Cuing

A cue is given to start or to stop action – to indicate when to speak, to move, to operate equipment, and so on. This requires careful timing; in anticipating the right moment, and judging how long the recipient will take to respond.

If action or dialogue is cued too early, it will begin before the shot is ready, or before it has been selected on the switcher.

When cued too late, we cut to a shot, and then see the action spring into life! If you cue the next item late, you can leave the previous performer on the screen after they have finished their contribution … bewildered and unsure whether to ad lib or just grin. In a live show, wrong cuing can result in your audience seeing film or videotape leaders, or in the inserts running out and leaving a blank screen!

Forms of cuing

• Word cues are agreed ‘go-ahead’ points during dialogue, commentary, or discussion, to cue action (a move, or an entrance), or to switch to an insert. Out cues or out words are the word cues at the end of a filmed or taped insert.

• Hand cues given by the FM are a standard method of starting studio action. Where the talent cannot see the FM, the cue may be relayed – occasionally a tap on the foot or shoulder may be necessary.

• Monitor cues are taken from watching action on a studio monitor, and beginning commentary or action at an agreed point (e.g. as a car door closes). A few seconds run-in and run-out picture (without dialogue) is used as a cushion (buffer) at the ‘top’ and ‘tail’of any film or VTR insert. A time-cuels a countdown from a cue-point, before commentary or action begins.

• Light cues may be taken from the camera tally (cue) light, which comes on as the camera is selected. Small portable cue lights can be used (for announce booths, or actors waiting behind scenery). The standby ‘flick’, followed by a steady ‘action light’.

• Buzzer cues are used in some areas (film or videotape to production control room), e.g. one buzz ‘Yes’ or ‘Start’, two buzzes ‘No’ or ‘Stop’.

• Talkback cues are given direct to a performer such as a newscaster or sports commentator wearing an earpiece.

• Clock cues are go-aheads at a specific time.

• Electronic cue-dots appear as small black/white squares or circles in the corner of the transmitted picture at network program-change points, say 30 to 10 sec and 5 to 0 sec.

Film cuing

Film is set up in the projector (telecine) at a chosen cue-marked point On starting the machine, the first required picture frame then appears after a known delay, e.g. 4 sec. So if the machine is started about 12 words before the switching point, studio dialogue will stop just as the ‘in-frame’ appears. The cue-mark may be a sync-numeral on a standard film leader (e.g. 4) or a marked frame. (An 8 sec. 25 word cue may be used.)

The principles of film cuing

The film is laced up, projecting the chosen synchronizing number. (This represents a known run-up time.) At the eye point in the speech, 4 sec before it is dye to finish, the projector is started. The film machine runs up to speed.

Precisely 4 sec later, the film pictures begin.

Safety (Buffer) frames allow for slight timing leeway.

As the speech ends we cut to the film, and its picture is transmitted instead.