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Studio Production and Camera Research

(2016, London)

  • "The camera operators frame the shots and operate the camera, panning, tilting and zooming as instructed by the director vis talkback." p. 51
  • Camera operators get camera scripts or camera cards as to know what shot their camera needs to be on. p.58
  • If you see words ' as directed ' it means that the camera OP has to follow the conversation of a guest or contributor.
  • 'on the fly' means that the camera OP will need to use their own initiative in framing shots and listen carefully to the director's instructions via talkback. p.58
  • Shot sizes:
    *WS= wide shot;
    *MS = medium shot;
    *MCU = medium close-up;
    *CU= close-up;
    *ECU = extreme close-up;
    *2S two shot etc.
  • Camera moves:
    *Pedestal (ped) up/down = moving the height of the camera up or down;
    *Dolly in/out = moving with the camera forward or backward;
    *Truck left/right = moving with the camera to the left or right;
    *Pick ups = retakes of any additional sequences. On pre-recorded shows notes are taken and typically all are re-shot at the end of the studio day. p.59

    CHILDREN'S TV (p.160-174)
  • Kid's shows merge lots of genres together and provide them with a mini version of the adult TV schedule.
  • It's important to know the targeted age group and understand what they want..
  • As well as the channel the programme is for, something that works for one channel, won't work for another.
  • "The internet has changed the way children consume TV and interactivity and online content is hugely important in children's TV." p.165
(2011, Manchester)
  • Abbreviations:
    *BC2S = big close 2-shot;
    *BCU = big close-up;
    *C2S = close 2-shot;
    *F/G = foreground;
    *H/A = high angle;
    *L/A = low angle;
    *L2S = long 2-shot;
    *LGS = long group shot;
    *LS = long shot;
    *M+S = middle and sides
    *M2S = mid-2-shot;
    *MLS = medium long shot;
    *VLAD = very low angle dolly;
    *VLS = very long shot;

    GENERAL STUDIO SAFETY/RULES:
  • No smoking, food or drink (exception for leak-proof bottles, cups)
  • Never stand or place anything on the cables. (Camera cables are very fragile and expensive to replace)
  • Do not run the camera pedestals or any other mounts over any cables.
  • Do not cover electrical items or dump stuff on them as it may result in a fire.
  • When moving any electrical items, turn them off and disconnect them from the mains.
  • Never let any cable become stretched, tangled or tight. (If you don't have a cable basher, carry a loop of cable over your shoulder and try to ensure that the cable runs flat and straight across the floor)
  • Don't adjust, fiddle or play with anything that you're not using, that you don't understand or that is not your responsibility.

    WORKING WITH CAMERAS (p.30-48)
  • Prime lenses: have a fixed focal length and work like a magnifying glass. They usually allow more light than a zoom lens, thus can produce a slightly sharper image than an average zoom. If you want to change the size of the shot, you have to either move the subject closer to the camera or the camera closer to the subject.
  • Zoom lens: their focal length can change easily and smoothly across their range. It allows to change the shot size without moving the camera or the subject. The zoom's range is defined in terms of the ratio of the maximum focal length to the minimum, example, a 10:1 lens (typical studio camera) can enlarge an object by 10 times. (A 20:1 lens would be more useful for an outside broadcast).
  • On most studio cameras, unless its handheld, focus and zoom are fitted on handles at the back of the camera.
  • HD cameras show every error in focus.
  • Usually, a viewfinder in the studio is a monitor mounted on the back of the camera, which helps the camera op to stand straight and watch the monitor, instead of bend over it as a film camera operator does, usually for short rehearsals and takes.
  • Tally lights on top of the camera indicate the camera OP and the talent which camera is operating. After it turns off and there's a shot list, a camera OP has to reframe for a next shot on the list. 
  • When you approach the camera unlock it and when you leave - lock it as it may damage the camera.
  • Peds should be locked off while taking down the camera, otherwise it will rise up and cause problems.
  • A 'whip pan' is a fast pan to right or left that blurs detail. It's almost impossible to whip pan neatly into another frame, its used as a transition and usually fixed in post to create an illusion of the camera being reframed neatly.
  • If we see one character more full face than the other, that character is favored (FAV) by the camera.
  • If the camera moves while it's 'on air' then that is a developing shot.
  • When moving the camera, always make sure the floor is clear in the direction you're moving.
  • Always make sure you have enough cable for the move.
  • Unless you have a locked-off shot, keep the camera free to move as long as you're controlling it.
  • Tracking, maintaining focus and zooming at the same time is impossible, keep it simple.
  • As you move, watch out from creating shadows, try adjusting the frame size or camera hight to avoid it.
  • If you're tracking the subject, work out in the rehearsal which way to twist the focus control to maintain it.
  • Try to start and end your moves gently.
  • Unless you're directed otherwise, keep the camera hight to the eye level of the subject.

    TECHNICAL ROLES: CAMERA OPERATOR:
  • In professional setting camera OP will rig the camera, including that it's properly placed in the studio and is cabled and ready for the first sequence. At the end of the day derig and put it where it should be.
  • Be alert of any changes during rehearsals and take notes.
  • Listen for instructions from the gallery.
  • Zoom in all the way in on the subject to check the focus.
  • Be ready to change the frame quickly.
  • Make sure that your shot matches your colleagues.

Bibliography:
Brown, L. and Duthie, L. (2016). The TV studio production handbook. London: I.B. Tauris.
Singleton-Turner, R. (2011). Cue & cut. Manchester, UK: Manchester University Press.
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