2Studio and Remote Shooting 16Studio and Remote Shooting
3ObjectivesRecall the specific characteristics of both studio and remote shooting.Identify the types of monitors set up in the control room and the function of each.Explain the differences between ENG and EFP.Identify the items to be evaluated during a location survey.Summarize the advantages and challenges of both studio and remote shooting.
4Production Meeting Attended by entire crew Director explains message and vision of showCrew tasks are assignedProduction dates discussedMaster production calendar is setProduction calendar distributed to entire team
5Studio Ceiling High—10’-20’ best for lighting and heat dissipation If ceiling is too low:Lighting instruments may appear in shotTalent standing under instrument may be too hotAir conditioning must work harder to keep heat levels down
6Studio Walls Sound treated Microphone jacks located around room Keep outside sounds from enteringKeep studio sounds from echoing in large studioMicrophone jacks located around room
7Curtains May be any color; need to cover at least two walls For max flexibility, curtains should cover 3-4 wallsMay hang in attractive folds or be pulled tightNever touch front side of curtainFingerprints leave greasy stain that attracts dirtSignificant cost to cleanIf you must touch curtain, grasp from back side
9Studio Floor Flat Non-reflective—do NOT wax or polish! Reflective floor causes loss of lighting control
10DiscussionWhat do hard concrete walls in studio and highly polished floors in studio have in common?Both cause the loss of a major production element:Hard walls cause a loss of audio control because sound will bounce around in the studio, possibly even echoingPolished floors cause loss of lighting control because light will bounce everywhere off the floor, destroying any creative lighting design
11Scenery Units Flat and jack Mask seams between flats with painted masking tape or drywall tape
12Studio CamerasFor identical picture quality, all studio cameras should:Be same brand, model, and ageNever be taken outside of studio on locationBe permanently cabled in studio to control room
13Control Room Director stationed here Communicates with studio production teams via headsetsPositioned near special effects generator and faces wall of monitorsSmall facility control rooms also house audio mixer, other audio sources, light board, recorders, and CCU
14Control Room Monitors Camera monitor Program monitor Preview monitor Confidence monitorCG b/w monitor and color monitor
15Audio Booth Audio console Music and sound effects library usually is here if it is CD type of library
16Master Control RoomProcessing equipment for audio and video creates heat and noise, so they are kept in their own room together
17Specialized Areas Carpentry shop to build sets and props Editing suitesDressing roomsMake-up area
18Remote Shoot ENG (Electronic News Gathering) Often requires only one or two peopleVideo crew is NOT in control of shoot or environsEFP (Electronic Field Production)May require large crewVideo crew is in control of shoot and environs
19Location Survey Required for EFP for each shooting location Do location survey on same day and same time as shoot will be scheduledNote noises and traffic that will be happening when you shoot
21Advantages of Studio Shoot Transportation unnecessaryUnaffected by weatherAll equipment and cables are readily availableMajor equipment set up is unnecessaryCrowd control is easyPrecise lighting control is easyExtraneous sounds do not disruptVideo switcher severely decreases editing time
22Disadvantages of Studio Shoot Building set can be expensive and time consuming“Outdoors” sound difficult to recreateSun and shadow movement difficult to recreateVideo equipment is expensive and extensiveMore personnel are needed to operate studio
23Advantages of Remote Shoot Often no set needs to be built—the location is chosen because set already existsNatural light can often be usedEverything about set is realistic because it is realLess equipment needed for remoteUsually requires fewer personnel
24Disadvantages of Remote Shooting Murphy’s LawSpares of everything must be brought alongPossibility of inclement weatherPower supply may be insufficientProperty releases must be obtainedTerrain often not suitable for camera movementEveryone and everything must be transportedNo switcher means extensive editing time required
25Career PageNational Press Photographers Association
26DiscussionIf you are trying to shoot something with limbo lighting, what color of curtain would be best in background?Actually, any solid color will work for limbo lighting since limbo shooting merely requires that the talent be on a set with no definition. However, the most common colors used for curtains in limbo shooting are black or white. Singers often have black behind them and car commercials often are shot on white limbo sets.
27Review QuestionWhat are the differences between EFP and ENG? ENG is usually for news coverage, uses single camera, has small crew, and is brief. EFP is usually for longer pieces—documentary or entertainment—has larger crew, and is much more expensive production.
28Review QuestionWhy is a high ceiling preferable in a studio? Lights are high and out of picture, the head of talent standing under instrument is not glowing with too much light, and heat created by instruments rises and dissipates.
29Review QuestionWhat are the monitors used in a control room? Camera monitors, program monitors, confidence monitors, preview monitors
30Review QuestionWhat should you be aware of when doing location survey? Noises and traffic that will be happening when you shoot.
31Review QuestionWhat are advantages and disadvantages to shooting in studio? Advantages: Transportation not necessary, no worries about weather, equipment readily available and no need for set up, no public crowds, sound control. Disadvantages: Costly to build set, difficult to recreate sound and natural scenery effects, video equipment is expensive and extensive.
32Review QuestionWhat are advantages and disadvantages of shooting remotely? Advantages: No set building, natural light often can be used, set looks real because it is, requires less equipment and people. Disadvantages: Possible bad weather, requires property releases, difficult for camera movement, possible power supply issues, requires more people and equipment.
33Glossaryaudio booth: A room in the studio that contains all of the equipment capable of adding sound to the program.audio console: A unit that includes many different pieces of audio gear, including the microphone mixer, audio cassette players, CD players, and turntables.camera monitor: A monitor that displays the image shot by the corresponding camera.
34Glossaryconfidence monitor: A monitor connected to the output of the video recorder. Seeing the image on this monitor ensures that the video recorder received the signal.control room: A room in the studio containing several monitors and the special effects generator. In smaller facilities, the control room also houses the audio mixer, all of the sound equipment, video recorders, the CG, CCUs, and even the light board.
35Glossaryediting suite: A cubicle or small room where the program is put through postproduction processing, such as video and audio editing, voice over, music and sound effects recording, and graphics recording.EFP (electronic field production): A shoot in which the video crew and production staff are in total control of the events and action.
36GlossaryENG (electronic news gathering): The process of shooting information, events, or activity that would have happened whether a reporting/production team was there with a camera or not.flat: A scenery unit that is usually a simple wood frame with a painted plywood shell.
37Glossaryjack: A triangle-shaped brace that is fastened to the back of a flat to provide stable, upright support.location: Any place, other than the studio, where production shooting is planned.location survey: An assessment of a proposed shoot location that includes placement of cameras and lights, available power supply, equipment necessary, and accommodations needed for the talent and crew.
38Glossarymaster control room: A room in a production facility where all the hardware is located, including video recorders and other equipment needed to improve and process the video and audio signals.preview monitor: A monitor that allows the director to set up an effect on the SEG before the audience sees it.
39Glossaryproduction meeting: A meeting with the entire crew in which the director lays out the program’s main message and either the director or producer assigns each task involved in the production to members of the crew.program monitor: A monitor that displays the image going to the recorder.remote shoot: Any production shooting that takes place outside of the studio.