Television Studio Production Techniques
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The Fan/Creator Alliance: Social Media, Audience Mandates, and the Rebalancing of Power in Studio–Showrunner Disputes
Media Industries 5.2 (2018) The Fan/Creator Alliance: Social Media, Audience Mandates, and the Rebalancing of Power in Studio–Showrunner Disputes Annemarie Navar-Gill1 UNIVERSITY OF MICHIGAN amngill [AT] umich.edu Abstract Because companies, not writer-producers, are the legally protected “authors” of television shows, when production disputes between series creators and studio/ network suits arise, executives have every right to separate creators from their intellectual property creations. However, legally disempowered series creators can leverage an audience mandate to gain the upper hand in production disputes. Examining two case studies where an audience mandate was involved in overturning a corporate production decision—Rob Thomas’s seven-year quest to make a Veronica Mars movie and Dan Harmon’s firing from and subsequent rehiring to his position as the showrunner of Community—this article explores how the social media ecosystem around television rebalances power in disputes between creators and the corporate entities that produce and distribute their work. Keywords: Audiences, Authorship, Management, Production, Social Media, Television Scripted television shows have always had writers. For the most part, however, until the post-network era, those writers were not “authors.” As Catherine Fisk and Miranda Banks have shown in their respective historical accounts of the WGA (Writers Guild of America), television writers have a long history of negotiating the terms of what “authorship” meant in the context of their work, but for most of the medium’s history, the cultural validation afforded to an “author” eluded them.2 This began to change, however, in the 1990s, when the term “showrunner” began to appear in television trade press.3 “Showrunner” is an unofficial title referring to the executive producer and head writer of a television series, who acts in effect as the show’s CEO, overseeing the program’s story development and having final authority in essentially all production decisions. -
SAP Analytics Cloud, Analytics Designer
SAP Analytics Cloud, analytics designer Developer Handbook Document Version: 3.0 - 2019-11-11 Table of Contents 1 Table of Contents Table of Contents .................................................................................................................... 1 Figures..................................................................................................................................... 6 Preface..................................................................................................................................... 8 1 About Analytics Designer ........................................................................................... 9 1.1 What is an analytic application? ..................................................................................... 9 1.2 What is Analytics Designer? .......................................................................................... 9 1.3 What can you do with analytic applications that you can't do with stories? ..................... 9 1.4 How are stories and analytic applications related to each other? .................................... 9 1.5 Why do we need both stories and analytic applications? .............................................. 10 1.6 What is the typical workflow in creating an analytic application? ................................... 10 1.7 What are typical analytic applications? ........................................................................ 11 1.8 How does scripting work in analytic applications? ....................................................... -
Network 2020: the 4G Broadcasting Opportunity
Network 2020: The 4G Broadcasting Opportunity About the GSMA Network 2020 The GSMA represents the interests of mobile operators The GSMA’s Network 2020 Programme is designed to help worldwide, uniting nearly 800 operators with almost 300 operators and the wider mobile industry to deliver all-IP companies in the broader mobile ecosystem, including handset networks so that everyone benefits regardless of where their and device makers, software companies, equipment providers starting point might be on the journey. and internet companies, as well as organisations in adjacent industry sectors. The GSMA also produces industry-leading The programme has three key work-streams focused on: The events such as Mobile World Congress, Mobile World Congress development and deployment of IP services, The evolution of the Shanghai, Mobile World Congress Americas and the Mobile 360 4G networks in widespread use today The 5G Journey, developing Series of conferences. the next generation of mobile technologies and service. For more information, please visit the GSMA corporate website For more information, please visit the Network 2020 website at www.gsma.com. Follow the GSMA on Twitter: @GSMA. at: www.gsma.com/network2020 Follow the Network 2020 on Twitter: #Network2020. With thanks to contributors: DISH Network Corporation EE Limited Ericsson Gemalto NV Huawei Technologies Co Ltd KDDI Corporation KT Corporation NEC Corporation Nokia Orange Qualcomm Incorporated SK Telecom Co., Ltd. Telecom Italia SpA TeliaSonera Finland Oyj Telstra Corporation Limited United -
Producer/ Director Obin Olson Talks About Operator PAGE 12
APRIL VOLUME 15 2015 ISSUE 2 Where everyone goes for scripts and writers ™ Producer/ Director Obin Olson Talks About Operator PAGE 12 Q&A with Operator Screenwriter, Dwain Worrell PAGE 16 FIND YOUR NEXT SCRIPT HERE! Where everyone goes for writers and scripts™ IT’S FAST AND EASY TO FIND THE SCRIPT OR WRITER YOU NEED. WWW.INKTIP.COM A FREE SERVICE FOR ENTERTAINMENT PROFESSIONALS. Peruse this magazine, find the scripts/books you like, and go to www.InkTip.com to search by title or author for access to synopses, resumes and scripts! l For more information, go to: www.InkTip.com. l To register for access, go to: www.InkTip.com and click Joining InkTip for Entertainment Pros l Subscribe to our free newsletter at http://www.inktip.com/ep_newsletters.php Note: For your protection, writers are required to sign a comprehensive release form before they can place their scripts on our site. Table of Contents Recent Successes 3, 9, 11 Feature Scripts – Grouped by Genre 7 Industry Endorsements 3 Feature Article: Operator 12 Contest/Festival Winners 4 Q&A: Operator Screenwriter Dwain Worrell 16 Writers Represented by Agents/Managers 4 Get Your Movie on the Cover of InkTip Magazine 18 Teleplays 5 3 Welcome to InkTip! The InkTip Magazine is owned and distributed by InkTip. Recent Successes In this magazine, we provide you with an extensive selection of loglines from all genres for scripts available now on InkTip. Entertainment professionals from Hollywood and all over the Bethany Joy Lenz Options “One of These Days” world come to InkTip because it is a fast and easy way to find Bethany Joy Lenz found “One of These Days” on InkTip, great scripts and talented writers. -
Los Angeles Unified School District Personnel Commission Agenda / Order of Business
LOS ANGELES UNIFIED SCHOOL DISTRICT PERSONNEL COMMISSION AGENDA / ORDER OF BUSINESS Council Meeting Personnel Commission Meeting TUESDAY, DECEMBER 22, 2020 THURSDAY, JANUARY 7, 2021 10:00 A.M., VIA ZOOM 3:00 P.M., VIA ZOOM ✓ https://lausd.zoom.us/j/99492004544?pwd=T GlWQ0svZG9RcHlUWHVIL1VnZzJhUT09 Meeting ID: 994 9200 4544 This meeting is being held in accordance with the State Emergency Services Act, the Governor’s Emergency Declaration related to COVID-19, and the Governor’s Executive Order N-29-20 issued on March 17, 2020 to allow attendance by members of the Los Angeles Unified School District Personnel Commission by teleconference, videoconference, or both. Join Zoom Meeting https://lausd.zoom.us/j/99492004544?pwd=TGlWQ0svZG9RcHlUWHVIL1VnZzJhUT09 Meeting ID: 994 9200 4544 If you join the meeting by phone and wish to make an unscheduled comment, please press *9 and you will be selected from the meeting queue. NOTE: Your phone number will appear on the screen unless you first dial *67 before dialing the numbers (*67 1-___-___-____) Dial by your location +1 213 338 8477 US (Los Angeles) Find your local number: https://lausd.zoom.us/u/acY4DTotmn Meeting ID: 994 9200 4544 Passcode: 967499 1. Convene regular meeting. Roll call. 2. Approval of minutes of the meeting of December 3, 2020. 3. Receipt of minutes of the meeting of December 17, 2020. CONSENT ITEMS 4. Approval of revised Class Descriptions recommended, effective January 7, 2021: PULLED Broadcast Engineer Broadcast Systems Operator 5. Authorization of Field of Competition in forthcoming examination: PULLED Class Title Recommendation Broadcast System Operator Open; also promotional for all regular or retired ($32.14262-44.71583/hr.) employees of the District who meet the entrance qualifications specified in the Class Description Class Description dated January 7, 2021. -
Location Listing by Category
Phoenix Film Office - PRODUCTION LISTINGS Camera Operators Name/Company Phone-1Phone-2 Email/WebSite Service Description Elliott, Brendan 480-215-6471 [email protected] Worked on commercials, indie films, and international marketing videos as camera operator, director of photography, grip, and editor. Shoot on Panasonic HPX-500, worked on multiple grip trucks and edit with Final Cut Pro, also using Apple Motion to create motion graphics. Cook, Cary 602-494-2446 602-381-1017 [email protected] Director of photography/camera operator. National/international commercials & features. Crew West Inc./Sat West 888-444-2739 480-367-6888 [email protected] Network quality video production company with experienced ENG & EFP m camera crews specializing in TV news, sports, & corporate video. KU/HD/C- Band satellite trucks & interview studio available for uplink needs. Cheryl Goodyear www.crewwestinc.com Michael Barcless Kucharo, Michael J. 602-253-4888 602-284-8332 [email protected] Director/producer/cameraman. Renfrow, Lawrence 480-985-6900 602-618-2118 Camera operator, gaffer & key grip. Over 20 years experience in feature, TV, commercial and industrial productions. 4th Wall Productions, LLC 602-568-8652 anthony@4thwalltvandfilm. APA member. Feature film, television, video and digital photography. Digital com cinematography, DVD broadcast video production. Anthony Miles www.4thwalltvandfilm.com Arizona Freelance Productions, LLC 480-368-5773 602-919-0836 [email protected] APA member. Camera operator/Director of Photography, Location Sound Mixer. Field production for syndicated TV shows, network news and documentary television programs. Stevan Pope azfreelance.com Barcellos, Matt 602-770-4850 623-939-8737 [email protected] Award winning director/videographer with 20 years of experience in all areas of broadcast, cable and corporate video production. -
Tv Production Assistant Studio Operator
The CITY OF BURNSVILLE Invites applications for the position of: TV PRODUCTION ASSISTANT STUDIO OPERATOR An Equal Opportunity Employer OPENING DATE: March 18, 2019 CLOSING DATE: April 7, 2019 at 11:30 p.m. STARTING SALARY: $ 13.50/hr. - $14.50/hr., DOQ SALARY RANGE: $ 13.50/hr. – $ 16.50/hr. DESCRIPTION: Under the supervision of the Community Television Operations Specialist and the Television Production Specialist, the Television Production Assistant – Studio Operator is responsible for work in the City of Burnsville’s mobile television production truck; the fixed studio in the Burnsville City Council Chambers, and the fixed studio in Burnsville High School. This position will primarily be asked to operate positions in a fixed and mobile production studio including as a producer, director, replay station operator, audio operator, graphics operator and camera operator during live and live-to-tape events. This role will include work on television productions for Burnsville Community Television (BCTV) of local sports, concerts, events and municipal meetings. It may also include some video production as assigned. HOURS: The position is part-time, on an informal, as-needed basis. Hours will vary between 5-35 hours per week, depending on current projects and workload. Open availability between the hours of Noon and 10 p.m. weekdays and some weekends is desirable. ESSENTIAL JOB FUNCTIONS: 1. Produce, direct, shoot, run replay station, ensure quality audio and efficiently run character generator program at live and live-to-tape events – utilizing both a mobile production studio and within a fixed studio environment. 2. Prepare, set up and take down City production areas (e.g. -
Here Comes Television!
In a television studio. Left: Directing a scene on a "live" stage. Two cameras are used to introduce variety in the angles of view. Right: Another stage setting showing, in the foreground, the latest type of lighting equipment med in television studio work HERE COMES TELEVISION! Will Serve Entertainment Needs • • • Technical and without a trace of flicker. The trans mission apparatus, although almost in· Equipment Has Limitations Standards Laid finitely complex in design, is entirely re liable. In a recent demonstration at Down to Prevent Obsolescence of Receivers Washington, D. c., in which the NBC mobile television units were the trans By o. B. HAN SON mitting station, not one minute was lost Vice President and Chief Engineer in more than 30 hours on the air through National Broadcasting Company equipment failure. I assume that the com mercial- receivers soon to be marketed OR years people who knew of my will also be reliable and simple in Fconnection with television have been operation. UST prior to the arrival of asking: "When do we get it?" When· J scheduled television programs y description of television's appa ever the temptation to predict grew on the American scene, we pre· M strong within me, I would mentally turn sent the accompanying artide to ratus will naturally veer toward the the pages of old magazines-"Television give a comprehensive view of the technical. And since I am most familiar Comes to the Home" (1928), "Television situation as it stands today. Writ with the NBC equipmeu"t, I shall use it Gets Ready for Business" (1930), and so ten by Mr. -
NAB's Guide to Careers in Television
NAB’s Guide to Careers in Television Second Edition by Liz Chuday TABLE OF CONTENTS Table of Contents…………………………………..……………………......... 1-3 Introduction………………………………………………………………... ......... 4 Acknowledgements…………………………………………………………....... 6 A Word About Station Ownership………………..…………… ..................…7 The General Administration Department…………………. ...................... 8-9 General Manager……………..……………….……………… ..................... 8 Station Manager……..…………………………………………….. .............. 8 Human Resources…………………………..………………........................ 8 Executive Assistant…………………………..…………………… ............... 9 Business Manager/Controller…………………………… ........................... 9 The Sales and Marketing Department………………………….............. 10-11 Director of Sales…………………..………………………….. ................... 10 General Sales Manager…………………………………………................ 10 National Sales Manager……...……………………..……......................... 10 Marketing Director or Director of Non-Traditional Revenue……….……………...................... 10 Local Sales Manager..……………………………………………. ............. 11 Account Executive..……………………….………………………............. .11 Sales Assistant..………………………….…………………………............ 11 The Traffic Department………………..…………………………................... 12 Operations Manager…………………………………………..................... 12 Traffic Manager…………………………………….………………. ............ 12 Traffic Supervisor………………………………….……………….............. 12 Traffic Assistant…………………………………………….………............. 12 Order Entry Coordinator/Log Editors………………………. .................... 12 The Research Department………………………………………. -
Broadcasting and Mobile Telecommunications
INTERWORKING BroadcastingInterworking and mobile telecommunications: – not convergence Walter Tuttlebee, Derek Babb, James Irvine, Georges Martinez and Kevin Worrall Mobile VCE – Virtual Centre of Excellence in Mobile & Personal Communications Much has been spoken in recent years about the “convergence” of the telecommunications and broadcasting industries. Today, both industries have made the analogue-to-digital transition – with GSM/3G and DAB/DVB respectively. Many companies from both industries now accept that there is potential for new revenue streams – that could be created through collaboration, but not through convergence. The Virtual Centre of Excellence in Mobile and Personal Communications (Mobile VCE) was conceived to undertake leading-edge, industry-led, academic research for the mobile communications industry. This article discusses the motivations and constraints of their latest research initiative – which explores broadcast-mobile interworking – and describes the origins of the programme, its structure and key research themes. Introduction The history, capabilities, assets, culture and fears of the broadcast and telecom industries are quite different. Such factors influence what is commercially possible. Mobile network operators have paid vast sums of money for 3G spectrum, which contrasts with what they perceive as the “free spectrum” that has been allo- cated to broadcasters. Consequently, they do not wish to see broadcasters providing telecom services to tele- com customers. Similarly, broadcasters fear the loss of existing spectrum allocations as the analogue shut- down approaches, with the completion of the transition to DVB. Against such deep-rooted concerns, the pros- pect of some kind of convergence of new 3rd generation (3G) mobile networks and digital broadcast networks is remote. -
Chapter 2 Working in the Television Production Industry 37
This sample chapter is for review purposes only. Copyright © The Goodheart-Willcox Co., Inc. All rights reserved. Objectives After completing this chapter, you will be able to: • Explain how the responsibilities of each production staff position are dependent on the functions of other production staff positions. • Identify the primary responsibilities of each production staff position. • Recall the activities in each step of a production workfl ow. Introduction To understand an individual role in the broadcasting industry, you must be familiar with Professional Terms all aspects of the production process. Each production area is interconnected to many others, anchor makeup with the interrelationships resembling a spider web, assignment editor makeup artist Figure 2-1. To learn proper camerawork, you must assistant director (AD) news director understand proper lighting technique. Proper lighting audio photographer (photog) technique is dictated by the colors used on the set audio engineer photojournalist and on the costumes. The colors of the set and camera operator post-production costumes directly affect the kind of special effects cast pre-production used in the program. Special effects are created in the CG operator producer special effects generator, but must be edited. Knowing content specialist production the tools and techniques of editing is also required. crew production assistant (PA) To learn television production, you must have a solid cue production manager understanding of all the contributing roles. director production switching distribution production team editing production values editor reporter executive producer (EP) robo operator fl oor director scenery fl oor manager scriptwriter frame special effects framing staff gaffer talent graphic artist video grip video engineer lighting director VTR operator maintenance engineer video operator 35 36 Television Production & Broadcast Journalism Chapter 2 Working in the Television Production Industry 37 Figure 2-1. -
Television Studio Camera Replacement Submitted by WFSU-TV
Television Studio Camera Replacement submitted by WFSU-TV PROJECT DESCRIPTION: WFSU Television proposes a project to replace its three standard definition studio cameras with new high definition camera systems. As the public television station serving Tallahassee and Panama City, WFSU-TV has operated for more than 50 years and provided quality local programs along with its PBS schedule. The addition of 4fsu, Comcast Cable channel 4, in the late 1990s created a new outlet for programming specifically geared to the Florida State University community as well as a wide range of learning/work opportunities for FSU students either as part of a class, as volunteers, or as paid OPS employees. WFSU-TV has an ongoing equipment replacement/upgrade plan. We were in the final stages of refurbishing our studios with the latest high definition television equipment when the federal grants program we used for major purchases was discontinued. Award of technology fee funding to WFSU-TV would allow the station to replace old equipment that is well past its effective service life, give students the opportunity to work with top-of-the-line equipment and facilities, and significantly improve its local/University programming production. WFSU-TV already has much of the equipment required for production of high definition television; cameras are the last big piece of the puzzle. We propose to match the requested award, $200,000, with funds we had been setting aside prior to the federal grant discontinuance. Because we were already well along in our replacement plan we have completed a fair amount of research into costs, and would be able to generate a competitive solicitation shortly after the award.