A STUDY OF THE PROCEDURES AND PROBLEMS OF TELEVISIKG REMOTE SPECIAL EVENTS PROGRAMS By Lee Conrad Frischknecht A THESIS Submitted to the College of Communication Arts of Michigan State University of Agriculture and Applied Science in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Speech 1957 ACKNOWLEDGMENTS The author wishes to express his sincere appreciation to Dr. Robert P. Crawford for his advice and guidance in the preparation of this thesis; to Dr. Armand L. Hunter and Mr. Pat Callihan of WKAR-TV for providing the opportunity to produce and direct the programs used to gather data; to Professor Leo Martin and Dr. Max Nelson for their council in writing; and to Dr. David A. Smith for his continuing inspiration. Acknowledgment is made to Mr. Carl Musson, Mr. William Woods, and other WKAR-TV staff members for their valuable assistance in the gathering of material for this thesis; and to Mr. Jack Caldwell for his assistance in photOgraphy. The help of Mr. Elwood Shaffer was invaluable in proofreading the manuscript. The author is also deeply indebted to his wife, Jean, who labored long and hard in typing this study while maintaining a home. ii A STUDY OF THE PROCEDURES AND PROBLEMS OF TELEVISING REMOTE SPECIAL EVENTS PROGRAMS By Lee Conrad Frischknecht AN A$TRACT Submitted to the College of CommuniCation Arts of Michigan State University of Agriculture and Applied Science in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Speech Year 1957 movie/WM page. 067073 ABSTRACT This thesis presents a study of the procedures and problems involved in the televising of remote special events programs. This area of broadcasting is treated in (1) an introductory discussion of the nature of "live" television, and arguments for increased use of live remote production in the television industry; (2) a description of the procedures and problems of remote telecasting as determined by study of available literature, experience derived from producing and directing the programs used for this thesis, and the author's previous and subsequent knowledge of this area of television pro- duction; and (3) a summary of the basic procedures and problems of remote television, plus recommendations for efficient production of such programs. Chapter I discusses the importance of the "live” nature of television, the trend away from "live" production in television, and presents arguments in favor of increased utilization of "live" production equipment in televising remote programs. Chapter II presents the problem and justification of the problem; a definition of terms; and a discussion of the procedures ‘used.in conducting the study. Chapter III presents a discussion of the procedures found ruecessary for the production of remote television programs. These iv procedures and their related problems are treated in the categories of (1) program purpose and related station policy, (2) clearance to televise, (3) determination of talent, (h) cost estimate, (5) remote survey, (6) program planning, (7) physical set-up of the equipment, (8) rehearsal and air of the program, and (9) strike of the equipment and the critique. Chapter IV summarizes the basic procedures and problems involved in televising remote special events programs, and provides recommendations for the implementation of the procedures discussed. TABLE OF CONTENTS LIST OF ILLUSTRATIONS . . . . . . . . . . . . . . . . . . . . Chapter I. INTRODUCTION AND BACKGROUND . . . ....... . . . Live T81€Vis ion 0 O I O o o o o 000000 o 0 Live Versus Filmed Television . ...... . . Live Remote Television . . . . . . . . . . . . . Station Responsibility and Prestige . . . . . . Economic Aspects of Remote Programming . . . . . "Wide, Wide World" . . . . . . . . . . . . . . . Summary . . . . . . . . . . . . . . . . . . . . II. THE PROBLEM AND DEFINITIONS OF TERMS . . . . . . . . The Problem . . . . . . . . . . . . . . . . . . Justification of the Importances of the Problem Definition of Terms . . . . . . . . . . . . . . Procedure . . . . . . . . . . . . . . . . . . . Organization of the Chapters . . . . . . . . . . III. PROCEDURES AND RELATED PRODUCTION PROBLEMS . . . . . Program Purpose and Related Station Policy . . . Clearances . . . . . . . . . . ..... . . . . Determination of Talent . . . . . . . . . . . . Cost Estimate . . . . . . . . . . . . . . . . . Remote Survey . . . . . . . . . . . . . . . . . Program Planning . . . . ........ . . . . Physical Set—up . .'. . . . . . . . . . . . . . Rehearsal and Air of the Program . . . . . . . . Strike and Critique . . . . . . . . . . . . . . vi Page viii H O\Ull--‘ 11 E1 16 16 16 17 18 19 21 21 25 31 38 b2 92 122 11:3 167 Chapter IV. TABLE OF CONTENTS (Cont.) SUMMARY AND RECOMMENDATIONS . Introduction . . . . . . Purpose of the Thesis . Preliminary Procedures . Remote Survey . . . . . PrOgrathlanning . . Physical Set-up . . . . Rehearsal and Air of the Strike and Critique . . Problems of the Simulcast Value of the Study . . . BIBLIOGRAPHY . . . . . . . . . . . . APPENDICE O O O O O I D O O O O O O A. B. C. Remote Survey Forms . . . . . Program Openings and Closes . Cue Sheets and Run-downs . . Instruction Sheets . . . . . Vii Program . Page 17h 17h 175 176 177 179 181 182 18h 18h 186 187 191 191 201: 211 223 LIST OF ILLUSTRATIONS Figure l. WKAR-TV Remote Unit . . . . . . . . . 2. Remote Unit at Ice Arena. . . . . . . 3. Jeep and Microwave at Ice Arena . . . h. Hockey Camera Placement . . . . . . . 5. Hockey Camera Platform. . . . . . . . 6. TelethOn Floor Plan . . . . . . . . . 7. Telethon in Progress. . . . . . . . . 8. Telethon Staging Area . . . . . . . . 9. Telethon: Balcony Camera in Operation 10. Telethon: Audio Control Point . . . . ll. Commencement Camera Placement . . . . 12. Commencement: View of Platform from Camera Position 13. Telethon: Remote Unit Control Desk. . . . . . . . . lbw Remote Unit Equipment Racks . . . . . . . . . . . . viii Page 56 58 58 61 61 73 7b 7b 80 80 87 87 159 159 CHAPTER I INTRODUCTION AND BACAOROUND Live Television In the late 1930's and the 19hO's, the people of the United States were treated to glowing phrases about the wonders to come from the new medium of television. {agazine and newspaper articles referred to the possibility of a television set be51de every radio.] The prOgram expectations were great too. The audience will figuratively ride on a truck with the portable camera and transmitter to fires, parades, train wrecks, and political meetings. He can go witn equal facility to a football game, a prize fight, the movies, the opera or the theatre. If the viewer prefers to stay at home, he can switch his dial and invite into the house a singer, a celebrity, a news commentator, a bridge game, or a pianist complete with grand piano. These program proclamations intimated that the action viewed on the home screen would be taking place at the exact same moment in a re- moved location. This "nowfl relationship between viewer and viewed action is referred to as "live" television. The most important property of live television is its "immedi- acyd'; that is, television's "ability to transport the audience to the site: of events taking place elsewhere at the same moment - whether l"30Years of TV," Coronet, (FébTUBTY: 1955): P- h7° fl_ 2"What‘Will Postwar Television be Like?" Newsweek, (December 4U. 1913), p. 68. 2 these events occur in a studio or at a remote location."3 The audience in the home can get the feeling of actually sitting in on an experience as it happens. They see it just as those who are present at the event see it. many times the home viewer sees it better than those present. To date the vast majority of live television programs have originated in the studios of the large network centers in New York, Chicago, and Los Angeles. Live televising of events from remote locations outside the studio has made up only a small percentage of total television fare. However, remote pickups account for a third of the total schedule of some stations.h Some reasons for the small percentage of total time devoted to remotes can be listed. One factor certainly has been the cost of equipment necessary for remote operation, and the attendant high cost of remote production. Another factor may have been the inability of some television stations to gain access to events and activities of many kinds. Sports entrepreneurs have feared loss of gate receipts as a result of allowing telecasts of their events. Various national, state and local gcvernmental bodies have been reluctant to allow live television coverage of many events. However, cost and access problems are being ameliorated. Station ERRED, Fresno, California, has been very active in all kinds of local live production, including remotes. The following statement by Joe Drilling, KJEO Vice President, is pertinent here: —_ 3Edward Stasheff and Rudy Bretz, The Television Proggm, (New York: A. A. Wyn, Inc. , 1951), p. 22. hRudy Bretz, Techniques of Television Production, (New York: MCGl‘é‘fl'l-Hill Book Company, Inc., 1953), P. 1113- 3 I am.sure most of you are of the opinion that so much live telecasting, as well as a heavy amount of remote tele- casting, is extremely expensive. Hewever, to date this has not been prohibitive to us at KJEO.5 The experience of WTTW, Bloomington, Indiana, in doing basketball remotes is indicative of low-cost possibilities. For the first two years we had no remote truck so we carried the equipment out in the back end of a station wagon and set up to cover the games with one camera. It wasn't the best coverage, but we were there and the viewer was too. . . . New, we have a remote truck and do the games with two cameras.6 Regarding access to football games of the University of Pennsylvania, the school itself defied the NCAA ruling and allowed tele- casting of the games. The university of Pennsylvania and the television stations in Philadelphia were of one mind; namely, that the games should be telecast. We all took a very long range viewpoint on that, and figured that in the long run, attendance would be helped. Now the University of Pennsylvania, according to their calcu- lations shows that the attendance did not drop off this past year.7 Another area in which clearances have been hard to obtain is that of Judicial proceedings. The basis for this has been Canon 35 of the American Bar Association which forbids audio-visual reporting of trials. Hewever, as in the case of sporting events, the barriers are beginning to come down. The conservative American Bar Association, meeting in the shadow of Independence Hall, broke tradition and made juridical history by admitting TV cameras and microphones to its official 5Joe Drilling, "Local TV That's Live,"32 TV Talks, (New York: Broadcast Music, Incorporated, 1955), p. 250. 6Robert Petranoff, “Low Cost Local Programming," 32 TV Talks, (New York: Broadcast Music, Incorporated, 1955), p. 165. 32 TV Talks, (New York: Broadcast music, P0 233—- 7Roger 011 p, In¢011porated, 19s3§, convention proceedings. And broadcasters broke a lot of prejudices by showing in a test TV demonstration that electronic gear can be operated in semi-concealment in absolute silence, using normal audi- torium or courtroom lighting. This test convinced the judges and lawyers that television —— and radio, too - can operate without Hollywood trappings or floodlights, and that it can do a faithful job of reporting. 0 O O O C O O O O O O O O O O O O O O O O O O O O O O O O O C These performances by television . . ., described by many ABA delegates as an important step in ABA if not courtroom history, drew no recorded criticism from judges and lawyers long loath to permit diregt communication between the general public and the courtroom. Television met a historic legal test in'Waco, Texas, . . . emerging from coverage of a murder case with acclaim from the trial judge, prosecuting attorney, defendant, defense attorney, law school dean and the viewing public. Concurrent with, and perhaps as a result of the Waco proceedings, other access developments occurred rapidly at other locations. For ex- ample, the Colorado Supreme Court set a ban on all broadcast or visual coverage of any trial in the state. Hearings developed as a result of pressure on the courts by the Colorado broadcasters, who arranged a telecast of the proceedings which was viewed for one-and—a-half hours by six members of the court. Two significant findings appear in the decision by the Colorado Supreme Court. First, the court cnastised the legal profession for its adherence to the American Bar Association Canon 35. . . Second, it stated flatly that the modern media can operate in a courtroom without dis- turbing the proceedings.10 As a result of this action, radio and television were admitted (August 27, 1955), p. 77- 8J. Frank Beatty, "The Silent witness,“ Broadcastinngelecastigg, 9"KWTX-TV Covers Murder Trial Live, Sets Precedent in Courtroom," Eéifizégggsting—Telecasting, (December 12, 1955), p. 79. lC"Microphone-Camera Coverage Favored in Ruling by Colorado Supreme Court," Broadcasting-Telecasting, (March 5, 1956), p. 148. S to the murder trial of John Gilbert Grahamll in Denver. State Supreme Court Justice Otto 0. Moore, whose report favoring relaxation of Canon 35 permitted radio-tv coverage of the Graham trial, said that the unobtrusive conduct of these media justified his report's conclusion that cameras and microphones should be admitted to courtrooms.‘2 Justice Moore's comments were supported by the trial judge, prosecuting attorney, defense attorney, jury foreman and the defendan '5 wife. At this writing more and more stations are gradually gaining access to judicial and legislative proceedings. It appears to be only a matter of time before radio and television W111 gain near unrestricted access to these events. One recent development in the industry indicates the advisability of a shift towards increased use of live remote programming. Live Versus Filmed Television Perhaps the most dynamic (and to some, distrubing) change in the television industry is the recent movement toward increasing use of filmed programs. A survey indicates that in the six-month period between April and October of 1955, the time devoted by the average United States television station to filmed programs increased from 32 hours, 38 minutes per week to h2 hours, 30 minutes per week; or from 36.8 percent to hS Percent of the station's total time on the air-.13 ‘ 11Graham, accused of planting a time bomb which blew up an air- liner lflovember l, 1955, killing his mother and u3 other passengers, was convicted and executed January 11, 1957. (m- 12"Broadcasting in the Courtroom," Broadcasting-Telecasting, 1““3’ 13. 1957), p. 137. (N 13"Film: It's on the Gain in TV," Broadcasting4Telecasting, o"ember 21. 1955), p. 70. 6 The most recent data indicates that there is a steady, although slight, decrease in the percentage of total time on the air that is given over to local live programming. This has been accompanied by an equally slight increase in the use of filmed programs; the average station now devotes h7.6 percent of its time to film as compared with b5 percent in October of 1955.1h This trend has led many people in the industry to believe that live studio production in television is heading for a demise, that all television programming will soon be done on film. It is questionable whether this will prove true, although film has certainly made substantial inroads on live studio production.15 In the meantime, station operators have expensive live facilities (and personnel) becoming idle. This situation,coup1ed with the factors next discussed,opens up fertile ground for greater use of production facilities in remote telecasting. Live Remote Television To represent TV at its best there also is another type of special attraction - the actuality broadcast that takes place outside of the studio. . . . 'Why television does not venture more often out of the studio continues to be quite baffling; lhflTV Program Time Tops 100 Hours per‘Week,‘ Broadcasting: Tele- casting, (December 17, 1956), p. 28. Tape recording of television programs has become practical within the past year. Although "videotape" recorders are now in use at networks, it is too early to tell what effect this new process might have on the film-live controversy. However, some observers have felt that the emergence of videotape will stimulate greater use of live facilities, and bring about a reversal of the present trend to film PrOgranlning o 7 the medium hasn't really begun to explore the vast amount of fascinating programming that may lie between Madison Avenue and the Hollywood Freeway.1 This charge by one of television's mOSt penetrating and astute critics would seem to be well in order in the face of the film compe- tition. His view is shared by others. No film, and no mechanical recording can act as an equiva- lent for the immediacy of television coverage which comes from the use of the mobile unit in a special event. Filmed tele- vision can offer no substitute for the quality of NOW. 0 O C O O O O O O C O O O O O O O O O O O O O O O O O O O O O O The greatest potential for the expansion of the use of the television camera lies in a fuller employment of the mobile unit. I believe that this remains pioneer territory in television programming.17 One station operator, most active and successful in remote operations, is very emphatic about the need for continued live local production. . . . I would like to emphasize that the main trouble with local live television at most smaller stations has been fear of stations to use their facilities to program locally. Meet stations, during the slack periods, in an effort to hold down operating costs, will first begin by eliminating live camera and eliminating local productions. It is my opinion that when business is slow, the best way to pick it up is to increase your local live productions as well as encourage more live commercials by the local advertisers, enabling him to more frequently change copy, thus getting better results. When properly done, nothing will beat local live television.18 Critic John Crosby minces no words in expressing his views on the film-live controversy. He calls the move to film "depressing in an ——_ 16Jack Gould, "Television Today - A Critic's Appraisal," Egg York Times Magazine, (April 8, 1956), pp. 12-13. 17Martin Stone, wThe Case for Live Television,“ Broadcasting- W» (January 19, 1953), pp. 77-73. :. 18Drilling, op. cit., p. 251. 8 industry where all the great shows have been live and most of the junk has been on film."19 Even those who feel that film will replace live studio production still see a place for remote television. In an article describing the advantages of film over live, Mr. John P. Sinn indicated that "a good case for live television can only be made for news and special events.“0 A more liberal and realistic view of the film-live controversy is taken by critic Jack Gould. "If many programs are infinitely Letter live, others can only be done on film. The TV industry's job,if it wishes to please the viewer, is to put the right program on the right medium."21 David R. Ebbitt, television critic for New Republic magazine, agrees with Mr. Gould's philosophy and provides an example of what can happen when live remote television is misused. I agree that immediacy can be important but whether it is or not depends, I think, on whether or not the "things" have any value. On a more recent show a great to-do was made of the fact that, for the first time in history, a direct telecast from Havana was to be attempted. Well the attempt succeeded. The camera focused vaguely on some oddly dressed dancers in the square in front of a cathedral. Since the theme of this show was youth, I assumed that the dancers were youngsters, but the picture was so muddy . . . that I'm still not sure. Any decent travel film would have done a far better job.22 Some consideration should be given, then, to the content of remote television programs. Although the boundaries for remote programs have certainly not been set, a general framework has been outlined. k 19John Crosby, nEnd of a Long Run," The State Journal, (Lansing,~ Michigan: June 28, 1957), p- 19- 20John P. Sinn, "The Case for Filmed Television," Broadcasting- Telecasting, (January 26, 1953), p. 77. 21Jack Could, "'Live' TV vs. 'Canned'," New York Times Magazine, (February 5, 1956), p. 27- 22David R. Ebbitt, "Television," New Republic, (December 12, 1955), P- 22. 9 Subjects for remote pickups usually fall into one of the following classifications: 1. Scheduled news events -— such as parades, circuses, pageants, graduations, or public ceremonies; sometimes indoor meetings or occasions -— jury trials, conventions or events like the now famous Kefauver and McCarthy hearings. 2. Contrived events —- such as a visit to an art gallery or library, a tour of a zoo, or an inspection of a factory. 3. Sports —- including everything from games to races, ski jumps and rodeos. h. Unscheduled news events —- usually such as fires, earth quakes, train wrecks, and other disasters which occur without warning. . S. Anticipated events - riots, floods, and similar events which are unscheduled but can often be anticipated by warning signs. Station Responsibility and Prestige Within the framework noted above, the station manager will find great opportunity to fulfill his responsibility to his audience. "He is licensed to operate on a frequency or channel belonging to the United States, and the condition of his license is that he mustoperate in the public interest, convenience and necessity”?4 Actually the foregoing phrase has become a hollow one among sophisticated broadcasters. Too often the "public interest, convenience and necessity" take a back seat to "penny—wise" and apathetic station operations. But smart station managers are finding that remote telecasting of community activities, though costly, actually pays off in many respects. First, the station establishes itself more firmly as an integral Part of the community. g 23Carroll O'Meara, Television Program Production, (New York: The Ronald Press Company, 1955), P- 239. 211Keith Tyler, "Freedom of Access to Broadcasting," Mass Media and Education", Edited by Nelson B. Henry, (Chicago: The University of Chicago Press, 19Sh), p. 8h. 10 The community demands it. Certainly television has a public service to perform which no mere transmission of film can provide. 'Whether it be local meetings, parades or Boy Scout jamborees, the local broadcaster will have to establish his cameras for coverage of community events - o? the scene —- as a condition of his privilege of broadcasting.2 The director of public service for Station WAAM, Baltimore, haryland, has expressed the following policy for his station: 'WAAM, like most of the radio and television stations in this country, is not in business as a philanthropic institution- WAAM is owned by men who have invested their money in equipment, facilities and personnel to get a return on their investment. We believe that the best return on that investment will come ‘when our station is recognized and accepted by our community as a spokesman for the interests of the community, and as a leader in the continuing effort to better the community.26 Station KDYLr-TVZ7 in Salt Lake City made a great public service contribution to the medical doctors in the Utah-Idaho area. The University of Utah medical school was desirous of providing post gradu- ate education for doctors already in practice. Closed-circuit television facilities were not available in the area. So KDYIFTV officials offered the use of their open circuit facilities at seven A.M., an hour when nearly every doctor could watch, and when the general public was not likely to tune in. KDYLPTV technicians set up their remote equipment in the amphi- theater of the Salt Lake County General Hospital and the program went on the air as scheduled, the first of a series.28 This remote telecast no doubt cost the station a great deal in ZSStone, op. cit., p. 77. 26Joel Chaseman, "Public Service by a Local Television Station," 22_Z!_Talks, (New'York: Broadcast Music, Incorporated, 1953), p. h8. 27Call letters have since beeh.changed to KTVT. q 2“"Education at Sunrise," Time, (November 23, 1953), p. 62. ll monetary terms, but was deemed desirable by the station as a public service to the physicians in the area. The comments received were very complimentary, and served to indicate that the station's place in the community was strengthened as a result of this action. Another case occured in Waco, Texas, in late 1955. Station KfiTx-TV was given unprecedented permission to televise a murder trial. KWTX-TV cancelled commercials during the courtroom proceedings. Even lucrative night commercials were cancelled when the trial didn't recess until 9 13.3.1. In addition, the station went on the air at 9 mg. with the cmwning of each daily session of the trial. The station's regular schedule did not begin until 12 noon. While no official cost was given, it was believed the station gave up at least $10,000 in commercial hours during the week of the trial. In addition, the station had to stand the costs of the remote telecasts and the extra hours on the air.29 This type of operation hits most station managers where it hurts the most - in the pocketbook. Again in this case, the station officials felt it more important to serve the public interest and establish station prestige by using the remote facilities in the courtroom. Economic Aspects of Remote Programming A second area of return to be derived by a remote conscious station involves the popularity of such programs. People like to watch them. The televising of sports, both professional and collegiate, has won a wide audience. . . . Baseball, football, and basketball, M 29"KW‘I‘X—TV Covers Murder Trial Live, Sets Precedent in Courtroom," Wting-Teiecasting, (December 12, 1955), p. 79. 12 each in its season, are staples of television, both local and network, second in popularity only to network entertainment.3 Evidence of this popularity can be seen in audience measurement records. A. C. Nielson Company ratings for the two weeks ending December 10, l955,showed "Cavalcade of Sports" reaching 37.8 percent of the tele- vision homes available to the program.31 Another Nielsen survey for March 26, 1956,5howed the academy awards program as being seen in over sixteen million homes, or h7.6 percent of the total television homes available.3? Individual station operators attest to popularity of local remotes too. The general manager of KLAC, Los Angeles, said of a regular Wednesday night remote series, "We have kept this program on the air for almost three years. And we have kept a rating that beats any newsreel in town."33 Directly related to program popularity is a third point, that once the remote facilities of the station are established and utilized, commercial sponsorship of remote programs can pay the great costs involved. Remote-pickup facilities for those stations that can make sufficient use of them soon pay their original costs in the good will, and consequently prestige, that accrues to the station, and, nmre concretely, through the volume of local advertising they open up to the telecaster. The coverage of sports and civic events appeals to the merchant with something to sell in his home community. His sponsorship of these events asgfires the station month-to—month business on the local level. ‘—_ 3OIrving Settel, Norman Glenn and Associates, Television flfivertising and Production Handbook, (New York: Thomas'Y: Crowéll Company, 1933?, pp. 10:11. 31Broadcasting-Telecasting, (January 9, 1956), p. 33. 32§§oadcasting-Telecastigg, (April 23, 1956), p. 52. 332g TV Talks, (New York: Broadcast Music, Incorporated, 1953), IL 1&3. 3hSettel, op. cit., pp. 11-12. 13 Other stations have had similar success: The value of . . . special events impressed itself upon us by the tremendous response from the public in the form of increased television set sales and huge unsolicited mail and other response.3 . . .basketball is the sport in Indiana and with Indiana University's Big Ten Champs, it's even more popular in our area. We have been carrying the Indiana University basket— ball games every season since we first went on the air. It was one of the big gactors in building our set count as rapidly as we did.3 Being the second station in the market, it was necessary for us to concentrate on breaking the tune-in habit and getting more viewers acquainted with Channel h7. It took little reason- ing to decide that outstanding local productions and big local remote telecasts would be the best way for us to get viewers acquainted with the new station in Fresno. . . . This has paid off both commercially and with added viewers.37 Some sponsor success stories are relevant here. We've got a very involved show now, for a local dairy products concern, called "Around the Town with Mr. Brown." Mr. Brown owns the company, and every week they go out on a remote and pick up a new spot of interest in the town. It's a terrific job; every week they have to do a new production. Sometimes we're in a zoo and sometimes we're in the Blue Room of the Roosevelt, sometimes in the dog kennels of the S.P.C.A. But it's a good show and a sound one, and it's selling Mr. Brown's products.3 Regarding the telecasting of Indiana University basketball games by “TI“: Chesty Foods of Terre Haute sponsors these games and they have had a tremendous success story. Two years ago when they signed with us they were running a poor third in our area in potato chip sales. In that one season they jumped into first place with a three to one lead over their nearest competitor. Needless to say, they are happy. They now sign a fu11.year 35Lawrence H. Rogers, II, "Local TV News, Sports and Special ENents," 32 TV Talks, (New York: Broadcast Music, Incorporated, 1955), p. 1?. 22 TV 36Petranoff, op. cit., p. 165. 37Dri11ing, op. cit., pp. 250—251. 38Robert D. Swezey, "Every Town a Show Town U.S.A. - Yeah?", .___.;£§ygi, (New York: Broadcast Music, Incorporated, 1953), P- 7. ll; with us to use Pro Football, Indiana University Basket— ball, State High School Basketball finals, and a series of spots running every day.39 It has been recommendedho that the television station buy remote equipment before purchasing studio cameras and related equipment. This procedure allows the presentation of remote special events programs, at the same time making it possible to do studio production. This is possible since remote cameras are compatible to studio operation. On the other hand, a station buying studio cameras only is restricted to studio production, since studio equipment cannot be operated in a remote situation. Wfiide, Wide World" The remote concept of pregramming has recently been tried on a large scale by the television network of the National Broadcasting Company. The series of "Wide, Wide World" programs, which began as an experiment in the fall of 1955, became a part of the regular program schedule of NBC. Live cameras are utilized from a number of remote locations on the North American continent to bring to the viewer glimpses of land, people and culture within the continent. The many areas visited by "Hide, Wide World" has necessitaaeu the assumption of remote action by many stations asked to contribute to this series. Summary In the dawn of the television era, the peeple of the United States were promised, among other things, live,"onpthe—spot" telecasts x 39Pctrsnorr, op.cit., pp. 165-166. {YT b0Howard A. Chinn, Television Broadcasting, (New York: McCraw- 1‘1 Book Company, Inc., 1953), p. 77. 15 of special events taking place outside the studios. However, perhaps because of reasons of cost and non-access to events, most live pregrams produced on television have emanated from studios, both at networks and individual stations. The recent upsurge of film usage in television operation has made sharp inroads upon live studio production. It is felt that one result of film inroads will be the stimulation of live remote production. It is generally believed that live remote telecasts constitute television at its best. And there is a great wealth of untouched material from which to draw for remote pregramming. Individual stations can profit from the acquisition and use of remote production equipment. This is manifested in various ways including building of station prestige, service to the public interest of the community, building program audiences, and greater monetary returns to the station. Some stations have shown that intelligent use of remote facili- ties can reap benefits to the station. And the NBC "Wide, Wide World" program indicates that networks are waking to the realization of the importance of special events remote programming. The author feels that as a result of the factors discussed above, more stations will become involved in the televising of remote Special events. This thesis is designed to be of help to those stations and indiViduals who need a basic framework on which to begin their remote activities . CHAPTER II THE PROBLEM AND DEFINITICN OF TERMS The Problem There are technical and production problems encountered in rmnnote television which are not present in studio production. These puniblems can usually be solved or minimized by proper planning of panacedures to be followed in setting up and doing the programs. The gnrotflems will vary with the type of program. But there are some general arwaas of difficulty peculiar to remote production which can be delineated and analyzed. The purpose of this thesis was (1) to determine the procedures necessary in the televising of remote special events programs, and (2) to determine related production problems involved in carrying out these procedures . Justification of the Importance of the Problem The impact of television upon American society has been tremendous. It has brought many changes in the way of living of this people. In less than ten years, TV has become one of the most Powerful social forces in the U. S. . Its long reach has changed just about everyone‘s way of life - in one way or another. It is taking more of the hours of families who own sets thandoes the business of earning a living.1 One phase of this medium which has a particularly great impact W "Television: the New Cyclops," Business Week, (harch 10, 1956), p. 75. 16 17 on the viewer is the remote special events program. This is a feature “fliich bridges the gaps of time and distance to bring actuality into the home. This is television's genius. The position of the actuality remote telecast has become irnzreasingly important to the broadcaster as filmed programs make serious inroads on live studio production. The exhortation has been made for greater utilization of remote .fauzilities, and some pioneers have shown the way. It is the author's twilief that more stations will follow the lead, and remote television vcill assume a more commanding position Within the industry. While recognizing the possibilities of remote television, the axrbhor also rec0gnizes the possibility of peculiar procedures and ‘prwjblems involved in doing remote telecasts. The author has not found a :source which can provide a complete basic guide for those interested 511 remote special events production. It is therefore hoped that this thesis will serve (l) as a guide fom' those stations anticipating remote activities, (2) as a source of infornmtion for individual producers, directors and technical personnel, and (3) as a reference for students of television production. Qefinition of Terms Remote - In broadcasting usage this term applies to programs which originate outside the studios, where the equipment is operated independently of the studios. §ppcial events programs - Programs utilizing events or happenings "hiCh may or may not be a regular part of the station programming schedule. figduction problems - This term is intended to include all PFOblemS experienced by the author in producing and directing the 18 programs used for this thesis. This includes technical problems that have direct bearing on production procedures and techniques. Procedure The author produced and directed four special events programs kar station WKhR-TV. The four programs included two hockey games tele- wrised from the Nichigan State University ice arena, a four hour variety punogram telethon also televised from the ice arenaz, and the 1956 Michigan State University commencement exercises televised from the University stadhmn These programs were chosen for two reasons. First, it was felt tluat they would provide a wide variety of procedures and problems usually eruaountered in remote television. The author felt that most problems azfiising on any telecast would be present in one of these situations. Secnond, the chosen programs were nearly the sum total of remote events scheduled by WKAR-TV, and therefore a'ailable to the author for experi- rmnrtation. The only other alternatives were wrestling and gymnastics. Two hockey games were used due to the fact that one of them involved a simulcast on the college radio station,'WKAR-FM. This promised some unique procedures and problems in the handling of the telecast. The games were played Friday and Saturday of the same week. Insofar as was physically possible, the author was responsible for Producing and directing all the programs. This was especially true of the hockey games and the commencement exercises. But the length of _ . 2It had originally been the author's intention to utilize a MlChlganState University baseball game for the purposes of the thesis. However, cancellation by WKAR-TV of plans to televise baseball forced the author*to substitute the telethon. This proved beneficial since the telethon provided many interesting production problems. 19 the telethon and its attendant complexities necessitated the assumption of some producing duties by other members of the NKLR-TV staff. During the planning and preparation of the pregrams, the author kept notes on procedures and problems encountered. Insofar as was Imossible, the same was done during the rehearsal and eir phases of the program. In addition to the four programs done specifically for this tluasis, the author has drawn upon notes and experience gained in direct- irn; a wide variety of remote progress for station hKnR-TV during the past two years. 1 Althoug the programs duoeo "(J ’1 O I": or this thesis were done for a zioxr—commercial station, the author feels that there would be no basic dilfference in procedures and problems for commercial stations. This is bansed upon information concerning commercial remote production which was stnuiied by the author. The author recognizes that remote production of "commercial" announcements will not be part of this thesis. In preparation for doing the pregrams for the thesis, the author suniied all known written material available on the subject. The paucity of such.material convinced the author of the usefulness of a thesis on this subject. Organization of the Chapters Chapter One has presented an introduction and background of (1) live television, (2) live versus filmed television, (3) live remote tGleViSion, (h) station responsibility and prestige in relation to remote programming, (5) economic aSpects of remote programming, and (6) the place of "Wide, wide World". Chapter Two has presented (1) the problem, (2) justification of 2C the importance of the problem, (3) definition of terns, (h) procedure, eand (5) organization of the chapters of the thesis. Chapter Three will present a discussion of the procedures and pncoblems experienced in the following phases of remote prcdzction: (Ll) Determination of program purpose, (2) clearance to televise, (3) derternination of talent, (h) cost estimate, (5) remote survey, (6) pro- gzwam planning, (7) physical set-up, (E) rehearsal and air of the pregram, Crud (9) strike and critique. I355 Chapter Four includes the summary, conclusions, and recommend- The bibliOgrephy includes a listing of works used in preparing the thes is . The appendix contains scripts, "run-down" sheets, instruction ‘ slueets, formats, remote surveys, anc other materials used on the programs. CHAPTER III PROCEDURES AND RELATED PRCDUCTICN PROBLEls Any proposed undertaking requires a certain amount of preliminary cunnsideration by those charged with responsibility for the project. In the case of a remote television program, some of these matters will be chscided by the administrators of the station, others by the producer arxi/or director of the individual program. These affairs must be satis- fied before the prOgram can be said to be "on." They should be a ccnnpleted prerequisite for a v actual development of the program. Fail- urwe to examine these preliminary considerations at the outset may lead to wasted time and effort on the part of those directly charged with developing programs. The preliminary procedures fall into four categories: determi- natiorlof program purpose and related station policy, clearance to tele- vise the event or program, determination of talent, and cost estimate of the program. Program Purpose and gelated Station Policy All too often television programs are seemingly put on the air for no apparent reason other than to fill time. In order for a producer and/pr director to make the program worthwhile (both to the station and the Viewer), a clear cut statement of the purpose of the program must be understood by all concerned. The basic approach to a program cannot be datermined.until the purpose is clearly known. Choice of content‘will 21 22 also be made in relationship to the program purpose. Hockey With respect to the hockey games used for this thesis, the author sought to determine the policy of the station regarding telecasting of sporting events. This question was prompted by an editorial in Broad- casting-Telecasting magazine, generally considered to be the journalistic spokesman for the commercial broadcasters. The editorial indicated that the televising of sporting events "does not constitute the educational programing for which non-commercial stations were intended.":L In correspondence with various educational station program managers, the author found that they were divided as to their policies regarding the telecasting of sporting events. The policies of these stations were spread from one extreme to the other. Some held a strict view of educational television, and were in agreement with the statement from @adcasting-Telecasting. In meeting with ‘N’KAR-TV manager Dr. Armand Hunter, it was found that "NKAR-TV does not share this narrow concept of educational programming. Dr. Hunter conceded that sports programming is entertainment. However, he indicated that the approach used at .‘JKIR-TV was quite dissimilar to that used by conmiercial television. While commercial television presents entertainment for the sake of entertainment, WYAR—TV'S approach is one of information and instruction in the form of entertainment. This approach manifests itself in an effort to provide enlightened commentary on the games and their rules. MGR-TV adds an informational context to the program Which is aimed at informing the audience about intercollegiate (not Professional) athletics, including the basis of these sports and W 1"Silent Pictures," Eroadcasting-Telecasting,(January 9, 1956),;3. 122. 23 their relationship to the athlete and his education. It would take an odd youth to wish to follow the wrestling game as presented on commercial television— someone who liked the idea of sadistic clowning. Yet wrestling should be a part of sports education, with strict rules and a sound code— as any college match will show. Furthermore, intercollegiate sports are a segment of the Universi— ty, and part of the station's obligation is to reflect the University to the people of the state. University sports are considered as an inte- gration of mind and body, not a separation of the two. They are treated ‘ in the same manner as music and art, which certainly contain strong aspects of entertainment. Still another justification for sports on educational television was eXplained by Dr. Hunter. WEAR-TV attempts to prOgram to as wide an audience as possible. It is felt that the sporting events will appeal to those people not attracted to strictly instructional programs. If good sports programs are televised, these people may be stimulated to see additional programs on the educational station. The effort is made to start this group of people on sports and point them upwards toward other types of programs on the station. This information provided the author with a clear statement of the purpose of the hockey programs in relation to the policy of the station. Another point of station policy was also checked by the author in meeting With Dr. Hunter. This was the policy of the station regarding Simultaneous re—broadcast of DEAR-TV sporting events programs by other stations. In the case of the hockey games, WPAG-TV in Ann Arbor, Michigan, had been given permission to re-broadcast the WKAR-TV programs. Dr. Hunter ‘ 2William Y. Elliot, Television's Impact on American Culture, (East L“arising: Michigan StateTniversity—Press, 1956), p. 11;. 2h indicated that any station so desiring can obtain permission to re- broadcast (non—commercially) any of the Sporting events carried on WKAR—TV, after having notified the Federal Communications Commission of their intention. Telethon The second program used for this thesis was the telethon entitled "Spartan Olympic Knight," a pregram sponsored by the Michigan State Uni- versity student government organization. The purpose of the telethon was to raise money to support the United States' team in the 1956 Olympic games. In addition to this primary purpose, WKAR-TV was providing a community service in originating this program to be carried on various other stations throughout the State of Michigan. In addition, doing the telethon would establish prestige, develop relationships with cooperating ‘University departments, and promote good will between the University and warious outside groups involved in the telethon. Sfigmnencement The third program used for the thesis was the 1956 University Commencement exercises. The purpose of this program was to present these 9x6r13ises as a continuation of the station's policy of bringing the Uni- VBrSiSty'and its services to the people; to show the majesty of a complete uniwezfisity'commencement; present the commencement speaker; and give those Parerrtés unable to attend an opportunity to "be there" almost in person. Summaryt-The determination of program purpose in relation to stati&>rl policy for the events to be televised was the first step taken by the author. It was then possible to direct the activities of the var. O O O O I 10113 members of the production staff in providing programs which w ould conform as closely as possible with the stated intent. Clearances Another preliminary procedure which must be considered before actual production planning can begin is the matter of clearances. Local authorities in charge of a particular event must be contacted well in advance in order that proper permission can be obtained both to televise the activity and to locate equipment in the area. Unfortunately there has been much discrimination against tele- vision broadcasters regarding the televising of many public events. For example, a "Pacific Coast Conference rulixug forbids the showing on tele- vision of any motion pictures taken of any conference player or any game or part of any game."3 Thus in the field of sports, telecasters have met a very formidable type of resistance. Confusion as to whether televising a game hurts or helps the gate receipts has led some promoters to bar television or at least to insist on inferior camera placementfi in the hope that home viewing would not become too popular. Some years ago,as a result of a peculiar camera placement forced IHKNI the station by the owner of a Chicago baseball team, "the press rePorted that televised baseball in Chicago was rather dull and un— interesting, which some observers believed may have been the original intent."5 However, one source indicates that the relative importance of the \_ — Ne 3"Televising Football from the Los Angeles Coliseum," Broadcast -JT§’ (cTuly-August, 1950), p. 62. lfiStasheff and Bretz, op. cit., p. 250. EgBretz, op.cit., p. hSZ. 26 two audiences, at home and at the field, seems likely to be reversed soon in the mind of the sports promoter.6 A local situation developed at Fresno, California, which lends credence to this statement. Recently KJED attempted to negotiate television rights for the West Coast Relays, a sports event in Fresno of national fame. The relays directors were afraid of television, feel- ing it would seriously affect the attendance at the stadium. ArrangementS'were finally made to televise the afternoon events and use the telecast to strongly promote the evening performance. To the amazement of the Relay directors, the afternoon crowd was _ the largest in the twenty-seven year history of the event and the night time crowd was a standing room only affair.7 A similar situation was met and overcome by KJEO with local collegiate baseball games. Negotiations with the local professional minor league baseball team met with a brick-wall refusal to even discuss the telecasting of games. But as the season developed the attendance was low; the station was requested by the baseball club to televise certain games during the remainder of the season.8 The problem of clearances is one which even the powerful networks must sometimes face. The coverage of the St. Patrick's Day atom bomb explosion on March 19, 1953, is a good example. Defense agency planned a test to determine the effects of an atom bomb The Federal Civil exlDlos ion on houses, household articles, dummy humans and their clothing, automobiles, etc. The television networks attempted to gain access to "Doom Town," as it was called, to show a "before and after" sequence. After much discussion and argumentation, the pooled network crews were given Permission to operate within the test area. However, when crews arr ived early on the morning of the test, they found the gates closed \ 6Stasheff and Bretz, op. cit., p. 250. 7Joe Drilling, "Local TV That's Live," a talk recorded in M10!) Talks, (New York: Broadcast Music, Inc., 1955), p. 252. 8Ibid., pp. 252-253 . 27 to them. They were held up for two hours before the security red tape had been unwoven. By that time it meant a rush to "Doom Town" to get the equipment set up for the scheduled pregrams. Because of this delay, the engineers were not able to get the cameras and other equipment operating effectively, and the program was technically poor as seen in 9 homes across the country. In this case the poor production quality was certainly no fault of those in charge of the production. Perhaps there is no such thing as an absolute clearance. But it can be seen how important it is to gain proper clearance to the event before continuing with further planning of the remote pregram. Hockey On the hichigan State University campus, the Athletic Department has the right to permit or reject the telecasting of any athletic event. The WKAR-TV Sports director obtains a list of coming sporting events at the beginning of each academic quarter. Meeting with the heads of the PPOgramming, operations and production departments at the station, a list is prepared of events desired for telecast. This list is sent to the 7° ,' . . ‘. e \ thiemrtor of Athletics for his approval or disapproval. The Director of Athletics may confer with the individual coaches involved and make his deciSiOn on their recommendations. He then informs the television station 01’ those events which the department of athletics will approve for tele- casts . In the case of hockey, the coach of the team was very receptive to telecasting of the games. Hockey is a minor sport at Michigan State, \‘ The S’1Frank LaTourette, "An A-Bomb Can Muff a Payoff TV Cue," w, (July, 1953, p. 100 28 and it was perhaps felt that the telecasts could not affect gate receipts negatively. The author met with the hockey coach in order to re-apprise him of the station's intention to televise the games. is usual he was receptive to the plan, and offered to help in any way possible. It was also necessary to obtain clearance from the manager of the ice arena. He had been extremely cooperative in past relationships with the station, and this time was no exception. The station was given per- mission to move its equipment into the arena any time after noon on the day of the first game. The second hockey game was to take place the following night. Permission was obtained to leave the equipment in the arena overnight. Telethon Since the Olympic telethon was being sponsored by the hichigan State University student government organization with the backing of the University administration, it was not necessary for the station to obtain clearances to telecast the event. The station was asked to originate the Program by University officials. Certainly no better clearance is possible. It became the responsibility of the author and his associates to ObtaiJl clearances regarding the building to be used for the origination 0f true event. a great deal of difficulty arose in this respect. Original Planning sessions by the student-faculty-staff committee in charge of the event Zinnicated a desire to demonstrate a number of sporting events during the program. Such sports as boxing, high jump, pole vault, gymnastics, and WreStling were deemed desirable by this group of people. 'Phe natural location for televising such events would be the University fieldhouse. This, however, was precluded because of a coaches' cl‘ ' ' lnlc t4) be held in the fieldhouse on the same night as the telethon. 29 Consequently, other locations were explored. It was found that the University auditorium was booked for another engagement on the evening planned for the telethon. It was learned that a special benefit ice show was to be staged the same evening as the telethon. It seemed desirable to originate the telethon from the ice arena, making it possible to use parts of the ice show in the telethon program. This location was orig'nally ruled out because of the great alterations needed to stage and lifat the ice arena for the telethon. However, at the next meeting between the WKAR-TV representatives and the Olympic Fund Committee, it was decided that by gaining the free services of University lighting, building, staging and WKARJTV personnel, it would be possible for the committee to stand the expenditure of enough money to properly stage and light the ice arena. A meeting with the heads of those departments involved indicated the their employees were wil ing to donate their time, providing the same situation prevailed for all personnel involved. Final decision was then wade to seek the ice arena for the location of the telethon program. The manager of the arena was contacted and permission was obtained tones the arena for the origination of the telecast. There'were many detaifls to be worked out in connection with the close juxtaposition of the 1iiefore mentioned ice show and the telethon. These problems will be discussed thoroughly in further sections of this chapter. Mement Exercises The telecast of the Commencement exercises at Richigan State Uni- versiizy' had become an annual event for WKAR—TV. The telecast used for this thesis was the third such program ’00 be originated by the station. L1 though this precedent had been set, it was necessary for the author to 3O gain clearance from the Commencement Committee to televise the exercises. Therefore, in company with Professor Don Suellfo the author met with Kr. Lyman Frimodig, the chairman of the Commencement Committee. tr. Primodig indicated that the station was welcome to televise the 1956 exercises. He did, however, raise some definite questions concerning the placement of cameras and personnel for the telecast. These problems will be discussed under the heading, "Remote Survey." Summagz.--There has been much discrimination ageinst television operators in the televising of public events. This has been particularly true in the case of sporting events and judicial proceedings. This problem is lessening as the years pass. Clearance to televise an event should be obtained well in advance of the program date. Program and production planning should not begin 'before such clearances are obtained. In the case of the programs used for this thesis, clearance to televise the events was relatively easy to obtain. There were, however, difficulties in obtaining other clearances such as location of the e(illipment at the site, use of talent, use of settings and properties, etc. These problems will be discussed in later sections of the thesis. x .n“ - ‘~ ‘0‘ 10Professor Puell was the host and narrator of the program- 31 Determination of Talent The largest number of remote prOgram “will be those for which the talent is determined by someone other than the station. Sports programs obviously involve contestants who have nothinc to do with the The preponderance of talent for other special events such as parades and ceremonies is agaira determined by outside agencies. Even contrived programs usually utilize talent which is provided by the cooperating agency. However, i this situation the station usually will be able to choose talent for a progran from a number of possible people presented by the cooperacor. The most important talent determination for the television station to make for remote programs is the announcer-narrator—commentator. This person is chosen for his ability to ad lib, his knowledge of the event to take place, and his skill at handling the interview situation. Interviewees for remote programs are another determination of the statitwn These people are sometimes picked and notified in advance of the Pregrwnfi, ‘ut more often they are chosen at random from available person- ailties in attendance at the event. Interviewees should be chosen on the basls Ioi‘their ability to provide information which will be of interest U’true ‘viewer. H wever, it is sometimes necessary to hold short inter- v' . . . . . lews vvith sponsoring off1Clals of an event as a formality. HOCkE _____§: In this type of event there are two types of talent. Of course, th s _ . . . 0 e athletes who play the game constitute that talent which is Visually 32 featured by the telecast. But it is also necessary to have a television announcer to serve as talent in providing continuity and commentary for the event. This person(s) may or may not be seen on the screen. In the case of the hockey games used for this thesis, the author met with the fiKAR—TV Sports Director11 for the purpose of determining the announcer talent for the programs. He explained that he would be out of town for basketball broadcasts, and would not be available for either of the hockey games. He assigned his assistant in radio to do the sportscasting for the first game, to be assisted by the television assistant sports director. The second game would be announced by the television assistant sports director, assisted by a television cameraman who had hockey experience, and who was interested in helping with the announcing. Since the author was well acquainted with the capabilities of the various persons designated as talent and satisfied with them, no further discussion was necessary on this point. Telethon Determination of the talent for this program was not as simple as fbr tflde hockey games. host of the difficulties experienced by the author in Planning the telethon were met in this respect. The primary problem lay in the loose organization of the Olympic thd (3Cnnmittee which was responsible for developing the telethon. al- thouCll 'there were some faculty members on this committee, they were unable to PUID ‘their full energies into the planning of the program. It was left, t hen, 'tc) various student committees to locate much of the talent for the pr Ogram . \ directOri‘lThe WKAR-TV Sports Director was also the WKAR radio Sports 33 The author and his associates met with the committee, includin the students in charge of procuring talent, for the purpose of outlining the types of talent deemed desirable for the program. In the first such meeting the students indicated that an attempt was being made to gain the '1 services of a big name star to act as master of ceremonies. The names of (‘5 Steve Lllen and Phil Silvers were mentioned. Spores figures from Lansing, Detroit and vicinity were to be contacted to appear. Other desirable talent included a band, singers, jazz combo, choirs, instrumental groups, and the sporting events discussed above.12 It was the intention of the group to use filmed sequences showing past Olympic stars in action.13 Interviews were to be conducted with past and present Olympic stars from the State of Lichigan. 'Nhere possible these people were to be shown en- gaged in their particular event. With the decision to hold the telethon in the Ice Arena, the program was given a big boost by the inclusion of many of the ice stars and acts to be shown in the benefit show. Prominent among these was Miss Carol Heiss, the'World Champion figure skater. Since the coaching clinic being held on the campus was being conducted by a group of famous coaches, it was decided to interview some of them as well as various members of the Michigan State Athletic De- partment. After negotiation with a number of "big-name stars," the student committee found that they had begun to make their preparations too late 12With the change in location from fieldhouse to ice arena, all the sporting events except gymnastics were eliminated from consideration for the program. 13Films subsequently procured from the United States Olympic Committee proved of inferior quality. 314 to gain the services of such a person. This was the case even though the committee was prepared to pay one thousand dollars. At one point the committee announced to the author that Nelson Eddy had been signed to act as master of ceremonies and to sing. This proved to be incorrect, and the committee finally ended up signing Carmen Cavallaro, who would only play the piano, and this was to be restricted to ten minutes per hour. Al- though this seemed inadequate, it was generally felt that the presence of some "name" was important to the success of the program. It then became necessary to procure the services of a master of ceremonies. During the preliminary planning, negotiations had been carried on with Lansing television station WJIM to air the program. LT. Howard Finch, Vice-President of this organization, is a well known local master of ceremonies on‘wJIE—TV. In meeting with Kr. Finch, he indicated that he would be willing to accept the responsibility of acting as master of ceremonies for the program. With these major considerations decided, the job of locating and obtaining other local talent began. It was necessary for the author to have this information far enough in advance of the program to intelligently plan the sequence of events, to plan the attendant utilization of equipment, and provide all concerned with this information. As time passed, lack of this information became an acute problem. Students given the responsibility of obtaining the talent were slow in acting. It was not until the day before the program that the author and his associates were finally able to set up a master list of the acts to take place, to- gether with the time of the act, the placement on the stage, the equipment to be used and the method of introduction. In obtaining the consent of the talent to appear, the student committee could merely give a general time segment into which the author 35 would try to fit the talent. After the master list was completed, it was necessary to contact each person again to inform them of the exact time they were to appear. This was desirable in order that the talent would not arrive at the Ice Arena and have to wait long periods of time before performing. Another problem faced with regard to talent was that of clearance With the musicians' union. Rules forbid the appearance of union members without a fair remuneration. Here the clearance was made for the author by Er. Finch conferring with the local secretary of the musicians' union. Since the program was operated on a non-profit, benefit basis, blanket permission was given by the union to use the members of the local for the program. Insofar as Kr. Cavallaro was concerned, his contract stipulated that a particular type of piano be provided for his use. Although a piano of this type is used in the University auditorium, the person in charge was reluctant to allow its removal to the ice arena for the program. his problem.was solved by a member of the student committee who apparent— ly had some influence with the person in charge. It was also stipulated in the contract that the piano had to be tuned to a particular set of pitches. It was necessary to procure the services of a piano tuner to do this job. These points indicate that careful.consideration must be given to all angles involved before signing contracts for talent. In this case the instrument was available, but had not been.cleared for use before the signing of the contract. In addition, a relatively high charge is made for moving and tuning pianos. It was not necessary to have an announcer at the telethon since the master of ceremonies and his guest interviewers would carry the entire pregram as far as continuity was concerned. The author would 36 utilize the regular announcer on duty at NKAR—TV to provide the opening and closing announcements for the program. Various other problems regarding talent occurred during th rehearsal and air phase of the program, and will be discussed in a later section of the thesis. Commencement Determination of the talent for the commencement exercises presented the least problem for the author. Mr. Don Buell, Professor of Speech at hichigan State University, had served very ably in the capacity of host and narrator for two previous comiencement exercises. He is also a seasoned performer on the stage and at both‘WKAR radio and WKAR television. Coupled with this was Hr. Buell's many years of resi— dence at hichigan State University. It was natural and fortunate that his services could be secured for the telecast. Preliminary planning also indicated that an announcer would be needed to make an "on-camera" introduction-to—the-campus from the top of the pressbox in the stadium. The'flKhR-TV Chief Announcer was selected to do this part of the program. Since the cameras would merely be looking in on the exercises, the station had no responsibility regarding determination of participants in the exercises. Summggy.--The preponderance of talent for remote programs is determined by organizations other than the television station. Per- formers or participants in events usually have no connection with the station. The producer/director will generally be concerned only with the announcer-narrator-commentator and interviewees. 37 On the other hand,the television station will have a greater part to play in determining talent for contrived programs. Selection of such talent is generally made from persons available from a cooperating agency. Determination of the talent for the hockey games was limited to selection of the sportscaster and his assistant. In the case of the telethon(and contrary to best procedure), the talent was not determined until a late date. This caused considerable difficulty in the planning of program and production techniques. The determination of talent for the Commencement program was fortunately very easy. 38 Cost Estimate Certainly it is necessary for the television station to Lake a careful estimate of the cost of a remote telecast before definite plans are made. In the case of a commercially operated station, it may be necessary to cover the cost of the program by selling sponsorship of the event. However, those stations which operate with a great amount of public consciousness may deem it worthwhile to provide their viewers With the pregram, whether the cost can be covered by commercial sponsor— ship or not. In any event, it is necessary for the station to have knowledge of the costs inVOIVed in order to ascertain the ability of the station to stand the expense. So much pre-planning and setting has to be done at the usual remote that stations often estiiat that a "one-shot" pickup from 'beginning to end costs $300 to $500. or course when the problems can be solved once for a long series of pickups from the same place, the cost becomes far less. . . .Some stations have found that simple one-camera remotes can be handled by only two men, reducing the cost to very little indeed. The first live telecast of an atomic explosion was attempted by KTLA, Los Angeles, in 1952. This station gambled upwards of forty thousand dollars cfiTits own money on this telecast and came through with flying colors. Tie program provided an excellent public service to viewers in Los Aunysles as well as throughout the nation via the networks.15 The national networks generally lose great sums of money in 1hBretz, op. cit., pp. hBh-S. 15Charter Heslep, "It Couldn't be Done -But TV hen Did It," The Quill, (July 1952), p. 7. 10 J I televising such events as the political conventions and election returns. But this cost must be met in order to provide service which the public has come to expect. The non—commercial station must make its decision to broadcast a special events program on the basis of much the same factors. Service to the public interest is the primary purpose of such stations, and the degree to which a prOgram serves this interest would certainly be a big factor. The financial aspects of the decision rest upon the ability of the station's budget to stand the cost. There is generally no outside remuneration for the carrying of such programs on non-commercial stations, although partial costs are sometimes provided by cooperating agencies. The cost estimate must consider crews and talent, power, tele- phone, construction, staging, lighting, and materials for the open and close of the prOgram such as photOgraphs, slides, and music. Hockey In the case of the hockey games telecast for this thesis, all costs vwsre kept within the limits of the daily operating budget of the statiorn This was possible since the programs were originated during the regular programming hours of the station. It was necessary to utilize some extra engineering personnel, but these people were given compensatory time (xff for working these overtime hours. Production personnel at WKARPTV wcu4<'this type of pregram as part of their responsibility to the station. Telethon It had been the understanding 0 the author, his associates, and members: of the Olympic Fund Committee that all personnel working on the telethon would be doing so voluntarily without pay. But it was learned some weeks after the prOgram that practically all University personnel to involved were paid for their efforts except the JFLR—TV crews.lb This occurred through no fault of the author or officials of flKhR-TV, but was an extremely unfortunate occurence. tuch bitterness was engendered among the television personnel involved, and it is doubtful that they will ever consent to act in a similar capacity again. It was necessary to construct a good deal of scenery, develop r__j special technical devices, and provide a number of photographic slides for the telethon. Approximately five hundred dollars were expended on these items. These costs were met by the station, and together with the L free time given by the HKAR-TV personnel, were donated to the Olympic Fund. Commencement The 1956 Commencement exercises were held on a Sunday, which meant the payment of overtime to the crews involved in the telecast. An estimate of the cost of the program was developed and approved by those in charge of budgetary matters at the station. Here again, the public service nature of the program demanded the broadcast of this event. The cost of paid crews,telephone, and power connection amounted to approximate- ly three hundred dollars and was the only cost for this program, since there was no staging or lighting to be done by the station. Summagy.--The ability of the station to stand the cost of a remote must certainly be determined before program and production planning begins. A cost estimate must be made by the producer/director. Commercial stations can usually defray the cost by selli.g sponsorship of the program. 6The original reason for having the volunteer, no-pay plan established was the stated inability of the various University departments to stand the cost from their regular budgets. However, they apparently were able to do so, although‘flKAR-TV, with total man hours valued at over one thousand dollars, could not. L1 Non—commercial stations must keep costs within their ope rating budget. Lgany stations and the networks provide special events to the audience as a public service without any attempt to have the cost paid by sponsors. The cost estimates for the programs used for this thesis were made by the production and operation administration at the station. The author was given permission to expend money as necessary to provide the program service. Such expense became great only in the case of the te 1e thon. 142 Retro to Survey er1a*s ne ingie me o imcor n niase oi ne e ecas in’ of P l‘p t1 3 £7 s+ , ta t p} ” t} t l t g a remote special event program is the remote survey. The primary purpose of the remote survey is to provide a guide for the eigineering personnel of the station with respect to equipment needed, location of equipment at the remote site, power, telephone, and other facilities available at the site. Each locaoion presents a different set of protlens. It follows, therefore, that each location should be scouted in advance by both engineering and program staffers. In this way it is possible to draw up a plan for the engineering staff to work from, thus cutting down the installation time. 7 The remote program is similar to studio prOgrams in that it is onLy as stable as the base of pre-planning. Obviously a top-heavy program build: on a narrow, shaky base is apt to collapse easily. When operating in a artudiO'with maximum control over all facilities, it is possible to quickflqr prop up a top-heavy program which is in danger of falling due to Jack cxf adequate pre-planning. But in the remote situation, once the Prograni is underway it is difficult, if not impossible, to provide these Supports . Site locations and existing facilities must be reckoned with norm; carefully than any studio director selects his staging and llgfirting effects, for rarely does the remote arena of activity approach the ideal of studio conditions. Resourceful makeshifts to tmenefit lighting, acoustics, and equipment set-up are the order 0f the day. Careful planning of standby facilities and spares to adecnlately assure that the Show goes on, yet keeping an eye on the budget is an important consideration behind each operation.1 \ (J 1 17James A. Bryon, "What You Need for Remote TV," The Quill, L1 3” 1953), p. 15. ....... ED .. , 'Closed Circuit Television Unlimited " Broadcast News (July dugus t, 19 31‘) j p o 62 o ’ ’ h3 It is highly important that the engineering and programming staff work together on such pre-planning. There are several obvious reasons for this, but one important reason is that the ideal location from the programming standpoint is not always the best from the engineering standpoint. 9 As has been indicated before in this thesis, there are also other persons concerned with the placement of equipment. These people in charge of the event to be televised such as managers of auditoriums, arenas, and Stadiums, and officials of governing institutions must be consulted. Clearance of specific camera and equipment positions must be obtained from these people. Some years ago in preparation for the telecasting of collegiate football games in Los Angeles, a situation occurred which is relevant to this discussion. Many long conferences were held with the authorities of UCLA and U80 to determine just where the cameras could be located. [The] greatest problem was the obstruction of view of people sitting in back of the two most important cameras in the stands. It was desirable that two cameras be placed as near the fifty- yard line as possible and here was where the seat holders were nuost likely to complain. Newspaper men also claimed priority cum the tunnel portals which are the only practical locations for cameras whether for television or photographs. After three vweeks of conference and tggting with live cameras, tunnel portal eight was selected. . . .c— The author had an unfortunate experience regarding clearance for camera.}oositions. One of the features of the Lichigan State University Centennial of Farm iiechanization during the summer of 1955 was a two- hour Pageant which depicted the evolution of fz rm machinery as seen through the eyes of a family group. The complexity of the program made 1$>necesxsary for the author to attend numerous rehearsals to map out MK 1. . 9Byron, M" p. 15. News 2c)"Televising Football from Los jgngeles Coliseum," Broadcast ‘3 (Ju1y~45.ugust, 1950), p. 61. ht action and actually block out shooting patterns for a television approach to the stage—pageant type action. Previous to the beginning of rehearsals, the author had established camera locations with the consent of the pageant director. But after much preparation had gone into the television show, the author learned that an official of the Centennial organization had disapproved the position of ._. one camera. This necessitated a complete revision in the shooting script. 3 The author had planned his program on the assumption that the pageant ‘ director's permission was final. This incident points up the necessity of leaving no stone unturned in getting final and irrevocable clearance. Microwave.—-A most important consideration for engineering person- nel is the determination of transmission facilities between the studio and the remote site. Lany remotes are cancelled before they get underway because line-of-sight transmission cannot be established for the micro- wave link to the studio.21 A tubular metal scaffold can be of great use in this respect. Power.--The remote situation also provides problems in providing sufficient power of the right type. A reliable source of primary power for the operation of television pickup equipment is often a major problem in the fiefild. . . . Where possible, connection to a commercial source 0f Power is to be preferred. . . . It is also necessar' in field nicku work to be in a a 1 f 21Station l’éKAR-TV intended to telecast a special event remote kfom the Lansing Marine and Naval Reserve building on Armed Forces Day, fy 19, :1956. However, a preliminary survey indicated that a line of :13?! Could not be established between the reserve building and the ne JTV Inicrowave receiver located on top of the ESU fieldhouse. It was cessarfir to cancel plans for the remote. . from a Imuring the summer of 1955, WKhReTV planned a series of remotes before farm near East Lansing. A number of farm locations were surveyed the li one was found which was thought to be satisfactory. Unfortunately Cultiege of sight proved to be inferior, and combined with power diffi- designed(See page ’45) severely limited the quality of an otherwise well Series of programs. hS position to make use of any source of primary power whether it be single—phase twoawire, single-phase three—wire, three—phase threeawire, three—phase fourawire, or some other arrangement peculiar to the section of the country involved.22 Very often the mobile unit will be asked to make a pickup from a location where there is no available supply of alter- nating current. To broaden the scope of remote pickups, many stations have invested in a S-kilowatt generator permanently mounted on a smaller trailer. The trailer can be hauled behind the remote truck or any other vehicle and placed a few hundred .,l. yards from microphones so that the noise of its gasoline motor will not interfintzwith sound pickup.23 Much of the difficulty suffered in the HEAR-TV farm telecasts of 1955211 were caused by power problems. The voltage available at the remote unit from the farm house was just barely the minimum for operation of the V' cameras, synchronizing generator, and microwave transmitter. However, a series of irregular line voltage drops made it impossible to maintain the minimum voltage and thus operate the equipment efficiently. This was certainly one situation where a portable generator would have been valu- able. Unfortunately the station docs not own one. Control Point.--An important consideration which has bearing on the location of cameras at the remote site is the location of the control point. Most stations doing remote work have some kind of truck or trailer which has either been built for or converted to television use. The location of the control point is dependent upon several factors, one of which is cable length. . . Camera cables may not exceed 1000 feet in length. If the [microwave transmitter control unit is kept in the truck or at the control point, then only hOO feet of cable is allowed from control point to trans- mitter. Finally the available power supply cable (which is the heaviest and most expensive of the cables involved) will determine how far distant the control point can be from the source of power.2 220hinn, opz cit., p. 113. 23Bretz, op, cit., p. b3h. 21‘See footnote #21, p. bh. 252233., p. hZS. he Usually the contdwil point with its attendant equipment will remain in the remote unit. This procedure is used because it (1) saves time in setting up and striking the remote equipment, (2) reduces wear and tear on the control equipment, (3) saves considerable manual labor , that would otherwise be required for carrying the equipment to the site and back again, and (u) is sometimes necessary when there is no suitable location for control equipment closer to the proposed pickup.26 0n the other hand there are some advantages in taking control out of the remote unit. "Normally it is desirable to be able to set up this equipment in a relatively small, quiet room which can be somewhat darkened and from which unauthorized visitors can be excluded.“27 There are also some other possible reasons for setting up a control point outside the remote unit. One of the great drawbacks for the remote director in the past has been the fact that he must sit in the remote truck with the controls entirely removed from the actual scene of the game he was covering. Thus, he usually has had no actual first-hand knowledge of the scene, but depended entirely on what was seen on the monitor screens for each camera. For the KECA-TV setup, however, it was felt that [football] games could be done much better if the controls were in the press box where the director could see the field and the game his cameras were shooting. There was another important reason for this. ‘Iith the mobile unit outside the coliseum rim it was necessary to string many cables over the aisles where spectator traffic was heavy and too, it was necessary to park the truck at the end of the dressing room where it occupied important space. So, as mentioned above, controls were moved to the top of the coliseum to press box J. *With controls in booth J, and ‘with announcers Harmon and Pearson and camera h in booth I along- side, Director Vandiveer had far better control over the pro— duction of the games than had been considered possible.2 26Chinn, op, cit., pp. 95-96. 27Ibid., p. 96. 28Broadcast News, (July-August, 1950), pp. 62-63. L? A most embarrasing situation for WKAR-TV arose during the tele- vising of a speech to the Michigan Legislature by actor Thomas Mitchell. It was necessary to park the remote trailer on the lawn of the Capitol grounds. The remote survey a week in advance of the program had indi- cated relatively little snow on frozen ground. The remote unit was moved into position on the day before the program. Unfortunately, a midawinter thaw had left the ground soft, and the trailer sank into the grass up to the hubs. At the conclusion of the program, it took the WKAR-TV jeep in four wheel drive, a tractor and about twenty five men to extract the trailer from the ruts in the ground. This obviously did not make for good relations with the grounds superin- tendent. Cameras.-P1acement of the cameras is the most important con- sideration for the director in the remote survey. In selecting camera positions for televising events in the field, the following principles, where relevant, should be followed: a. Choose a position that will provide the most interest- ing and informative view of the scene with the least camera motions. b. To avoid confusion in the minds of the viewer, do not locate cameras on the oposite sides of a field (bowling is an exception). c. Choose a location that is sufficiently well elevated to avoid interference from persons or vehicles that pass between the camera and the action being televised, but not so high that persons appear foreshortened. d. Avoid locations that permit a piller, post, pole, or other obstruction to come in front of the camera as it is panned to follow the action. e. As a rule, if more than one camera is used, the second should be located alongside the first (tennis matches are an exception). f. Avoid facing the sun unless some special circumstances make such locations mandatory. g. The problem of keeping the camera in focus with the action at all times should be kept in.mind when a location is chosen. 148 h. Choose a location that will provide correct perspective of the scene that is viewed for the majority of the time.29 The "cinematic concept of screen direction," is an axiom which also must be followed in placement of cameras. The point here is to keep the viewer oriented to the action of an event. The audience has no way of knowing which direction is north when they look at a shot of a player on the TV screen. They only know left and right, up and down. If in the first shot the player is moving toward the right of the screen, and in the next shot he is moving left, the viewers'first reaction will be to mistake him for another player. In baseball coverage for ex— ample, a camera near third base would see a runner sliding home moving to the right of the screen. . .whereas to a camera on the first base side he would be moving to the left.30 Lenses.-—The director of a remote has some decisions to make in addition to location of cameras and other equipment. Related to camera placement will be the determination of lenses to be used. Generally speaking the lenses used in remote work are of longer focal length than those used in the studio, since the cameras are usually quite far re- moved from the scene of action. The director chooses the lenses to be used on the various cameras on the basis of coverage of the action which the available lenses will provide. A group of lenses which provide the necessary and most advan-‘ tageous coverage will be chosen. In determining lenses, then, the director will pre-plan the pictures which he intends‘to use on the program.31 29Chinn, op, cit., pp. 129-130. 3OStasheff and Bretz, op, cit., p. 252. 31A point which sometimes becomes important is the utilization of the bayonet mount for lenses. This type of equipment allows quick and easy removal or mounting of the lens. Need for such changing of lenses arises when an extra long lens and a short lens are to be used on the same camera. Since the long lens may show in the field of view of the short lens, it is necessary to remove the long lens in order for the ‘1 l" h9 Since the positions of cameras on a remote are permanent throughout the entire production (with few exceptions), the placement of these cameras is very important to the quality of the production.32 Studio production allows a great variety of pictures due to the mobility of the cameras, and the integration of lens usage technique with the movement. But with static camera positions, there are only as many pictures available as there are lenses on the cameras. A two-camera set- up, then, allows,at the most, eight shots or pictures of any given object, providing the bro cameras are not side by side. This situation calls for careful planning of the camera positions and lenses to be used, plus a careful integration of the positioning of talent, visuals and other elements of the program. This presupposes that the television director has control over such positioning.33 The important thing to remember in this respect is that poor positioning of talent, title cards or any other object may result in a picture that is showing too much or too little of the object. And if this occurs, the camera cannot move close or further away to compensate fl short one to be used on the air. Once the particular shot calling for the short lens has been used, the long lens can be quickly re-mounted in a few seconds, while another camera is "on-air." 321bid., p. 251. 33Rudy Bretz's experience with a symphony orchestra conductor is an interesting footnote on this subject: "Presumably the usual ar- rangement of an orchestra on a stage is primarily for the sounds and appearance before an audience. However, there was to be no audience at these concerts and it was the writer's hope that the orchestra could be arranged to suit the cameras. The conductor would not allow this, how- ever, since it would throw off his musical balance. If the players could not be moved, then the cameras would have to be carefully placed where they could get good individual close-ups, if necessary, of musicians in all parts of the orchestra." Rudy Bretz, "Televising a Symphony Orchestrafi' Journal of the Society of Motion Picture and Televisionggggineers,' (Bay, 1953), Volii60, p. 561. 50 for the deficiency. The object must be moved. During camera rehearsal, the wise director will chalk-in positions of all objects to be shown. The director who is fortunate enough to be able to use a variable focal length zoomar lens will find that this expensive piece of equipment will be able to help in this respect. These lenses are so constructed as to be able to change focal length smoothly and continuously through a set range of focal lengths. This lens allows slight changes in field of view size without movement of the camera, thus providing the director with some flexibility. The zoomar lenses do have some definite limitations, particularly in their need for great sources of light upon the subject. This sometimes precludes their use indoors, or during events staged at night. Intercom.-—The great physical distances between director and cameraman on the average remote program necessitate consideration of another factor on the remote survey; An exceedingly vital part of any television field pickup system is the intercommunication system that is required to effect liaison between the various members of the field crew. Instantaneous telephonic communication.must be available to cameramen, camera-control men, the video switcher, the audio man, the program director, the relay transmitter crew, and any others responsible for the production of the program.3b Lighting.--The director will also be concerned with determination of the necessity for additional lighting gear that may have to be brought tc the remote site by the station. In cases where this will be necessary he will.ask the lighting director to accompany him on a survey of the remote site. Daytime programs televised from outdoor locations require no lighting.3s As a matter of fact, on those days on which the sun 3hChinn, op. cit., p. 78. 35Use is sometimes made of large metal reflectors to fill in shadows caused on the faces of people by bright sunlight. 51 shines brightly, it may be necessary to put additional filters on the lenses to limit light entering the cameras. On the other hand, indoor programs often provide problems in lighting. Although the image orthicon camera will produce a picture at lom'light levels, certain minimum amounts of light are generally necessary to produce excellent pictures andto allow for sufficient depth of focus in has the camera. In televising a speech from the Michigan State University audi— 1 torium, officials had forced the camera locations to be a great distance from the speaker's rostrum. This necessitated use of a zoomar lens with a thirty-inch focal length element. In addition, the officials were un- willing to allow sufficient light to fall on the rostrum to provide a good picture on the zoomar camera. The combination of such great distance, long focal length lens, and low light level provided an extremely inferior picture quality for the program. The director of a series of telecasts of the Minneapolis Symphony Orchestra describes the lighting on these programs. No accurate meter was at hand, but it was assumed that the light ranged from 10 to 20 foot-candles. Any attempt to add spots, even from quite a high angle, brought violent objections from the musicians, to say nothing of the conductor. The depth of field was, incidentally, quite adequate at F/6.3, in spite of the cameras being rather close to some musicians and far from others in the same shot.3 A slmilar situation occurred in a test telecast of the 1955 American Bar Association Convention where broadcasters proved "that electronic gear can be operated in semi-concealment in absolute silence, using normal auditorium or courtroom lighting.37 36Bretz, "Televising 8 Symphony Orchestra," op. cit., p. 561. 37Beatty, op. cit., p. 58. 52 The roccoco ballroom, symbol of an era of past elegance, was poorly lighted by 15 and 25 watt mazda bulbs-about 500 of them, spattered around the ceiling and balcony. A diffi- cult setting, technicians agreed, but all three came as were delivering bright if unevenly lighted images. . . .35 g In televising a Waco, Texas, murder trial, station KWTX-TV found that the only changes in lighting necessary was the replacement of some fifty watt bulbs with one hundred watt bulbs in the courtroom.39 rel. Staging.-One advantage of remote over studio programs is the ; absence of the cost of building scenery. Remote programs are designed to show a particular place in reality, and settings are therefore un- necessary. The staging area will generally supply small items from.the studio such as risers, easels, platforms, drapes and small curtains, tables, chairs, etc. These will be used by the production crew and the announcers. The staging director is, however, sometimes called upon to supply unusual equipment. In televising a Farm Mechanization exposition at Nflchigan State University, a fork-lift truck was utilized as a camera mount. This enabled the camera to be raised vertically, as well as providing a certain amount of mobility. Importance of early survey.—-It is necessary that the remote survey be conducted well in advance of the date of the program. The advanced nature of the survey is particularly essential for programs of any great complexity. The NBC television and radio coverage of the inauguration of President Eisenhower in January, 1953, was one of the most am- bitious projects of its type. . .attempted. The inauguration 381bid., p. 59. 39KWTx-Tv, op. cit., p. 79. 53 day coverage was continuous from 7 A.M. to 7 P.li., at which time equipment was moved to Georgetown University Gymnasium where the Inaugural Ball was televised from 11:15 P.M. until after midnight. The ground work for the project began in November, 1952. . . 0 An early start is necessary in order for the engineering supervisor to plan the release of studio equipment and personnel, if necessary; The engineers will also need time to develop or locate any special equipment needed. There will possibly be some aspects of the set-up which will require more thorough investigation by technical people. Early survey of the location is equally important in terms of making plans for staging, lighting, and construction. Early requests for permission to locate cameras, cables, the remote truck, and other pieces :1 of equipment are essential. There is danger in planning a program based on a particular set of camera locations, without first making certain these locations have been cleared by local authorities. If this occurs, a director can find himself trying to develop a new format and manner of presentation at the last minute. In all survey work it is important that the conditions recorded be representative of those of the time of the day and the season of the year when the broadcast is to take place. Furthermore, the data should reflect the conditions that exist 'when any crowds that are involved are present and when all venti- lating, air-conditioning, lighting, elevator, and other equipment is in operation. More than once the unwary have been surprised to find that conditions at the time of the broadcast sometimes bear little resemblance to those existing when a survey was made during a period that was not representative of the scheduled program time. The execution of a remote survey will provide a great deal of detailed information regarding the proposed site of the event. Most stations provide a survey ferm which is to be filled out by the director hOE. C. Wilbur and H. L. Grelck, "Television Coverage of the Presidential Inauguration," RCA Review, (June, 1953), pp. 259-268. LIChinn, op. cit., p. 135. 51. and the engineer in charge. The survey form should be complete to the last detail before the crews arrive at the location to set up the equipment. I Summasy.-The purpose of the remote survey is to provide a guide for the engineering personnel in planning for a remote program, and in setdup of that equipment at the site. ENery angle must be considered on r-—1 the remote survey form, since nothing can be taken for granted as in the studio. i The establishment of a line-of-sight for microwave transmission ‘ is a prerequisite to all other surveying. The availability of sufficient power must be determined. Use of a portable generator may be required. Positions for equipment must be carefully selected to provide the best possible coverage of the event, while conforming with the wishes of local officials. Such positioning of the remote unit, cameras, and other equipment also requires consideration of minimum effort in set-up. The camera lenses must be carefully selected by the director to fit the needs of the program. He should simultaneously pre-plan the shots to be used on the program. Good intercommunication facilities for crew members are indis- pensible in the remote situation, and these requirements must be consider- ed on the remote survey. Possible lighting and staging to be done by the station must be considered. Lighting is generally nil on outdoor programs, but may be extremely complex on indoor programs. Staging is generally not a part of remote programs, since the purpose of such programs is to show an actual location. Remote surveys should be completed well in advance of the program date to allow for planning by all concerned. The survey should be conducted '55 at a time when local conditions approximate those under which the program will be produced . Two weeks before the date of the scheduled hockey games, the author went to the ice arena for the purpose of completing a survey. In this case , the engineering supervisor was thoroughly familiar with the site, and it was not necessary for him to accompany the author. The first thing to be considered was the amount and type of equipment needed for the telecast, and the location of this equipment. WKAR-TV owns a remote unit which consists of a thirty two foot trailer adapted for television use, and a jeep station wagon (Figure 1). Control point.--The ice arena at Michigan State University is located in the Demonstration Hall building. A place on the south side of the building was chosen for the location of the remote unit (Figure 2). It was to be placed adjacent to a double doorway which gave easy access to a large hallway leading into the ice surface. This would make running of cables from the trailer to the equipment inside quite easy. This location was also relatively near the source of power and the position at which the microwave transmitter had to be located. It was necessary to receive clearance from the campus police to park the remote trailer and jeep in the roadway to the south of the building. This contact was also valuable in that the police consented to erect barricades in the area in which the trailer was to be parked, making certain that space'would be available when the equipment arrived at the remote site. l-Iicrowave.--A microwave system was necessary for transmitting the video signal from the remote unit to the studio. For this purpose the sac: opoeom >9-maegwu.a magmas - . .’ “r 57 survey indicated that the microwave transmitter and reflector could be mounted on top of the jeep, and the jeep parked at the southwest corner of the building (Figure 3). In this position an excellent line of sight was available to the microwave receiver atop Jenison Fieldhousehg (located across the street from Demonstration Hall). It was determined that one hundred-eighty feet of transmitter cable would be required to connect the microwave transmitter on the jeep with its power supply and control unit in the remote trailer. Cameras.—-There were two cameras available for the telecast. A third camera was requested for use in the studios for the purpose of providing intermission news from the studio, as well as for superimposing scores over remote video during the hockey games. The two cameras at the remote were considered both necessary and sufficient. The game could be covered by one camera if that camera were equipped with a zoomar lens. But the additional camera would make possible a much more interesting program in terms of intercutting "color" shots to relieve the monotony of a one-camera program. The second camera was also desirable as a spare in case the main camera should become inoperative during the program.243 Since the cameras were to be immobile for the entire program, field tripods were requested on the remote survey form. The placement of the cameras in the arena presented some problems. hZThe microwave receiver at Jenison Fieldhouse is a permanent fixture. It is connected to the master control room in the studios by an underground co-axial cable. The receiver atop Jenison is used for all‘WKARPTV remotes. The height of the building and its proximity to the studios make it the best available location for this equipment. h3In a previous hockey game in the author's experience, the "pan head" of one camera became inoperative, making it impossible for the cameraman to move the camera with any degree of control. This camera was useless until repairs could be made, thus throwing the burden upon the other camera. l‘__- __.._-H _-_ ‘ . J...- ‘1 .- I‘% - T. ‘ O ‘ . ._ ' ‘ g s . ¥'~"‘1 - ‘ --':."". u 1‘ ' " ’.' 9".' , ._Q.. ' A» 3" a: 9‘ v ' -' . 0 .LI w ~ 0 Figure 2.-lemcte unit at ice arena with Jeep and microwave transmitter in background. Figure 3.-—Jeep and microwave transmitter at ice arena; Jenison Fieldhouse and microwave receiver in background. 59 Perhaps more so than in any other sporting pickup, it is important in ice-hockey pickups to group at least two if not all three cameras (if as many as three are in use) as closely together as possible. As a general rule, it has been found that a grouping of this kind, coupled with judicious switching between cameras (in order to effect appropriate changes in the focal length of the lens trained upon the center of interest), results iphthe easiest viewing on the part of the television 4 audience. Ideally, the camera which shoots the major action of the game should be placed "at the side, approximately 30 feet from the side line and some 20 feet above the ice. . . ."h5 This location permits the camera to cover the length of the ice rink with a minimum of movement from side to side. However, the construction of the Michigan State ice arena precluded this ideal placement of the cameras. 'A series of steel "I" beams placed every twenty feet along the edge of the balcony at the side of the ice surface would obstruct the view from this position. And more important, the level of the ice surface is about thirteen feet below that of the edge of the balcony. If, therefore, the camera was placed at any point behind the edge of the balcony, it would not be able to see the action on the immediate side of the ice. Another position considered was at center ice at the edge of the balcony, about ten feet from the ice surface. This position gives nearly complete coverage of the ice surface, but was rejected for other consider- ations. It would require great changes in focus and quick "panning'm6 of the camera when the action moved into the area immediately in front of the camera position. Such camera movement is confusing to the viewer. Also, the author planned to use a zoomar lens for the program. Its use thhinn, op. cit., p. 127. bslbid., p. 126. b6This term designates horizontal movement of the camera on its mount. 60 at this camera position was impossible due to the close proximity of the ice. The three-inch lens element (the shortest on the zoomar) would not provide a "shot"1‘7 large enough to cover action immediately in front of this camera position. The zoomar lens was finally reaponsible for the placement of the primary camera (Camera #2) in the southeast corner of the arena, on the edge of the balcorw (Figure 14). At this location the nearest point of the ice surface is twenty feet away. This physical separation of camera from action area would make it possible for the camera to keep a shot wide enough to follow quick action smoothly. From this position, using the vari-focal action of the zoomar lens, it would be possible to keep a fairly consistent medium cover shot of the rink, whether at the near or far end of the ice. This type of shot is necessary to keep the viewer properly oriented to the action. The entire area of the ice could be seen from this position, except that area immediately behind the near goal line. The wooden rink border which surrounds the playing surface stands about three and one-half feet high, and masks the ice in front of this position. This problem was solved by the placement of the second camera (Camera #1). The location selected for it was forty feet away from the first camera on the south side of the__ rink, at the edge of the balcony (Figure 1;). From this position it could "shoot" in behind the goal net, against the "boards," thus providing a view of the action which the other camera was not able to show. In addition, this camera was to be used whenever play was concentrated near the goals at both ends of the ice. It was also in a position to be used extensively for "color" shots of 1"(This term designates the field of view or picture seen by the camera. - qp‘ . ' '1 *~a .-. -. Q --—.-« Q, ‘i r . ._ v: 'ru-‘f‘g...’ Figure h.--H0ckey camera placement: camera #1 on the left; camera #2 on the right Figure S.--Hockey camera platform 62 the crowd, and close—up shots of the goalies and other individual players. Previous activity in the ice arena had provided camera platforms. These platforms are six feet by six and one half feet square, and were built to be installed on the edge of the balcony (Figure 5). It was necessary for the author to order these platforms installed by the University Building and Utilities Department. In order that the platforms would be placed in the correct positions, the author made an appointment with the platform crew so as to be at the arena when the platforms were . installed. The author also asked the ice arena manager to be in at— tendance at this time to give his final approval of the platform place- at ment. Since the camera platforms would take up seating space, the author had to clear this with the athletic ticket office. A call was made to the ticket manager outlining the seats to be used. The ticket manager indi- cated that tickets for those seats would be withheld from sale, thus giving clearance to use these positions for cameras. 'With the positioning of the cameras selected, it was then neces- sary to determine the length of camera cables needed to reach from the remote unit to the camera positions. It was found that one hundred and thirty feet of cable would be needed for Camera #1 and one hundred and seventy feet for Camera #2. The camera positions would place them right in among the spec- tator seats. This fact coupled with the reverberating nature of the acoustics of the ice arena, indicated that the cameramen would have difficulty in hearing the commands over the intercom. For this reason, double headsets with large ear pads were listed on the survey for the cameramen. Two additional headsets were required for the floor directors 63 located at each camera. All these headsets were to be equipped with talkback microphones for direct communication with the director. A fifth talkback headset was requested for the announce booth in the arena, giving the director communication with the sportscaster and his assistant. The floor directors were to plug their headsets into the cameras. lEgnseg,-—In choosing lenses to be used on the cameras, the author had the aid of a Dyson "Tale-Viewfinder." This is a small telescopic device which provides the user with a view corresponding to the views seen by the various lenses available. The author was therefore able to stand at the camera positions and see exact pictures which various lenses would offer for the program. For Camera #1 the author chose the regular complement of lenses in use at WKIR-TV, that is, the so mm., 90 mm, 135 mm., and Sis—inch lenses. Camera #1 was to be used to supplement Camera #2 in following the game action. In this regard, it was to be used to follow the action on the near and of the ice when play was near the rink boards behind the goal line. The 90 mm. lens provided a shot which could include a corner of the goal in the shot, while still covering the play as it moved behind the goal line. This same lens offered a shot of the goalie and net including about ten feet of ice in front of the goal. This shot was planned for action which came close-in on the goal, since the angle of this camera's shot provided a better view of the goal crease than could the other camera. The usefulness of the 135 mm. lens on Camera #1 was limited. But it did offer a full shot of the near goalie, shots of "face-offs" at center’iee, and a crowd shot across the corner of the rink at camera- right. The 50 mm. lens offered shots of the crowd in the balcony to the 6h right or left of the camera position. It also offered a "cover"2J8 shot showing about three-quarters of the ice surface. The 8%-inch lens offered a shot of the far goal which would serve both as an individual shot of the goalie, or as a means of catching action taking place at the far goal. This lens also offered close-ups of individual players on the ice, as well as individual shots of the teamExmohes on the far side of the rink. r.s. Camera #2 was to be equipped with a Watson—G.P.L. zoomar lens, 3 the elements of which offered two alternative lens systems. The first ' offered a wide angle lens of three inches and the narrow angle lens of fifteen inches. The second elencnt offered a wide angle of a six-inch a. lens and a narrow angle of a thirty-inch lens. The author determined that this camera would carry the major part of the game action. In order for this camera to provide a continuous medium shot of the action at any place on the rink, the three-to-fifteen- inch element was chosen. 'With the camera located twenty feet away from the nearest point of the ice surface, the angle of view of the three-inch lenS'would be wide enough to be able to keep the action within the camera's frame of view. The variable focal length of the lens made it possible for the camera to seemingly move down the ice to the far end with the play, keeping the viewer at a constant distance from the action. The fifteen- inch lens of this element offered more than enough focal length to do this. The availability of the zoomar lens for an event of this type is a great asset to a director. With the camera statically mounted, the zoomar allows a change in the picture from long-shot to close-up without the necessity of changing from one camera to another. In addition, the zoomar allows a smooth and continuous focal length change which (when hBThis term refers to a shot which covers the entire scene of action. 65 {woperly executed) is less disturbing to the viewer than a camera change. With the camera positions and lenses chosen and the pictures pre-planned, it was possible to work out a shooting sequence to be used for the telecast. This sequence will be discussed at greater length in this paper under the title of "Pregram Planning." Following the survey of the ice arena by the author, it was necessary to meet with the WEAR—TV technical supervisor for the purpose of discussing the remote surve and determinin the feasibilit of the a E; Y aiuthor's plans from an engineering standpoint. The requests for equipment ade its location were discussed, as were engineering problems of power, xsight and transmission of the signal to the studio. Power.-Previous activity in the ice arena had established a point of power supply. This source was located in the arena transformer room on the south side of the building, approximately one hundred and ten feet from the trailer. Since the actual power connection in the trans- former room must be made by electricians, a service request was made by the WKAR-TV technical supervisor for this service. 'WKAR-TV furnished a connector which is necessary to make the source compatible with tele— visicn cables. Audio.~-One important consideration was the method to be used to feexi the audio portion of the program to the studio. Since the Friday nigflrt game was to be a radio-television simulcast, WKAR radio was to handle the audio feed for that game. The presence of a permanent audio line from WKAR radio master control to 'u‘JKLR—TV master control made possible the routing of the audio portion of the program on this channel. Other WKAR radio lines were used to feed the audio from the ice arena to radio master control. 66 However, the Saturday night game was not being broadcast by WKAR radio, so it was necessary for'WKLR-TV to provide the audio pickup. It was decided to utilize the radio lines again and handle the audio in the same manner as for Friday nighti’9 This would require an audio engineer vdth.a remote amplifier and two microphones located in the announcer's booth. Location of the audio facilities at some point other than the main control point is not generally desirable. The main problem is the inability of the director to communicate with the audioman as well as might be desired. In some such situations it is difficult for the audio- man to have a true knowledge of the quality of the audio he is sending out, due to his inability to hear over the noise of the spectators. For the hockey games this plan was used for two reasons. First, the termi- nation point of the radio lines was in the announce booth inside the arena. Placement of the audio control point in the remote unit would have required running an audio transmission line from the unit to the termination point at the booth. Second, location of the audio control in the remote unit would have necessitated running two microphone cables from the trailer to the booth, a distance of over one hundred feet. Location of the audioman with the announcers is also convenient for him in getting the correct microphones turned on at the right time. Since the audio portion of the program was to be fed directly to radio master control, it was necessary to install a small public address system in the trailer connected to the audio amplifier. This unit was b9It is possible to send the audio signal to the studios via the microwave unit. But where possible, WKAR-TV engineers find it more con— venient and oftentimes more reliable to use existing audio lines. 67 necessany only for rehearsal of the program, since an off-the-air monitor provided audio for the director once the program was on—the—air. Telephone.—-Another point which the author discussed with the technical supervisor was the need for a telephone in the trailer with which to communicate with the master control room. This is important from both a production and engineering standpoint. The phone is impera- p»al tive for lining up the microwave system before the remote. It is used by production personnel to "cue-in" studio supplements to a remote prOgram, as well as to check correct timing of the prOgram.5O At WKAR—TV, orders for telephones are made at the beginning of each academic quarter to cover all remotes planned for that period of time. However, the technical supervisor checked with the telephone office prior to the program day to confirm the order. In the case of hockey, a semipermanent, weather-proof phone plug was installed on the outside of the arena building adjacent to the position of the remote trailer. Lighting.—-The arena has forty one-thousand watt lamps with reflectors to illuminate the playing surface. The light system provided approximately twenty-five foot candles of light over the playing surface, which, though not ideal, was deemed sufficient by the technical supervisor for the operation of the cameras. There was a question regarding the use of the zoomar lens under these conditions. The limitations involved here ‘will be discussed under rehearsal and air of the program. 50On the occasion of the author's farm remotes during the summer of 1955, the telephone company could not provide such a line. It was necessary to use the twelve-party line phone in the farm residence. Since this phone was fifty feet away from the remote unit, a field phone system “HMS installed between the telephone and the remote unit. One engineer acted as a go-between at the telephone relaying the messages back and forth.between the studio engineer and the remote engineer. This situation is a very difficult one in which to operate and is to be avoided if at all possible. x’,‘\ on The position of the announce booth precluded any shootinr of the i‘) announcers. The cameras were too ar removed physically from the booth. Furthermore, the high position of the booth made it impossible to shoot it from the camera locations. The booth_is placed approximately twenty feet above the level of the edge of the balcony. For these reasons it was not necessary to plan any staging or lighting for the remote. r-: Summagy.--The positioning of the remote unit (control point) for the hockey remotes was ideal in proximity to the power and telephone sources, and in making short, easy caole runs to the cameras and other equipment. The positioning of the microwave transmitter, although some- . what distant from the remote unit, was not inconvenient. The line-of— sight to the receiver was excellent. Placement of the cameras in relation to the hockey rink was not ideal, although the positions chosen were the best possible under the circumstances. The flexibility of the zoomar lens was very helpful in overcoming this handicap. Although the light level provided by the arena overhead instruments was lower than that required for optimum picture quality, it was found sufficient for the purposes of the remotes. The routing of audio to the studios via radio lines was con- venient, and saved much time and labor. Telethon During the initial stages of the planning of the telethon, a number of locations were surveyed by the author and various associates at‘NKAR-TV. The decision to use the ice arena was made primarily on the basis of the desire to include ice skating acts on the program. Accordingly, the author met at the ice arena with members of the pro- duction staff of WKAR-TV, various University student and staff "producersfi' 69 representatives of the University Building and Utilities Department, the manager and engineer of the ice arena, and a representative from the Athletic Department. Most of the factors involved in the remote survey were worked out at this meeting.51 One important factor which had to be considers was the fact that a benefit ice show would be presented in the arena on the same evening as the telethon. The television program was scheduled to follow by an hour. The juxtaposition of these two programs made for many protlens in Space availability, lighting and audio. Staging.--After consultation with the manager of the ice arena (who was producing the ice Show), it was agreed that a section of the floor would be left clear of ice for the television stage and camera area. This was decided to be an area eighty-six feet wide by thirty- seven feet deep at the east end of the arena. It was deemed large enough by the author and his associates to serve the needs of the tele~ vision operation. The floor upon which the ice is frozen is a smooth concrete surface, and was considered quite ideal for smooth and easy camera movement. According to the types of talent expected to be used on the program, the author determined that eight playing areas would be needed within the television staging area. Working with the WKAR-TV set de- signer and staging director, the areas were designated as follows: (1) sports exhibitions and interviews, (2) telephone operator5£nuiscoreboard, 51A previous meeting had been held with those students and Uni- versity staff responsible for securing talent for the program. On the basis of information gained from them, the author was able to determine the general size and number of playing areas needed for the various types of talent to be utilized. 1st 70 (3) musical groups;2 (h) master of ceremonies desk, (5) solo singers, (5) dancers and musical groups, (7) instrumental combo, (8) large choral groups, and (9) ice rink for skaters. The need for a background for all this action posed a problem. It was decided that the easiest and most inexpensive backing would be curtain material. The Oldsmobile Corporation in Lansing was known to have a group of large curtains in their possession. The staging director a. .h .. ‘A—n. .- was asked to gain permission for their use. Their height was known to be eighteen feet, enough to provide backing for the tallest objects used on the stage. Fortunately, the ice arena is equipped with facilities for'hanging large curtains across the east end of the arena. A pipe batten was al- ready in place which could be used for the curtains. It was found, though, that Special battens would need to be hung on the sides of the playing area. The ice arena engineer indicated that this would be done by his crew. Preliminary sketches were drawn by the designer for set pieces which would be decorative and fit in with the theme of the pregram. The main concern was with the center staging areas, numbers 2, b, S, 6 and 7. The two primary motifs decided upon were the Olympic torch and the Olympic symbol, as well as the seal of Hichigan State University. It was decided that the playing area of the master of ceremonies should be elevated from the rest of the staging area. Ordinarily this would not be necessary for the television audience, since they would never see this area in relationship to the rest of the staging area. However, since the audience which viewed the previous ice ShOW‘WaS to 52This area was subsequently withdrawn when it was found un- necessary. 71 become a "studio" audience for the television prOgrau, it was felt that the elevation of this area would focus their attention upon the master of ceremonies. Ice arena officials indicated that a platform of the size and shape needed was already available at the ice arena. The plat- form was sixteen by twelve feet in size and eighteen inches high. It had a step unit which could be placed in front to facilitate entrance to the platform. I Since the master of ceremonies would be spending a good deal of his time reading pledges and giving instructions to the audience, it was desk as a focus of operations. From this Q.) felt that he should have point he would move to other areas of the stage. A specially designed and constructed television desk was available at KKhR—TV and was slated to be used for this purpose. The platform was also to be used for solo singers, with the master of ceremonies on one side and the singer position on the other. The area behind the singer was to be filled with potted plants. The designer's plan called for a large replica of the Olympic seal to be hung at the rear of the platform. The center ring of the seal would contain a representation of the Lichigan State University seal. On either side of the rear of the platform, two large replicas of the Olympic torch were to be placed. These torches were to be constructed of plywood approximately two feet square and twelve feet high. Again, their purpose was primarily for the "studio“ audience in attendance at the telethon. The two center torches were flanked on the sides by two more similar ones placed approximately six feet farther to the sides. The only other area in which there was any permanent setting was the area to be used by telephone operators taking contribution pledges. 72 Thus area was located to sta be ri1ht of the platform. It consisted of a table ten feet long 1“ two feet wide. It was :ecided to drape the front of the table and place the 'arious telephone numbers to be called on the front of it where they would be visible whenever the cameras shot t which the total of O) This same area would serve as the point pledges would be shcwn on a large blackboard. It would he positioned behind the teleph one operators, withc c lzrge thermometer painted on it to record the level of contributions. It was decided to set the top at thirty thousand dollars ith five-thousand—dollar CLlibraticn . It ”as necessary to obtain risers for the choral groups. This was noted on the surve; form, and the stagizxg director was given the responsibility of securinr zeruission and actual use of the risers. The source was the Lusic Department at the University. The saaging director was also asked to make arrangenents with the Athletic Department for the tranSportation of the athletic equipmext to the ice arena. In addition, a request was ma de for a group of potted plants to be located at various places throughout the area to sof the plain curtain background. The staging d'rector not 3 thi- and indicated that such plants v.ere available from the University Horticulture lepnrtrent. Although not directly concerned with the staging of the program, it was necessary to order a platform from the Building and Utilities Department for the placement of a camera in the balcony. ‘ These items completed the staging section of the r mote survey. Figure #6 shows the floor plan of the staging area. Figures #7 and #8 are photographs of the setting as fir ally co rusted. Lighting.~—One of he most difficult jobs to be done for this program was that of lighting. The television playing area was much 73 swan Aooam soapmamell.o mhsmdh Aoflpw mcflpnMHH wmeficnfi mmafifl :mxoumv «FO- fla £05.01? IIIL mpow mOH .m undonm Hmuoso .m opaoo cam ocmfim .N mmoqashounma maonw Hanan .0 mHmEROthQ Odom .m mmficoamumo no hmpmma .4 suopmsoamamac new mnopwummo mcosmmflme .m msmfi>umécfi and mpcmbm oapwasp¢ .H m mamm< ca MMM A" v a _ A‘ . A, A. AA 4 III- I Illil I all-II- I In! IIIIII Ill-AW _ _ A A. A. a _ A o .5: Em A r H‘ _ H 7h Figure 8.--Te1ethon staging area 7b larger than any previous pregram done by fiKnR-TV. A basi premise for the whole lighting operation was formulated during the remote survey heating. ‘Jith little foreknowledge of the particular talent to be used on the pregram, and with no type of dimming equipment available for con- trolling light intensity, it was decided that the best possible approach :70 would be to provide “base"” lighting over the entire staging area. This would provide complete illumination of all areas to be used, and of all possible types of talent to be used in the various areas. nt the same time, "base" lighting would provide the best possible circumstances for the technical needs of the cameras. t was decided that the only practical method of lighting the program was to provide overhead battens on which to hang the lighting instruments. As with the hanging of the background curtains, the ice arena engineer and manager consented to hang the light battens. The “VAR—TV lighting director determined that four be tens would be suf— ficient to do the job. These included one placed along the width of the playing area in the rear, a similar one in front of the playing area, and two shorter battens on either side of he center playing areas con- necting front and back. The lighting director indicated that it would be necessary to use every lighting instrument at the NEAR—TV studios. Furthermore, he indicated that the connecting plugs on all instruments would have to be changed for the remote. This was necessitated to make the light plugs fit extension cords which would have to be borrowed from the electric shop and theatre. 53The term “base" light refers to covering all picture areas with a very uniform level of illumination, without artistic use of highlight and shadow. ‘T ___.__A_.. 1'" 75 The light available for the skating acts to be included on the program was the same as that used for the hockey telecasts already dis— . . ., , Ch " . J ‘ , ‘1 -, . cussed in this Chapter.“ However, the ice shot to lo rresented earlier in the evening was to utilize six large carbon-arc spotlights. It was not kncwn whether these spotlights would provide enough illumination for the cameras. It was planned to determine this during rehearsal of the program, it being a simple matter to turn on the overhead lights if needed. Given the information provided by the survey meeting, the light— ine director began planning the use of his instruments. This completed the lighting section of the remote survey. Power.-In discussion with the arena engineer it was learned that some adjustments would have to be made in the power supply for the arena in order to provide the large amount of power needed for the lighting and technical equipment. The University electrical engineer indicated that he would take care of this problem. The exact needs of the station were given to him.by the WKAR-TV lighting director and technical supervisor. Following the remote survey meeting at the ice arena, the author was able to determine the technical equipment necessary to do the program. In completing this part of the survey, the author worked closely with the engineering supervisor. It was decided that the control point for the program would be in the mobile unit, which would be situated in the same position as had been used previously for the hockey games. Cameras.--The author requested three cameras for the program. Two cameras were to be placed on the concrete stage area for the purpose of covering the events taking place there. (See Figure 8.) These cameras were tc'be used in a manner very similar to that used in a studio; i.e., ShSee page 67. “J ( )\ the physical spaoia relationships corresponded closely with a studio situation. 'Iith this in mind, regular complements of lenses were re— quested for these two cameras, including the 50 mm., 90 mm., 135 an., and EL-inch lenses. The author requested pedestal dollies for the two floor cameras. This was done for a number of reasons. First, the concrete floor was smooth and would allow good on—the-air dollies, a movement for which the pedestal dolly is well qualified. Second, the basic ad lib nature of the program would practically necessitate using only one camera for each sequence, allowing the second camera to be ready on the master of cere- monies or the next sequence. Because of this, a dolly which would allow the camera to change its shot while on—the—air was needed.i Furthermore, the elevated position of the master of ceremonies (and some of the talent) on the platform necessitated a camera mount which could raise the camera vertically to compensate for the extra height. The pedestal dolly is provided with a mechanism which allows vertical movement of the camera to a height of approximately six feet. It was not possible to pre-plan the shots or pictures to be used on the stage action. Although the author had a general idea of the types of talent to be utilized, no definitive information such as song titles or action was available. Furthermore, as a general rule, programs of this type do not allow or call for strict scripting of shots to be used, , .. .7. .- ' “a .- t 4 .. 55 .. . ‘ althOugL some chlC patterns Can oe established. The author chose to depmnxilipon the motility of the cameras, flexibility of lenses available, and the ad libbing ability and experience of his cameramen and himself to provide proper pictures of the various types of talent action. 55These patterns will be discussed under rehearsal and air of the program- 77 The positioning of the third camera presented a more difficult situation. The reason for requesting this carera was for coverage of the ice acts. The author‘s first intention was to place this camera where it could also be used to shoot action on the "stage." The first position considered was on a twelve-foot scaffold-platform to be located on the ice at the center-rear cf the staging area. However, this position was rejected by the ice show director since it would obstruct part of the area needed for the ice show. The author then requested thzt this camera be placed at the edge a ‘6 of the balcony on the south side Oi the arena.“ ‘ This would place it in an advantageous position for covering the ice acts. but its usefulness for shooting the stage area was lost. The Snot path in this direction was to be obscured by numerous lighting instruments. Because of the large area to be covered by the third camera (with skaters operating near and far), the author requested the zoomar lens for it. Since some of the skating acts were to involve a number of people, t.e short lens element of three to fifteen inches was selected for use. The three-inch lens would give a wide enough picture for the group numbers, and the fifteen-inch lens would provide good close-up shots of thesxfloists. Since the camera was to remain immobile on the platform, a field tripod mount was requested. The remote survey indicated that three hundred feet of cable would be required for each of the two stage cameras, and two hundred feet for the balcony camera. Audio.--Audio pickup presented one of this program‘s mcst diffi- cult problems. Since the author had designated eight talent areas, it was necessary to provide audio pickup in each of them. The standard 56This position was nearly the same as that used for Camera #1 on the hockey remotes (See Figures h and 9). 76 remote audio amplifier is capable of handling four imputs. It was d~- aided to borrOW ano+1.er four-chasm l nnliiie rom WKLR radio. A special m'tching system to link the two a.7 plifiers Would also have to te ccnst~ucted. nrea number three had been Withdrawn. The following microphone et un :55 established for the various :reas: (l) a hand—held microphone 1.1 U) for the sports interviews, (2) a hzznr i-held ricrophone for the ir .terviews With telephone operators and scoreboard keepw ,(h) a desk microphone for the master of ceremonies, (5)8 floor stand ricrophone for solo singers, (5, 7, and C) a role—Richardson paramtulator boom microphone to cover the ll musical groups (vocal and instrunental), the instrumental combo, and the choral groups, and (9) a phonograph turnta l e for the ice act's music. In addition, a pair of spare microphones were to be patched into channels :nd placed beh'nd the center .taging area for emergency use. another audio complication arose out of the necessity of feed dip the area public address svstem ior the "studio audience. It was antici— ‘ Pated that the extreme "live" nature of the arena would cause audio "fees- ‘v‘ .4 beck" squeals. To alleviate this problem, the engineer at the arena a- greed to hang his puiiic address 51caKch on bL; light batten nearest the ice, some dis térce from the micrOphones. A second audio problem arose because the output of only one of the amplifiers could be fed to the public address system. It was there— fore necessary for the author to choose those microphones which would be most necessary ior the "studio" audience to hear. Since it'was neces- sary ior thes k'mt s to hear the music from the turntable, this was a "must" choice. The master of ceremonies' microphone was designated for 79 the public address system since his voice would not carry far in the arena without amplification. The microphones for the sports interviews and the solo singers were also chosen for this reason. The author felt that the large vocal groups, musical combo and other vocal and instru— mental groups could be heard fairly well in the arena without amplifi- cation. Due to the complicated nature of the program, it was mandatory that the audioman be able to see the entire stage at first hand. It was also necessary to have the turntable inside the arena where it would be easily accessible for coordinating the music with the ice acts. For these reasons, the audio control point was to be placed inside the arena in a corner of the staging area. The unit was to be placed on one-foot risers to facilitate better visibility of the staging area, and to keep spectators away from the area (Figure 10). Because of the complicated nature of the audio set-up with its many microphones, it was decided to have the audioman wear a headset which carried only the program sound. It was decided that adding the intercom line to his headset would be too confusing. An assistant audio- man would work side-by-side with the audioman, wearing the intercom head- set, and coordinating the audio action with the director. Studio-remote link.--Audio transmission to the WKAR-TV studio was to be accomplished in the same manner used for the hockey games. WKAR radio lines terminating in the arena were used to route the signal to the television master control room. For this program the coaxial cable link between the WKAR—TV master control room and the microwave receiver atop Jenison Fieldhouse was being utilized by the telephone company to feed a local commercial station. This necessitated establishing a special video line from the 80 ' _ A; 1 v I I v f ’ - ‘ A’ . a I i? ’ / . ’Il if S \ I I ‘ o Q? ’ Figure 9.-JTelethonz balcony camera in operation Figure 10.-Telethon: audio control point with two amplifiers and turntable. master‘<:ontawil room to the remote unit to carry th video sigLel to ‘3.lL-"~l—'£"J. This was to be accornplis};n '. ‘ ringing a small coaxial cable ‘betweerxiflue two locations. This was feasible since th distance is only (3 about true Lnuuflred yards. There are two roadway to cross, tut tlis could be fiong enxsily'ty'running the cable on light poles and through tree tops Cl=arance tx::run this cable was obtained from the campus police department by the technical supervisor. The author requested three floor monitors57 for the staging area. Two of these were to be regular st‘dio monitors. The third was to be a permanently mounted monitor located in the desk to be used by the master of ceremonies. The power source for engineering purpoSes had 1 a. r '1 ' ~~-Z eeer. estuoiisneu J-‘..— .—, . r. ‘ .r~ . 1.. u n, ,. ”in. -1 at one arena, and was to se thfi s we 95 that uan for the hockey games. Intercom.-—The extremely complicated nature of the program ne- cessitated an equally complicated intercomnunication systezn fleeting vdth the engineering Supervisor, a plan was outlined for intercommuni- cation between all persons involved on the production of the pregram. Inshketkm remote unit, intercom headsets with talkback microghones were to‘megnmwided for the director, associate director, technical supervisor, muithe vflkaashader. The need for nuncrous headset outlets in the sumjng amyzrwccssitated some special construction. Two three-hundred- footcxtleswwne made up for this purpose. They were so constructed as to carry double headset outlets spaced approximately fifteen feet apart for that part of the cable lying along; the rear of the s gouging area. Onecxflle camfled six such boxes equipped for talkback headsets. The other catle carried four to} 7 I (7) U} A‘ :1 ,J 1‘ . ~ —~ x-1-o' ‘, P -‘ eeuip,eu ior receive-ong, JCuUSGtS. “- SYNwzterm "sonitor" refers to a television set V circuit disconnectcxi. 82 headset and exisxsion.cablewere also necessary for each person on the crew; bijune a number of visual elements were to be integlated into t‘ progran1ln*'the master control director at the studies, it was necessa r to have cxxmnunication to this point. This was to Le accomplished Ev utilizing a teleph ne circuit to the pastor control room which would Le patched into the remote intercom line. A separate house telephone system was available in the arena u ' - «- \er»: ‘ ,3 ,— , 3 I’L' - .‘, r 3-. n ‘ '1 ' .' .r,,,J . '— “'"‘.‘- J L.. '. , H.110}; la :‘b 4 .L(.~C( A C01..I~surl.i.c\- Vit’fl to 4x‘bl‘kd S -5. '«rC ,. *U“t Cat-be: hrvu‘iu L‘L-(: $Ce surface. It could not be connected with the intercom system, and would not have been in any case, since it would have added more coniusion to an already overloaded circuit. One other piece of equipvent was necessitetud by the plan to mix studio video with remote video. This was a stabilizing amplifier system Va. which allows "geolocking"; i.e., locking the synchronizing generators at V both studio and rerote together to provide one set of synchronizing pulses for the television equipment. This is necessary to keep the two separate pictures from "rolling" through one another as they are nixed. Gathering of the above inforhtticn at the site and the subsequent postings with the technical supervisor concluded the remote survey for the telethon. L completed copy of the survey form for this program will be found in the éppendix. Sumnary.—-thh0‘gh the telethon was to be held in the same lo- cation as the hockey genes, the author found that the problems involved were quite different from those of the hockey remotes. The only similari- ties were in positioning of the control point and routing of audio to the studio master control room. For allgnmctical purposes telethon survey called for es- tablis.ment ofa d~io at the ice arena. The staging was therefore to be much more involved than on the usual remote program- The saze was " Special connections true li hting, a job of enormous complexities. fza d to be as L; University electricians to provide suffi31ent power ior li'hting and engineering requirements. Fr; . Engineering require ants also called for virtual estallishnent of ; 4 studio conditions in the arena. The cLoice of camera mounts and lelises : lor the floor caxcras was made purely on studio terns. The inatility of *~ vas felt to be a distinct i I {~- . the third canera to sheet into the stabing area of tlze c: :pecte éWc ion. rvx-1 disa Jantage, due to+ he cor lexit" The' Jlanninj of th e audio control peint and utiliz ation of enouvh l L o microphones to cover the many areas was another ve.d complex operation. The use of the Ho le-R.icn€rdson loom'was a luxury not usually found on The tie—in With the 35 system was a hea — remote programs. the intercommunication facilities were ache which was to reC‘ . Again, to be complex, approaching the studio situation. The establishment of a special video cacle link nicrowave unit would have been. to the studio was little more time consuming than usw of the It was much more convenient in that it would require no attention once , estatlisncd. Come {108:};0 {It ulr conducted a preliminary survey of the st edium 11e;.rly f3 (”3 on. C. Sf. f the date for the commencement exercises for the a n%on E in advance 0 purpmmns of'th;teitnining possible locations for cameras. Information con- cern i.ng;‘the»cnontmnnt and manner of execution of the e: {erci es had been obtained from the Commencement Coznni 'tee. plan of the platform position 8b in the stadium, seating for staging information was obtained from the staging crew of the ard'Utilitics “epsrtmafin 'The ;iLacement of the cameras on the roof of the press per vious years has? (:1 oven inadequate in term of get of the speakers and other 1: -;sons on the platform. ifix; tion to choose qzricus centre locations inside v.ibht be cqgfiroved Ly the Cor1u enceve nt Committee. Kittee Ye‘ turhca down all; wet: g"or 6 c1 era to the stediun on the yre .‘se uuct it v e destroy tie occxsitz1fihu llock the View of spectators Gnu ire The author net ith the chairman o; the 4-, . ,. J. . .._ r‘ .. .. .:,, 1. ,- A Jo 1r€:€nb plans ior cheer. locetions. The 'r Cumer necessity of getting Of the spec1.ers ;(2) tie desirability of getting iQChti"" 1QVWOS1: , ,JY'C" n 'L (- n .14 ' ‘4 wt v n '- fit D r1 ' “('1 J - 4“ FL‘ LJULLS U0 r- LaC-LVC 1101101. Ctr} (arch ‘1‘. “6L1 VCS, mobilized caxr one its operator culd be much less r1 ‘. "I\"‘ 4"" '0‘ nv- -fl 7' v“"‘L/ - I ‘ final-emce t'sr‘.(-H4l \1: it.) 'K 1‘1”) " («l Eek-S £H .L ‘JUéjrc‘rlllc 3‘5 the platform during the course of the exercises. The author presented thrr‘ ‘ I ‘ g . mursta 1 n,- ’- r‘. '3‘ ,- A 3- ‘r- . Ir“ 6 9"» y. . in obtaining t3. piercinone iced l.ct the rostrum OJ tJt platlo... “ qr?’ -: " “' . . I.- o f l “cs nil an UJIS program. 92 Program Planning A discussion of program planning for remote telecasts must be divided into two distinct categories: those programs produced by tele- ‘vision station personnel; and those produced by persons or agencies out- “? 7” side the station staff. A third category for which there is obviously no foimwl.planning includes fires, train wrecks, floods, tornadoes and other disaster-type events. l ’ Non-contrived programs.-Those events which are "produced" by agencies other than the television station make up the bulk of remote programming.58 Included in this category are such events as parades, conventions, speeches, court trials, expositions, and many types of sporting events. In all of these cases, the camera is merely another spectator. The event would take place whether television cameras were present or not. These programs or events are designed for an audience at the arena, auditorium, stadium, etc. In these situations the amount Of‘PrOgram planning to be done by the station is generally very small. "There are intermission periods in.every such show, however, which must be Proezrammed for the television audience by the station staff."59 Eyen though the station may do little in the way of program.plane ning, this does not rule out the necessity of working closely with the person in charge of the event to be televised. A good relationship here will pershaps enable the television director to suggest small changes in 58Bretz, op. cit., p. h13. S9Stasheff and Bretz, op. cit., p. 250. 93 procedures, actions, and costumes, which can often mean much to the quality of the television program without materially interfering with the presentation for the audience in attendance. A close working relationship between the television director and the person in charge of the event is also beneficial in determining the exact nature of the event. In televising sporting events, for example, the director must know the game procedures, rules and possible occurences well enough to be able to anticipate action that may take place. Contrived programs.--A second general type of remote program is that which is especially contrived by the television station to show F” places or activities that are of general interest to the public. This type of program is necessarily produced by television personnel, since the primary audience for such programs is the television audience, not those people who may be observing the program at the site. The contrived program must be carefully planned within the limitations of the medium of television, and could not, therefore, be adequately planned by outside agencies or people. Again, however, it is imperative that the television producer and/or director work very closely with the cooperating agency, be it an art gallery, museum, factory, prison, etc. Such agencies are invaluable in providing material and consultation in developing the proper approach to a subject, both in script and camera usage. The amount of time and energy expended in planning contrived programs will be greater than for most studio productions. The primary reason is that remote conditions for staging, lighting and general flexi- bility of'equipment are greatly curtailed, calling for exactness in planning the pragram to the last detail. A program experience of the author is relevant here. A group of remote programs were planned to originate from a farm some miles distant 9h from the studio. The producer and the author worked very closely in formulating the program content commensurate with the remote limitations. In order to include an agriculture feature and a homemaking feature on One particular program, it was necessary to place one camera on a platform by the side of a grain field adjacent to the farm house, and the other camera in the dining room of the farmhouse. Since the cameras were stationary in these positions, it was necessary to locate various visual materials to be integrated into each sequence at the opposite camera lo— cation. A dining table was set up outside in order that close-up shots of table settings could be integrated into the homemaking sequence in the house. Similarly, charts and pictures for the outdoor sequence were shown on the camera inside the house. An important consideration in planning the contrived event is to be certain that the desired action can be shot from the camera positions available; also, the microphone cables must reach to necessary positions. The program plans must be carefully coordinated with technical limitations. Format and "run-dovg;."-—Following the planning of the pregram content, there are a number of items to be completed by the producer/ director, whether the prOgram is produced by the television station or by an outside agency. These must be handled by the producer or director although they are often a cooperative project where an outside agency is "producing.” The first of these is the "format" of the program -- what are its parts and how are they to be put together? The format will usually evolve into a "run-down" sheet, which is simply a listing of the various segments of the program action. The run—down may also list basic information concerning camera and micrOphone usage, staging, and lighting for the various sequences. The purpose of the run-down is two fold. First, it provides a guide for the director in structuring the utilization 95 of his equipment and crew to the best advantage. Second, it allows the production crew and talent to be informed about the sequence of events. The development of an individual run-down is extremely important for every program, regardless of how routine the event may be to the director and crew. Neglect of contact with the "producer".of an event or the manager of an arena may leave the director without new information concerning procedures to be followed. People do not often volunteer such information; it must be sought out. Such things as changes in regular procedure, special ceremonies, and other such unexpected action can cause no end of difficulty. Checking the run-down with the local authority is necessary to prevent such difficulty. Another experience of the author's is relevant to this point. Proceeding the telecast of a hockey game, the author checked with the arena manager to find out if any changes had been made in the regular procedure of pre-game activities. The manager indicated that a different flag-raising ceremony was to take place and described the action to the author. This presented no difficulty. But further questioning revealed that all lights in the arena were to be turned off for a period of a minute or so at the conclusion of the ceremomr to allow the color guard to withdraw from the scene. The author was able to get the manager to modify the procedure so that the lights illuminating the new flag would be left on. Had the author assumed that this program was to be the same as all others of the series, he would have found his cameras in black for over a minute at the beginning of the program. Mw-In the case of contrived programs, it is generally ad- visable to replace the run-down with a more elaborate script. In this case the pragram will have a very definite theme of presentation. The television producer will want to make certain that all spoken material 96 is in keeping with the theme, and will add to the understanding of the place or activity being shown. The description of such activities will often be done by a person unlearned in television techniques, or by a television-trained person who is unfamiliar with the subject matter at hand. In either case, full or partial scripting of the commentary must be done for the contrived program. Scripting may be done by the producer/ director, or a writer assigned to the program, but will always be done in cooperation with a subject matter specialist from the cooperating agency. Actual scripting for non-contrived remote programs is nil.50 Here the narrator-announcer-sportscaster will merely describe the scene at hand. He may have certain background information at hand about which he can ad lib, but this material will not be in script form. Open and close.-Another item of program planning to be completed by the producer/director is the development of an open and close for the prOgram. This will involve the selection of a title, writing of continuity for the announcer, obtaining visuals for the titles and personnel credits, and perhaps selecting music on records. It may also be desirable to use music during the program as a background for commentary; e.g., a fashion show. Following the completion of prOgram planning, it is necessary for the director to meet with the heads of the engineering, lighting and -—_ 6QWI‘he amount of written material required by a normal TV remote depends almost entirely on the announcer. If he knows his subject thorough- ly and the peeple involved, he will need little if arm written material. Ordinarily, the announcer on a TV remote will do considerably less talking than his counterpart in radio. But for this very reason he should know his subject even more thoroughly. His main purpose is to supply information not readily obtained from the picture." (Byron, op. cit., p. 15). The author has sometimes equipped an announcer with an ntercom headset through which information can be relayed. This technique is particularly useful When the announcer must operate within a crowd or other location where floor director contact is impossible. 97 staging departments of the station. The purpose is to determine whether the action planned can be adequately covered by all areas. Most of these considerations will have been made tentatively at the completion of the remote survey, but a final check is necessary before the program date is too near. The meeting should be held at least a week or more in advance of the program, depending upon the complexity of the program. This meet- ing allows time for program modifications should engineering, lighting or staging limitations make it impossible to cover the action planned. Size of crews.--The meeting with the various department heads also allows them time to make up crew lists for the remote. There are various standards and minimims which have been suggested for the size of a remote crew. The technical personnel required for the operation of a two- camera television field chain may, typically, consist of the following: two cameramen, one video control man, one video switcher, one audio control man5 one relay transmitter operator, and one electrician (optional). 1 In the case of those stations employing union personnel, the size of the remote crew may be determined by union regulations. It is expected that a somewhat larger crew would be necessary in such situations. The late Klas Lansberg of KLAC in Los Angeles was certainly one of the most remote minded of station operators. Speaking at a Broadcast Husic Clinic on television in 1952, he said, "I don't believe in big crews. I think they get in each other's way, and I don't think they work any better."62 Another remote conscious broadcaster, Joe Drilling of KJEO, Fresno, California, indicated that "on remote, normally, we send a ‘ 6lChinn, 02. cit., p. 115. 6222 Television Talks, (New York: Broadcast Music Incorporated, 1953), p. 111?. 98 technical director and director. . . two cameramen, one floor man, and one production assistant with each camera."63 The usual crew for a two-camera remote at WKAR-TV includes di- rector, switcher, technical supervisor, two video engineers, audio engi— neer, two cameramen and two production assistants. The extra video engineer is used for relief and could be eliminated if cost were a factor. Such is also true of the switcher. The production assistants are advanced students who ordinarily perform this job without pay. Still another broadcaster has listed a different minimum crew for a remote: 0n the program side you will need a remote director and an announcer. On the technical side you will need an audio engi- neer, a video control engineer, and a cameraman for each camera. Using only one camera that would mean three technical staff men and two program staff men -a total of five. I would consider this to be the absolute mininmm. Station IT‘N in Bloomington, Indiana, has televised local basket- ball games using a director, three rotating cameramen (two cameras) and three engineers .65 Host remote programs other than contrived programs are usually quite long, running from one to three hours. Consideration must be given to providing relief for cameramen and others working on the program. A tired crew will produce an inferior program. This cannot be allowed on Programs where alertness is absolutely necessary in following action and adapting to the unexpected. At any rate, the number of personnel necessary for any given 6332 TV Talks, (New York: Broadcast Music Incorporated, 1955), P. 315. 6hByron, op. cit., p. 15. 65F'etranoff, op. cit., p. 166. —_ 99 remote must be considered by the director. The size of the crew will vary with the complexity and length of the pragram. And although the director does not make crew assigmnents, he must be able to request crews intelli- gently, particularly in the production department. It becomes his job to utilize that crew to the best of their abilities by capitalizing on each person's capabilities. This is true of cameramen (who are often engi- neers), floor directors, production assistants, and the switcher. Summarize-The amount of program planning by the producer/director is small for the average remote program. Such planning will usually be limited to providing background information and intermission “fillers” for the television audience. 0n the other hand, the contrived remote program must be carefully planned by the producer/director to adhere to the limitations of remote production. The non-contrived program will utilize a "run-down" sheet which met be prepared by the producer/director. It serves as a check-sheet for the director, and as an information sheet for all members of the crew. Contrived programs will utilize a full or partial script in order that greater control of the commentary can be established. More complete scripting is also necessary for contrived programs due to the inexperi- enced nature of talent used on such programs. All remote programs require an opening and closing sequence for the purpose of program and sponsor identification, and presentation of personnel credits. Consultation should be held with the heads of the engineering, staging, and lighting departments at the station to determine the feasi- bility of the program plans. This meeting will also provide information concerning the crews needed for a remote. The size of a remote crew will 100 vary with the complexity of the program, and with various stations. But the minimum is generally no larger than that required for a studio program. Union regulations may cause some difficulty in keeping crew size to a minimum. Hockey The mount of program planning necessary for the hockey programs was not great, since the major part of the program would consist of following the action of the game. Program planning was limited to the open, close, intermissions between periods of play, and procedures to be followed in covering the game action. As producer/director for the hockey games, the author formulated the format, run-down sheet, and other continuity used on the programs. In addition, he planned the pregram sequences to occur during intermissims. However, the author worked closely with the announcers in formulating these procedures and materials. Consideration was given to the possibility of conducting interviews during the ten-minute intermission periods. In planning interviews or other production for the inter- missions of a game, the director must arrange a suitable space within range of one of the cameras. Sometimes a guest can be squeezed in beside the sports commentator at his regular desk when that is near the cameras. Sometimes stations have ar- ranged for special interview rooms in the press box where a 6 camera has only to turn around in order to cover the interview.6 It was impossible to shoot the announcers in the booth because the cameras were too far away. And with the cameras located in among the spectators in the stands, there was no place where interviewing could be handled effectively. The only action available to the cameras, then, during intermissions was the resurfacing of the ice, a rather monotonous 66Stasheff and Bretz, op. cit. , p. 253. 101 subject. For these reasons, the author planned a five minute newscast to be presented from the studio during the intermissions. Open and close.--Since the television station was to join the simulcast one half hour late on Friday night, and since the radio station was to start its coverage at the beginning of the game, a procedure for acknowledging the television station as it joined the program would have to be set up. It was expected that the announcer would be involved in describing action of the game when the television station Joined the broadcast, and it was deemed undesirable to break into this description to do a special opening for the television station. However, some sort of acknowledgment was necessary to establish the location and event for the television audience. The author wrote a short acknowledgment to be read by the announcer as the television stations Joined the network. A copy of this acknowledgment will be found in the Appendix. It was also necessary to develop an open and a close for the Saturday hockey game. The position of the cameras in the crowd together with the lack of light precluded shooting opening and closing title cards at the remote. The author therefore developed an open and close to be carried out at the studio by the master control director. The open in- cluded an exterior picture of the ice arena with slide titles superim- posed. llusic was to be the Michigan State University "Fight Song" on a recording. A similar approach was to be used on the close. A copy of the open and close for this program will be found in the Appendix. Audio-video coordination.-Since there was not room enough in the announcer's booth for a monitor, it was necessary to devise some means of helping the announcers coordinate their description with the video of the program. Obviously this would not be necessary during the 102 actkn10f the game, since the director and the announcer would be follow- ing the play. But during play stoppages a procedure was needed whereby the announcer could know what was being shown. The procedure planned for this situation was to place an intercom headset on the assistant announcer, who would then feed information about specific video shots to the an- nmnmer. This intercom arrangement was also planned to aid in coordinating remote audio with studio superimposition of scores throughout the game. Ihxorder that these procedures would be well known to all involved, a set cu'instructions was prepared by the author. It is reproduced in the Appendix. gameramen instructions.--The ice arena is an extremely "live“ location‘with much reverberation of sound. The author anticipated times during the game when the crowd noise would make intercom communication with the cameramen inmossible. For this reason, as well as to orient the cameramen to their basic shot patterns, an instruction sheet was prepared tw'the author.67 A copy of this instruction sheet will be found in the Appendix. Progem meetings.-While in attendance at previous hockey games, the author had noticed the players lining up facing a flag in the west end of the arena for introductions. This procedure would have placed their backs to the cameras located in the east end of the arena. fleeting with the hockey coach two days before the game, the author asked to have the procedure reversed in order that the cameras could see the players' 67A similar procedure was used by KECA—TV in televising football from the Los Angeles Coliseum. There "all systems were carefully worked out in advance and each man knew his job and what he would probably do in the event of a pass, kickoff or run." Broadcast News, (July-August, 1950), p. 65. 103 faces as they were introduced. The coach promised to do so and also indicated he would so instruct the visiting team. The author also met with the ice arena manager to determine the order of events preceeding the hockey games. He indicated that the regu- lar procedure would be followed for player warm-up, introductions, and the playing of the National Anthem. A meeting was held with the staff floor director five days in advance of the programs for the purpose of requesting production crew members. The author requested a switcher, a production assistant for the remote unit, and two floor men at the cameras. The production assistant was to follow the cue-sheet and run—down sheet as well as keep time during station breaks and news breaks. The floor men were to aid the cameramen in aligning the camera before rehearsal, keep spectators away from the camera platforms during the program, and be ready to help the cameramen in 8W way necessary. They would also act as "eyes" for the director in keeping him informed of happenings in the arena. The author met with the master control director for the purpose of orienting him to the procedures planned for handling studio portiom of the programs. The cue sheet, open and close and information concern- ing the five-minute news breaks were discussed. The author also discussed the procedure to be followed in superimposing the scores throughout the Same. Copies of the cue sheet, run-down sheet, and instruction sheet were left with him. A meeting was held with the technical supervisor a week before the pragram dates to discuss the program plans in relation to the technical requirements. A re-check of this information indicated that the two were compatible. The technical supervisor indicated that a technical crew of three cameramen, three video engineers and an audio engineer would be 101; 6‘ Q Ma» 96 ltiou to himself. T% @359 completed the program planning for the hockey remotes. ! MTV-“The nature of the hockey games obviated the necessity of much program planning by the author. The most important program Planning done was the development of basic shot patterns for each of the cameras. The development of a means of coordinating the announcer with the video was also an important part of the program planning. The in- struction sheet used to facilitate this audio-video coordination was also Prepared for use by the master control director with respect to super- inlposition of scores from the studio. Other program planning was routine. It included the preparation of the open and close, and meetings with the technical supervisor and the staff floor director to check program plans and crew requirements. The author met with the ice arena manager to establish pre-game Procedures for the hockey games. A meeting was also held with the master control director to discuss the integration of the studio portions of the program. Telethon The program planning for the telethon was the weakest link in this production. It was only the tremendous effort put forth by those people working on other phases of this program that kept it from being a complete failure. flident talent comnittee.--The responsibility of arranging for ta lent to appear on the program was vested in a student committee. The au—tkmr and his associates representing WKARf-TV were given only the re- 8Form-ibility of molding a program out of talent furnished, and producing t hat Pr°8r8m on the air. As it happened, the full time of the author ‘_—‘ to ' fl ’ ' ... 'l I l u 105 plus a majority of the time of the WKAR-TV program and production managers were spent during the week preceeding the telethon in an attempt to get the program content formulated. However, the magnitude of the task coupled with the inability of the students to appreciate the exigencies of television production resulted in a poor and haphazard job of provid— ing (actually producing) the program content. The plan called for the student committee to secure commitments from,various talent acts regarding number of appearances, song titles, and time availability during the evening. The television production personnel would then prepare a program run—down sheet consistent with television programming techniques and the limitations of the remote situ- ation. Erogram nearly cancelled.—-Three weeks before the air date it was decided by the overall University Olympic Committee to set the date back to allow more time for planning and publicity. However, ten days before the air date of May S, a meeting was held for those working on all phases of planning the telethon. This included television, publicity, Olympic Fund Committee, cooperating civic organizations, and various University departments. The student representatives were conspicuously absent.. After much discussion, the group voted tentatively to cancel the program because of the great amount of work remaining to be done in such a short time. The specific problems presented by the author and his associates were: (1) the group of out—station stations who had been asked to carry the program were pressing for definite information concerning methods of handling collection of pledges; (2) the author still had no specific inp formation regarding the talent for the program; (3) the station and the University were liable for unfavorable reaction to a poorly planned prOgram from the general public and the commercial stations. Publicity h 106 and financial problems were raised by others, in addition to the col- lection agency problem. Another meeting was held later the same day at which the student government representatives were present. The group was persuaded to con- tinue the program by student pledges of feverish activity. Lighting and Staging.--The lack of program information hampered the plans of the television staging and lighting crews. Although the general types of activity to be used for the program were known, there was no definite information which could be given to the lighting and staging people. Realizing the improbability of obtaining this information, those persons in charge of these areas made plans to accomodate nearly arm type of talent possible. This was actually a necessity. since no one from the television station would see the talent perform before the time they appeared on the program. Plaanng meetings.--During the two weeks preceeding the air date, a number of meetings were held by the author and his associates with the students and faculty members charged with the responsibility of securing talent. Slowly these meetings began to yield some names of talent possi- bilities, but no specifics as to exact nature of the acts, time availa- bilities, number of appearances, names of songs, etc. Although available program information was very sketchy, it was necessary for the author to meet with the various department heads at the station early in the week preceeding the air date. The tentative program plans were discussed and compared with the equipment available. This meeting did allow some further refinements in the plans of the engineering, lighting and staging departments. Another meeting was held with the assistant director and the staff floor director to determine the size of production crew needed. It was ..l 107 decided that an on-the-air production crew of eleven persons would be needed including the director, assistant director, script girl, two stage managers, three floor director—cable handlers, a boom operator, boom pusher, switcher and lighting supervisor. These were to be augmented by a second group whose duties would be handling talent entering and leaving the arena. Included here were a pledge liaison, two talent handlers, two floor police and a typist. A description of the part these people played in’ the production of the program will be given in the section concerning rehearsal and air of the program. A similar meeting was held with the engineering supervisor. It was determined that a crew of four video engineers, four audio engineers, and four cameramen would be sufficient to carry the remote. The engi- neering supervisor would also be on duty. The staging and lighting crews were not any particular concern of the director, since he would not have any direct contact with these people. Publicity.-0ne of the most serious problems encountered during the remaining time before the air date was that of publicity. A publicity head had not been obtained to coordinate the dissemination of information. This resulted in much confusion and misinformation reaching the public. 0 Press releases were being issued by as many as five different persons. This caused some difficulty in program planning. ho incidences of this were particularly disturbing. Erroneous press releases concerning the master of ceremonies and the telephone company caused near withdrawal of both from the telethon. Loss of either would have doomed the program, since Mr. Finch was instrumental in solving many talent problems, and the fund pledges depended upon the telephone installation. Fortunately the author and his associates were able to explain the mistakes and keep the good will of both parties. ..l I w 108 Other publicity releases were printed which contained erroneous information concerning the time and place of the program, and the methods of pledge collection. Nothing could be done about these, except to hope that subsequent articles would correct the mistakes. In the meantime, the author had received film of past Olympic games. After viewing the films with the assistant director, it was de— cided that the poor quality of the film would eliminate all but a few short scenes from consideration. It was decided that the extra effort in setting up a film coordination system with the projection room in the studios was too great to justify the small amount of usable film. This material was then dropped from further consideration as a part of the program content. As late as four days before the program, the student committee on talent had not secured the services of an orchestra or combo. This unit was badly needed to accompany soloists, vocal and instrumental. Withtime being such a big factor, the author and his associates ap- proached Mr. Finch at WJIM-TV with the problem. He offered to provide a small combo employed at his station for the telethon. Station relations.-As the air date neared, increasing pressure was put upon the station officials by the participating television stations for information about methods of collecting pledges and money. None of the stations were planning to handle the calls, and feared that their phone lines would be tied up with pledgees not knowing where to call. The information needed, including local telephone numbers in each com— munity, was to be determined by members of the Olympic Fund Committee through the local alumni offices. This information was still not availa- ble. four days before the telethon, making publicity on this phase of the operation impossible in the outlying cities. 109 The problem of setting up telephone and collection agencies in outlying cities was attacked by Mr. Ralph Young, General Chairman of the Olympic Fund Committee. Working with a great handicap of time, Mr. Young was aide to successfully contact the various alumni groups in the cities where the program was to be seen. Still the information on telephone numbers to call in the various cities did not reach the author until two days before the program. This necessitated a rush order for slides of these numbers which would be shown throughout the program. This situation became even more hectic the day before the program, when phone calls from the cooperating alumni clubs informed the station that some of the numbers had been changed, and some new ones added. Through the excellent cooper— ation of the campus photo lab, the author was able to get new slides made that same day. Ice acts.-—The decision to hold the program in the ice arena was a fortunate one, since one hour of ice acts would be made available, in- eluding the World Champion woman figure skater, Carol Heiss. Since the skating acts to be used were part of another ice show, it was possible for the author to see a full dress rehearsal of these acts before the day of the program. Following this rehearsal, a number of ice acts were chosen which were most suitable for television presentation. Although there was not sufficient time to map out shooting plans for each skating act, the rehearsal did give the author an opportunity to become familiar with those acts to be utilized on the program. The solo, dust and small group numbers were chosen for the telethon. An exception was the opening number of the ice show entitled "Olympic Parade," which depicted the various Olympic winter sports activities being carried on concurrently in Italy. The author planned to use this number as the openr ing of the program. It lasted approximately four minutes and was to llO culminate with Champion Carol Heiss skating around the rink carrying the Olympic torch. The ”Olympic Parade” act was not particularly suited to television ‘pick-up as it was originally conceived. However, following the rehearsal, Jean Arlen Jordan, the director of the ice show, indicated that any changes desired would be made for the television program, in so far as the skaters ‘were capable of making them. No changes were made until during the tele- vision rehearsal prior to the air show. The run-down.—-In the meantime, the specific information regard- ing talent for the program was finalized two days before the prOgram air date. The author and his associates began the job of preparing the run- down for the entire program. This list included the time of each activity, the name of the talent, type of activity, the staging area to be used, and the micrOphone or audio source to be used. . The development of the run-down was extremely important to the author as director of the program. There were various technical consider- ations to be followed in placing sequences within the program. Each sequence had to be planned in relation to adjacent sequences with regard to availability of staging area, microphone, and cameras. At the same time, overall programming of the various sequences had to be considered for the elements of pacing and variety. In this respect the performance of Carol Heiss was held off until relatively late in the program in an effort to hold viewers. The other feature attraction, Carmen Cavallaro, was used at regular intervals in an attempt to keep the quality of talent as consistently high as possible. The interviews with coaches and suc— cessful athletes were kept short and spread out throughout the program in order to keep entertainment foremost. The skating acts were thought to be one of the strongest parts of the program, and were interspersed 111 througxmt. With all of these considerations to keep in-mind, still another one had to be faced. Many of the performers could only appear at certain times. For example, the youngest skaters had to get to bed early and required placement at the beginning part of the program. A choir which had a previous engagement could not be available until after 11:30 P.m. Host of the performers were in some time category as to availability, and fitting them into the run-down was a big problem. Special attention had to be given to the first segment of the program. It was hoped that the "Olympic Parade” ice act would serve to hold the attention of the audience at the beginning of the program. It was necessary to follow this by an explanation by the master of ceremonies of the prOgram purpose and procedures for contributing money. This was to be facilitated by a short interview with the western Athletic Conference Commissioner, Er.'Wilson. Following this, the next sequence was to be Carmen Cavallaro. It was the feeling of the author and his television associates that the "talk" part of the opening minutes was too long. But other members of the production unit from the Olympic Fund Committee pre- vailed, feeling that Mr. Wilson was important to the beginning of the program. The author and his associates spent three two-hour sessions to- gether before the run-down sheet was finalized for the typistw It was then reproduced in quantity and distributed to all people concerned wdth the program. It was important that the student talent committee contact all talent to inform them of the exact time they were to appear. A copy of the completed run-down will be found in the Appendix. Continuity.-An important consideration in obtaining a smooth ll2 presentation by the master of ceremonies was the preparation of written intromnndons and explanatory material for him to use throughout the program. The author and two volunteer journalism students spent three hours on the day before the prOgram typing this information on file cards. One group of large cards was prepared which contained in skele- ton form the basic information about the purpose of the fund drive, and the procedures to be followed in making pledges and contributions. One card contained a list of the telephone numbers to be called in the various cities. It would be extremely important that these numbers be given in the same order each time since the slides used to superimpose the phone numbers were set up in that order at the studio projection room. This group of cards also included a list of credits to be given to the various University and community agencies contributing time and effort to the program. Another group of small file cards was typed to provide the master of ceremonies with information about each sequence on the program. Since the names of songs or other specific information about the various acts was not known at the time these cards were made up, space was left for this information to be typed in as the talent appeared at the arena. Qpen and close.-4The opening and closing of the prOgram was com- pleted by the author two days before the program. This is unusually late, but it could not be done until the ice show rehearsals began. The opening shot on video was to be the official Olympic seal. In order to incorpo- rate this into the ice act, a paper seal was to be attached to the back of the jacket of the first skater to come onto the ice. The camera would then be focused close—up on the seal. After establishing the seal for five seconds, the skater would move onto the ice away from the camera ‘1k'gtfi" .;, ‘ - 113 with the other skaters following from behind the camera. The audio copy and subsequent video information is shown on the copy of the Opening in the Appendix. The music and announce was to originate from the studio on the open of the program with the video coming from the remote except for slide superimposure of the title. The closing posed a problem in the handling of credits for such a large undertaking. It was decided that the general policy of the station would be followed. Audio credit would be given for the production and engineering crew. Video credits would be given to the director, as- sociate director, engineering supervisor, stage managers, and producers. Credits were to be given to the numerous student, staff, and community (I helpers by the master of ceremonies periodically throughout the prOgram. The video credits were ordered in the form of a "crawl-strip" from the station art department. This would be placed on a "roll-drum? at the arena and superimposed over a shot showing the staging area in- cluding cameras and Other equipment. The music and announce would again (niginate from the studio, since facility for handling this was not a— vailable at the remote.‘ A copy of the closing will be found in the Appendix. Handling of talent.--Since there would be performers arriving at the arena throughout the night, it was decided to designate a special entrance for them in order to control all talent movement to the staging area. This would also allow the talent receptionists to determine the rmmes of songs and other information, and provide the talent with infor- nmtion about procedures and their time of appearance. This entrance was located on the north side of the arena building. It opened into a large ballroom which would also house the telephone operators. 1114 An upswirs lounge was made available where the performers could relax until‘tbme for their appearance. Refreshments were to be made available as well as television sets to watch the progress of the program. A piano was placed in another nearby room for those people wishing to re- hearse. It was necessary to prepare a list of all talent, crew members, and other perSOunel to be allowed access to the ballroom. This list was also necessary for the campus police,who would not allow the general public to drive automobiles up to the building. Since many of the per- formers would be making hurried trips to the arena, it was necessary that they be allowed to do so. Host of the television personnel would be required to be at the arena some hours in advance of the air time. Admission to the ice show preceeding the telethon was by ticket, and some means of providing free Ewssage in and out for the television personnel was necessary. Special tmdgeS'were secured for this purpose and distributed to all people work- ing on the program. The author also obtained two police arm bands from the campus Ixflice to facilitate the work of the two floor police. Their Job was to keep people from peering through the backdrop curtains and otherwise interfering with the coacmct of the television program. Since the entire crew would be seen by an audience in the arena, arequest for coats and ties was made by the author. This completed the program planning for the telethon. Summary.—-The primary problems associated with program planning flN*the telethon occurred because the control of developing the content hmiEeen placed outside of the station staff. The student committee, llS unable to realize the importance of early action, made the job of pro— duction planning extremely difficult. The prOgram was made possible, in spite of the student group, only through great efforts of the station staff and faculty members of the Olympic Fund Committee. Publicity for the program was either erroneous or non-existent in the beginning stages. This was particularly true in the outlying cities where the program was to be televised. Poor publicity caused many problenm for the station with respect to individuals and the stations who were to carry the pregram. The inclusion of the ice acts was felt to be the saving feature of the program. These performers included some of the best amateur skaters in the world. Development of the run-down for the program was a very complex job. It involved the juggling of available talent while considering their time commitments, the technical requirements, and the overall program format. Although scripting of the program was not necessary, it was neces- sary to write continuities for the master of ceremonies to use as the basis for ad lib comments about the nature of the program, procedures for making pledges, and introductions to talent. An important part of program planning for the telethon was the development of a system to insure control of performers arriving at the arena. It was also necessary to provide a lounge for the talent. 99mmencement Since the telecast of the Commencement exercises would be prima- rily concerned with viewing an event planned by another agency, there was comparatively little program planning to be done. 116 The author was assigned as director three weeks prior to the Commencement exercises. The program was to be produced and narrated by Professor Buell. The author and Professor Buell met with the WKAR—TV prOgram di- rector to determine the purpose of the program and the extent of coverage desired. One purpose of the prOgram was to provide the viewer with a total view of the ceremony of a University commencement. This would re- quire a.relatively long program, possibly over two hours in length. Opening segment.--It was decided to begin the program fifteen minutes prior to the beginning of the Commencement processional, and to continue it until part of the recessional had been completed. The fifteen- minute period before the exercises was to be used to set the scene for the television audience. A run—down sheet was formulated to include the open— ing, introduction by the host, setting of the scene, and a display and discussion of academic gowns. Professor Buell would be located on top of the press box for the opening segment. From this location he would be able to make his introduction "on—camera," and orient the audience to the camera position in relation to the speaker's platform. He would also be able to display the various academic gowns to be seen during the ceremony. In this respect, Er. Buell asked a colleague to appear on the program to show the gown worn by a Doctor of Philosophy. This action was to take place with the buildings and trees of the campus as a background. The placement of cameras had been so designed that it would be possible for Mr. Buell to step to the side of Camera #2'while being seen on Camera #1. Camera #1 could then."pan" from Mr. Buell past Camera #2 down to the field. This would serve to orient the audience to the po- sition of the cameras in relation to the field and the platform. 117 General studio production forbids the showing of a camera in a scene. Such action would destroy any illusion being established. However, "the diJector of a remote should not be afraid of letting the cameras come into the picture or letting mikes show. Remotes have nothing to do with illusixnu they are frankly and nakedly television coverage of reality."08 Furthermore, showing the cameras can very often be an advantage, as in this example: It was inevitable that the cameras within the orchestra would show in occasional wide shots. . . .This was welcomed as a plus rather than a minus factor. We were careful to identify the cameras. . .having the master of ceremonies say something like "our cameras are in place among the musicians to show you the orchestra from the inside, etc.," thus frankly admitting to the audience that the cameras were there. No one said the equipment was distracting, and some said that they enjoyed seeing the cameras occasionally since it kept them aware that the program was a live telecast. This was the plus value that we had hoped for —-an increased sense of immediacy.69 Following the setting of the scene, it was necessary to insert another sequence of two or three minutes duration to give hr. Buell time to move from the press box roof to the announce booth on the floor below. This was to be accomplished by having another person enter the scene on the press box roof to "carry" the program while Mr. Buell made his move. “MR-TV announcer Charles Casel was selected to handle this sequence. He was to introduce and narrate a panorama of the campus as seen by the thirty-inch element of the zoomar lens on Camera #2. Following this, hr. Cassel would reintroduce the host (in the announce booth below) who was to narrate the remainder of the program "off-camera." Three days before the air date, the authon,accompanied by the 68William C. Hodapp, The Television Manual, (New York: Farrar, Strauss and Young, Inc., 1953), p. lhé. 69Bretz, "Televising a Symphony Orchestra," op. cit., p. 563. 118 host and the announcer, made a visit to the top of the press box for the purpose of rehearsing the beginning sequence. The author used the Dyson Viewfinder to establish talent and camera positions for the desired shots. A check was made of the buildings which could be seen in a panorama shot, and these were noted. with this information in hand, the author requested Mr. Cassel to write a three-minute script describing the scene during the "pan" shot. The script was to be read slowly, allowing the camera to follow the narration. he script was edited and approved by the author the following day. A copy of the run-down sheet for the roof—top sequence including the script for the panorama shot is included in the Appendix. ‘Qpen and close.-—The author had previously written the open and close and these were discussed with Mr. Buell three days before the program. Video on the opening was to consist of a shot of the University carillon, Beaumont Tower, with title slides superimposed. The audio was to include chimes, the University Alma Mater, and announce copy. All elements except the shot of Beaumont Tower were to originate from the studio on the open. It was the author's original intention to utilize a carillon re- cording of the Alma Mater for the opening. However, although several tape recordings of the chimes were available, the Alma Mater was not among them. After a futile attempt to make a tape recording of the chimes, the author chose a short passage from one of the available tape recordings to be used at the beginning of the open. This was to be followed by a short announce- ment of the pregram title and location, after which a glee club recording of the Alma Hater would be played. The video during the open would be a shot of the top of Beaumont Tower with title slides superimposed. 119 The closing would again utilize a shot of Beaumont Tower as a background for the superimposure of title and credit slides. The music was to be an instrumental version of the Alma hater recorded by the Uni— versity band. Again all elements of the closing except the shot of Beaumont,Tower'were to be handled by the master control director at the studio. In accordance with WKAR-TV policy, audio credits were to be given to the technical and production crews. Video and audio credits were to be given to the technical supervisor, the director, the host, and to Michigan State University Television. A copy of the open and close will be found in the Appendix. Shot p1anning.-—The author expected that part of the program de- voted to the processional and recessional would be visually monotonous. To counteract this, a series of "color" shots were planned not only to break monotonous action, but to provide the viewer with television close- up shots of the scene. This was to be accomplished through shots of the graduates, the band, the platform setting, the United Nations' flags, peculiar academic robes and caps, the crowd, and any other interesting situations which might arise. The basic shooting patterns to be used during the exercises had been determined at the time of the remote survey.70 §gzipt.--Professor Buell was thoroughby familiar with the Com- mencement proceedings through many years of participation. His long service to the University had provided him with rich background infor- mation. And his ability to ad lib is very good. For these reasons, no script was prepared for the processional and recessional, the time during -____ 70See pages 86 and 88. 120 which Professor Buell would be most active. A semi-script of the exercises was provided by the Commencement Committee. The author received this script two days before the program. It was very complete, being a run-down of all segments of the program, including the actual words to be read by the University president, who would conduct the exercises. It also contained information about the platformxparty concerning the place of each individual in the marching columns, a seating plan of the platform, and stage directions to be followed in conferring degrees. This script was accompanied by an in- struction sheet prepared for the graduates which contained information about the marching routes into the stadium, and a seating plan for the individual colleges of the University. No time limit was established for the program. It was decided to carry the program until part of the recessional had been completed, thus providing the viewer with a complete picture of the University Commencement exercise. There was no pressure from succeeding WKAR-TV PrOgrams, since the station would only be on the air for this particular prOgram.71 Summary.—-The amount of program planning necessary for the Com- mencement remote was quite small. The opening segment of the program was planned as a background and introduction to the exercises, a device which was deemed desirable for this program. The technique of showing a camera in a shot was utilized to establish the location of the cameras, and to establish the "live" nature of the program. An effort was made to develop an opening commensurate with the 71WKAR—TV was operating on a Monday through Friday schedule at the time of this telecast. The Commencement exercises were held on.Sunday. rd 121 solemnity of the occasion. Thus a relatively long but simple opening was planned, utilizing the symbols of Michigan State University. The closing was of a more routine nature. The necessity of visual variety in showing the processional and recessional had been.impressed upon the author through attendance at past commencement exercises. Consideration was therefore given to utili— m zation.of every possible means of obtaining a variety of dissimilar camer shots. The script prepared by the Commencement Committee was a con- venience not often found in remote telecasting. It promised a great deal more sureness on the part of the author in anticipating action during the exercises. Bhysical Set-Up It, is of utmost importance that all areas of the production team us” or): together in the physical set-up of the equipment for a remote. This 5., 8 0f greatest importance at an unfamiliar site. Regardless of the amount or excellence of pre-planning put into a remote, regardless of how well 5:? “h area knows its particular position and set-up, they must all be well 5”" 00rdinated when the crews move in to set up. Unforseen problems usually %/’ise in fitting the equipment to the plan. When such problems occur, t. 1'19 combined efforts of production, engineering, staging and lighting personnel must be coordinated to meet the problem with resourcefulness or c cmpromise - The placement of technical equipment must often be carefully co- ordinated With the positioning of settings, lights, and talent. Such a s?t“a’°i°n has occurred in the author's experience with basketball halftime wurfle‘rvs . With two cameras, talent, floor manager, lights and backdrop crowdEd into a small booth in the press box, the necessity of correct Qy/acement of all elements within the area become very critical. A step idhafé or sidewise by the talent would have placed him out of the lights and made it impossible for the cameramen to correctly frame their shots. Incorrect position of one camera by only inches would have made it im- POSSible for the other camera to position for his shots. Another relevant example is the farm remote mentioned earlier. Here the Cameras were located on a rough grass lawn which made movement 01‘ repositioning of the cameras impossible once the program began. Two squchgs were to be done, located 180 degrees from each other. The 123 (wheres were to simply swing from one side to the other to cover each sequence. The first sequence involved showing calves by h-H club members and interviews of the youths by the master of ceremonies. In order to obtain the various shots desired, the action was blocked out carefully and marked on the grass. The second sequence involved the showing of fresh and bottled vegetables on a table. By jockeying the tables and their contents towards or away from the cameras, and by utilizing the various lenses available, the author was able to set up the close-up shots of the demonstrators, bottles, and vegetables. Once set, these positions were marked in order to be the same for the air program. It is usually necessary for the director to be at the remote site when the set-up is being made. It is seldom possible for the director to make his sketches exact enough for correct equipment placement by the crew. And once the equipment has been set, it usually cannot be moved. In addition, should problems arise which are not compatible with the planned set—up, the director must be on hand to make decisions regarding changes and compromises. Again, the need for the director to be in at- tendance at the set-up is most acute when a remote is being done from an unfamiliar site. Local clearance.--In making the set-up of a remote, it is wise to Check With the local building manager or person in charge of the event tmfore mmch of the set-up has been completed. Although this clearance should have been gained previous to the set-up, actual appearance of equipment, on a scene will sometimes appear different to such a person than he has envisioned. It may be necessary to persuade, explain, or perhaps compromise with the wishes of this person. However, in most cases, 'uns final check is only a formality. It will generally be handled by the PrOGUCBr/director as an adjunct to checking final procedures for the event. 12: It is well that some person be designated to check the remote site some hours prior to the time of set-up. This person should check availability of entrance to the building, access to parking for the remote unit, and clearance for the personnel involved. This will prevent the ar- rival of crows who must wait for the gate to be opened, the parking place cleared, etc. Order in set-up.--There is a fairly definite order of setting up equipment at a remote. The first act will be to make the power cable connection to the remote unit. Simultaneously, the telephone connection will be made. Two concurrent operations follow this; the setting up of cameras and the microwave transmitter and dish. This equipment must be readied as soon as possible to allow maximum time for warm-up and check— out of cameras. The aiming of the microwave dish must be completed early to the satisfaction of the studio engineers. Following this, the micro- Phones and audio amplifier will be located and checked. An early audio check—through with the studio is important. After these major consider- ations, other items such as monitors, intercom facilities, etc., can be set up. Time allowance.--The time available for making a set—up is an imPortant consideration to be decided by the director and his associates. Sufficient time must be allowed for proper placement of equipment, check- out"01"same, and perhaps rehearsal before the event begins. The cameras should be allowed at least one half hour to warm up before they are un- capped f or check-out purposes.72 ‘. . . 72The critical factor is the image orthicon tube,which must reach «unanimum temperature of ninety-five degrees fahrenheit before it will ;flsce in the remote situation. It has been the author's experience that a crew will respect a director who is not afraid to get his hands dirty, providing he knows what he is doing and actually makes a contribution to the job. On the other hand, it is not always possille for the director to aid in striking. ie has other responsibilities as well. He must meet udth talent who have appeared on the program to thank them. This is particularl' true for a contrived program where the performers spend a good deal of time and energy Without remuneration. another extremely important contact the director must make is with the producer, coordinatur, <:r promoter of the event televised. The amount of help these people give ‘to individual pregrams varies, but appreciation should be expressed to zill.of them regardless of the nature or extent of their support and aid. Tlma importance of this is evident. Clearances to do similar pregrams in tha future may hinge on the relationship which is established with these people. Furthermore, they can be very helpful with problems that may ee at remotes from their locations. r» ar- Critigue.-The director of remote programs should rake it a ‘praurtice to hold a critique with the crew after the program. This may be a fomal meeting, or it may be a series ti informal chats with the ixuirvi.dual crew members. The purpose of this is to comment on the work perikufinance of the crew members; to discuss problems which may have arisen and determine ways of sol'ing these problems in the future; and discuss other ways of improving the program. It is well the the director also obtain comment from some staff person who watched the program. 159 Consideratioxr unknown to the director may be seen by others who can view the program objectively. By compiling all this data, sifting it, and meshing it with his own observations, the director can formulate new approaches to future programs of a similar nature. The director is only one person. He is generally quite busy getting the pregram on the air and keeping it there, and has little opportunity'to judge the impact his approach may have upon viewers. h producer can supply this information. However, few television stations below the network level will have both a producer and director working on a remote program. The duties are generally handled by a producer/ d irector . Hockey The physical strike of the first hockey game was limited to small items such as camera lens turrets and headsets. A critique session was lwald'with the cameramen the following day before the second hockey game, £?b which time changes in shooting sequences were discussed. The author helped in the actual strike of the equipment to the rwnnote unit after the second game. After arriving back at the studio, the equipment was unloaded and set up in studio positions ready for use .foz' the first live program the following day. On the following Monday, the author made phone calls to the manager of the ice arena and to the hockey coach to acknowledge their cooperation in making the programs possible. The final wrap-up on these games was a meeting with the production stafi‘czi’WKAR-TV for a critical evaluation of the techniques used. It was generwzlgly agreed that the changes made for the Saturday game were justified and inanoved the quality of the telecast. 4’ -‘_ —_M’_‘-u' a . . 4 -«v ~. .—-_.A Telethon Strike.--The strike of the telethon was perhaps one of the most physically exhausting chores ever completed by the station staff. The strike began as soon as the program went off the air and continued for over three hours. The complexity of cable systems for lighting, inter- communication, and audio required a great amount of effort to disassemble. However, with a crew of about twenty (including engineers, cameramen, production crew, lighting and staging people) aided by other University -workers from the electrical shop and staging crew, the strike of all cables, equipment, and lighting instruments was completed by 6:CO L.k. The remote unit was loaded to capacity. A truck was utilized to make a number of trips to the studio with lights and other equipment. The per— ambulator boom was wheeled along the roadway to the studio. The remote unit was unloaded at the studio and the job cf re—equipping the studios began. The engineers began to set up cameras, power supplies, and camera control units. In the meantime, the tiresome job of replacing all the stage-type light plugs with WKAR-TV studio plugs began. A group of about fifteen people wielded all available screwdrivers to get the job done. As soon as a light was ready, it was hung in place on the studio grids. This continued until 7:00 full!” when all plugs had been changed and most lights were in place on the grids. Although there were still some. minor jobs to be done, these were left to the regular crews coming into the studio the ikiIlowwing day. The lighting director indicated that twenty-two lamps had to be replaced due to rough handling of the instruments during the strike. How- ever, mone of the instruments were damaged. Many of the plugs later burned out or became inoperative due to improper wiring during the changeover. 17]. Relationships with talent, cooper; tors and crew.--The author and WEIR-TV were indebted to many people and agencies for help and cooperation in producing the telethon. Since the Olympic Fund Committee was planning to send letters expressing appreciation for help to those persons and agencies who had cooperated in the overall activities of the fund drive, they were asked to include the {WAR-TV list on their mailing list. The author was, however, particularly interested in expressing his personal appreciation to those people with whom he worked closely in planning and carrying out the telethon. Among these were the ice arena : manager, the ice show director, and various members of the University 1' staff. The author was greatly indebted to his crew for providing a fine e—a production under the greatest of handicaps. All areas including staging, lighting, engineering, and production worked and overworked to provide the necessary planning and on-the-air "punch" to make a high quality production. The author contacted these people individually during the days following the telethon. The master of ceremonies, Llr. Howard Finch, did an outstanding job of holding the program together over its full length. The author was very appreciative of his spirit of cooperation during this most difficult program. Since this was such a large undertaking, contacts with University staging, electrical, telephone, and other groups were left to the various department heads at WKAR-TV who worked closely with them on the program. Some ncement The strike of the Commencement program was routine, with the author and 81:1 crew members assisting. The heavier cables and bulky gear were lowered to the ground on ropes. Cameras, microphones, the monitor, lenses, 172 and Smaller cable and equipment were carried down to the elevator. The trip to the studio and set up of the equipment there was routine, since no programs were to follow from the station that day. The author critiqued the program briefly with Mr. Buell after the strike. The problems and solutions thereto were discussed and found to be those which had been anticipated.87 These same problems were discussed in the production staff meeting the following week. The only solution offered was better location of cameras at the event. It was also the concensus that the prOgram was too long, even though the program purpose was to show the complete exercises. Trhe processional and recessional took approximately twenty minutes each. It was felt that ten minutes at the beginning and five minutes at the conclusion would have been sufficient. It was decided that a more de- termined effort would be made the following year to obtain better camera 88 positions. although the program quality suffered as a result of limitations placed upon it by the Commencement Committee, the author made a point to (will the chairman to thank him for the committee's cooperation in allow- ixm; the telecast. Summary.—-The strike of a remote set-up is an undesirable job for aJLL concerned, and the sooner done the better. The director‘s place at ‘hhiS ‘time is with the crew helping strike. However, this 10 not always .POSSifble. Union regulations or synthetic lines of demarcation may prevent his active participation. More importantly, he may be busy thanking 87See page 16h. 88This was accomplished for the 1957 Commencement exercises. A camera.zwas permitted at field level which provided good close-ups on the ,platitunn, and allowed shooting the faces of the graduates. 173 talent, producers, and cooprretors. These latter Contacts are extremely important in insuring future cooperation from such persons. The critique of remote programs should include as many crew members as oossible along with some qualified person who watched the program 'way from the remote site. The ideas and suggestions of all should be discussed and merged with the director's own thoughts to develop means of improving future programs. huch of the critique responsibility will be handled by a producer when such person is available. This completes the research for this thesis. CHAPTER IV SUMMARY AND RECOMNDATIOTS Introduction In studying the history of television broadcasting, it can readily be seen that the salient point of this mediun.has always been its "live" nature. This thesis has found general agreement among the pundits that 'the actuality telecast-showing a special event as it happens-is the genius of television. The author shares this belief. Even those who 'believe film will replace live studio production see a future for live remote production. . In the past, most live programs have originated in studios. There are three reasons that account for the small amount of time devoted to remote pragrams. First, the cost of remote equipment is a deterrent. Second, the cost of remote production has been relatively high. Third, clearance to televise many events has been difficult to obtain. An alarming trend in the television industry is the movement to- wards diminishing percentages of live programing. The time formerly devoted to this type of program is now being filled with filmed programs. This “trend has led many observers to believe that live studio production 'wiJJ.-cease. However, the emergence of television tape recording presages 8 P088 ible reversal of the trend. In the meantime, many station operators must find it un—economical to have expensive production equipment standing fellow in their studios. 17h '~s..__. __ 4; «ow-hi?! 1'? ‘01 It is therefore recommended that television operators replace dwindling live studio production with live remote production. This recommendation is based upon the following considerations: Stations which invest in field camera equipment rather than studio equipment will be able to utilize that equipment in both locations. Al- though separate remote facilities are advantageous, they are certainly not necessary. ‘ 51.— “a The high cost of remote production is attributable in great § :" measure to the labor costs involved. Careful planning of procedures to 1 be followed can lessen such costs considerably. Mthemore, remote I : " special events programs have proven to be popular with the public. J Program popularity begets sponsorship which can defray the costs. Clearance problems which plagued the industry at the outset have been ameliorated considerably. Although there are still some areas of difficulty (such as judicial proceedings), any community sizeable enough to support a television station will offer many activities for which there will be no clearance problems. It has been found that the formation of a vigorous remote policy helps to establish station prestige in the community. Actually, this type of activity is inherent in the responsibilities of every station licensee. Unfortunately, too few broadcasters heed this requirement. A great stimulus to increased live remote production has been the "Wide, Wide World" series on the television network of the National Broad casting Company. There are also numerous individual stations which continue to successfully exploit the possibilities of remote television. Purpose of the Thesis The purpose of this thesis was to determine the procedures and 176 related production problems involved in televising remote special events programs. Although it was expected that each individual program would involve procedures and problems applicable only to that situation, it was the author's belief that some basic information relevant to all re- mote prOgrams could be delineated. It was expected that such information would be helpful to stations and individuals planning remote production. As a result of the research conducted, nine procedural areas of interest have been outlined. These are (1) program purpose and related station policy, (2) clearances, (3) talent determination, (1;) cost esti- mate, (5) remote survey, (6) program planning, (7) physical set-up, (8) rehearsal and air of the program, and (9) strike and critique. Preliminary {Eocedures The first four areas of interest were found to be preliminary considerations to actual production planning. The approach to a program in terms of content, shot technique, and continuity cannot be correctly developed until the program purpose has been established. And certainly am? production planning prior to the securing of clearance to televise is in danger of being wasted effort. Determination of talent is another Preliminary consideration. The scope of many prOgrams is determined by the abilities of the talent available. Such qualities as ad libbing ability, interviewing technique, flexibility in different situations, and "on-camera" appearance will be considered in planning the program. The final and perhaps most important preliminary procedure is the develop- ment of a cost estimate. The establishment of a budget for a prOgram is neoessary before plans can be formulated, since the scepe of the program Will be determined by the amount of equipment and personnel available. In "1081'. cases the budget will be determined by the amount of money 177 available from sponsors or departmental budgets. However, many station Operators find particular public service prOgrams are of great value to the station, sponsored or not. Following the completion of the preliminary procedures, the real work begins for the director, the various station department heads, and the crews . genote Survey The purpose of the remote survey is to provide a guide for the technical crews in planning and setting up the remote. The survey should consider the amount and type of equipment needed, and the placement of that equipment at the remote site. The survey must be made well in advance of the program date to allow sufficient time for planning. It is important that the survey be made at a time when conditions at the site are similar to those to be experienced during the program. The technical supervisor should accompany the director to see that the plan- ning done is compatible with technical limitations. Because of great limitations usually placed on camera positioning and mobility, lighting, staging and audio pick-up, great care must be exercised in planning the use of the equipment and personnel. There is no chance of correcting planning mistakes once the program goes on the air, since the flexibility of remote production is far inferior to studio Practice. It is recommended that any remote program utilize at least two cameras. The second camera will serve both as a safety factor and to make the program more interesting. The placement of cameras and other equipment at a remote site is °f extreme importance. Once again the matter of clearances becomes 178 important. Unfortunately the best locations are sometimes non-compatible with the desires of local officials from whom clearances must be obtained. In any event the placement of cameras should be planned so as to best present the event to be seen, in keeping with the purpose of the program. The choice of camera lenses is also a necessary part of the re- mote survey. They should be chosen as a corollary to the pre-planning of pictures to be used in covering the program. Such pre-planning is necessary in remote production where static cameras severely limit the possible number of pictures. The availability of a zoomar lens will help greatly in this respect. It is recommended that a Dyson "Televiewfinder" or similar device be secured for the purpose of choosing lenses and pre- Planning pictures. It is further recommended that consideration be given to pre- Planning of shot sequences to be used on each program. These sequences can be established to cover known situations which are likely to occur. The basic usage of the individual cameras will be determined in this manner. Other technical considerations of concern to the director of re- mote programs are the availability of power, location of the control POint, and requirements for audio, telephone, interconnnunication, and monitors. The remote survey should also yield information regarding any lighting necessary for the program. Lighting of indoor remotes is an eXtremely complicated and difficult job. It should be attempted only after careful consideration of the site and the prOgram format. The limiting factors are unfavorable instrument positions (lack of a grid), abiience of adequate dimming facilities, and complications arising from the nature and amount of power required. Lighting of outdoor pragrans — 179 Daylight generally is non-existent, except under unusual circumstances. PI‘OVides more than enough illumination. The area of staging is perhaps the least active in remote pro- duction. Since these programs are designed to show actual places, This is an advantage in terms of settings are generally not required. cost, although it may sometimes be necessary to construct special plat- Small items such as tables, chairs, and forms and other paraphenalia. risers may be needed to serve the needs of announcers and cameras. Program Planning The producer/director of a remote program may or may not have a great deal of actual planning to do with respect to the content of the Generally those programs contrived by the station will involve It is recommended that the program. planning of every detail including scripting. producer/director work closely with a subject matter specialist from the A close working relationship is necessary to insure cooperating agency. The preponderance of remote programs will be of the non-contrived time in which the cameras are merely spectators at an event planned by Program planning for events such as parades, speeches, The planning done by the Proper content and a proper approach to the production techniques planned. some other agency. and sports contests is of small consideration. television station will be limited to providing background information It is recommended, and intermission "fillers" for the television audience. however, that a close working relationship be cultivated with officials Small changes in the presentation (to meet television exi- Of the event. germies) can often be effected where such relationships are established. The importance of a run—down sheet is great for any remote program. It Should include the following information about each sequence on the 180 program: (1) a description of the sequence, (2) the camera(s) to be used, (3) the microphone or other audio feed to be used, (h) the time (including the sequence length and its placement in the program), and (S) staging and lighting information. This master list of events must be carefully prepared by the director to insure complete coverage of intended action. Here again the director should work closely with those in charge of the event to see that complete knowledge of the action is determined. Plan- ning of this kind will save on-the-air trouble and embarrassment. The run-down should serve as a stimulant to the director to see that he has the information necessary to put a program on the air. And it is valuable in keeping all persons working on a program informed of the sequence of events. The contrived program should have a script or full outline which will insure the achievement of program purpose. Such a script will usually be written by television personnel in collaboration with a subject matter specialist. There is generally no script for a non-contrived Program, since description of an event is ad libbed. The opening and closing of remote programs will always be prepared by television personnel. These program segments may utilize any number 01‘ Visual and aural combinations generally in use in television production. The open and close of many remote programs is done at the studio. This 311% use of music, slides, and film, and insures greater control of the ehments of the open and close. In connection with program planning, it is recommended that a meeting be held with representatives of the station engineering, staging, lighting, and production departments at least a week prior to any given l“Mote. This meeting allows checking of program plans against facilities to be utilized. If the two are not compatible, enough time remains to — II?) £F'Ell. 181 make changes in the planned program. The size of the remote crew is another consideration of program Planning. The minimum number of crew members has been variously set be- tween five and ten. This will vary greatly with the complexity of the situation. It would, however, be nearly impossible to do a quality program of am length without an audioman, a video engineer, a director, an announcer, and a cameraman for each camera. Generally speaking, contrived programs will be fitted into a particular slot in the programming schedule, and will, therefore, be subject to strict timing considerations. On the other hand, strict timing of non-contrived programs is not possible, although some segments within such programs may require timing. Physical Set-up The physical set-up and check-out of equipment at the remote site is usually completed in the following order. The power cable connection to the remote unit is made first. Following this, the microwave trans- mitter and dish are aligned with the studio. At the same time the cameras are set up, cables connected, and the cameras turned on. The telephone is plugged in and contact established with the studio. Following this, the microphones, monitors, headsets, and other items are set up and Checked out. The physical set-up of a remote program should not be made with- out the presence of the director. The exception is in the case of a Series of programs from one particular location. The presence of the director is necessary at unfamiliar sites to insure proper placement of eqqupment, particularly the cameras. Although the remote survey should inelude a sketch for the engineers to follow, final positioning is some- —‘ 182 times very critical. It is important that the director be in attendance to coordinate the set-up of all segments of the remote, including engineering, staging, and lighting. Care must be taken to see that all elements are compatible. Compromise decisions may be necessary. It is recommended that a final clearance be obtained from the building manager or person in charge of the event as the set-up is being made. It is also well to have the area scouted in advance of set-up time to see that the "coast is clear." The amount of time necessary for a set-up should be carefully considered by the director and the engineering supervisor. This time will be dependent upon the complexity of the program. Where possible, sufficient time should be allowed for preper set-up,' camera warm-up, camera check—out, rehearsal, and a half hour safety period in case of trouble. The set-up time can be minimized (and costs lowered) by making semi-permanent installation of some equipment at much-used sites. Where lighting is necessary, set-up of this equipment must be allowed extra time for completion. The handicaps of the remote situation are. probably greater for lighting than any other phase. Staging set-up usually requires the least time and effort. Rehearsal and Air of the Program The amount of rehearsal required for a remote pregram is entirely depencient upon the nature of the program. Generally speaking, contrived Program will require more time than the usual studio program. This is rnecessitated because the loss of equipment flexibility requires precise Placement of talent and visuals in relation to the cameras. The audio Portion of contrived programs also requires careful consideration. #— “h...— ‘<_.fi_‘_~_ 183 In the case of non-contrived programs, a minimum of rehearsal is It is recommended, however, that time be spent by the director, required. the cameramen, and the announcer checking planned shots and shot sequences There may be some short segments of for feasibility and familiarization. non-contrived prOgrams which will require careful rehearsal. It is very important that the director and cameramen be well acquainted with the rules and procedures of sporting events being tele- .Anticipation of action is half the job in Sports, and an unknow- A spotter can sometimes be helpful on sports . , nu.— _ . “g A a. 1... In _.-—. —‘_-_ g a \ x {-.5 ...J". I a ‘ V ‘hc‘g. ‘ vised. ing person will be lost. pregrams. Two other items should be checked by the director during the re- Intercommunication should be checked with every crew hearsal period. member. And all crew members should be checked to see if their interpre- Misunderstanding of assignments can be tation of their job is correct. costly in terms of program quality when such uncontrollable circumstances as crowd noise or equipment failure prevent intercommunication. There are a few general considerations to be followed during the air of remote programs. The first and foremost is for the director and all crew members to be extremely alert to situations that may arise. Anticipation of action, an awareness of possible trouble spots, and de- velopment of alternative procedures are extremely important. The director of remote programs usually has a great limitation Placed upon him in being visually removed from the scene of action. Because of this he must thoroughly acquaint himself with the procedures and actions of the event to be presented, in addition to the physical configuration and size of the site to be seen. During the air program a minimum amount of conversation should be E‘11<1\1Ied by crew members. Unnecessary bantering should be eliminated lest 1 18h some essential information be obscured. A shortening of command termin- ology is often necessary, especially on sporting events where split-second camera switching is necessary to properly cover action. Coordination of timing with local officials is necessary to insure completion of the program opening before activities begin. People in charge of events are usually willing to delay the start until such time as the program opening has been completed. Strike and Critique The physical strike of a remote program is a chore. All crew members, including the director, should aid in getting the job done as quickly as possible. However, the director will sometimes be barred from such work by union regulations. More importantly, he should be involved in the task of thanking talent, officials, and other cooperators. These contacts are extremely important in cultivating good relationships for future programs . A most important part of the remote program is the critique. This may be formal or informal, but should involve all members of the crew, plus some other station staff member who viewed the program. The director should gather all ideas and incorporate them into an approach which will improve future programs. Problems of the Simulcast Some special consideration of the problems of remote simulcast Pl‘Ograms is relevant to this thesis. Simulcast procedure is generally used as a means of eliminating duplication of announcers. The availa- bility of a well-known announcer on a station staff demands his use on both media. It is certainly less expensive than hiring another man or - — ‘.._ —_ -—-——+ 135 two for announcing. It also obviates the need for duplication in audio facilities. One disadvantage of simulcasting is the fact that most announcers are still primarily radio trained. They are prone to pay little attention to the video of the program. Particular shots taken by the director may go without clarifying comment. This problem can and is being solved as announcers gain television experience. Likewise, there is a general change being made in the minds of announcers regarding the relative im- portance of radio and television. A much more serious problem (although the author's thoughts on this subject are certainly not conclusive) is the presence of too much commentary on the television prOgram during simulcasts. It is necessary that a rather continuous flow of speech be maintained for the radio audi- ence. This tends to do three things to the television program. First, the announcer tells about things which the viewer can see for himself. Second, it is difficult for a director to smoothly intercut "color" shots into continuous radio narration; either the announcer must ignore the intercut shot or he must break his train of speech, both of which are bad. Third, the need for continuous radio commentary takes partial control of the program out of the hands of the director. Another disadvantage of simulcasts is the necessity of preparing a complex system of cues to coordinate the placement and timing of breaks in the program. In addition, it is often difficult to reconcile the scheduling time of the program on two stations. For these reasons the author would recommend that separate fa- cilities for radio and television be established whenever possible. "|!~.‘_-——_-_.—__ m: ”‘3‘" This can both fill decrease in mm remote , Sine production 0 statiors, ir vision. t Rem situation, delineate r the author: ing of me It 35 a guide reCOgnizeci magmatic 186 Value of the Study This thesis has shown that the production of live remote programs can both fill a public service and be profitable. In view of the decrease in the production of live studio programs, it was recommended that remote production supplant studio pragrams. Since no one source of information was available concerning the production of remote programs, this thesis was intended as a guide to stations, individual producers and/or directors, and students of tele- vision. Recognizing the individual character of each and every remote situation, this study was an attempt to establish basic procedures and delineate related production problems for all remote programs. It is the author's belief that this goal has been met in the research and writ- ing of this thesis. It is recommended that the information contained herein be used as a guide in developing approaches to individual situations; and it is recognized that the greatest aids to successful remote pregramming are imagination and resourcefulness. if] I: , DJ 1 BIBLIOGRAPHY 187 BIBLIOGRAPHY Books Bretz, Rudy. Techniques of Television Production. New York: McGraw- Hill Book Company, Inc., 1953} Chaseman, Joel. "Public Service by a Local Television Station," 22 TV 1‘ Talks. New York: Broadcast Music Inc., 1953. 3“] Chinn, Howard A. Television Broadcasting. New York: NeGraw-Hill Book Company, Inc.,gl953. Drilling, Joe. "Local TV That's Live," 32 TV Talks. New York: Broad- cast Music Inc., 1955. F f l .3 Elliot, William Y. Television's Impact on American Culture. East Lgii Lansing: Michigan State UniversitylPress,‘l956: Hodapp, William C. The Television Manual. New York: Farrar, Strauss, and Young, Inc., 1953. O'Meara, Carroll. Television Program Production. New York: The Ronald Press Company, 1955} Petranoff, Robert. "Low Cost Local Programming," 32 TV Talks. New York: Broadcast Music Inc., 1955. Rogers, Lawrence H. "Local TV News, Sports and Special Events," 32 TV Talks. NeW'York: Broadcast Music Inc., 1955. Settel, Irving., et. al. Television Advertising and Production Handbook. New York: Thomas I. Crowell Company, 1953. Stasheff, Edward, and Bretz, Rudy. The Television Program. New York: A. A. Wyn, Inc., 1951. Swezey, Robert D. "Every Tom a Show Town U. S. A. -- Yeah?” 22 TV Talks. New York: Broadcast Music Inc., 1953. TPyler, Keith. "Freedom of Access to Broadcasting," Mass Media and Edu- cation. Edited by Nelson B. Henry. Chicago: The Universityaf Chicago Press, 195h. .32 TV Talks. New York: Broadcast Music Incorporated, 1955. 22 TV Talks. New York: Broadcast Music Incorporated, 1953. 188 189 Periodicals Beatty, J. Frank. "The Silent Witness," Broadcasting-Telecasting. (August 27, 1955). Bretz, Rudy. "Televising a Symphony Orchestra," Journal of the Society of Motion Picture and Television Engineers. (May, 1953). "Broadcasting in the Courtroom," Broadcasting-Telecasting. (May 13, 1957). Byron, James A. "What You Need for Remote TV," The Quill. (July, 1953). "Closed Circuit Television Unlimited," Broadcast News. (July-August, 1950 . Crosby, John. "End of a Long Run," The State Journal. Lansing, Nichigan, (June 28, 1957)- Ebbitt, David R. "Television," New Republic. (December 12, 1955). ”Education at Sunrise," Time. (November 23, 1953). "Film: Its on the Gain in TV," Broadcasting-Telecasting. (November 21, 1955). Could, Jack. "'Live' TV vs. 'Cenned'," New York Times Magazine. (Feb- ruary 5, 1956). . "Television Today -- L Critic's Appraisal," NEW'YOTK Times I‘LBEaZine 0 (April 8 , 1956 ) o Heslep, Charter. "It Couldn't be Done -- But TV Nen Did It," The Quill. (July, 1952). "KWTX-TV Covers Murder Trial Live, Sets Precedent in Courtroom," Broad— casting-Telecasting. (December 12, 1955). LaTourette, Frank. "An A-Bomb Can Muff a Payoff TV Cue," The Quill. (July, 1953). "'“"‘"‘" "Microphone-Camera Coverage Favored in Ruling by Colorado Supreme Court," Broadcasting-Telecasting. (march 5, 1956). "Silent Pictures," Broadcasting-Telecasting. (January 9, 1956). ESinn, John P. "The Case for Filmed Television," Broadcasting-Telecasting. (January 26, 1953). :5tone, Martin. "The Case for Live Television," Broadcasting-Tclecasting. (January 19, 1953). Taylor, John P. "Baseball Television: 19149," Broadcast News. (September, 19b9 . A“—__“ 190 “Televising Football from the Los A eles Coliseum," Broadcast News. (July-August, 1950). "Television: the New Cyclops," Business Week. (March 10, 1950). "TV Program Time Tops 100 Hours Per Week," Broadcastinnge1ecasting. December 17, 1955). "What'Will Postwar Television Be Like?" Newsweek. (December 20, 19h3). Wilbur, E. D., and Grelck, H. L. "Television Coverage of the Presidential Inauguration," RCA Reviee. (June, 1953). "30 Years of TV," Coronet. (February, l95h). ““V b i _._.., APPENDIX A Remote Survey Forms 191 192 Remote Survey_F-eport =11 Part A (Made out by Producer or Director) PRO-3mm: Hockey - LBU Vs. Michigan Tech DATE: Feb. 211 and Feb. 25 Time: 8:30(2hth) - 8:OO(25th) PERSONNEL: Producer Frischknecht Director Erischknecht MC Announcer Adams, Hemingway, Gelardi AD .NUEELR 01'“ 0511133113: Two 1925 EEER OFTTI<31iS : T'b Length of cable camera 1 200' Cable low 39h Mike cable Len ngth of cable camera 2 200' Cable 1 ngth is sufficient Placement of cameras (Please attach sketch): Ice arena balcony. See sketch. Doll-13* e. 13.13.132511921'5‘: Tripods without wheels Lenses necessary for Camera 1: 2, h, 6, and 8. Camera 2: Zoomar with 3 to 15 inch element. Head-sets: Two cameramen, two floor directors, one to announce booth. Placement of trailer (or control position): South side Dan. 8811. least-3.13:1 of 15:13:: source: Arena transformer room. length of peas: cabia required: 150' ' “pews: 1:202: a ”woven required: Camera platforms(available from B & U) Position of mascara-1‘s (112.311: On jeep at SW corner of Dem 13311 Le 13,111: of 6:131:31: ittsr 0613730 required: 200' To 11‘ . 1- 1 c1 FGAE‘U 1.0:.“ a ”1.1.0 lit-3:313: Announce booth in arena (“3311... person on premises: Norris Wold, John Duncan 1 3:13 1 1 Tom‘s ”“9““ ”’1': 1: J. Olin .. 1 -‘o Q?f2*’.'.‘11‘1";'}.};.' 1.33:11‘15352 R0118 Noonan 77 . - . -:~ m-"P -.'-.’-’ n-wv' “to": '1 "'"n r- 1'"? ;‘.' .'-""-'Z’ - :1 .3 :33} y 9., c, :3: 1 1_ 1:11. .1. fauna company ._-. .1.«-11 .. Car MISSOR '7'} u n: . '1 -. ,\ -‘< 1‘ _ 'F‘f" -.,- ...11-4 .14}- . ' 1d ...‘o {Is "’7""._‘ Oi: :‘I 1%."; "I ' 1 1.1:: 1.1 ...P .111 o 11»: '3»: - old and Duncan :3 3‘2:3;',1«11;tu:cmpu3 Police 1:0 . ".1: 13.1 4:21:15 in lines: ‘— EOE'iii‘u’fil‘ 311:1: 711.13.133.12 .. 1 a 1111i. “‘86: Off-air monitor in remote unit Other: PA feed to trailer from audio amplifier. 193 REMOTE PICK-UP SURVEY REPORT - PART B (Nada out by Engineer) LOCATION: LBU Ice Arena m: BBU Campus TIP! 0! EVENT: Hockey DATE 01" FIRST PICK-UP: February 21:, 1956 CONTACT PEOPLE AND PHCNE W: Norris Wold, Campus Police, John Blakeslee WT PHQIE T0 LOCATION: Office in arena and within remote unit MOI. POINT: In remote unit - south side of Dem Hall Camera 1 location: SE corner in balcorv Cable length: 200: Camera 2 100315210an corner in balcony Cable length; 200' Number of mums & typos: TonBK-l's Cable longths: like cable-only like parabola position (if any): None single AC Power available: volts: 220 ups: 6O phasing: 3 wire Power cable length to control point: 150' Tie-1n fixtures required: Pigtail and switch box fused for 100 amps Lighting available - foot candles: approx. 25 foot candles Additional lighting needed: none Power available for lighting : voltage : con-cm: : location: Cable requirements : Power construction required: Install box and pigtail - Electrical contractor employed by location: Building 8: Utilities, J. Olin Platform construction required: Two camera platform Contractor employed by location: Building 8: Utilities, Ken Richards RL-"I" been below announce booth RI. and PL termination location: PL-Bell pitig on wall center south side m Person phone campers: can contact for information: Carl Musson 19h PART B (can't!) Video transmission facilities: Phone empany input: Coax length: 15' Location of microwave ”mutter Atop jeep SW corner Dem Hall W control location: Remote unit Gab]; lengths requimd: 200' camera cable - AC within remote unit Genera, ecu, Pl. bridge, AC power: NOTE: If second microwave hcp is required, fill out second survey sheet where applicable for this location. location of off-the—air receiver antenna: Atop remote unit 73‘" w ..A it» .afl —— p -- J rm?“ .An‘;..*,.=r_--p-.,- . t “we; location of announce monitor: none 008:: mac. equipnent needs : Gena-g1 remarks: A bridged audio monitor feed from audio amplifier output must be run to remote unit PA for program audio monitor 0mm 1: 0mm 2: mm Yidm It: hdio: L we Ir" 91% mi 21c: r 19S . rm 3 (canoe) PROBABLE masses}. “'3‘ 13 Jack Caldwell More 28 Ron Boughton “3 Alternate: Matt Woods Video: MillardElsner, Don Dombrausky, Gene Losoncy Audio: Lionel Mills (Saturday only - Friday simulcast) W Technical supervisor: Carl Musson Draw sketch shoving: control point. cameras, power. PL and BL, and miermveo DEM HflLu 1 1 3 Ice R in k mer. bed": RI. 1 ‘ Can. 3.81 E] __ Dru. Rd“ Hal. Feel CC“ ' “(Win Tuvteflur Rue: Peg.» 7‘1”“ eu‘i’k‘f #_ m L 32., 0»:th mine wan Trai /c 1’ 196 Remote Survey Report - Part A (Made out by Producer or Director) meow: Olympic Telethon DATE: May S, 1956 TIME: 11:00 PM - 2:00 All W: Producer Frischknecht and Olympic Fund Committee Director Fris chknecht E Howard Finch Announcer AD Bob Page mm 0? CAMERAS: Three KIMBER 0F HIKES: Seven Langth of cable camera 1 300' Cable length 50 - 150' Length of cable carers 2 200' Cable length ' Length of cable camera 3 300' 1 & 2 _ staging area floor Placement of cameras (Please attach sketch): 3 .. SE corner balcorv Dolly equipment: ho pedestals . One tripod without wheels Lenses necessary for Camera 1: 2, h, 6, and 8 Camera 2: Zoom with 3 to 15 inch element Camera 3: 2, h, 6, and 8 Head-sets: Twelve talkback. Ten receive only. Placement of trailer (or control position): south side ice arena location of power source: Transformer room, ice arena length of power cable required: 150' 31360181 construction required: Grid pipes, torches, camera platform Position of microwave dish: Home (Run coax remote to studio) Length of transmitter cable required: -- None (Run coax approx 300 yards) Termination point for audio lines: ”I" beam under announce booth Contact person on premises: Norris Wold and John Duncan Nam of House electrician: Don Rogers Phone company contact: Rolls Noonan Person on our staff phone comparw can contact: carl Musson Permission to construct: Hold to run lines: Fold and Duncan to park truck: police to install audio lines: 4- Honitor facilities required: Three floor monitor, off-air monitor in trailer Other: Must feed arena PA 197 REMOTE PICK-U P SURVEY REPORT - PART B (Made out by Engineer) LOCATION: Ice Arena ADDRESS: IBU campus TYPE OF EVENT: Olympic Telethon DATE OF FIRST PICK-UP: May S, 1956 CONTACT PEOPLE AND PHONE W:Norris Wold, Ken Richards, Don Rogers NEAREAST PROM). TO LOCATION: Remote Unit CONTROL Pom-'1‘; In remote unit - south side of Dem Hall Camera 1 location: Floor stage Cable length: 300' Camera 2 location:SE corner balcorv Cable length: 200' Camera 3 location: Floor stage Cable length: 300'. Number of mikes 8c typeod: lav, 2 BK-l Cable lengths: 50 to 150' 666 MR boom, starmaker on floor stand . Hike parabola position (if 8117): none AC Power available: 3 wire V011?“ 220 mp9: 100 phasing ‘ single Power cable length to control point: 150' Tie-in fixtures required: Pigtail Lighting available - foot candles: Ice-approx. 50 foot candles Additional lighting needed: Special stage lighting Power.- available for lighting: 3 wire voltage: 220 current: 100 amps locationxsides a, rear stage area Cable requirements: Electrical shop Power construction required: Install Junction boxes, cable runs Electricll ;;;rm-::;1«.-:.ctor employed by 10081310113 Electrical Shop IBU Platform construction required: Stage 12 x 16. Camera platform balcony Contractor employed by location: Building 8: Utilities, Ken Richards. _ _ . a. al.-"I" been under announce booth RI: and PL “Tall-733310” 1033910“: PL- gllnpfig on wall center, south side m a Person phone someday~ can contact for information: Carl Musson Video trfl Co' 3 carer; itche: TY/S :1' m0. g. 2 floor 198 PART B (con'éi) ‘Video transmission.facilities: Phone company input: Atop Jenison Fieldhouse Coax length: 1700' — our remote coax Location of.microwave transmitter microwave control location: Cable length, required, None ( Bell Telethpno) Camera, coax, PL‘bridga, AC power: NOTE: Atop Jenison Baskeball press box If second.microwase hop is required, fill out second survey sheet where applicable far this location. Location of off-thew receiver antenna: Atop Trailer Location.of announce monitors MC desk Coax: me. equipment needs : General remarks: VIDEO 3 camera chains SWitcher TE/S with power supply Sync. generator 2 floor monitors RCE scope Multimeter Three 200' camera cables Two 100' camera cables Two TP's Tools TWO studio pedestals One tripod 300' - loop through three monitors on floor AUDIO BN-2A Rem. Amp WE rem. Amp. Diplex box Phono match box Double pro am HS Turntable %ice arena) 2 BK—l mikes h lav mikes 1 666 mike l starmaker mike 1 floor stand All extension mike cable All five conductor cable Gates 3111p o All studio extensions B'WE headsets 10 single headsets h RCA headsets 2 prefab cables 5 conductor pigtails Telephone to MGR 199 man a (canoe) PROEPABLE 1"}! 35333231; Guam 1: Gelardi Relief: Matt Woods Heuer Galore 2% Relief: Ted Groves Camera 3: Mln'phy Relief: Ron Boughton Video: Elsner, Combreusky, Pincumbe, Losoncy Audio: Mills, Boughton, lintermute, Hinich W non: Rudolph Draw sketch chewing: control pointe cameras. power, PL and. 31:9 and thrones-no ”In" c c'“ l W I h j I I T—_ S‘Ol'mh' hr“ 0 \ 13%|. 1" 1 g “‘0’ ‘l ‘— m' ' l W" - :0" 667 : 3.. -- J 2‘. Gel“ _ A 200 Remote Survey Report - Part A (Made out by Producer or Director) PROGRAM: Commencement 1956 DATE: June 10, 1956 TIME: 3:145 PM PERSONNEL: Producer Buell Director Frischknecht M0 Announcer AD NUEEER 0F CAMERAS: Two WEBER 0F LIKES: Three Length of cable camera 1 200' Cable length Booth _. 15: Length of cable cmera 2 200' Cable length Field - 100' Cable length Atop PB - 50' Placement of cameras (Please attach sketch): Atop press box Dolly equipment: Tripods without wheels Lenses necessary for Camera 1: 2, h, 6, 8, and 13 (alternate) Camera 2: Zoomar with 6 to 30 inch element Head-sets}: Two cameramen, one FD, audioman (50' from Camera 2) All TB Placement of trailer (or control position): West side stadium. See sketch Leeation of power source: Northwest corner stadium length of power cable required: 200' Special construction required: None Position of microwave dish: Atop press box Length of transmitter cable required: 200' Termination point for audio lines: Radio line announce booth #10 Contact person on premises: ._ Name of House electrician: J. 01111 Phone company contact: Rolls Noonan Person on our staff phone company can contact: Millard Elsner Fez-'g-mission to construct: -- to run lines: Lyman Frimodig to park truck: police to install audio lines: radio Monitor facilities required: Private eye monitor in announce booth #10 Other: 250' com: from trailer to booth Need audio monitor feed from remote amp. to trailer PA. 201 REMOTE PICK-UP SURVEY REPORT - PART B (Made out by Engineer) LOCATION: MSU Macklin Stadium ADDRESS: MSU Campus TYPE OF EVENT: Commencement Exercises DATE or FIRST PICK-UP: June 10, 1956 CONTACT PEOPLE AND PHONE NUMBERS: Ken Richards, police, Lyman Frimodig NEAREAST PKONE T0 LOCATION: In remote unit and in press box CONTROL POINT: In remote unit parked west side of stadium near press box entrance. Camera 1 location: Atop press box Cable length: 200' Camera 2 location: Atop press box Cable length: 200' BK-l - 100' Number of mikes & types: 2 Bit-1's, 1 Lav Cable lengths: BK-l - 15'. Mike parabola position (if my): None Lav .- 50' AC Power available: 3 wire volts: 220 amps: 60 phasing: single Power cable length to control point: 150' Tie-in fixtures required: Pigtail and switch box fused for 100 amps. Lighting available - foot candles : outdoor Additicnzfl. lighting needed: Power available for lighting: voltage : current: Location: Cable requirements : Power construction required: Install pigtail and switch box Electrical contractor employed by location: Utilities, J. Olin Platform construction required: None Contractor employed by location: None & RL - Press box announce booth #10 "ion’PL - Phone #2260 at weather proof plug ‘ near pre 3 box entrance. Person pnons consany can contact for informat on: Millard Elsner RI. and PL termination loca 202 PAR? B (con'ul) V; ‘30 tranmussion facilities: Phone coxmaamr input: Coax lengifii: 15' Location of Marmara transndtter Atop press box microwave control location: remote unit Cable lengths required: 200' camera cable Caters, c- 24.2, FL 13331 gs , AC pen-rem 130233: 3 second microwave hop is required, fill out second. survey sheet where appI‘doafi-ole for tints location. - aim of oi‘i‘uthe-«air receiver antemza: Atop press box g a 4g {:3 {'1‘ lo ,atiegz of armounce mmiior: Press box announce booth #10 00:23:: 200' 355,33: swim-ant needs: General nmztrlw: A bridged audio monitor feed must be run from audio amplifier in press box booth #10 to remote unit PA for audio monitor. 203 Pl??? 3 (canoe) momma PESOMEL Camera. 1: Al Murphy Camera 23 Matt WOOdS m Relief: Joel Ayers Video: Bob Pincumbe, Don Dombrausky, Gene Losoncy Audio: Lionel Mills We Technical super: Millard Elsner V r ‘ '5 ‘3': ‘1‘ 25.. Draw metal: shoeing: antral pointe generate: power, we axe. -..ue and microwave. ...___..._.__,‘ (40" to rm # —~_uv———k *W G u " —"' h- “R“ CM Cg; “two # \J L I!" 5'0“ ‘° man Vrm I I r 1 w stating. 1______ ”than. 0 Juli Jdfidl} "I'M" * \thjack a“ " hm Io APPENDIX B Program Openings and Closes 205 0:313:an amazemmamr FOR WPAG-TV AND renew H0610?! REEO’EE - FRIDAY, FEBRUARY at, 1956 (This is the opening copy to be read by Adams at 8:30:00 to aclmonledge ems-TV and WEAR-TV joining the broadcast). From the ice arena on the campus of Michigan State University this is Jim Adams with Tom Hemingway bringing you college hockey between Michigan State and Michigan Tech. We wish to welcome stations WPAG-TV in Ann Arbor and WKAR—‘I‘V in East Lansing who are no?! joining our broadcast network. The game is in progress with (time) remaining in the first period. The score is . Dorm on the ice....... (“'1' .H" ‘g. _ ‘ , t.A—O‘ “‘ ‘I 3,“. R" ‘. .‘V. “L5 l m-Pn-v- -“" “ Is .. _._.1 J's-pl‘ KID-II CO‘ICT‘: .T.“ 5 ~ ”Lt ‘_ l . 1"“ E? 1111-1211133 a 1.1 11.1111? FEE EUAPJ 25,1956 mEE‘k ND CLOSE a T0 .311 130111: 11.1 11115111211 00:- TROL 13111301011 F110 31% 1310) C7“ TING mwm VILEE -D- *.&-O PIC: Beam—"r8110n {all & Sparty NUSIC: SUPER SL 33: Ial“? (NEH Telerision} I! 2? ’7 {/3 L: C!) m ’73 a; H: g Niel o Teche nucki c s) NU 10 C 7J0.“ 33.3: mi um- AUDIO (FIG-111' some, TEES 119.11) UP BRIEFLY AND DTHEN T0 58 FOROO iganS bate Univca sit“ presents "College Hockey ” Tonight the Nichigm Ste Sparta1.3 host the Lie chigan_ Tech Huskies from Honghtono We take you new to the ice arena and your announcer” Tom Hemingway; TAKE T0 58 UN“ER HENINJVAI AJD FADE OUT. AFTER 20 SECOHLS. (SANE AS OPEN) UP TO ESTABIISN AND BC FOR.... College Hockey has been a prc~ sentation of Nichigan State University Television and‘wss brought to;ycu through tno mobile facilit GB cf‘NiiARmTVa This is the Michigan State Sports Networkn UP TO FILL '7 — 207 WEON REMOTE om: VIDEO OLYNPIO SENL. '5 l"'-— C J. ‘ "-R O"- u; -" ' to be55tr co0301naoe our shootin53 tn: following LflfibxhCUlCJQ Ore gLLen: ran .‘. Arr-.- Q n“ rm" 7"."3 39115: 11.15.“. (7132181.) big-(:15) 16:: U; 5.1.1: t :1 ‘l“ 9" l' f: F. a.» p .— \ l. Chm CLease LO La: eni of 5.3ena (0; inch 1e era; '.-5\ ~n.- ' v. r 3 o- 2. Goa- closes at near one of LLr rena (h anch le ere) -\. . J... 1-, 1 ,1 '* .-.- a: I] These Odo are your LOo 0 sh (ts cu ring ti-: p1ay1n351re Eh 5n 5 ..‘b '5‘ " ac5ion is close in on t1 we rease ,pa n sllgrLly'L»Oh tine Oven 11 nec:ssaqy, but do not lose the fullc reaee un :-e: as in5= tructc d to do so on intercom. O Gloss-up shots of those players who are given penalties as they more to the pen malty box. \a.) he Close-ups on thine plcrrrs rho score goals. 5. Color shots of Cicad, benches, goalies aawd ther players, etco I'till expect the Cine ~one operator to get those shot: inn dice Ocd on 1 throughu abet e as each situation arisesr Li+ Oh'nt instzruc 5ions to do see CAMERA TWOJS SHOTS WILL BE: 15 All oP the action of the playing will be covered on this cauera with the exception of that which takes place near the goal creases. As far as possible this caters should always Loop a corner of the goal crease in the shot. The 0.7 y t.-m. his will atn not be possible is in.the case of action inns cdia -to ng15:s. the camera two locations. Aleays keep enough ar res in the screen to see the play and the de1ense develop. In the case of a penalt , folloW'the player to the penalty bozo on the ggggg so tbgt viewer orientation will not be lost. ' 20 Devii5ion from the procedure listed under 1 above will occur only at such times as action is ha].ted and ne'nsut to get a closer look at the sitc2.tion. This may occur'whcn the puck 18 held against t? :e boards, rhen fights, arguments or i ’9 occur. or when a goali .e malces an outstanding save. “ Sore color shots will be taken on this camera during in:or-- miss:10ns. These ma; include crowd, re~icing equi ent, etcc Where injuries or fights occur,'se'wiiln n‘ant to get a close-up of tke scene momelntarily to establish what is he appen Ming. Bit: as will mo~,"e out to 8 medium distance tO'eatch the result. A. In case of intercom fai. ure don t hang the director a1 thout a shoO 'While you try to fix it. An engin or will be sent to he 1p you“ .1 832.90 Notifiy the director of changes in cameramen as relief is m