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TV production > Position and Equipment in the studio > Flashcards

Position and Equipment in the studio Flashcards

1
Q

in small market stations, the ___ uses cue language to cue the show but also operates the video switcher and may be responsible for operating a graphics system as well. leader and supervisor of the production staff. The cues are called command cue language , in charge of technical execution of the program

A

director

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2
Q

network affiliate newscast can be best understood by dividing the television workspace as follows:

A

the studio; the control room; post-production; and master control

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3
Q

the large space where the set for a television program is located.

A

studio

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4
Q

For a live news program, the _____ deliver the newscast from an anchor desk (or other type of set) to the viewers. Although it is unusual, some larger studios contain more than one set (for entirely different programs). Commonly, the studio will contain smaller sub-sets that are used in conjunction with the newscast (such as a weather center/desk, traffic news space, or a dedicated interview set).

A

Anchors

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5
Q

the _____ is usually nearby, and controls the operations of the studio. Can be on seperate floors, and control multiple studios.

A

Control Room

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6
Q

Refers to a space in the television station where video editing activities are conducted. In some stations, traditional editing suites (small rooms) are available and contain the equipment necessary for creating pre-recorded material that can be used in the newscast.

A

Post Production

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7
Q

almost all stations have moved to this, where video editing can occur just about anywhere within the station or in the field where server access is feasible.

A

Server based systems

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8
Q

_____ refers to the transmission control of the television station itself. Incoming and outgoing microwave and satellite signals are received/transmitted in this area and the final output ___ of the station is controlled here.

A

Master Control, mix

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9
Q

Pre-recorded programs, advertising, promotions, and other mastered (finished) video assets are managed from the master control area. Smaller Television groups may not have their own master control, and if this is the case they are ____. “grouped” master control – controlling the outputs of several stations – and can thus share various signal processing and transmission equipment.

A

Hubbed

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10
Q

What is the studio floor designed for and what does it typically look like?

A

the studio is designed to control light and sound. The studio floors is flat and clean so the cameras can move smoothly. The crew should not leave unused tape spikes on the floor.

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11
Q

what are the walls in the studio like?

A

it can be concrete, cinderblock, or brick ect. if they are covered in fabric, be sure not to touch, puncture or tear the fabric because the fabric is meant to absorb sound and eliminate echo. Other types of acoustic treatments are also commonly found fastened to the walls of the studio. Ideally, studios are constructed in a fashion to reduce angles, corners, and other flat vertical surfaces in the attempt to control sound. Thus, an ideal studio (for audio control at least) is shaped like an egg

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12
Q

A few feet out from the physical wall, large curtains or panels of fabric called ______ are common in television studios. They are mounted on tracks, come in many colors and most studios will have two or more that surround all or most of the studio.

A

Cycloramas or cycs

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13
Q

____ can also be found in television studio set-ups. Essentially a set piece, it is a large curving platform (shaped like 1/4 of a bowl or a skateboarding quarter-pipe). They are used, primarily, when utilizing software-generated, “virtual” sets.

A

Hard cycs

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14
Q

What are ceilings like?

A

the ceilings are high to accomodate for the physical set materials and studio lighting system. It historically is high to remove the heat that the hallogen lights once were used in a studio. The ceiling may be painted black to prevent light reflection.

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15
Q

The most prominent feature near the ceiling is the ____

A

lighting grid

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16
Q

what is the lighting grid made of ?

A

battens (made of pipes) and lighting instruments that hang from the c clamp mounts. off of the battens. A professional lighting system will be made up of battens running nearly wall to wall, in both directions, approximately 3 feet apart

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17
Q

the ___ is a computerized on and off switch located in the control room or studio.Each instrument can be independently addressed, “tied” to other instruments, and all of the instruments can be controlled at once using this item. Each circuit is controlled by this and can be powered incrementally 0-100 percent.

A

lighting board console

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18
Q

Crew members that are responsible for hanging and aiming lighting are called____. in most professional settings they are certified electricians.

A

Gaffers

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19
Q

The typical studio will be equipped with three ___. studios can have more, but never less.

A

studio television cameras

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20
Q

Studio television cameras are non-format specific. ____ is the specific file encoding protocol for a digital video file. Expressed as the file extension (.mp4, .mov, .avi)

A

video file formats

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21
Q

The ratio of width to height of the video image (typically 4:3 or 16:9). The shape of the image.

the number of images, or frames, displayed in a video or film per second

A

aspect ratios

frame rates

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22
Q

the manner in which one frame of video (one image) changes to the next frame of video. They are expressed as “i” for interlace scan and “p” for progressive scan.

A

scan protocols

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23
Q

the number of horizontal lines of video information that, when viewed together on a video monitor, create an image. For example, one resolution protocol for HDTV is expressed as 1080. The image is made up of 1080 lines

A

line resolutions

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24
Q

4k line resolution

A

a line resolution protocol for UHDTV of 2160 horizontal lines. A “doubling” of the 1080 protocol.

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25
Q

8 k line resolution

A

A line resolution protocol for UHDTV of 4320 horizontal lines. A “doubling” of the 4K protocol

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26
Q

16 k line resolution

A

A line resolution protocol for QUHDTV of 8640 horizontal lines. A “doubling” of the 8K protocol. QUHDTV is called Quad

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27
Q

SDTV

A

standard definition television: any television signal made up of 525 lines of resolution (analog) or 480 lines of resolution (digital) at 30 frames per second (black and white) and 29.97 frames per second (color).

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28
Q

ISO

A

isolation recording. A camera is said to be in “ISO” when the video feed from that camera is recorded apart from (and in addition to) video program.

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29
Q

HDTV

A

high definition television any television signal that contains more than 480 lines of resolution. (720 lines of resolution or 1080 lines of resolution). All modern studios will be equipped with these at least

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30
Q

the production personnel who operate the cameras are called____. They are often referred to as their camera number that they operate.

A

Camera operators

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31
Q

a platform to increase the height of the desk

A

risers

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32
Q

vertical panels that provide a background or “flat wall” to the rear and sides of the desk).

A

flats, One type of flat wall that is fairly common is called a duratran or translite. A duratran is a large image printed upon transparent material (plexiglass) and backlit

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33
Q

Set materials and props are typically stored inside of an adjacent or attached room called ___. It is simply a storage room that is connected to the studio and is also accessible from the exterior of the building

A

scene dock

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34
Q

Multiple ____ will be positioned throughout the studio as well. The ____ allow for studio personnel (including the talent) to see different video feeds routed from the control room.

A

video monitor

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35
Q

The production crew member responsible for studio set-up and assembling the set is called a ____

A

Grip

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36
Q

green screen or colored cyclorama, the weather anchor is simply standing in front of a monitor or screen that is displaying (being “fed”) the weather graphics.

A

Chroma key wall

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37
Q

Located on the wall of the studio – often in many locations – are hook-up jacks for audio, video, clock, intercom, and other signals that pass between the studio and the control room. These hook-up jacks are located together and are called ___.

A

Patch panels

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38
Q

production crew member responsible for operating the audio board,

A

Audio Operator or A1

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39
Q

dedicated studio audio crew member

A

Audio asistant or A2

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40
Q

a cable containing bundled audio lines that terminates in a box containing multiple audio hook-ups

A

audio snake

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41
Q

Boss of the studio, communicate and cue news anchors. They can hear the commands of the Director using an intercom system that links the studio to the control room, and they will audibly cue or use hands to cue the talent

A

floor director, they have experience operating equipment and also are in charge of studio safety. They also help mic up the talent.

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42
Q

the anchors or the ____. They will be seated and put mics on 10 minutes before the show starts as well as do mic checks. Usually there is two anchors, a weather and a sports anchor.

A

Talent

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43
Q

The monitor wall or multi-viewer is centered around two larger video monitors that display Preview (PVW) video (positioned left) and Program (PGM) video (typically positioned right). The Program video monitor displays the video source that is “active, live, on-line,” or “the video signal that is being recorded or viewed at home.” The Preview monitor shows the video source that is next or “on-deck” for Program. Note: preview is often called Preset (PST).

A

monitor wall or multi viewer.

A very common variation on the monitor wall is the use of multi-viewers. Multi-viewers are very large monitors that can display (as the name suggests) multiple video feeds at the same time. The screen is simply divided or arranged (within the limits of the software) into two larger screens (preview and program) and/or smaller screens (video sources).

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44
Q

audio selection device controlled by the audio operator

A

audio board

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45
Q

The switcher controls the video sources that are activated to Preview and Program, that is operated by the Technical Director

A

video switcher

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46
Q

he teleprompter transforms the script for the show into a scrollable video signal that is transmitted to a viewing system mounted on the front of the studio cameras

A

teleprompting computer, the person who operates the teleprompter is called the telleprompter or prompter

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47
Q
A

engineering space

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47
Q

_____ can create, store, and recall different kinds of graphics: character generation (CG), still-store (SS), 2D and 3D graphics, animations

A

graphics computer

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48
Q
A

playback

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49
Q
A

lighting board

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50
Q

the final mix of video sources flowing from the video switcher.

A

video program

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51
Q

The audio feed from the audio board (the final mix) is

A

audio program

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52
Q

heavy duty speakers – will be located near to the monitor wall to permit the control room crew to listen to audio program.

A

audio monitors

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53
Q

a computer located in the control room that generates video text (words) that can be keyed over a picture or used alone as a video source, rolling credits, software

A

character generation

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54
Q

a graphics computer (or function of a graphics computer) that captures, stores, manages, sequences, and displays still-images

A

still store

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55
Q

Animation: two-dimensional graphic that is programmed with movement

A

2D

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56
Q

Animation: three-dimensional graphic that is programmed with movement.

A

3D

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57
Q

top level “organizing” software that manages the rundown, the script, and the media assets for a news program. (media object servers)

A

newsroom computer systems

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58
Q

The television program is recorded and any pre-recorded material that is needed for the show is controlled from the ____position

A

playback

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59
Q

production crew member and station employee responsible for audio and video routing, signal quality, signal balance, and equipment repair

A

broadcast engineer

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60
Q

an audio/video playback and/or audio/video recording device.They use removable flash memory media.

A

digital disk recorder

61
Q

Prior to and during the show, the Engineer is responsible for the____. a It is a remote control for the studio television camera that is located in the control room. The ___ controls power, color balance, iris, and white and black balance.

A

Camera control Units.

62
Q
A
63
Q

a machine used by the Engineer to monitor video luminance (black and white) or “brightness” levels.

A

waveform monitor

64
Q

a machine used by the Engineer to monitor chrominance (color) levels.

A

vectorscope

65
Q

The ____ or video operators can use CCUs to make adjustments to the iris settings on the camera lens or to “ride gain” – adjust the strength of the video signal level.

A

shaders

66
Q

production crew member responsible for timing a television program.

A

Assistant Director

67
Q

Responsible for the content, the scripts stories, and prerecorded clips.

A

Producer

68
Q

the little ear piece in the anchor’s ear is a tiny headphone and ____ permits the Producer to “cut-in” through audio program (using a microphone in the control room) in order to speak to the anchor). There are many different types and flavors of these workers

A

IFB , Interrupt Foldback

69
Q

is a person who designs sets for particular programs.

A

Set Designer

70
Q

is a person who designs the lighting for a particular set

A

Lighting Designer

71
Q

(formerly “tape librarians”) are in charge of managing the video, graphic, and audio assets of a particular TV show, TV station, or network

A

Media Asset Managers

72
Q

are devices that acquire or generate audio and are wired as inputs to the board. Common_____that Audio can select from include the studio microphones: MIC 1, MIC 2, MIC 3.

A

audio sources

73
Q

a sliding knob on the audio board that controls the input signal strength an individual audio source.

A

fader,

74
Q

location of the faders

A

The majority of the faders are identical and control audio sources or inputs – and these begin on the absolute left of the board, continue across the middle of the console, and end (usually) at about three quarters or so of the way across,

the right hand quarter of the board controls special input functions

75
Q

The very last fader on the bank controls the output of the board and is the___. It controls the strength of audio program; and, not uncommonly this fader is a different color than the rest and (again) is the very last one (or less commonly it will be two faders side by side) on the farthest right side of the board.

A

Master Fader,

76
Q

one unique, individual, distinct line of audio, microphone

A

mono

77
Q

is a measurement of how much voltage is associated with an audio signal

A

signal strength

78
Q

Mono – one unique, individual, distinct line of audios, audio servers

A

stereo

79
Q

human perception of loudness

A

volume

80
Q

The legacy analog measurement for audio is the Volume Unit (VU)

A

VU

81
Q

since digital audio processing is the norm, audio technicians most commonly use the…

peak is -20

goes from -60 to +20

A

decibel scale DB

82
Q

signal flow above the ideal

A

overmodulation

83
Q

signal flow below the ideal

A

undermodulation

84
Q

an audio source that is generated at a normalized signal strength

A

line source

85
Q

By adjusting the ____ knob, the incoming signal or flow of an audio source can be increased or reduced as needed

A

gain knob or trim or gain

86
Q

the process of increasing or decreasing the sensitivity of a specific audio frequency or group of frequencies.

A

equalization

87
Q

a feature on an audio console that activates or “chooses” an input fader for manipulation by the common control interface.

A

select button

88
Q

a function of the audio board that permits the isolation of a specific frequency and the removal of all frequency response above or below that point

A

filtering

89
Q

a switch on the audio board that permits the operator to isolate and monitor a single audio source apart from the mix.

A

solo

90
Q

a knob located on an input fader of an audio board that will “send” the output of that fader to either the right channel of audio program or the left channel of audio program.

A

pan

91
Q

a switch located on an input fader on an audio board that silences an incoming audio signal regardless of the position of the fader knob, referred to as cut

A

mute

92
Q

a feature of some audio boards that sends a 48 volt channel of Direct Current (DC) upstream in order to power a studio microphone

A

phantom power

93
Q

audio program with the source audio from the anchor microphone removed. Permits the anchor to hear the show without danger of creating a feedback loop or distracting the anchor with a delayed feedback of their own audio.

A

mix minus

94
Q

a video test pattern that contains colored bars.

A

color bars

95
Q

a group of three busses together

A

mixed effects bus

96
Q

bottom row, video signal that is on deck,

A

preview bus

97
Q

middle row, permits the direct selection of the Program Video source

A

program bus

98
Q

top row, permits the selection and assignment of a key video source,

A

key bus

99
Q

a special effects processor either embedded within or hooked into the video switcher. A video source can be routed to the DVE, modified, and looped back to the switcher as a new source

A

digital picture manipulator

100
Q

e memory

A

emem

101
Q

An abrupt transition from one shot to another. Cuts are the simplest way to change shots and are also known as edits.

A

cut

101
Q

a switcher oriented computer program that remembers a short sequence of button pushes.

A

macros

102
Q

A scene is quickly replaced by another, usually from the side of the frame. Wipes can be customized to many shapes, such as an iris, heart, star, or clock.

A

wipe

103
Q

A softer transition that blends two scenes together or fades a shot into black or white. Dissolves are often used to indicate the passage of time

A

dissolve

104
Q

a device that directs incoming audio and/or video signals to specific destinations

A

routing switcher

105
Q

a T-shaped handle in the Transition Area on the video switcher that permits manual control of wipes and dissolves.

A

fader bar

106
Q

a group of lighting instruments that generate a stream of light waves that are parallel and close together.

A

spot lights

107
Q

harder to control than spot lights and do not carry as far or with as much intensity as spot lights, Flood lights are used to illuminate large areas of the studio with a soft, flat quality of light.

A

flood lights

108
Q

Shaped like a large tin can, fresnels are sometimes called “cans” or “an ace,” and are commonly accessorized with four black metal panels on the front called barn doors, workhorse of television studio

A

fresnels, in the spot light family

109
Q

used for sets, props and special effects, long narrow tube

A

ellipsoidal, in spot light family

110
Q

looks like a large metal bowl with a high output lamp in the bottom, increasing the amount of base light on a set

A

scoops, in flood light family

111
Q

used in modern studio, box shaped lighting instrument that contains many lights

LED equivalent is called a panel

A

soft light or soft box, flood light family

112
Q

comes in two variations :

the ground row - strip of lights

sky cyc - a small softlight mounted to the grid that washes from top to bottom)

A

cyc light in flood light family -

113
Q

that contain a two-prong halogen lamp fixed between two reflectors, on grid or mounted

A

broad lighting in the flood light family

114
Q

are lighting instruments that are of a “fixed” throw or spread.

A

PARS in the flood light family

115
Q

key light is located 45 degrees up, out, and to the left of the talent position, can use a fresnel

fill light: the second light of the three-point lighting strategy. Located 45 degrees up and to the right of the talent position, the fill light may be a spot light or a flood light

back light: is located 45 degrees up and 90 degrees straight back from the talent position, lower wattage fresnel

A

three point lighting strategy

116
Q

a lighting strategy that uses three forward lights to illuminate a subject (45 degrees left, 90 degrees head-on, and 45 degrees right). Combined with a backlight, it is a slight modification of the three-point lighting strategy

A

triple key

117
Q

The entire set is ringed with soft flood lights in a “bank” technique

A

bank lighting strategy

118
Q

backlights or ____

A

kickers

119
Q

a handheld meter that measures the intensity or amount of light.

A

light meter

120
Q

a measure of light based on the amount of luminance given by a single candle at a distance of twelve inches.

A

foot candle

121
Q

a four flap sheet metal lighting accessory mounted to the front of a lighting instrument that permits greater control in how a light is aimed

A

barndoors

122
Q

unwanted light. Light that has “spilled” over the intended target.

A

spill

123
Q

a cable that carries the video from the studio television camera to the control room.

A

camera cable

124
Q

a lock located on the pedestal dolly wheel that prevents the wheel from rotating.

A

wheel lock

125
Q

The appropriate spot to grab, push, and steer the camera is the

A

pedestool steering wheel

126
Q

_____ that prevents the camera from moving up and down

A

pedestal or column lock

127
Q

a pedestal lock that prevents the camera from tilting up or tilting down.

A

tilt lock

128
Q

a pedestal lock that prevents the camera from pivoting left and right.

A

pan lock

129
Q

a large, spring-loaded pin located through the pedestal head. A master lock prevents the camera from tilting.

A

master lock

130
Q

“shows” the operator what the camera “sees

A

viewfinder

131
Q

located on the front of the viewfinder is . When the ___ is “on,” it means that the camera is selected to video program – the camera is hot, active, or live (the one everyone is looking at

A

tallylight

132
Q

a feature on the camera (typically located as a button on the servo-zoom control) that, when activated, will allow the camera operator to see various (as routed) video sources in the camera viewfinder (typically program).

A

return video

133
Q

one type of imaging device inside the studio television camera. A CMOS (or chip) converts light into a video signal. Professional cameras have 3 chips, one to image red, one to image green, and one to image blue. The larger the CMOS, the higher the possible resolution.

A

CMOS

134
Q

a procedure that is used to calibrate the manner in which a camera references color. The value of white in a given lighting environment.

A

white balance

135
Q

the off-air communication system that includes the staff of the Control Room, the Studio, Master Control, and other production crew as needed

A

intercom unit

136
Q

a component of the Intercom Unit worn on the head containing a headphone and a microphone.

A

headset

137
Q

a small box that is a component of the intercom system. The box connects the headset and audio cable, controls intercom channel selection, headset volume, and headset mic activation

A

beltpack

138
Q

To do this, the camera operator will need to zoom in as far as possible to the target (usually an anchor’s eye – it has a lot of detail). The camera operator will then need to adjust the focus control to get the most crisp image possible (if the anchor is not available, try the edge of the anchor’s chair).

A

set focus

138
Q

a three-wire audio cable (three pin).

A

XLR cable

139
Q

the composition of a camera shot refers to framing.

A

framing

140
Q

(a list of shots) as a reminder of the progression and sequence of compositions needed for a given program

A

shot sheet

141
Q

move entirely left or right

A

truck command

142
Q

move camera fowards or backwards

A

dolly

143
Q

left or right

A

pan

144
Q

up and down

A

tilt

145
Q

zoom control

A

thumb lever you press to go to the right to go in and the left to go out

146
Q

is the visual distance that is to the front of a moving object (like a car passing by) or to the front of a visual composition of a person’s head.

A

leadroom

147
Q

is the visual distance from the top of the talent’s head to the top edge of the video monitor

A

headroom

148
Q
A

TV production (1 decks)

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