In an earlier blog post, The Perks of a Positive Production, I was able to thoroughly document the process of putting together a television program in a short amount of time. As leader of a group of students working on a Healthy Eating round table discussion program, there were several things to consider as I helped my peers move from creating the idea, contacting guests, selecting jobs in studio, and recording our show.
It is nearly impossible to think of every complication that could crop up during a studio production, and if there was a foolproof way to be prepared for every potential obstacle -- chances are there simply wouldn't be time. Even working as a team, as students of production we are still growing and developing our skill set while operating on a tight schedule.
As I look back on the program we created, there are things I have identified as problems, and some things I think went smoothly.
Monday, April 23, 2012
Tuesday, April 10, 2012
The Perks of a Positive Production
What would a studio production class be without content to produce? For one of our last major projects, students were given the option to either work in post-production for the writing center shoot discussed here, or work in groups to produce something new, a program created entirely by the students. Knowing that we needed content, I had been thinking about about potential program themes during Spring Break, and jumped at the chance to present those ideas to the class.
The first of two potential programs I suggested was Healthy Eating, a round-table discussion about eating healthy on Shepherd's campus. How do students maintain a healthy diet, and what could the university do to promote nutrition?
A student perspective on this topic was necessary, but an expert opinion would also be beneficial. I suggested that we contact a professor from one of the Fitness for Life classes on campus, who teach Shepherd's students about healthy eating habits.
The second program I suggested to the class was 2012, a round-table discussion about the theories of the end of the world. Is it possible that the world could end in December of this year? What is the history behind the doomsday prophecies, and what points to 2012 as the ill-fated year? I thought a combination of history professors from campus, who could talk about the source of the prophecies, and science professors, who could discuss the possibility of an end-of-the-world occurrence, would be the best candidates for guests.
I was surprised at how many people were in favor of the 2012 program, and began to grow more and more excited about how to produce the show. However, when the class also decided to produce the Healthy Eating show, an issue presented itself. I could not contribute to the two groups that took on my ideas, I could only work with one. After being assigned as leader the Healthy Eating group, I had to say goodbye to one of my ideas. Letting go was my first lesson on this project.
A student perspective on this topic was necessary, but an expert opinion would also be beneficial. I suggested that we contact a professor from one of the Fitness for Life classes on campus, who teach Shepherd's students about healthy eating habits.
I was surprised at how many people were in favor of the 2012 program, and began to grow more and more excited about how to produce the show. However, when the class also decided to produce the Healthy Eating show, an issue presented itself. I could not contribute to the two groups that took on my ideas, I could only work with one. After being assigned as leader the Healthy Eating group, I had to say goodbye to one of my ideas. Letting go was my first lesson on this project.
LESSON ONE: Sharing your ideas with a team means they are no longer yours alone. If you can't take on more than one program at a time, every now and then you just have to trust someone else with your vision.
Thursday, March 8, 2012
The Writing Center Shoot
Our first project for the Studio Production class here at Shepherd was to put together a commercial for the Writing Center and its tutors. Having worked as a writing tutor myself, my first instinct was to put forth some of that knowledge in group discussion. For example, when the possibility of using the image of a marked up paper was presented, I informed my peers that writing tutors are actually more than just editors, and work more with developing ideas than just fixing up grammar mistakes. Though we originally planned to use a black background for our shoot, I objected on behalf of the writing tutors, who already worry that they are perceived as being located in the dark, gloomy basement of the library (though it is perfectly well-lit, in reality).
Once we started to put ideas into practice, I had several different roles I filled throughout the week. Although they were not always the busiest positions, I could see how my part contributed to the production as a whole.
PREPARATION
When we began to set-up the studio for the shoot, I was one of the three people who volunteered to work with the script. My job was to make it easy for the talent to read lines to the camera without looking as if they were reading from a prompter. I wrote each line of the script carefully on a giant whiteboard, then made changes as our fill-in talent attempted to read them. Whatever seemed difficult to read in one line would be broken into two or more, until the talent was comfortable presenting the lines to the camera.
DAY ONE FILMING
On the first day of the shoot, I first continued my job of working with the script. As the talent began to read the lines for the camera, there were a few adjustments that needed to be made. I erased lines that were complicated, added some lines when asked by the client, and edited the script until everyone was satisfied with the result. Once the script was in place, however, there was not much more I could do during the shoot.
I was offered the chance to work with audio and immediately jumped at the opportunity. As we set up for a new talent to read lines, I worked in the booth at the switchboard and asked for the talent to read some lines. When I had an idea of what volume the talent might have throughout the shoot, I adjusted the levels on the switchboard accordingly.
DAY TWO FILMING
On the second day of the shoot, I finally was able to work with the camera. I was the first person to do so for the day, so I ran through the entire set-up process. I zoomed in as close as possible to the face of the talent, focused the lens, and made sure we had a clear shot. When the lighting was complete in studio, I had someone hold up a white paper so I could set the white balance. I consulted some others on whether the exposure was set properly on the camera, in the hopes of a second opinion, and when all of these measures had been taken I then began to frame the shot. After some guidance from the director, I altered this slightly, and once the frame was what the director wanted, I locked the camera in place.
A LEARNING EXPERIENCE
The shoot was a great learning experience, as I was able to take on roles that I hadn't in the studio before. I was lucky to have supportive peers who would answer questions when I had them, or would give opinions when I requested them. I also learned that when the talent shows up, it changes everything! The whiteboard that I worked so diligently on the first two days ended up being discarded when it proved less effective than anticipated. Lines were added back to the script that I would have removed, and there were definitely a few hiccups that needed fixing as we looked back on our first day's shoot. All of this, however, was a really positive experience as a whole. We all worked together and did what was necessary to make the shoot run as smoothly as possible.
Once we started to put ideas into practice, I had several different roles I filled throughout the week. Although they were not always the busiest positions, I could see how my part contributed to the production as a whole.
PREPARATION
DAY ONE FILMING
On the first day of the shoot, I first continued my job of working with the script. As the talent began to read the lines for the camera, there were a few adjustments that needed to be made. I erased lines that were complicated, added some lines when asked by the client, and edited the script until everyone was satisfied with the result. Once the script was in place, however, there was not much more I could do during the shoot.
I was offered the chance to work with audio and immediately jumped at the opportunity. As we set up for a new talent to read lines, I worked in the booth at the switchboard and asked for the talent to read some lines. When I had an idea of what volume the talent might have throughout the shoot, I adjusted the levels on the switchboard accordingly.
DAY TWO FILMING
On the second day of the shoot, I finally was able to work with the camera. I was the first person to do so for the day, so I ran through the entire set-up process. I zoomed in as close as possible to the face of the talent, focused the lens, and made sure we had a clear shot. When the lighting was complete in studio, I had someone hold up a white paper so I could set the white balance. I consulted some others on whether the exposure was set properly on the camera, in the hopes of a second opinion, and when all of these measures had been taken I then began to frame the shot. After some guidance from the director, I altered this slightly, and once the frame was what the director wanted, I locked the camera in place.
A LEARNING EXPERIENCE
The shoot was a great learning experience, as I was able to take on roles that I hadn't in the studio before. I was lucky to have supportive peers who would answer questions when I had them, or would give opinions when I requested them. I also learned that when the talent shows up, it changes everything! The whiteboard that I worked so diligently on the first two days ended up being discarded when it proved less effective than anticipated. Lines were added back to the script that I would have removed, and there were definitely a few hiccups that needed fixing as we looked back on our first day's shoot. All of this, however, was a really positive experience as a whole. We all worked together and did what was necessary to make the shoot run as smoothly as possible.
Wednesday, February 22, 2012
Don't Worry, Be Lively
When I had a chance to more thoroughly look over the Writing Center script, I was instantly relieved that the studio production class wouldn't have to go the way of infomercials. So many commercials begin with a comment much like the one in the writing tutor script we were provided.
Do you struggle with ______?
However, instead of just providing a solution for the consumer's problems, most infomercials make a mockery of the consumer's failure first. In fact, there's a youtube video dedicated entirely to the overacting of the infomercial actor in need of assistance.
As odd as it may sound, my approach to the writing center commercial would be similar to how a lot of acne medication commercials are produced currently. For one thing, much like acne, trouble with assigned papers at any stage of the writing process is a universal problem. Most of us can identify with those who would be in need of the writing center's services. Instead of making this seem like a doom and gloom scenario, acne commercials tend to embrace the norm and provide friendly encouragement for seeking help.
There's no reason that the writing center commercial can't also be this lively and bright. We might be working in a studio environment, but we have more backgrounds available to us than just the black curtains. Even the bright blue might be more refreshing and positive a color.
Black backgrounds, even with bright lighting, can make it seem as if the person speaking to you in the commercial is floating in space. Also, as was mentioned in class, the brighter you want someone to appear in intelligence (and for a writing tutor, that is a must!), the brighter that individual should be on screen. I think that should be the case for the entire image presented, not only the faces of the speakers.
Needing tutoring can make people feel as if they've failed at writing, even if that is not the case. If the commercial for the writing center is positive, bright, and friendly, it might seem less like a punishment for the consumer, and more like a shared experience he or she can go through without shame, and to his or her benefit.
Do you struggle with ______?
However, instead of just providing a solution for the consumer's problems, most infomercials make a mockery of the consumer's failure first. In fact, there's a youtube video dedicated entirely to the overacting of the infomercial actor in need of assistance.
As odd as it may sound, my approach to the writing center commercial would be similar to how a lot of acne medication commercials are produced currently. For one thing, much like acne, trouble with assigned papers at any stage of the writing process is a universal problem. Most of us can identify with those who would be in need of the writing center's services. Instead of making this seem like a doom and gloom scenario, acne commercials tend to embrace the norm and provide friendly encouragement for seeking help.
There's no reason that the writing center commercial can't also be this lively and bright. We might be working in a studio environment, but we have more backgrounds available to us than just the black curtains. Even the bright blue might be more refreshing and positive a color.
Black backgrounds, even with bright lighting, can make it seem as if the person speaking to you in the commercial is floating in space. Also, as was mentioned in class, the brighter you want someone to appear in intelligence (and for a writing tutor, that is a must!), the brighter that individual should be on screen. I think that should be the case for the entire image presented, not only the faces of the speakers.
Needing tutoring can make people feel as if they've failed at writing, even if that is not the case. If the commercial for the writing center is positive, bright, and friendly, it might seem less like a punishment for the consumer, and more like a shared experience he or she can go through without shame, and to his or her benefit.
Friday, February 17, 2012
Let There Be Light
Upon entering the studio environment for our production class, I anticipated the position of technical director the most. After trying out the role in a basic production class a few years prior, I knew that the inherent pressure of the position, making sure that each take is ready and transitioning properly, was more fun than stressful. On the survey we were provided, I made sure to indicate that I wanted more experience with technical directing - but I also mentioned that I had little interest in lights.
I was wrong.
From the moment we began our test programs, I found myself concerned with what was happening with the lights in the studio, even if it was not my assigned role for the program. Although we had mentioned a basic three-point-lighting set-up should be in place, there were several days when only the overhead lights could be used in the room due to power failures, or the lights were deemed 'okay' quickly in favor of making adjustments elsewhere. I was reminded of the saying "Lights, Camera, Action!" - and how it seems that lights should always come first.
If you don't have your lighting where you want it to be and make changes to it later, then you might be forced to change where the talent is seated, how you've set the white balance and exposure on the cameras, maybe even how you've utilized the space on the set. I didn't realize how much of a perfectionist I would be in terms of lights, but now that I recognize the need in me to be sure that all lights on set are in place, I also understand the importance of that concept.
Each time we discuss program ideas in the classroom, or even in the studio, I continuously ask questions about the lights. There are things I have knowledge of that I would love to be able to bring to each production. For example --
Light Safety - the Ari lights we have on set get very hot, and there should be gloves available for those who choose to use them in the studio to protect their hands. Students should also be told not to touch the bulbs of the lights at any point in time, even when the lights are off, because the oil in their hands can actually cause the bulbs to shatter when the lights come on at a later time - another reason for gloves! Another safety tip is to call out 'Striking!' whenever you turn on a light, because you never know who might be looking toward the light without being prepared for it to turn on. You wouldn't want to blind the talent on the set!
Color Correction and Scrims - it's amazing what you can do with lights if you have scrims available. They usually come in the Ari light kits, and they reduce the harshness or intensity of the light if need be. Color correction gels for lights can change the atmosphere of the set entirely! A CTB gel can make it appear as if the light source is coming from natural light, turning a regular shot into an outdoor-like scene, and depending on how much you use can also make it look like night. A CTO gel can match the lights in the room to tungsten light bulbs of a home.
Power - We have 650 lights in the studio, which require enough power that only one light should be plugged in to each outlet. I actually once had to learn some formulas for determining whether a light can be used in a particular outlet, but I think common sense is enough in this case!
Becoming ill and being absent made me miss some other positions I would have liked to try, and I feel that was my weakness in the test programs as a whole. However, I knew I could make up for what I missed by helping with troubleshooting - like remembering that the microphones on the cameras needed to be unplugged, or making suggestions for camera angles about head room, and I am even more confident in my ability to help with lighting in the future.
I'm looking forward to more opportunities to help the Shepherd University Studio settle in to a good rhythm, with safety and creativity as equal priorities!
I was wrong.
From the moment we began our test programs, I found myself concerned with what was happening with the lights in the studio, even if it was not my assigned role for the program. Although we had mentioned a basic three-point-lighting set-up should be in place, there were several days when only the overhead lights could be used in the room due to power failures, or the lights were deemed 'okay' quickly in favor of making adjustments elsewhere. I was reminded of the saying "Lights, Camera, Action!" - and how it seems that lights should always come first.
 |
| VeldaZ @ Flickr |
Each time we discuss program ideas in the classroom, or even in the studio, I continuously ask questions about the lights. There are things I have knowledge of that I would love to be able to bring to each production. For example --
Light Safety - the Ari lights we have on set get very hot, and there should be gloves available for those who choose to use them in the studio to protect their hands. Students should also be told not to touch the bulbs of the lights at any point in time, even when the lights are off, because the oil in their hands can actually cause the bulbs to shatter when the lights come on at a later time - another reason for gloves! Another safety tip is to call out 'Striking!' whenever you turn on a light, because you never know who might be looking toward the light without being prepared for it to turn on. You wouldn't want to blind the talent on the set!
Color Correction and Scrims - it's amazing what you can do with lights if you have scrims available. They usually come in the Ari light kits, and they reduce the harshness or intensity of the light if need be. Color correction gels for lights can change the atmosphere of the set entirely! A CTB gel can make it appear as if the light source is coming from natural light, turning a regular shot into an outdoor-like scene, and depending on how much you use can also make it look like night. A CTO gel can match the lights in the room to tungsten light bulbs of a home.
Power - We have 650 lights in the studio, which require enough power that only one light should be plugged in to each outlet. I actually once had to learn some formulas for determining whether a light can be used in a particular outlet, but I think common sense is enough in this case!
Becoming ill and being absent made me miss some other positions I would have liked to try, and I feel that was my weakness in the test programs as a whole. However, I knew I could make up for what I missed by helping with troubleshooting - like remembering that the microphones on the cameras needed to be unplugged, or making suggestions for camera angles about head room, and I am even more confident in my ability to help with lighting in the future.
I'm looking forward to more opportunities to help the Shepherd University Studio settle in to a good rhythm, with safety and creativity as equal priorities!
Friday, February 3, 2012
Say Yes to the CMS
It is entirely possible that I am one of the only people left who types every blog entry with html codes for even the slightest change of text. Although I can see how easy it must be to press that B button be done with it, I meticulously type every code required for my text to turn out bold, or my image to be centered, or to separate my paragraphs with a spontaneously underlined phrase -- it's how I've always gone about blogging.
Meticulously typing out every piece of code necessary for a much broader, grander website - however - sounds like a nightmare I would not want to pursue. My fear of overly complicated web development is likely shared by many, which is what makes the appeal of Content Management Systems (CMS) completely understandable.
So, what is a CMS?
CONTENT MANAGEMENT SYSTEM: a database-driven software that sits behind a website that enables the site manager to quickly and easily update the website pages and structure (the content) {source}
Popular content management systems currently utilized by web developers are WordPress, Joomla, and Drupal.
The Benefits
{with help from webhostinggeeks.com}
DRUPAL LIKES DEVELOPERS - of the three most popular content management systems, drupal is the most known for being developer-friendly. If you are not someone who enjoys working with large amounts of code, it might not be the CMS for you!
WORDPRESS LIKES BLOGGERS - the site is known for being preferred by blog-based sites. WordPress makes it easy to update with articles, entries, and content - and is simple enough for most people to understand. If you aren't someone who plans on updating often, it might not be the CMS for you!
JOOMLA LIKES THE MIDDLE OF THE ROAD - the site is welcoming for designers, has some possibility for developing codes, and is simple to understand overall. If you're looking for one extreme over another, this might not be the CMS for you!
Overall, content management systems are popular because there is nothing that web users like more than instant gratification! Easy to use, quick to update, and cost effective - what wouldn't a company love about that?
Meticulously typing out every piece of code necessary for a much broader, grander website - however - sounds like a nightmare I would not want to pursue. My fear of overly complicated web development is likely shared by many, which is what makes the appeal of Content Management Systems (CMS) completely understandable.
So, what is a CMS?
CONTENT MANAGEMENT SYSTEM: a database-driven software that sits behind a website that enables the site manager to quickly and easily update the website pages and structure (the content) {source}
Popular content management systems currently utilized by web developers are WordPress, Joomla, and Drupal.
The Benefits
{with help from webhostinggeeks.com}
- Cost Effective - rather than paying a web programmer to keep up with updating the company site, any company employee can now easily update content (and quickly!)
- Grants Control - CMS makes it possible to save drafts of content before publishing, moderate who is able to post content to the site, and even manage comments on blog-based sites
- Not Time-Consuming - instead of removing files from the web, altering them, and sending them back up through FTP, changes can be made almost immediately through settings, widgets, and editors
- Allows for Growth - when new ideas are brought to the table, they can be picked up easily by any website wishing to utilize them - a spirit of sharing exists in CMS
I have built blogs with Joomla and I have built shopping cart websites with Wordpress. It just depends on what you need it to do, your familiarity with the system, and how long you have to work on that program. In fact, that is something that is misunderstood by many people - if you don't like using Drupal, that doesn't make it less valuable, it just makes it less useful to you! {source}I have to agree! If you feel comfortable with one content management system and truly learn its ins-and-outs, it wouldn't be unreasonable to say that you can achieve anything you want with that CMS. There are, however, a few key differences that can help in making a decision.
DRUPAL LIKES DEVELOPERS - of the three most popular content management systems, drupal is the most known for being developer-friendly. If you are not someone who enjoys working with large amounts of code, it might not be the CMS for you!
WORDPRESS LIKES BLOGGERS - the site is known for being preferred by blog-based sites. WordPress makes it easy to update with articles, entries, and content - and is simple enough for most people to understand. If you aren't someone who plans on updating often, it might not be the CMS for you!
JOOMLA LIKES THE MIDDLE OF THE ROAD - the site is welcoming for designers, has some possibility for developing codes, and is simple to understand overall. If you're looking for one extreme over another, this might not be the CMS for you!
Overall, content management systems are popular because there is nothing that web users like more than instant gratification! Easy to use, quick to update, and cost effective - what wouldn't a company love about that?
Thursday, February 2, 2012
Everybody Think Inside the Space
Hamish Hamilton is a director who might, at least initially, seem to be on a separate echelon from directors with limited production capability in a studio environment. Sprawling stages, massive crowds, powerful bursts of audio-visual content, and as many as fifteen or sixteen different cameras provide Hamilton with the opportunity to wow even the casual, couch-lounging viewer.
How can two cameras in a small room possibly compete in terms of eye-catching content?
For the purposes of Shepherd University's round table discussion program, two of Hamilton's direction techniques are key: use every body on set and think inside the space.
The Little Details
Hamish Hamilton is merely the head of the caterpillar. Without the multiple segments of the body, and the several working legs, the caterpillar does not move. If a director requests a two-shot from Camera 1, but no one is there to operate said camera, what has the direction really added to the program? When the Studio Production class operates as a team, the entirety of the production benefits.
If Hamilton has sixteen cameras in a space, he also has sixteen people to direct. Sixteen people who could potentially ignore direction or make mistakes. The director has to trust that they will be there to work with him. The Studio Production class must also have this faith in one another. One bad apple, in this case, could end up spoiling the bunch.
The Big Picture
A round table discussion program might not have the dramatics of a Lady Gaga theatrical performance or the overwhelming energy of a rock concert, but it can still be an experience for the target audience. Although Hamilton used one single camera for a significant portion of a Kanye West television performance, he utilized the space he had to make the performer appear first as small as an ant, then larger than life. When presented with a simple box for a stage, Hamilton thought of how to work inside of that box to create a visual journey for the viewer, playing with perspective and lights.
Shepherd University's television studio has a limited amount of space. Instead of focusing on the limitations, the Studio Production class can come together to find new ways to use the existing space instead.
Hamish Hamilton, therefore, sets a great example for the Studio Production class -- Everyone Needs to Think Inside the Space. Not only does this mean that students should find the best ways to creatively use the studio for programs, but they should also literally think about how they influence what happens within the studio environment.
How can two cameras in a small room possibly compete in terms of eye-catching content?
For the purposes of Shepherd University's round table discussion program, two of Hamilton's direction techniques are key: use every body on set and think inside the space.
Hamish Hamilton is merely the head of the caterpillar. Without the multiple segments of the body, and the several working legs, the caterpillar does not move. If a director requests a two-shot from Camera 1, but no one is there to operate said camera, what has the direction really added to the program? When the Studio Production class operates as a team, the entirety of the production benefits.
If Hamilton has sixteen cameras in a space, he also has sixteen people to direct. Sixteen people who could potentially ignore direction or make mistakes. The director has to trust that they will be there to work with him. The Studio Production class must also have this faith in one another. One bad apple, in this case, could end up spoiling the bunch.
A round table discussion program might not have the dramatics of a Lady Gaga theatrical performance or the overwhelming energy of a rock concert, but it can still be an experience for the target audience. Although Hamilton used one single camera for a significant portion of a Kanye West television performance, he utilized the space he had to make the performer appear first as small as an ant, then larger than life. When presented with a simple box for a stage, Hamilton thought of how to work inside of that box to create a visual journey for the viewer, playing with perspective and lights.
Shepherd University's television studio has a limited amount of space. Instead of focusing on the limitations, the Studio Production class can come together to find new ways to use the existing space instead.
Hamish Hamilton, therefore, sets a great example for the Studio Production class -- Everyone Needs to Think Inside the Space. Not only does this mean that students should find the best ways to creatively use the studio for programs, but they should also literally think about how they influence what happens within the studio environment.
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