficult to under-
stand. Two other respondents mentioned they would
like to have seen more examples/samples of student pro-
ductions.

In response to what the videotape's greatest
strength was, excellent editing, entertaining, and compre-
hensive were the descriptions used most. The evaluation
group collectively agreed the technical quality was good
enough for broadcast or cablecast, and most commented
that it would be unfortunate if more people were not
able to view the program.

Action based upon results from.the evaluation

128

instruments will be minimal. The only alteration to the
final product will be the re-shooting of the scene
described as having slightly distorted audio, and then
inserting it into the videotape.

After the screening several counselors enthusiasti-
cally discussed with the instructor the value and possible
uses of the videotape at their respective high schools.
One expressed the desire to have a program produced for
all the vocational classes. The counselors felt a
copy of the videotape, if made available to the respec-
tive schools, could greatly aid in informing students
about the course. As a result of the conversation,
tentative plans were arranged with the district's
Director of Cable Television to cablecast the videotape
at various times throughout the school year corresponding
to when students generally schedule classes. Cable
television public access coordinators from Lansing and
East Lansing expressed an interest in cablecasting the

program over their public access channels as well.

APPENDIX.A

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APPENDIX B

TELEVISION AND RADIO PRODUCTION

Terms You Can Expect To Hear From Your Director

 

ON CAMERA:
Dolly in - physically push the camera toward the subject
Dolly Out - physically pull camera from subject

Tilt up - tilt camera head so that the lens moves up.
Your subject will move lower in the viewfinder

Tilt down - opposite of tilt up

Truck right - physically push the camera to the right,
parallel to the set

Truck left - opposite of truck right
Pan right - move the camera head so that the lens moves
to the right (your subject will move to the
left in the viewfinder)
Pan left - opposite of pan right
Arc Left - move the camera in an "arc" around the subject
to the left (let the subject be the center
of a circle and the camera ride on an imaginary
circle around the subject)
Arc right - opposite of arc left

Zoom in - push the zoom handle in so that the subject is
closer (use a longer lens)

Zoom out - pull the zoom handle out so that the subject
is further away (use a shorter lens)

Looser - zoom out

Tighter - zoom in

Pedestal up - crank the pedestal control so that the
entire camera mounting moves up (like the

hydraulic lifts for cars)

Close-up, two-shot, etc. will be covered in class and
readings

130

131
ON CAMERA (0011' t)

Headroom - tilt up to allow more room above the sUbject's
head

Nose room - pan to allow more room in front of the nose
of a subject

Focus - you're out of focus

FLOOR DIRECTOR:

Time cues - verbally pass these cues to all personnel
before a production has begun. Use hand
signals while a production is in progress

Standby - "standby" in studio. All should be quiet,
ready to go. Hand in air, ready to cue talent

Other information - pass it on. Don't keep it a secret

Cue talent - pull hand down, point to talent

AUDIO:

Ready - be ready to do something, like "ready to open
Host's mic"

Open mic - open the pot
Close mic - close pot
Sound on film - exactly what it says

Voice over - may be live from studio or on cart or tape:
know the script

 

Music under - be prepared to pot up or down

SWITCHER:
Ready - be ready to do command from director
Take - push button on same bank

Dissolve - push fader bars from one bus to another bus

132
SWITCHER (Con't)

Take effect - push "eff" button
Fade to Black - move fader handles to bus which is "black"

Fade up on - move handles from black bus to
another bus

 

Super - move fader bar or handle half way between buses
Show - push show button on slide

Lap slide - push advance on slide. Change slide

CRITERIA FOR GRADING ASSIGNED CREW POSITIONS
FLOOR DIRECTOR:

-proper cues?
-paying attention to the director?
-passing information rapidly?
-passing information properly?
-not in the way of the camera?
-helping cameras and others when needed
' (e.g. arcing)?
-scanning set? are mic cables out of the view
of cams?
-doors Closed?

SWITCHER:

-follow directions?

-proper operations of board: takes a take, etc.?
-pre-sets special effects?

-execution of commands swiftly?

-knows how to roll film, show slides/film?

AUDIO :

eset up mics in studio properly and swiftly?

-unused mics left open?

-operation of board? knows which mic is what
talent?

-proper levels? distortion? balance?

-mics properly struck? cords rolled properly?

PROJECTION:
-proper film threading? sound matches film?

-proper slide loading?
-switches set to remote?

CAMERA:

HOD:

TALENT:

133

-swift responses to commands?

-proper responses to commands?
-framing?

-smooth operation of zooms, pans, etc?
-proper focus?

-are cards in order?
-are cards flat?
-changing cards swiftly?

-looking into lens when speaking to camera?
-quick response to cues?

-composure: goofing off?

-knows script?

-has practiced times segments?

-getting out on time?

STANDBY/OBSERVE

-usually is not graded. However, be prepared
to fill in for someone.

APPENDIX C
TV PRODUCTION

TEST #1 Name

 

Define the following terms:

Tilt Up -

Looser -

Two shot

Pan left

Noseroom

F-stop -

Depth of Field -

Tighter -

Short lens -

Long lens -

Focal length -

134

135
TV PRODUCTION TEST # l (Con't)

DEFINITIONS (Con' t) Name

 

Pedastal up -

Camera head -

CCU -

Tally Light -

2. FILL IN THE BLANKS

 

The lens and its attachments are part of the

 

system.

 

The pick-up tules are part of the system

The third main part of the television camera is

 

The three basic colors in television are ,

, and

 

 

The heart of the audio console is the audio

 

To pre-set your zoom focus you would zoom ,
and focus.

The television is the most basic

 

of all television equipment.

The television is where the production

 

of TV programs is done.

136
TV PRODUCTION TEST # 1 (Con't)

FILL IN THE BLANKS (Con't) Name

 

Most color cameras have

 

or pick-up tubes.
In a color camera, the chrominance channels deal with

the processing of the

 

areas of the picture, and the luminance channel

deals with the areas

 

of the picture.
The lenses that are attached to the turret of a black

and white camera are called

 

focal length lenses. The zoom lens is a

focal length lens.

 

3. SHORT ANSWER

 

What's the difference between a medium close up shot

and a close up shot?

What are the two major types of pick-up tubes used in

color TV cameras?

What does a contrast ratio of 30:1 mean?

What does camera "resolution" concern itself with?

How can you increase depth of field?

137
TV PRODUCTION TEST # 1 (Con't)

SHORT ANSWER (Con't) Name

 

What's the first thing you do as a cameraman in the studio?

4. IDENTIFY each camera shot with the appropriate symbol:

 

 

 

 

extreme long shot . long shot
medium close-up medium shot
extreme close-up close-up

 

 

5. Name two of the three variables that influence "depth

of field".

6. The the iris opening the
greater the amount of light coming through the lens,

and the the f-stop number.

138

TV PRODUCTION TEST # 1 (Can't)

Name

 

7. In the diagram below properly list what each labeled
object is.

A.

 

 

 

 

APPENDIX D

"CLOSE-UP EXERCISE"

 

VIDEO

FADE UP ON CU ANNCR:

OF GUEST

ZOOM OUT TO TWO SHOT

GUEST AND HOST

ALTERNATE CU'S AND HOST:

TWO SHOTS
GUEST:
HOST:

139

AUDIO

 

This is (NAME)

 

you'll hear his (her)
exciting story on .
Close-Up, a series of
intimate interviews

with outstanding students
of Lansing's Hill High
School.

And here to help you

get acquainted with our
guest today is your

host (NAME)

 

Good morning. (AD LIB
INTERVIEW TO lS-SECOND
CUE.)

(RESPONDS TO HOST'S
QUESTIONS)

(AT lS-SECOND CUE THANKS
GUEST AND TURNS TO
CAMERA.)

We hope you've enjoyed
our visit today on

Close-Up. We'll see

CLOSE-UP EXERCISE (Con't)

ZOOM IN TO CU OF GUEST

FADE TO BLACK

140

ANNCR:

you again tomorrow.
Tune in tomorrow
morning to Close-Up.
for another intimate
interview with an out-
standing student at
Lansing's Hill High
School . . . with

your host, _ (NAME)

 

APPENDIX E
PRODUCTION GRADING CRITERIA

EXERCISE

 

ROTATION

 

FLOOR DIRECTOR: PROPER CUES____ RESPONDING TO DIRECTIONS ____
PASSING INFORMATION PROPERLY___
POSITIONING___ SCANNING SET___
MIC CABLES OUT OF VIEW___ CAMERA AID___

SWITCHER: FOLLOW DIRECTIONS_____ CONCENTRATION___
PRE-SET EFFECTS___
PROPER OPERATION OF BOARD___
SWIFT EXECUTION____
ROLLS FILM, ETC. PROPERLY___

AUDIO: SET UP MICS CORRECTLY AND SWIFTLY
LEVELS UNUSED MICS LEFT OPEN
KNOWS WHICH MIC IS WHICH

OPERATION OF BOARD___
HOW TO GET TAPE, ETC. ___
MICS PROPERLY STRUCR___
CABLES ROLLED PROPERLY___

PROJECTION: FILM THREAD CORRECTLT___
PROPER SLIDE LOADINC___
SWITCHES SET TO REMOTE___
SOUND MATCHES FILM___

CAMERA 1: SWIFT RESPONSES... PRE-SET FOCUS___
FOCUS____' COMPOSITION;__
PROPER RESPONSE TO COMMANDS___
SMOOTH ZOOMS___, SMOOTH PANS“__
HEADROOML___ NOSEROOM___

141

142
PRODUCTION GRADING CRITERIA (Con't)

CAMERA 2: SWIFT RESPONSES_ PRE-SET FOCUS_
FOCUS_ PROPER RESPONSE TO COMMANDS—
COMPOSITION_ SMOOTH 200M8—
SMOOTH PANS__ TILT PROPER__
HEARROOM_ NOSEROOM___

TALENT 1: LOOKING INTO LENS_
QUICK RESPONSE TO CUES_
COMPOSURE: GOOFING OFF___
KNOWS SCRIPT_
HAS PRACTICED TIMED SEGMENTS___
GET OUT ON TIME_

TALENT 2: EYE CONTACT__
QUICK RESPONSE TO CUES_
COMPOSURE: GOOFING OFF___
KNOWS SCRIPT_
HAS PRACTICED TIMED SEGMENTS__
GET OUT ON TIME_

ANNOUNCER: KNOWS SCRIPT GOOD VOICE MODULATION
PROPER ENUNCIATION PICKS UP CUES
ENTHUSIASM

1413

cause Edam >9
a mo uuuun Honouuuuono

uoouuou wanna osu huqucovu
nah unflflg um kahunoua Adana ucmvflum

acofiuuuovqacou vuouu
no sugar .aau>o~

means»: . unusuanvu

can“ mania casuan

”huoozu couuouuno

uuoaou ouaun mo owvo

uuouuou uaaocx huuaawv hauoou

nos gamma um uuoo dunno acovaum

OUCOEO>OB 6H0

nauo a asuuou oucfioo

.uuosu >9 unaccuua

Ada mo «weuaaoax

use“ aaanudv Hausa ucouaum

unavoooum a: uoo a
coauav can «cannon
unmade .oucoau>oa duo
Taco .hmodosaauou yoga
.ouuaa and a Huuoo

unou
cocoa o>wuuunno
couuaul a ao>wu Ac

 

”Zuumama

uoou nouuaua o>au
nounao :u co>du An

moan

guano: a an mono

a.uouoouuv Hun

uuo> can auoaao
outaua a ao>uo AN

unuu
couuaua o>qu
uuofino ca cu>qo Ad

 

 

 

mm>HHUMHmo uuz<zxom¢mm onHonnomm onmH>mAuH a oHn<m
HUHmeHD doozom Uszz<A

h anzmmm<

uoouuoo upon .uuoauu Ahmwucovq mummmp
NON Duane Du sfiumaoua Sans. AcouSDm onmH>mgua
mazmzzoo mA<HHHzH quuhqu amhmam <Hmmaumo >uzuammxoo mmoHaanou
mos azmnahm -200 zo~a<=q<>u \AAme\Mm<H
.Iu JobmhmzH AMH<9
>9

zo~a<mumo azmzmasau

 

APPENDIX C

DRIFTWOOD INN
: 30

AT 5910 SOUTH PENNSYLVANIA ... FLAMING GAS
LIGHTS WELCOME YOU TO A NEW EXPERIENCE IN
FINE DINING AND ENTERTAINMENT ... BILL
WARNER'S DRIFTWOOD INN. OUTSIDE, THE
LIGHTS BURN BRIGHTLY ... BUT INSIDE, AHHH
INSIDE, THE LIGHTS ARE SOFTENED, THE WINE
FLOWS FREELY, THE CUISINE IS SUPERB, AND
DISCRIMINATING PATRONS RELAX IN COMFORTABLE
RUSTIC LUXURY. AND ON FRIDAY AND SATURDAY
UNTIL 1:30 IN THE MORNING, DRIFTWOOD DINERS
DANCE TO THE "THREE J'S PLUS ONE" IN THE
ANCHOR ROOM. BILL WARNER'S DRIFTOOD INN ...
IT'S JUST THE KIND OF PLACE YOU WERE WISHING
LANSING HAD.

144

APPENDIX H
TELEVISION PRODUCTION TEST - AUDIO

 

 

 

 

 

 

 

 

 

 

 

 

 

Name
FILL IN THE BLANKS
1. All microphones convert waves
into energy, which is amplified
and reconverted into sound waves by the loudspeaker.
2. Two ways to classify microphones are by the
and the
3. Two types of sound generating elements are
and
4. Recorded sound can be played back from.four major
sources. List two of them:
and
5. The primary function of the
is the connecting and routing of various pieces
of audio equipment
SHORT ANSWER
6. Regardless of the individual designs, all audio

consoles, or audio control boards, are designed and

'built to perform three major functions. What is

one of them?

145

146

TELEVISION PRODUCTION TEST - AUDIO (Con't)
Name

 

SHORT ANSWER (Con't)

7. What are the two most common microphone pickup patterns?

8. Draw a diagram, or illustration of the two most
common microphone pickup patterns and label them
accordingly.

FILL IN THE BLANKS

 

9. Lavaliere microphones generally have a
pickup pattern.

 

10. The letters VU in regards to a meter stand for

 

11. The abbreviation for potentiometer is

 

12. The combining of two or more sounds in specific pro-
portion is called a .

 

Assuming normal conditions, specify the types of micro-
phones (boom, lavaliere, etc.) that would most easily
fulfill the requirements for sound pickup in these
situations:

13. Newscaster seated, reading copy.

 

l4. M.C. walking into audience to ask questions.

 

15. Singer accompanying him or herself on guitar.

 

16. Sports commentator in press box during game.

 

17. Governor leading the viewer through several rooms
of his mansion.

 

(MUSIC UNDER)

APPENDIX I
AUDIO EXERCISE #2

JUST IN TIME FOR THE FALL FOOTBALL4
SEASON, RON ROLSTON IS HAVING A
TRUCKLOAD SALE ON TV'S. WATCH ALL

THE COLOR OF THE BOWL GAMES ON YOUR

NEW RCA VISTAVISION 19" COLOR PORTABLE.
AT ROLSTON'S IT'S ONLY $399. THE SUPER
BOWL WILL BE EVEN MORE EXCITING ON

YOUR 21" COLOR HOME ENTERTAINMENT CENTER
FROM CURTIS-MATHES.' THESE SETS FEATURE
A FULL 4-YEAR WARRANTY ON PARTS AND
SERVICE, AND THROUGH SUNDAY THEY'RE

ONLY $429. (Music out) GET A TRUCKLOAD
OF TV'S NOW AT R. L. ROLSTON FURNITURE,
CARPET, AND APPLIANCES, IN THE FRANDOR
SHOPPING CENTER.

147

APPENDIX J

 

 

 

Television EXERCISE #2
"On The Pedestal"
VIDEQ’ AUDIO
FADE UP ON KEY: ANNCR: Good afternoon and welcome
TITLE OVER
LS HOST AND GUEST to "On the Pedestal" where
(THEY ARE IN
SILHOUETTE) interesting people bring
us interesting things to
see. Now to introduce
us to today's guest
LOSE KEY is (NAME)
(FADE UP LIGHTS) HOST: Hi there. I'm (NAME)

CU GUEST

(ALTERNATE ZS, CU, MCU,
GUEST AND HOST DURING
DISCUSSION)

GUEST :

ZS HOST AND GUEST HOST:

148

 

And with me today is
(NAME) who
will be showing us .......
(BRIEFLY DESCRIBE OBJECT).
(AD LIB QUESTIONS ELICITING
GUEST'S BACKGROUND).
(RESPOND TO HOST'S
QUESTIONS).
(AT CUE) Now it's time
to go to the pedestal
and find out a little
mOre about today's object.

If you'll (TO GUEST)

just walk over here with

149
EXERCISE #2 (Con't)

VIDEO

 

PEDESTAL UP

TRUCK RIGHT AND

FOLLOW THEM
HOST:

XCU OBJECT ‘: GUEST:
(ALTERNATE WITH HOST:
REACTION OF SHOTS
OF HOST)
CU HOST HOST:
CU GUEST
ZS HOST AND GUEST

(LIGHTS FADE TO

SILHOUETTE)
KEY TITLE ANNCR:

AUDIO

 

me (THEY RISE) I think
both the viewers and
I would be interested

to see and hear more

about (NAME OF OBJECT)

 

(THEY WALK TO PEDESTAL)
(ASK GUEST TO DESCRIBE
OBJECT).

(DESCRIBE AND DEMONSTRATE
OBJECT).

(MAY ASK CLARIFYING
QUESTIONS)

(AT CUE) Well, I guess
that's all the time

for today.

Thanks to (NAME)

 

for being with us today.
And thanks to you for
joining us "On the
Pedestal." (TURNS TO
GUEST)

This has been "On the
Pedestal" with your

host (NAME)

 

150

EXERCISE #2 (Con't)

VIDEO AUDIO
Stay tuned for the Channel

FADE TO BLACK 9 late afternoon movie.

APPENDIX K
STUDIO A FLOOR PLAN

I A

 

 

 

KN

 

 

 

 

 

 

 

 

151

APPENDIX L
LIGHTING TEST

RADIO AND TELEVISION PRODUCTION Name

 

 

1.

As one of the photographic arts, television is sub-
ject to what is generally called the basic

lighting principle - or, as

 

it is frequently called, basic

 

lighting.

This lighting principle consists of three main
lights. Name them, and the type of lighting instru-

ment you would use.

List the three main lights, once again, and what
their functions, or purpose are. What do they

accomplish?

There are several ways to adjust the intensity

(brightness) of a lighting instrument. List one way!

What is meant by multiple function lighting?

152

153

LIGHTING TEST (Con't) Name

 

 

6. What is the main lighting concern for a chroma key

are?

7. What is "lighting ratio"?

8. What is "cameo" lighting?

9. In the Space provided below draw a diagram of the
basic lighting setup. Include the three main lights.
Label them properly, name the type of lighting

instrument used for each, and use the proper symbol.

10. Sometimes additional lights are needed. In the space
provided below draw a diagram of the basic lighting
setup, with the same requirements as question 9,

and add a'"kicker" light, properly.

154

LIGHTING TEST (Con't) Name

 

 

11. Sometimes additional lights are needed. In the
space provided below draw a diagram of the basic
lighting setup, with the same requirements as

question 9, and add a "side" light, properly.

 

You will be shown several lighting instruments, and
lighting accessories in class. Give the proper technical

names for each item below.

APPENDIX M

FIRST SEMESTER FINAL EXAMINATION
TV PRODUCTION AM BLOCK

NAME

 

FILL IN THE BLANKS
l. The camera lens and its attachments are part of the

SYSTEM.

 

2. The pick-up tubes are part of the

 

SYSTEM.

3. The third main part of the television camera is the

 

4. The heart of the audio console is the audio

 

5. To pre-set your zoom focus you would zoom

 

and focus.
6. In a color camera, the chrominance channels deal with

the processing of the ’ " ' areas of the

 

picture, and the luminance channels deal with the

areas of the picture.

 

8. The larger the iris opening the the

 

F-stop number.

9. All light meters measure light intensity (brightness)

 

 

in
10. All microphones convert (change) waves
into energy.

 

11. If the back tokey lighting ratio is 1:1, the lights

are the in intensity or brightness.

155

156

FIRST SEMESTER FINAL EXAMINATION--TV PRODUCTION, AM BLOCK

 

PAGE 2 NAME

12.

l3.

14.

15.

 

Two types of sound generating elements for micro-

phones are ' ' and

 

 

The aspect ratio of the television picture is

units high to

 

 

units wide.

Lavaliere microphones generally have a

 

pick-up pattern.

The letters VU in regards to a meter stand for

 

SHORT ANSWER

 

16.

l7.

l8.

19.

Draw a diagram.or illustration of the two most commcn
microphone pickup patterns and label them accordingly.

Name two of the three variables (things) that influ-
ence "depth of field. "

What's the first thing you do as a cameraman in the
studio?

How can you increase depth of field?

157

FIRST SEMESTER FINAL EXAMINATION--TV PRODUCTION, AM BLOCK

 

PAGE 3 NAME

 

20. Regardless of the individual designs, all audio
consoles, or audio control boards are designed and
built to perform three major functions. What is
one of them?.

DEFINE THE FOLLOWING TERMS

Looser -

Noseroom -

F-stop

Depth of field -

Tighter -

Focal length —

CCU -

Burn-in -

158

FIRST SEMESTER FINAL EXAMINATION--TV PRODUCTION, AM BLOCK

 

PAGE 4 NAME

 

IDENTIFICATION

 

Identify each camera Shot with the appropriate symbol:

 

 

 

 

extreme longshot long shot
medium close up medium.shot
extreme close-up close-up

 

 

IN THE SKETCH BELOW, CIRCLE THE APPROPRIATE NAME FOR THE
AREAS INDICATED

SCANNING AREA

 

 

/" ESSENTIAL AREA
/

 

 

 

 

\‘T-CN\ ESSENTIAL AREA

 

 

 

SCANNING AREA

 

FILL IN THE BLANKS AND LABEL ACCORDINGLY

The television is the most basic of all
television equipment.

 

The switcher is located in the room.

 

Television cameras require a great amount of
to operate efficiently.

 

159

FIRST SEMESTER FINAL EXAMINATION--TV PRODUCTION, AM BLOCK

 

PAGE 5 NAME

 

Label the following diagram correctly with the proper
letter.

Electronic viewfinder, a small tv set

Preamplifier

Lens

 

A
B
C. Camera pick-up tube
D
E

Light reflected off object

@:: C -;::'—fl:_'l
l>

YOU WILL BE SHOWN A VIDEO TAPE IN CLASS. IDENTIFY THE
CAMERA MOVEMENTS OR SHOTS.

 

 

 

1

 

 

 

1. 6.
2. 7.
3. 8.
4. 9.
5. 10.

YOU WILL BE GIVEN FIVE FLOOR DIRECTORS' CUES IN CLASS.
IDENTIFY THEM.

l.

UIJ-‘UN

160

FIRST SEMESTER FINAL EXAMINATION--TV PRODUCTION, AM BLOCK

 

PAGE 6 ' NAME

 

YOU WILL BE SHOWN 3 DIFFERENT LIGHTING INSTRUMENTS IN
CLASS. IDENTIFY THE INSTRUMENT, NOT ITS PURPOSE!

1.
2.
3.

 

YOU WILL BE SHOWN 3 MICROPHONES IN CLASS. IDENTIFY THEM
AS TO THE TYPE OF MICROPHONE IT IS, NOT ITS CLASSIFICATION!

1.
2.
3.

APPENDIX N
VIDEOTAPE EVALUATION
Please rate the following aspects of the videotape you've

just seen by circling the number that most closely
corresponds to your viewpoint.

Poor Fair Average Good Excellent
1 2 3 4 5
1. Content 1 2 3 4 5
2. Technical Quality 1 2 3 4 5
3. Pacing l 2 3 4 5
4. Writing (Scipt) l 2 3 4 5
5. Flow 1 2 3 4 5
6. Understanability l 2 3 4 5
7. Editing 1 2 3 4 5
8. Information 1 2 3 4 5

Please take a few brief moments to answer the following
questions. Your comments are encouraged.

1. Has the content within this program increased your
knowledge of the Radio/Television Production class
in the Lansing School District?

Yes No

 

Comments:

2. In your opinion, was the information presented in a
clear and concise manner?

Yes No

 

Comments:

161

162 . —

3. Has your attitude towards the Radio/Television Pro-
duction course improved as a result of viewing this
videotape?

Yes No

 

Comments:

4. What do you see as the biggest weakness of this
videotape?

5. What is its greatest strength?

6. Do you feel the program you've just seen is technically
good enough for broadcast or cablecast?

Yes No”

 

Comments:

Thank you for your cooperation!

SELECTED BIBLIOGRAPHY
Nisbett, Alec. The Technique of the Sound Studio.
New York: Hastings House, Publishers, Inc., 1970.

Pincus, Edward. "Guide to Film Makigg. New York: New
American Library, 1969.

 

Williams, Richard L. Television Production: A Voca-
tional Approach. Salt Lake City: Vision Publishing
Co., 198I.

 

Zettl, Herbert. Television Production Handbook. Belmont,
California: Wadsworth PublishingCompany, Inc., 1976.

163