The above question
stipulates that I discuss the role of "Personnel involved in Television
Production." In the first paragraph, I will like to give a brief history
of television and some of its benefits and further go on to tell what
television production is and the role that personnel can play in television
production.
According to David Ghartey, Earlier in 1884,
Paul Nikpow, a German engineering student patented the first electro-mechanical
television scanning disc. This was the first method of breaking pictures up
into small particles that could be reassembled at a receiving point some
distance away. This was a form of mechanical television. Variations of the
Nipkow disc were used in further research and development until the invention
of the iconoscope tube in 1923. This achievement dawned the era of electronic
television. Also N.C. Pant (2004), states that: their principle of television
was first demonstrated in British by John Logic Baird at the Royal Institution
in 1926. He goes on that, Baird devised as system of mechanical scanning: that
is, the picture was divided into lines for the transmission by mechanical
means. Meanwhile the Marconi-EMI system, using electronic scanning, was evolved
in America and developed in Britain. When on 2 November, 1936 the British
Broadcasting Corporation (B.B.C.) began regular television transmission in
British, putting out two hours each day, six days a week, the Baird and
Marconi-EMI system was adopted as standard. It was stated clearly that, regular
television programs began to be transmitted in the United States on 30th April,
1939. In 1959. The Ghana Government commissioned Canadians to conduct
feasibility studies for the setting up of "Television" in Ghana. The
report recommending the establishment of television in the country was accepted
by the Government, although it was slightly modified. Other African countries
like Nigeria, Zanzibar, and Pemba in the East Africa had already started experimenting
the same television transmission. It was the burning of Ghana's then Osagyefo
Dr Kwame Nkrumah that television in Ghana should be superbly unique. He said
that: television would be used to supplement our educational programs and to
foster a reliable interest in the world around us. With the consideration for
the establishment of television in Ghana accepted, Canadian experts, a
production training officer, Mr. Frank Good ship and an engineering training
officer Mr. Wes Harivson, arrived in the country. In corporation, with the
staff of the Ghana Broadcasting Corporation, they first installed studios and
Broadcasting House for the preliminary training. In July 31st, 1965 by the
president Osagyefo Dr Kwame Nkrumah Ghana Television (G.T.V.) was inaugurated.
It was in the black-and-white. It helps the Europeans to maintain their
political and social link with their metropolitan countries. Donald L Ferguson states that: cable tv has magnified the influence of
television in our lives. No longer do viewers have to depend on the national
networks judgment of what they should watch. Television brought home many
Americans during the Vietnam War.
Herbert Zettl (2003), states
that: the basic television system converts light and sound into electrical video
and audio signals that are transmitted (wireless or by cable) and reconverted
by the television receiver into television pictures and sounds. The picture
signals are called video signals and the sound signals are called audio
signals. He furthered that, the basic television system is expanded when doing
television production in the studio or in the field, for example a telecast of
a sporting event. The expanded system needs equipment and producers that allow
for the selection of various pictures and sound sources; for the control and
monitoring of picture and sound quality; for recording, playback and
transmission of pictures and sounds and for the integration of additional video
ad audio sources and more complex procedures. The expanded studio television
system includes; one or more camera(s), a camera control unit(s), preview
monitors, a switcher, a line monitor, one or more video tape-recorder(s) and a
line put that translate the audio signal to the transmitter. The audio portion
also contains one or more micro-phones, an audio monitor (speaker), audio mixer
or consoles and also a line out that transport the sound signal to the
videotape recorder and\or the transmission device. In the field, the
superintendent obviously, could not bring his class rooms into studio, so
someone had to go on location or video
tape the event. For example attending a press release and recording it
visually. Due to his explanation, such location shooting normally falls into
the electrical news gathering (ENG) category. You need someone who operates camcorders
(and also check the audio-recording level) and a field reporter who describes
the action band tries to fit the brief times segment (15 seconds or so) allotted
the classroom footage. In television production, there are elements to
consider, they are the camera, lighting, audio, video tape recording, the
switcher, post-production editing, and special effect. The camera varies in
sizes and configuration. Some can be easily carried and operated by one person,
whilst others are so heavy that two people are necessary to lift and operates
them. Cameras can be mounting. For example, putting a camera on a tripod. Mount
enables the operator to move a heavy camera/lens/teleprompter assembly on the
studio floor with relative ease. According to Zettl, the camera has three main
parts; the camera itself, the lens and the view-finder. The lens of the camera
selects part of the visible environment and provides a small optical image of
it. The camera it self, converts the optical image as projected by the lens
into an electrical signal- the video signal. And also, the view-finder is a
small set mounted on the camera that shows what the camera is seeing.
View-finder is either monochrome (black-and-white) or color. Lighting is the manipulation
of light falling on objects which influences the way we perceive them on
screen. Lighting provides adequate illumination for technically acceptable
pictures, to tell us what exactly the object look like and to establish the
general mood of the event. Zettl, argued that, although the term television
does not include audio, the sound portion of a television show is very
nevertheless one of the most important element. Television "audio" do
not only communicate but also contribute greatly to the mood and atmosphere of
a scene. Video tape recorder, record video and audio signals on a single strip
of plastic video tape and later convert them into signals that can be seen as pictures
and heard as sound on a television receiver. The two types of tape recorder
analog and digital work on the same principle. The switcher, it has several
rows buttons and other controls for selecting or mixing various video-inputs
and creating special effects. Post-production editing, is putting together the
bits and pieces of pre-recorded materials into a new, more telling sequence. Editing
is categorized into linear and non-linear. The linear cuts-only editing system
consorts of a source. VTR and a record VTR, source and record monitors, an edit
controller, a little generator audio cassette player and an audio mixer. The
non-linear editing all audio and video information is stored on a large hard
drives. Special effect is adding a little over a background scene, done with a
character generator (C.G) or inserting the well known box over the newscaster’s
shoulder. Referring from Zettl (2003) Production
personnel, are the people in front the camera and those behind it (production
staff, technical crews, engineers, and other station personnel). The various
production personnel are categorized under the following:
First
and foremost, non-technical production personnel are generally involved in
translating a script or an event into effective television images. They are
also called above-the-line personnel because; they fall under different
category from the technical crew, who are called below-the-line production. The
non-technical production personnel include: the executive producer, the
producer, the director, and the art director and assistants, as well as the
writers and the talents. There is an absolute or even uniform between the
above-and below-the-line division. Examples of personnel under non-technical
production are as follows: Executive producer- in charge of one or several
large productions or program series. Manages budget and coordinates with
client, station management, advertising agencies, financial supporters, and
talent and writers. Producer: in charge of individual production. Is responsible
for all personnel working on the production and for co-coordinating technical
and non-technical production elements. Often serve as writer and occasionally
as director. Jeremy Orlebar (2002) also explains that: it is the producer who
takes the blame or enjoys the fame. The producer is the organizational and
administrative head of the production who: must act as a dictator but as a team
leader and captain of the production ship, select program concepts, responsible
for program on air, always looking for new ideas or new ways of doing things
and raises money for the project. Zettl (2003) continues that: Assistant
producer (A.P): assists producer in all production matters. Often does the
actual co-coordinating jobs, such as telephoning talent and confirming
schedules. Line producer: supervisor’s daily activities on the set. Field
producer: assists the producer by taking charge of remote operations (away from
the studio). As small stations may be part of producer’s responsibility.
Director: in charge of directing talent and technical operations. Is ultimately
responsible for, transforming a script into effective video and audio messages.
Actor: someone who portrays someone else on-camera. Announcer: reads narration
but does not appear on-camera. Floor manager: in charge of all activities on
the studio floor. Co-ordinates talents, relay s director's cues to talents, and
supervise floor personnel. Floor persons: set up and dress sets .Operates cards
or other prompting devices, easels and on-camera. Sometimes help set up and
work portable field lighting instruments or microphone booms, assist camera
operators in moving camera dollies and pulling camera cables.
Secondly, technical personnel and crew,
consist of people who are primarily concerned with operating equipments. They
are usually part of the crew. They include camera operators, video editors and
C.G. operator. The technical does not refer to electronic expertise but rather
to operating the equipment with skills and confidence. True engineers ensure
that the whole system operate smoothly, supervise the installation and maintain
it. Examples of technical personnel’s and crews are as follows: technical
director (T.D.) does the switching and usually acts as technical crew chief.
Jeremy Orlebar (2002) sates that: the director is responsible for staging the
production and directing performers and camera crew. The director casts the
actors; works with the production manager on the shooting schedules, decides
the final visual and audio treatment. He concluded that, the director make sure
that the production looks like a million dollars and sounds like it. Continuing
from Zettl, Camera operators operates the cameras; often do the lighting for
simple shows. When working primarily in field productions (ENG/EFP), they are
sometimes called videographers or shooters. Lighting director (L.D.), In charge
of lighting. Director of photographer (D.P.), in film production is in charge
of lighting. In EFP, operates EFP cameras. Video operator (V.O), Adjust camera controls
for optional camera pictures (shading). Audio technician is in charge of all
audio operations, works audio console during the show. Video operator runs the
videotape and/or disk-based recording devices. Character generator (C.G.)
operator; types and/or recalls from the computer the names and the other graphic
material to be integrated with the video image. Videotape editor; operates
postproduction editing equipment. Often makes or assists in creative editing
decisions. Digital graphic artist; renders digital graphics for on-air use.
Thirdly,
news production personnel, almost all television broadcast stations produce at
least one daily newscast; in fact, the news cast are often the major production
activity at these stations. Because, news departments must be able to respond quickly
to a variety of production tasks, such as a downtown fire or a protest at a
city hall, there is a generally little time to prepare for such events. News
department therefore have their own news production personnel. They are
dedicated exclusively, to the production of news, documentaries and special
events and perform highly specific functions. Examples of news production
personnel are as follows: News director, in charge all news operations. Bears ultimate
responsibility for all newscasters. Assistant editor: assigns reporters and
video graphers to specific events to be covered. Reporter; gathers the stories
and often reports on camera from the field. Video graph er or camcorder operator.
In the absence of the reporter, decides on what part the event to cover. Also called,
news photographer or shooter. Writer; writes on the-air copy for the anchors.
The copy is based on the reporter's notes and the available videotape. Video
editor; edits video tape according to reporter’s notes, writer's notes and the available
produce's instructions. Anchor; principal presenter of news cast, normally from
a studio set. Weathercaster, on-camera talent, reporting the weather
conditions. Traffic caster; on-camera talent, reporting local traffic
conditions. Sportscaster; on-camera talent, giving sport news and commentary.
Also, we have the television talents.
They are people who appear regularly on television and talking to you- telling
you what to buy, what is happening around the world, or what is going to be like.
Most of them read copies that appear on the teleprompter. Zettl explained
further that; they are referred as talent because, they appeared relaxed
on-camera and pretending that the camera lens or the teleprompter is a real
person to whom they talking and this take hard work and skills. Although,
television talent may have varied communication objectives- some seek to
entertain, educate, or inform; others seek to persuade, convince, or sell- all
strive to communicate with the television audience as effectively as possible.
Television talents are divided into two categories; performance and actors.
Performances are engaged basically in non-dramatic activities; they play themselves
not assume roles of other characters; they sell their own personalities to the
audience. On the other hand, television actors always portray someone else:
they project a character us modeled after their own experience.
In addition, performance techniques: the
television performer speaks directly to the camera, plays host to various guest
or communicates with other performers or the studio audience; he or she is
fully aware of the presence of the television audience at home . To the
television performer the audience is a small ultimate group who has gathered in
front of television set. In other not for the performer to scream, he or she
must imagine the audience as a family of three seated in their favorite rooms.
If the performer has this in mind, the performer will not scream to millions of
viewers at the video land. When you assume the role of television performer,
the camera becomes the audience. The adapted performer techniques to its
characteristics and to other production aspect such as audio and timing are as
follows: performer and camera, the camera is considered as how you behave in
variety of situation. It reveals the nervous twitch of your mouth when you are ill
at ease and the expression of mild panic when you have forgotten a name. Camera
switching, the movement of camera to determine the camera which is on air.
Performer and audio: as a television performer, besides looking natural and
relaxed, you must speak clearly and effectively. To talk about microphone,
microphones are not intended to be hand props, to be tossed about. Performer
and timing, live and live-on-tape television operate on split-second timing.
Performer has a great deal to do with successful timing, although it is the
director's responsibility. The performer must learn how much program material
you can cover after you have received a 3 minute, a 2 minute, a 1 minute, 30
seconds and a 15 second cue. For example the performer must still look
comfortable and relaxed although you have to cram a lot of programs into the
last minute whilst listening to instructions from the director. Floor manager
cues, he provides a link between the director and the performer. He tells
whether the delivering from the performer is too slow or too fast, how much
time you have left, and whether you are speaking loudly enough holding an
object correctly for a close-up shot. The floor manager, uses a set of standard
hand signals to relay the director's commands to the on-the-air talent.
Examples are as follows: standby- extends hand above head, meaning show about
to start. Cue- points to performer or live camera, meaning show goes on the
air. On time- touches nose with forefingers, which means go ahead as planned. Speed
up- rotates hand clockwise with extended forefinger. Urgency of speed-up is
indicated by fast or slow rotation, meaning accelerate what you are doing. You
are going to slow down. Stretch-stretches’ imaginary rubber band between hands,
meaning slow down. Too much time left. Fill until emergency is over. Wind up-
small motion to speed up, but usually with arm extended above head, meaning finish
up what you are doing. Come to an end. Cut- pulls index finger in knifelike
motion across throat. 5(4,3,2,1) minute(s) - Holds up five( four, three, two,
one) finger(s) or small card with number on it which means 5(4,3,2,1) minute(s)
left until end of show. Ok- forms an O with thumb and fore finger, other
fingers extended, motioning toward talent which means very well done. Stay
right there. Do what you are doing. Stop- extends both hands in front of body,
palms out which means stop right here. Do not move any more. Keep talking-
extend thumb and forefinger horizontally, moving them like a bird's beak
meaning, keep on talking until further cues.
Last but the least, Zettl concluded
with auditions- preparing yourself even if you don’t know beforehand what you
will be reading. Wear something appropriate that looks good on-camera and
properly groomed. When you get the script beforehand, study it carefully. For
example, if you are doing a commercial for a soft drink, become as familiar as possible
with the product, the company that makes it, and the advertising agency producing
the commercial. An actor must be sure to understand thoroughly the character to
portray. When auditioning- as when participating in athletics or any
competitive activity- be ware, but not afraid, of the competition.
Finally, I conclude that, elements of
television production and its personnel involved are all very important and the
television as well. Non technical production personnel are concerned primarily
with the nontechnical production elements: script writing and directing.
Technical production personnel are primarily concerned with the operation and
the maintenance of the equipment. News production personnel are assigned
exclusively to the production of news, documentaries, and special events. Television
performers are basically engaged in non-dramatic shows, such as newscast,
interviews, and game shows. Because the camera lens represents audience,
performers must look the lens to establish and maintain eye contact
with the viewer. If the camera is switched, performers must transfer their gaze
to the hot camera. Timing is an important performance requirement. A good
performer must respond smoothly to the floor manager's time, directional, and
audio cues. Prompting devices have become essential in television production.
The two most frequently used devices are cue cards and teleprompter. Television
talent refers to all persons who perform regularly in front of the camera. They
are classified into performers and actors. Regardless of the specific job
function of the various personnel, they all have to interact as a team- Zettl (2003).
REFERENCES
1. David
Ghartey-Tagoe, The Broadcaster's Companion (2010): Black Mask Limited.
2. Herbert Zettl, Television Production, Handbook
(2003): Thomas Wadsworth.
3. N.C. Pant,
Modern Journalism, Practice and Principle (2004): Kanishka.
