Live television
This scares a few directors, with some justification. If you make a mistake, it is a very public error.
There are good reasons for doing programmes live. It is usually cheaper – there is no post-studio editing cost, although you may need some for preparing studio inserts. It is also quick, and the vast majority of programmes finish on time.
Preparing for live transmission
As a director you must be aware of the on-air time, and work your rehearsal and meal breaks to accommodate.
Most of the additional work will be done by the PA and technical director, The PA will liaise with presentation to confirm transmission time and duration. They will do a clock and talkback check.
The technical director will make sure the audio and vision are getting to transmission control to the correct technical standard. You will lose your vision mixer for a minute or so at some stage while the TD runs through a couple of checks.
Cue dots
Some countries run a system of placing a small mark, or ‘cue dot’, in the top corner of the screen just before a live programme. Others use the cue dot on programme tapes to warn presentation that there is about to be a commercial break. The timing of the cue dot appearing and disappearing varies between organisations, but typically it comes on 30 seconds before the programme is to begin (or the ad break), and goes off at −5 seconds.
Off-air monitor
You should always have a monitor showing you what the channel is broadcasting. You can see when you are on air and when you are clear at the end of the programme.
Directing your way out of mistakes
If something goes wrong, you must make instant decisions. Be clear if it is a minor error and you are going to stick to the rehearsed plan. If it requires a major change, state which presenter is to read what story, to which camera.
Do not under any circumstance start a post-mortem before you are off air. It is unprofessional and will only make matters worse. Your job is to provide a clear direction for everybody to follow. Slow everybody down, clean up the mistake and make sure you don’t tumble from one error to another.
Reacting to Fire Alarms
Many studios are equipped with two levels of fire alarms.
Level 1 (silent, flashing red light in the control room)
A fire alarm has triggered in the building or complex.
Action – Studio not On Air:
If you are not ‘live’, then empty the studio and control rooms, and go to the appropriate safety zones.
Action – Studio Live:
Technical Director should immediately find out how serious the problem is.
Warn the Floor Manager, who will clear the floor of members of the public and any disabled persons. The studio staff will be expected to help out with any evacuation of a studio audience.
The floor manager will close off any gas supply to the studio floor and remove any potential hazard that might get in the way of an evacuation.
Warn Presentation you are seeing a lire alarm, and tell them to standby to take you off air.
If possible reduce crewing level, typically one presenter, one cameraman, floor manager (no assistant floor managers), producer, director (no vision mixer, no capgen, no graphics) one sound supervisor (no assistants) one Technical Director (no lighting, no vision assistant), one VT operator.
Level 2 (audible, big flashing lights)
Your studio is on fire.
Tell presentation to take you off air immediately. Clear the studio, control rooms and any other local areas (make-up, changing rooms etc.).
Do not risk injury and lives for the sake of a television programme.