September

6	Course introduction, intro to basic studio equipment
	BW&G chapters 1 3 & 4

13 	Equipment review, crewing, procedures, scripting
	BW&G chapters 12 & 13 study and practice Appendix C


20	Production exercises, Promo preparation BW&G chapters 6 & 7

27	:30 Promo production (15 + 5 minute allotment)

October
4 	:30 Promo production (15 + 5 minute allotment)
11	Promo screenings, 2 minute Talent Segment preparation BW&G Chapters 10 & 11
18  	2 min. Talent Segment (25 + 5 minute allotment)
25 	2 min. Talent Segment (25 + 5 minute allotment)

November
1	2 min. Talent Segment (25 + 5 minute allotment)
8	Election Day - No class, vote!
15	Talent Segment screenings, 5 minute Wrap-up preparation BW&G Chapters 14 & 15
22	5 min. Wrap-up Production (25 + 5 minute allotment) 
29	5 min. Wrap-up Production (25 + 5 minute allotment)

December

6	5 min. Wrap-up Production (25 + 5 minute allotment), begin Wrap-up 
screenings
13	Final exam, finish Wrap-up screenings

* the final is scheduled from 7:00 - 9:00 PM

Studio rules have been developed not as a ritual, though they might seem that way at first, but as a way to increase safety and efficiency in producing programs. All students will be held responsible for the following information, which should be memorized and put into practice within the first week of class.

Above all, safety and respect for equipment are essential! Students who do not understand that will be asked to leave the class.

SET-UP AND PRODUCTION RESPONSIBILITIES

Producer/Director

Firstly, think through the entire production in your head and on paper before class, meeting with classmates if necessary. Get used to delegating responsibility -- use your AD ! If you end up personally moving scenery, furniture, cameras, lights, etc., you are wasting your time. Assignments to crew must be crystal clear and usually should be written down for them to read. Try following this order:

1) Give the Floor Director your floor plan and put her to work moving scenery into proper position. Usually a Floor Assistant and others will be helping her with this. Ideally you will have met with the Floor Director before the production period so she has a good idea of what you want.

2) Instruct the Lighting Director and Lighting Assistant (Grip) to begin work according to your instructions. A detailed, written lighting plan will allow the LD to proceed independently. If there are lighting changes (blackouts, crossfades, color changes, etc.) during the production, the LD will need a specially marked script.

3) Explain to the Media Center Engineer what you require in the way of character generator tiles/supers, videotape playbacks & recordings, transfers, tape stock, etc.

4) Give the Audio Engineer her specially marked script for the program and explain exactly what you want in terms of microphones, tapes, discs, carts, etc. This can be written down to save time.

5) Orient camera operators to their positions. Give out shot sheets or blocking diagrams if you have prepared them but don't begin a laborious, detailed explanation of each and every shot. Cameras are not normally moved into final position until basic set, lights and audio are finished.

6) Meet with talent to firm up last minute details on where they stand and move, what camera they look into, etc. Basic orientation of talent should be conducted before class.

7) Check out Technical Director on any special switching requirements. Routine switching can usually be checked during run-through and rehearsal.

8) Begin run-through of shots as soon as talent and cameras are in position. Check all shots in the order they appear in the program and familiarize crew with opening sequences, tricky transitions, camera turns, or special moves.

9) If time permits, conduct a full rehearsal of program without stopping. Have AD note problem areas.

10) After rehearsal, make corrections in camerawork, talent performance, lighting, etc., moving into the studio if needed.

11) As air-time deadline approaches 1 :00, call for tape roll and proceed with production according to AD countdown.

Assistant Director

Report to the Producer/Director for assignment in preliminary studio set-up. Be aware of specific time deadlines and exact timing of production. Understand all aspects of the Director's production and be her eyes and ears during the set-up and rehearsal phase, acting to solve problems independently according to the Director's needs. Convey pre-production instructions to audio and videotape operators and confirm tape sources and cueing for Director.

Acting together with the Floor Director, count crew and talent down to air-time, providing at least 10 minute and 5-on-down cues to show start-time. Provide total and segment times to the Director and Floor Director on headset during production using conventional countdown techniques. Keep track of tape rolls, tape times and outcues.

Floor Director

Report to Producer/Director for instructions on set and props. Using the floor plan she provides, begin setting flats first, then heavy items such as furniture, etc. Heavy props are usually set after lighting is nearly complete since they obstruct movement of the lighting ladder. Avoid bothering the Producer/Director with questions that can be answered after basic set-up.

Graphic stands are usually located last since they depend on unpredictables in the larger set. As soon as stands are in place, familiarize yourself or assistants with each and every graphic -- where it is placed, when it is pulled, etc.

Introduce yourself to talent and/or announcers. Explain what your various signals will mean. Since you will be cueing all talent, you must know each individual by the name the Director will use during the production.

Put on your headset the instant your Director moves to her control room position. You are her primary link to talent and certain crew members. Appropriately convey all time cues to the studio crew verbally, by signal or by time-cards.

Lighting Director

Report to the Producer/Director for her lighting plan. As soon as flats are in position begin setting up lights for the desired effect. Use talent or crew as stand-ins so you can aim lights effectively. You can patch instruments and operate switches and faders while your Lighting Assistant is hanging and focusing lights according to your instructions, or vice-versa. Check floor monitor or camera viewfinders to see if lighting is correct.

Safety is an important consideration. All lights must be safety-chained to the heavy metal grid unless a proper floor-stand is used. Make sure switches are off before plugging lights into a circuit. Be careful of touching hot lights without gloves. Have an assistant "spot" anyone using the lighting ladder. Be extremely careful not to drop tools, instruments (or yourself!) from the ladder

Audio Engineer

Obtain instructions on microphone placement from the Producer/Director. Find the microphones and plug them into appropriate floor jacks then set them in their positions once the basic set is in place. Avoid running cables on the floor where they might be run over by the lighting ladder or a camera pedestal. Dress cables neatly for aesthetic appeal. Help talent with lavaliere mics if needed.

After noting the numbers corresponding to the floor jacks, move to the control room7 get on headsets, and test each mic at the audio board, using available crew or talent for checks. Label board appropriately with a grease-pencil or tape labels -- "host", "announce", "guest 1 ", "guest 2", etc

If music or other recorded audio is to be used, identify source of material and cuts to be used. Cue cuts on the appropriate playback device. Identify where each source comes up on the board and test operation and check levels. If videotape playback will be used during production, identify and check that playback source(s). Confer with the Media Center Engineer or Instructor about board operation or for technical advice if necessary.

Check your script for specific audio cues provided by the director and make notes if needed. During run-through and/or rehearsal make final level adjustments and practice responding to the Director's cues.

Camera Operators

Assist Floor Director and Floor Assistant with set-up of heavy flats, furniture or other set pieces. When this is completed, get instructions and/or shot sheets from the Director and move camera into its preliminary position. Familiarize yourself with any camera moves, angles, talent positions, graphics, etc., required for the production. Do not aim lens into lights since damage can result. Be careful moving pedestals around on studio floor as they are heavy and could damage equipment or cause injury. Don't run over or step on camera, mic or headset cables!

When in position, zoom and focus on subject before shot is called for. Check shot sheet or script for understanding of your camera's shots. Check various framings for proper composition. Know how the Director will call for your shot (i.e. "Ready 2-shot on Camera One"). Make sure pan-tilt head is locked if you leave the camera for any reason. Cap lens after production is finished.

Technical Director

The TD should act as a technical coordinator for the Director. Special switching assignments should be discussed with the Director. Tape rolls, format requirements character generator usage and special video effects should be understood and discussed with the Media Center Engineer where required.

The TD can call shots for lighting checks during set-up and check for proper video levels. She should understand the flow of the script and make sure the Director's ready and execute calls are made clear before production begins.