Photography is an integral part of television production. Sometimes, if a manager is to manage a show, does not understand the activities available to help the show if he has not informed from the manufacturer. For example, manufacturers should be within a community access project work in other areas. (Maybe you're a producer of volunteers and a photographer or an audio specialist who excels in another field related to this videoproduction). Many times drivers do not have time to investigate questions about a particular person.
At other times the film feels and knows that he is in charge and not care to ask. Do not understand what the producers are good or what their specialty is something big or you might miss something special. Other drivers can cope with their show and their show (and others show that he directed), his lessons, instead of production. You can see a director who preferssomeone learns a new skill instead of appointing producers to the work they do best. This is wonderful (sometimes) for the person to know if they were also a learning session. And it's great for the teacher, because this is his attention. But the reality is that the producers of the show to help produce a particular show. And executive producer of the show has one goal - to show his complete to the best of his abilities in the shortest possible time, to have to turn everythingwell for that particular show. This can not be achieved when objectives other than the executive producer of the Director.
If the European Parliament (executive producer) knows he can not direct a show, know that your main goal is not to learn the producers of new skills, but your main goal is to show that individual directly to the best of your capacity. Your main goal is to do the job of director, nothing more, nothing less. So if (as manager) arrive at the show and you're in the situation room,, And we recommend that a special sound, do not try and sound specialist to learn a new skill or CG of the camera. This is not the objective or purpose of the exhibition, and that's not what the executive producer has enlisted your help. Your goal as the Director of the need would be to turn off the sound engineer to address the issues. In doing that you know this part of the production is in good hands and you can proceed to other functions assigned. Treated with soundWell, we are moving in the right direction for a wonderful production.
Showing a person how to do something (if you're shorthanded and have no other choice) is a necessity at times, but not often. But that is different than actually try to teach (in the sound, cg, or other areas) to teach, while the show running, or while in the control room just before the show begins. A center of every person in every production should be to focus on what their specificwork. If you are assigned to the camera do the work, which is your main goal and beyond. If you stick with that and handle that job in the first place, do your assigned work.
Who is helping whom? What happens if someone needs help? The director who will take care of jobs to help that person. (In most productions, there is a mix of inexperienced producers, or more recent and well-seasoned producer and director will be responsible for helping others handle). There have been cases ofwhere a 'whole production was done by inexperienced producers. In this case, the whole team together, sharing their knowledge. Everyone worked hard, everyone had fun and the best part is that the production was a great success. That says a lot about teamwork. Thus, in the latest productions, in which most of the crew is inexperienced, a solid team approach is necessary and that helps the show. If you have an experienced director, even if they still work as a team, the director islevy and the Director will help all those who contribute to the show to be the right way.
So, is the key to a good understanding of the role of television production to a manufacturer that helps. Second, know that if others need help, you are free to help as long as the job is finished or treated until it interferes with the work you are assigned to do. (Each executive producer running the show otherwise, this is my way to run - using ateamwork and common sense when it comes to creating jobs and helping other manufacturers.
The safety and security! Another key to good control of the television production before production that each producer has been certified and / or banned or suspended from the study. You want to respect all the rules and checking in advance, know your production go smoothly. Yes, ask each producer, when they are certified. If you have a doubtcontact the study staff, volunteers or staff rooms or public facilities. One of them must know what the producers have been banned or suspended, and that information from a trusted source to help your show without a hitch. So please start all certified producers, and provide a list of producers to guard or person at the counter. Enter the security guard at the list of talents, the host or co-host and all who would enter the studio. (You can do this in cases wherethere are no physical "tickets."
Money Matters: As regards the production and for community access to tickets All shows are free, so as not to allow anyone to upload anything to any involved in the show. If a guest or host and a producer asks you for money, run the other way and find another manufacturer. Remember and remind them that the EU Admission is free and no one pays for a show host or a guest on the show. In the same context, the producers have not paidtalent, guests, hosts or co-host. This is a totally free enterprise. Report all cases of requests for payment for the administration immediately. This makes all do their job if they want their work to be done.
Camera Operators: Camera operators are not photographers, although some photographers, camera operators made the statement. This may seem contradictory, but it is true that a. When you volunteer or are assigned to a cameraman, you're not going tocall the shots (unless the director gives you the freedom). So listen to all instructions and follow the instructions. Even if you are a professional photographer or an avid photo hobbyist who has won awards for photography, we still call the shots when it comes to television production. fully follow the advice of the director and the instructions and you'll be doing your job if you're assigned to do.
Some time ago, there was a time when I, as a photographer,thought that the shot could be better, and I decided to change the shot. But what I did not know was that the director was going for special effects and was the host in a specific area of the image. My mistake was, of course, because I was behind the camera to think like a photographer as I had to think like a camera operator. This is the problem with me, I think as a photographer and I remember when they are behind the camera I'm not a photographer, but a camerathe operator to listen to the instructions directed. One of my best experiences in a show was when I managed to take the shot I wanted, while the guest or host was on the camera to another. But this was only done because the director told me that the shot while the other cameras, the guest or host. This is not something I would have done alone.
Cameras, studies and robotics: Community TV in addition there are two types of cameras. You have a regular studio cameras(Those producers are active in the studio), and you have the robotic cameras (There is no manufacturer on the car but this car is a producer from the control room). The robots are very vulnerable and should be treated with the utmost care. Will be "on" when in the studio. If ever there was a problem with the robotic cameras, call someone from the staff (public services) the space to deal with the problem. If it is small, according to PE staff. If theproblem is large, the staff is likely to call an engineer in the studio to do the repair or robotics to keep in the studio for repair. Under no circumstances whatsoever, intern or volunteer producer authorized to repair this camera or any other work to do with them (physical changes, etc.). Only the engineers and staff will do this job, if necessary. A good rule is to tell all the assistant producers who work with you to report any problems. Ealso tell them that nobody touches the robotic cameras. You, as chief executive for the cameras and the studio, because you sign the contract / card producer responsibility.
Floor Manager Floor Manager is responsible for managing the floor of the study area. If you have an inspector, you should not go into the control room for everything. We must not give instructions to everyone in the control room. The director is secure. EInstructs the Director stage director and all the other teams in the studio. The manager of the floor by the operator to forward messages to the host, co-host and the other on the air. There are more details of Floor Manager to work, but I'm here to write for the sole purpose of remembering Floormanagers their work in the area of study, not within the control room. Instruct the Director of scene that only you (the executive producer will handle the robotic cameras andanother manufacturer to touch the cameras. This is for the safe handling of the cameras.
CG Character Generator is the work elsewhere in the titles and graphics, or written or typed information on the screen so viewers can see and learn more about the event other than the verbal and visual clues provided by cameramen and sound engineers. I'll go into more detail on this work in a differentarticle.
Sound / Audio: You need someone with experience in audio production for a large. For whatever reason, most works in the European Union, not many specialize in this topic. If you have a good audio person to try, try, and that person is your audio all the time, if possible. Manufacturers have half of a backup. Audio / Sound is another important task in the study. We will discuss in length in one of our following articles.
Other works Other works in the manufacturing sectorProduction Technical Director, Audio Director, sound engineer, and some others. I go into the details of these in future articles. I would like to write more articles on other work that the producers on set and in the control room and go in more detail the specific tasks, duties and other necessary information. I am also willing to answer any questions, so email me. You can check my e-mail address listed on the website in my profilehere.
The difference: while you are away, producing the shows, you encounter all sorts of people, each with its own individual personality. And you will meet a number that no matter what their job is during the show, which will seek to take control of situations. (I'm not talking about someone who is sincere in helping with a fix). I take on personality. There are a number of manufacturers that personality or attitude that they are indispensable, above the rest of theproducers. Sometimes it will happen naturally if they were in a different social class than you are, perhaps above. No, do not say to you, but you show and demonstrate that by how they behave in studio and control room. If you're wincing in pain on that statement, and you do not accept that these people outside of our industry, think again. I'm here. They exist. And they demonstrate their superiority inin the studio and control room. Note that no mention of education or training, I speak of their attitude of superiority, that is all.
The reason I bring this up is because nobody really wants to work with someone who has a sense of attitude of superiority. However, in the world of community access television, a feeling that they are forced to work with them. Stop right there in that thought. No one is forced to work with everyone in a community access TV production. Yes, manufacturersneeded to work on some shows, but are not obliged to work with specific manufacturers. We can all point to the demand of producers and manufacturers. Just as manufacturers have the right to refuse to work on a particular show, we as producers have the right to ask someone who is certified. The list is long. With patience, you will find a number of large producers to work with. If you are involved in the community access TV production, you will see that you have choices. And,You'll be spoiled for choice, you can set your preferences and work with producers who are willing to work. I have never seen such a lack of confidence that makes you think that you are unable to producers, so you need to arrange for individuals to find a superiority complex. In the area of community access, there are many producers who are willing to show and are willing to do a great job on the show. Trust. Stand Your Ground and promise to work with producers who knowthat all producers are equally important as the rest, and that a person is more important than others. With an attitude that we are all equal, producers to show more respect to the set and in the control room, and there will be a more favorable climate in the control room and studio.
Control Room Note: Once inside the control room giving instructions to someone in the studio, using the name of the person when speaking. In this way there is no confusiontalk about who is who. Most manufacturers do this and it does wonders for a smooth operation. E 'feel better, Jane, zoom in, you should zoom in (with no name) and sometimes there is confusion about who should be enlarged
Your role: So, what is your role in the community access to television? Your role is to do your best in any area of community access that most interest you. Your role is to encourage your producers to set an example to follow you. Yourrole for large manufacturers to find your shows, and grow from the great learning experience available to you here to access the community. Your role is what you make it here and hopefully that will soon line up of producers who work in their studies of community access. I wish you good luck and good and I invite you to contact me anytime through my email address.
Executive Producer: Executive producer is usually the one who started the show - with the idea, theresearch, contact, home to the talent, guests, co-hosts and audience. In short, it's his show, so you might want to do what this person wants. There is a particular idea, topic or theme that the producer wants to show, and there are some ways that he or she wants to show. So if you are working on a show, and executive producer would prefer to work in the studio working in the control room, your role, your side, your duty to work in a studio environment. Inyou get to a show to help you or your job, did not come to offer to work in a given area and that area because they are not useful for everyone. Yes, you can indicate your specialty and you can choose what your experience, but you have the final inspection before the final decision to leave the executive producer. I do not want anyone taking over your show, do not show anyone trying to take over asking to work in a specific area of the show, studioor control. Most manufacturers try to work with you based on your experience and your preferences. But all the executive producers also have their own preferences, so listen to your instruction, or have not requested.
Shows: Many of our weekly shows are produced within the television community access. Some are produced in the field in remote locations. You can check with one of our sites in an area to see a number of studies and shows that we producedthe past and more recent. Check with [http://www.youtube.com/superbooks7] We are happy to offer you our free newsletter by email if requested. (These are sent via e-mail, not mailed).
Choose wisely: Do you have choices. Never allow anyone to convince you that you need for your show. If you are a team of producers who have respect for you and your party will produce a show, but you have a good crew. Network, add a good, productiveorganization and ask around for more producers to find your show. It 's your role as executive producer, to make choices when it comes to choosing the crew working on the show.
Updated, April 14, 2008
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