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  • 8/11/2019 Section 16.1

    1/20

    r

    =

    roduction

    eople

    Television production

    is

    teamwo

    rk

    - you ve heard

    th is

    many times.

    ul

    why does

    it

    take

    a

    who

    le learn when you can do a reasonab

    ly

    good job w ith your camcorder all

    by

    yo

    ur

    self? ouldn 't total control of the production process and no one interfering w ith

    yo

    ur

    creativity be better? Arent the

    othe

    r team m

    embe

    rs more of a liabi lity than an asset?

    As you probably suspected, the answer to the last two questions is a simple no.

    In professional television production, you must rely on a great number of people each

    of

    whom

    performs a

    highly

    specific function. For

    examp

    le

    , you may be all

    by

    yourself

    when ch

    as

    ing a news story with an ENG camcorder, but when you bring the video tape

    back to the sta

    ti

    on, it is the rest o f the news

    departm

    ent that gets yow story on the air.

    Someone decides just w here

    in

    the newsca st

    your

    story s

    hould

    be placed: olhers edit

    your videotape. wr it e a sensib le

    ne

    ws story from your cursory not

    es

    put it on the vid -

    eotape recorde r or video

    se

    rver for playback at a specific time, and ensu re

    that

    the tinal

    video and audio signals reach the transmitter. A muiticamera

    EFP

    or studio production

    obviously requires more Ihan

    one

    person to

    g t

    the project done.

    366

  • 8/11/2019 Section 16.1

    2/20

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    U

    iUOOQ

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    JUM

    'q

    uipmenl. Somcl'im t's inches are significan t, especially i f

    the sh

    ow

    is shot primarily in close -up s. Precise televisio n

    lighting and th

    e limi t

    ed

    microph

    one

    r

    adiu

    s when

    boo

    ms

    arc used also force to ad here sirict ly 10 the established

    bl

    oc

    king

    .

    Once the show is on the dir. yo u have ;In Obligatio n 10

    fo

    ll

    ow

    the rehearsed action.This is no t tht' time to innov

    atC'

    just because you have a sudd ('

    11

    inspinllio n. If the di rector

    hdS

    not

    be tn warned of you r change. the ne\>.blocking w

    ill

    al ways be \"orse

    th

    an

    {h

    e previously rehearsed one. The

    camera has a limiled field of viny; if you wa nt to be

    st

    en,

    you

    mU

    SI Slay > >' ilhin it.

    So m

    ed

    ireClors h ve the floor manager mark th e

    e.,X3C1

    spo

    ts

    fo r you to s

    ta nd or

    the pat hs o f m ovemen t. This is

    called jpikillg you r pos il ion. Loo k fo r thest" tape o r chal k

    marks

    and

    follow them witho ut

    being too

    obvious.

    1f

    such

    sVik e mar

    ks

    are not used, :I

    block

    ing mnp by re

    memb

    er ing where yo u sland for spc

  • 8/11/2019 Section 16.1

    19/20

    384

    hapter 6

    Fo r a single-camera EFP or

    fi

    lm-st yle stud

    io

    prod uc

    tion, each shot is se t up and reco rd ed separatd y. Such

    a prod

    uc

    tion approach often

    gi

    ves you a chance to

    rea

    d

    m"er yO

    UT lines (o r each lak

    e.

    Although this approach m:l y

    make it e

    as

    ier to remember Jines,

    it is

    ha rder to majntain

    conl inuiry of action and emotion. Go

    od

    television actors

    do not re ly on prompt ing devices; after aU, you should live,

    not read, your role . Nevenheless, rna.ny go

    od

    aCla rs like

    to h

    ave

    all their lines backed up

    by

    cue

    ca

    rds, just in c

    as

    e.

    Most of the time, they ne

    ve

    r l

    oo

    k at them.

    But

    even i f the

    cue ca rds function onl y

    JS

    a

    sa

    fety net, their contribution

    to a good perfo rmance

    mo r

    e than justi nes their use.

    TIMIN

    (ike the

    t

    e

    evisioll

    per(o rmu. as an

    aClor you

    ml l

    s t

    have an

    acute sense of timing. Ti m

    in

    g matters for pacing your per

    forman

    C{',

    for bu

    il

    ding

    10

    a climax, for deli

    ve

    ring a punch

    line, and (or staying within

    a

    t

    ig

    htly prescribed d ock

    lime

    .

    E

    ve

    n if a play is videotaped scene-by-scene, you st ill need

    10

    obserw' carefully the stipulat

    ed

    running times fo r

    ea

    ch tak

    e.

    Yo

    u may h

    ave

    to stretch

    a

    scene withoui making it ap

    pE 3.

    r to

    dr

    ag, or you may need to gain ten secon ds by speed ing up

    a scene without des

    tr

    oying its sole

    mn

    c

    har

    ao er.

    Yo

    u

    mu

    st

    he fl('x

    ible without ste

    pp

    ing out of charac

    ter.

    Ahva)"s respond immed iately to the

    floo

    r manager 's

    cue

    s.

    Do n ot stop in

    the

    middle of

  • 8/11/2019 Section 16.1

    20/20

    Section

    16 1

    Wha t Praducr io n Pe op l e

    ery.

    Li

    sten to the imtr

    u..:

    t40ns given to you

    be

    fore

    and durin g th e audition. Remembe r that television an

    intimatl': mc

    dium.

    \vhen ins tructed to

    demonstrate

    a product, pra

    ct

    ice

    lkfore you are o n-camera to make sure

    )'oU

    know how, for

    exam ple, 10 Ope n easy-to-open package. Ask the floor

    crew to help }'OU prepare a

    produ

    ct fo r easy hl'lndling. Also

    find o ut

    ho

    w

    do S