CHAPTER 2

The People Who Make It Happen

“The producer has the final word on all matters—but don’t tell that to the talent; most think they do.”

Joseph Maar, Director

A-1: The senior audio person on a production.

A-2: The audio assistant, who reports to the A-1. See “Audio Assistant” (p. 26).

Director: Responsible for telling the story.

EIC (engineer in charge): Responsible for maintaining and troubleshooting all equipment on a truck or in a specific studio. See “Studio Engineer” (p. 26).

Field mixer: A portable audio mixer used by audio personnel to record a quality audio signal. This term could also refer to the person operating the field mixer.

Freelance: Independent contractors who provide services to multiple organizations, hiring out their skills on an as-needed basis.

Per diem: The per diem is a stipend often paid to freelances that covers any incidental costs such as laundry and meals.

TD (technical director): Responsible for operating the television production switcher.

Visual storytelling: The use of images to convey a compelling story.

 

One of the reasons this chapter is near the beginning of the book is to underscore the importance of people in production. A good crew is far more important than the latest equipment. The crew will make or break the production. It really does not matter what equipment you have if you don’t have knowledgeable people running it. A great crew can make a boring event exciting. A mediocre crew can make an exciting event boring.

As you would expect, organizations differ greatly in how they describe each job. We will try to highlight the most popular descriptions of each job in this chapter. You will note that there are also overlaps between some of these positions. Each company decides how best to deal with those overlaps.

FIGURE 2.1
Small crews have become more prevalent with the introduction of more portable high-quality cameras. (Photo courtesy of Sony)

FIGURE 2.2
Large productions may require an army of people.

THE PRODUCTION CREW

Television production crews greatly differ in size. There is not a “perfect” size for all crews. The right size for a project depends on the type of project that you are working on and the preferences of the director.

At one end of the scale, there are directors who initiate the program idea, write the script, and even predesign the settings. They cast and rehearse the performers, guide the production team, and, having recorded the show, control the postproduction. Smaller crews have become more prevalent with the introduction of more portable and affordable equipment. This type of production crew is very popular with documentaries and low-budget productions (Figure 2.1).

At the other end of the scale, there are big-budget productions with large crews, in which the director relies heavily on the production team to provide him or her with quality sets, lighting, sound, and camera work. The director can then concentrate on directing talent and shot selection. Dramatic productions have traditionally used a larger crew (Figure 2.2).

Another type of crew includes the director in a presentational role. On projects run by these crews, a number of separate stories or segments are independently prepared by members of the production staff. The director is then responsible for visualizing the production treatment that will coordinate these various contributions. This type of situation occurs in many magazine programs, newscasts, and current affairs programs. Obviously, in this type of production, members of the crew other than the director have significant impact on the various components of the program.

There is a place for all levels of expertise in the wide spectrum of television production. Like other craftspeople, crew members become skilled in their specific field. Someone whose talent lies in drama production would probably lack the edge-of-seat intuition of a good sports director: an almost clairvoyant ability to anticipate action and to take spontaneous shot opportunities. On the other hand, someone specializing in sports might be lost in the world of drama, in which the director, with painstaking shot-by-shot planning, guides performance and develops dramatic impact. And when presenting a symphony orchestra, one needs skills that are far removed from those involved in shooting a documentary on location (Figure 2.3).

For smaller productions, the director may combine the functions of both director and producer. Having been allocated a working budget, the person in this dual role is responsible for the entire business and artistic arrangements—origination, interpretation, casting, staging, and treatment—subsequently directing the studio operations and postproduction editing. More often, the producer serves as the business head of a production and is thus responsible for organization, finance, and policy, serving as the artistic and business coordinator for several directors. As productions have become increasingly costly and more complicated, the workload needs to be spread out. The director is then free to concentrate on the program’s interpretation, as well as the staging and direction of the subject being presented. (Figure 2.4)

FIGURE 2.3
A dramatic director gives guidance to an actor during a single camera production.

FIGURE 2.4
A common diagram of how a television production crew works.

The common thread between all of these different production types is that the director is responsible for telling the story, whether it is a dramatic show or a sports production. A knowledge of visual storytelling is essential.

Members of the Production Crew

Although (as mentioned before) crew members’ job descriptions may vary from company to company, this section provides some of the most common descriptions. Please note that some responsibilities differ between various types of programming, different companies, and different countries. For example, the producer’s role in a dramatic production is different from the producer’s role in sports.

EXECUTIVE PRODUCER

The executive producer is responsible for the overall organization and administration of the production group (e.g., a series of programs devoted to a specific field). He or she controls and coordinates the business management, including negotiating rights, program budget, and who gets hired, and sometimes may be involved in major creative decisions and/or concerned with wider issues such as funding, backing, and coproduction arrangements.

FIGURE 2.5
While control room layouts differ from facility to facility, this is a very common layout for the crew of a large production.

PRODUCER

The producer is generally responsible for the management of a specific production. Usually, the producer is concerned with the choice of supervisory staff and crew, interdepartmental coordination, script acceptance, and production scheduling. The producer may select or initiate the program concepts and work with writers. He or she may assign the production’s director, and is responsible for meeting deadlines, production planning, location projects, rehearsals, production treatment, and so on. Producers may also become involved in such specifics as craft or union problems, assessing postproduction treatment, and the final program format. The producer reports to the executive producer (Figure 2.6).

Generally, the director is responsible for the visualization of the script or event and the producer stays out of the actual hands-on production. However, in sports and news, the producer generally gets more involved with working with the talent, determining replays, inserting preproduced packages, the timing of the show, and guiding the general direction of the program during a live production.

FIGURE 2.6
Phil Rosenthal (center), producer of Everybody Loves Raymond, reviews the script with actor Ray Romano (right) and a writer. (Photo courtesy of CBS/Ron Tom/Landov)

ASSISTANT PRODUCER/ASSOCIATE PRODUCER

The assistant producer or associate producer (AP) is responsible for assisting the producer. His or her responsibilities, as assigned by the producer, may include coordinating appointments and production schedules, making sure that contracts are completed, booking guests, creating packages, and supervising postproduction. This person may be assigned some of the same responsibilities of an associate director. The AP reports to the producer.

DIRECTOR

Ultimately, the director is the individual responsible for creatively visualizing the script or event. Directors must be able to effectively communicate their vision to the crew. They also have to be able to be team builders, moving the crew toward that vision. This role involves advising, guiding, and coordinating the various members on the production team (scenic, lighting, sound, cameras, costume, and so on) and approving their anticipated treatment. The director may choose and hire performers/talent/actors (casting), envision and plan the camera treatment (shots and camera movements) and editing, and direct/rehearse the performers during prerehearsals (Figure 2.7).

During studio rehearsals, the director guides and cues performance through the floor manager, and instructs the camera, sound crews, and technical director (vision mixer). He or she also evaluates the crew’s contributions (sets, camera work, lighting, sound, makeup, costume, graphics, and the like).

In some situations, the director may choose to operate the production switcher (e.g., on a local news show) and guide and coordinate postproduction editing and audio sweetening.

As mentioned before, the director’s job can range in practice from being the sole individual creating and coordinating the production to a person directing a camera and sound crew with material organized by others. The director reports to the producer.

FIGURE 2.7
Some directors prefer to work as a director and technical director.

ASSISTANT DIRECTOR/ASSOCIATE DIRECTOR

The assistant director or associate director (AD) is responsible for assisting the director. Functions may include supervising prerehearsals, location organization, and similar events on the director’s behalf. During rehearsal and the actual production, the AD is generally in the production control room and may be responsible for lining up shots, graphics, and tapes so that they are ready for the director’s cue. He or she may also be responsible for checking on special shots (such as chroma-key), giving routine cues (tape inserts), and so on, while the director guides the actual performance and cameras. The AD also advises the director of upcoming cues and may assist in offline editing (timings and edit points). The AD may also check program timing and help the director with postproduction. This person may be assigned some of the same responsibilities of an associate producer. The AD reports to the director, or sometimes to the producer (Figure 2.8).

PRODUCTION ASSISTANT

The production assistant (PA) helps the director and/or producer with production needs. These may include supervising the production office (making copies, making coffee, and running errands), prerehearsals, and location organization. Their responsibilities may also include logging tapes, taking notes during production meetings, and similar tasks. During rehearsals and recording, this person may assist the producer/director with graphics or serve as a floor manager.

FIGURE 2.8
The assistant director, left in red, is helping the director with script cues for a dramatic production. (Photo by Tyler Hoff)

PRODUCER’S ASSISTANT

The producer’s assistant usually works with the director. This role may be very close to a PA’s responsibilities. He or she may also check performance against the script and continuity. The producer’s assistant may be assigned to line up shots, prepare inserts, and so on, while the director guides the performance and camera crew. He or she may also ready the director, crew, and recorder/player regarding upcoming cues. The director may assign the producer’s assistant to note the durations/time code of each take and keep the director’s notes regarding changes to be made and retakes.

FLOOR MANAGER/STAGE MANAGER

The floor manager (FM)/stage manager (SM) is the director’s primary representative and contact on the studio floor, in the broadcast booth (Figure 2.7), or on the field of play. The FM may be used to cue performers and direct the floor crew. In the studio, the FM is responsible for general studio organization, safety, discipline (e.g., noise control), and security. An assistant floor manager may be used to ensure that the talent is present. The FM reports to the producer or director (Figures 2.9 and 2.10).

PRODUCTION MANAGER/LINE PRODUCER

The production manager is responsible to the producer and director for maintaining the production within the allocated budget. He or she also may serve in administrative functions relative to the production.

TECHNICAL DIRECTOR/VISION MIXER

The technical director (TD) generally sits next to the director in the control room and is responsible for operating the television production switcher (and perhaps for electronic effects). The TD may also serve as the crew chief. He or she reports to the director (Figure 2.11).

MAKEUP ARTIST/MAKEUP SUPERVISOR

The makeup artist designs, prepares, and applies makeup to the talent, aided by makeup assistants and hair stylists. The supervisor is generally responsible for multiple makeup artists, to ensure consistency (Figure 2.12).

FIGURE 2.9
The stage manager represents the director on the set or in the studio. She is shown giving the actors instructions from the director on the set of a sitcom.

FIGURE 2.10
The floor manager is letting the talent know which camera is currently on-air on an ESPN production. (Photo by Josh Taber)

FIGURE 2.11
Technical directors “edit” a live program by utilizing a production switcher and multiple cameras.

FIGURE 2.12
A makeup artist prepares talent for a production. (Photo by Sarah Seaton)

FIGURE 2.13
A costume designer designs costumes for a production.

FIGURE 2.14
Graphics staff review production graphics.

FIGURE 2.15
Graphics operators insert data into predesigned graphics for a production.

FIGURE 2.16
Lighting director.

COSTUME DESIGNER

The costume designer designs and selects performers’ costumes (wardrobe). He or she may be assisted by dressers and wardrobe handlers (Figure 2.13).

GRAPHICS DESIGNER/GRAPHICS ARTIST

The graphics designer is responsible for the design and preparation of graphics for a series of shows or just one individual show (Figure 2.14).

GRAPHICS OPERATOR

The graphics operator is the person who actually implements the graphics during the production. He or she is responsible for organizing and typing onscreen text and titles for a production, either doing so during the production or storing them for later use. Operators may also serve as designers/artists (Figure 2.15).

LIGHTING DIRECTOR

The lighting director is responsible for designing, arranging, and controlling all lighting treatment, both technically and artistically. This responsibility may include indoor and/or outdoor lighting situations (Figure 2.16).

FIGURE 2.17
Video operators are responsible for matching the cameras and other input devices.

FIGURE 2.18
Camera operators are responsible for setting up the cameras, as well as operating them. (Photos by Josh Taber)

VIDEO OPERATOR/SHADER/VISION CONTROL/VIDEO TECHNICIAN/VIDEO ENGINEER

The video operator is responsible for controlling the picture quality by utilizing test equipment to adjust the video equipment. There are a variety of adjustments that can be made, including exposure, black level, and color balance. Operations are closely coordinated with the lighting director (Figure 2.17).

VIDEOGRAPHER/CAMERA OPERATOR/CAMERAMAN/CAMERAPERSON/PHOTOGRAPHER

The camera operators are responsible for setting up the cameras (unless they are already set up in a studio situation) and then operating the cameras to capture the video images as requested by the director. On small productions, the videographer may have a lot creative control over the image. In a multicamera production, the director usually makes most of the final creative decisions about the shot. In a dramatic production, the camera videographer may be called a cinematographer (Figure 2.18).

STEREOGRAPHER

The term stereographer is used in a number of different ways in relation to shooting 3D video. Some call a camera operator who is shooting 3D a stereographer. Others consider the stereographer’s role to be someone who is there for technical support of the 3D equipment, adjusting the lenses for the desired 3D imagery.

CAMERA ASSISTANT

The camera assistant is responsible for assisting the camera operator in setting up the camera. He or she is also responsible for making sure that the camera operator is safe (keeping him or her from tripping over something or falling), keeping people from walking in front of the camera when it is on, keeping the camera cable from getting tangled, and guiding the camera operator during moving shots. A camera assistant may also push a camera dolly if needed (Figures 2.19 and 2.20).

FOCUS PULLER

The focus puller is responsible for adjusting the focus so that the camera operator can concentrate on composition. The focus puller uses a marked lens to establish focus. This position is rarely used except in dramatic shooting (Figure 2.21).

FIGURE 2.19
Camera assistants may be required to push the camera dolly. (Photo courtesy of OBS)

FIGURE 2.20: The camera assistant (left) is responsible for keeping the camera operator safe and the cable untangled.

FIGURE 2.21
The person on the left is the focus puller. Having a focus puller allows the camera operator to concentrate on composition.

FIGURE 2.22
The field audio mixer is using a small portable mixer to adjust the levels on the talent’s mic during the remote shooting of a segment for Access Hollywood.

FIGURE 2.23
This A-1 is mixing surround sound. (Photo by Dennis Baxter)

AUDIO MIXER/AUDIO ENGINEER/SOUND SUPERVISOR/SENIOR AUDIO TECHNICIAN

The audio mixer (A-1) is responsible for the technical and artistic quality of the program sound. This job includes determining the number and placement of the microphones required for the production. He or she also makes sure that the audio cables are properly plugged into the audio mixer and is responsible for the final mix (audio levels, balance, and tonal quality) of the final production. Audio personnel are also generally responsible for the intercom system used by the crew (Figures 2.22 and 2.23).

FIGURE 2.24
Audio assistants are sometimes assigned to hand-hold microphones around the field of play.

FIGURE 2.25
This set designer is working on a project in his shop.

AUDIO ASSISTANT

Supervised by the A-1, the audio assistant (A-2) is responsible for positioning microphones, running audio cables, operating sound booms, troubleshooting audio problems, and operating field audio equipment (Figure 2.24).

SET DESIGNER/SCENIC DESIGNER

The set designer is responsible for conceiving, designing, and organizing the entire scenic treatment. His or her responsibilities may even include designing the onscreen graphics. The set designer is generally responsible for supervising the set crew during setting, dressing, and striking the sets (Figure 2.25).

SET CREW/STAGE CREW/GRIPS/FLOOR CREW

The set crew is responsible for the sets or scenery such as erecting, setting, or resetting scenery, props, and action cues (such as rocking a vehicle). In some organizations, they may initially set up and dress settings.

ELECTRICIANS

Electricians are responsible for rigging and setting lamps and electrical apparatuses, including electrical props.

TECHNICAL MANAGER/STUDIO SUPERVISOR/REMOTE SUPERVISOR/TECHNICAL COORDINATOR

The technical manager coordinates and is responsible for all technical operations of the production. He or she may book the facilities, check technical feasibility, make sure that everything is working correctly, and ensure safety.

STUDIO ENGINEER/MAINTENANCE ENGINEER/ENGINEER-IN-CHARGE

Engineers are responsible for maintaining and troubleshooting all camera and sound equipment in a production. Maintenance engineers usually are assigned to do regular maintenance on the equipment, the studio engineer is responsible for the studio, and an engineer-in-charge (EIC) is responsible for a production truck.

UTILITY

Utilities staff members assist the engineering staff by helping carry gear and cable, setting up equipment, and laying cables.

FIGURE 2.26
A VTR operator is using a hard drive recorder to record and play back video.

FIGURE 2.27
The editor is responsible for assembling the shot footage into a useful finished production.

VTR OPERATOR/TAPE OPERATOR

The VTR (videotape recorder) operator is responsible for recording the program and playing preproduced packages or replays that will be inserted into the program. Although still referred to as the VTR or tape operator, the operator may actually be recording and playing back programming from a memory card, hard disk, or hard drive (Figure 2.26).

WRITER

The writer is responsible for writing the script. Occasionally the producer or director will write material. At times, writers are assisted by a researcher, who obtains data, information, and references for the production writer.

EDITOR

The editor selects, compiles, and cuts video and audio to produce programs. He or she may assemble clips into segments and those segments into programs, or may just correct mistakes that occurred during the production process (Figure 2.27).

TALENT

Talent is generally defined as people who are heard or appear on television. There are a number of different types of talent. The following is a list of some of the people who are included in talent.

In the news field, it is not uncommon for a person to serve as a one-person television production crew: interviewing, shooting, and appearing as talent (Figure 2.28).

ACTORS

Actors generally work from an established script. By playing a role, they create a character for the audience. Actors usually rehearse before the camera rehearsal (Figure 2.29).

FIGURE 2.28
Many television stations, due to tight budgets, have moved to one-person news crews. Here, the reporter asks the questions and holds the microphone, but is also holding the camera on her shoulder.

PERFORMERS

Performer is usually a term used to describe people who are appearing in front of the camera as themselves. This group could include interviewers, announcers, newscasters, anchor persons, hosts, and so on. Performers often address the audience directly through the camera using scripted, semiscripted, or unscripted material (Figure 2.30). Sometimes the word “performer” refers to a person providing a specific act (such as a juggler).

ANCHOR

The anchor generally sits at a desk or table of some type and provides the consistent talent that pulls the show together. Anchors generally open the show, introduce on-air talent such as reporters or other in-studio talent, and then end the show (Figure 2.31).

FIGURE 2.29
Actors work from an established script in CBS Television’s Hawaii Five-O. (Photo by CBS/Neil Jacobs/Landov)

FIGURE 2.30
People who appear on television as themselves are often called talent or performers. Actors, when appearing on a show such as BBC’s The Graham Norton Show, are considered to be performers. (Photo by Nick Ansell/PA Wire/Landov)

FIGURE 2.31
Anchors usually provide a level of consistency on a show by being the person who opens the show, introduces others, and ends the show. (Photo by Jon Greenhoe)

GUESTS

Guests are invited “personalities,” specialists, or members of the public—usually people without experience in front of the camera. Guests could include interviewees, contestants, audience contributors, and so on.

There are other people who may be involved in a production as well, depending on the size of the staff. These people may include security, prop manager, stunt personnel, catering, and others.

THE FREELANCE CREW

Many companies today have moved from a full-time professional production staff to utilizing a freelance crew. Freelancers are independent contractors who work for multiple organizations, hiring out their production skills on an as-needed basis. There are freelancers available who can fill every one of the production positions. Freelancers are generally paid on an hourly or day-rate basis. If they are far from their home base, freelancers usually get lodging and a per diem added to their contract. The per diem is a stipend that covers any incidental costs such as laundry and meals.

WHAT DO YOU WEAR?

What production crew members wear differs depending on your job, who will see you, if you are indoor or out, and the event.

If you are in the studio, the public generally does not see the crew. The most common clothes are as casual as jeans. However, studios can often be cold, which means it is good to have a couple of layers so that clothing can be removed or added, depending on the temperature. Set-up days are always casual. Some inside events, such as a major awards ceremony, may dictate that the crew seen by the public actually dress well in order to fit into the overall environment during the shooting.

Outdoor work is much more unpredictable. In the morning it could be sunny and by afternoon it may be pouring rain and cold. That means that multiple layers and types of clothing should be carried. Depending on where you are, that may include a T-shirt and jeans if it is hot, a long-sleeve shirt and hat to project you against the sun, and a warm jacket to project you from the cold.

Whatever the situation, it is always important to look professional. You will get more respect from others, which will help you get your job done.

FIGURE 2.32
A variety of multitools are available. (Photo courtesy of Leatherman)

WHAT DO YOU BRING WITH YOU?

Bringing the right supplies with you can make all the difference in the world on a shoot. Again, it depends where you are. It is always important to have something to write with and paper. Here are some of the other things that should be considered:

 Hat

 Sunblock

 Bug spray

 Sunglasses

 Snacks

 Multitool (Figure 2.32)

 Simple first aid supplies

 Small flashlight

REVIEW QUESTIONS

1. What are the main differences between shooting a scripted drama and a sports event?

2. Why do some productions require large crews, while other productions can be shot with just a couple of people?

3. What is the difference between a director and a technical director?

4. What is the difference between an actor and a performer?

5. Ultimately, who is responsible for the final program?

INTERVIEW WITH A PROFESSIONAL: TAYLOR VINSON

Briefly define your job: When acting as a multimedia journalist, my job is to take a television news story from conception to completion, all on my own. This means I handle making calls, setting up appointments, getting to and from the story’s location(s), shooting, conducting interviews, gathering information, logging video, writing and editing, and presenting the story on-air.

What do you like about your job? The luxury of being a “one-man-band” is that you do not spend time trying to communicate how you want your story to turn out to the other member of your team, since, in effect, you are the team. There is a great deal of control over how the video you shoot lines up the script that you write. Experienced one-man-bands will often “write in their heads” as they are shooting a story out on location. Decision-making in the field is many times easier and faster for one-manbands. You do not have to be concerned about making sure another person on the news crew has their needs or wants met. Exceptional stories from one-man-bands can sometimes have a kind of cohesiveness that often eludes storytelling done by two-person crews.

What are the types of challenges that you face in your position? Here are a few of the challenges facing a multimedia journalist.

 It can be especially difficult to be a multimedia journalist at a large-scale breakingnews scene. You cannot be shooting a scene efficiently and running around talking to witnesses and gathering the small tidbits of information that are the lifeblood of a reporter who is thrown into a rapidly developing story. In these situations, all you can do is your best.

 I cannot stress enough how helpful it can be for managers to give their one-man-bands resources that allow them to complete and send back their stories, with video, remotely. There have been days when I have spent over five hours of my nine-hour work day just driving, because the story’s location was far away, and to complete it I had to drive all the way back to the station. Ideally, one-man-bands should have a laptop computer equipped with nonlinear editing software and mobile Internet connectivity, allowing the multimedia journalist to send their video back to the station from the story’s physical location.

 Shooting video of yourself in the field while you are presenting as a reporter can be difficult and time-consuming. Pull-out LCD screens on cameras can aid one-manbands in this process.

How do you prepare for a production? Before I head out, I always make sure I have charged batteries and all my equipment, including my camera, microphones, tripod, lighting equipment, and rain protection. If I am driving far away, I make sure I have some food and beverages in the car so I don’t have to stop often on the way. If I have time, I make sure I’ve been briefed on the story by a manager and that I have all the phone numbers I will need to gather necessary information. If I am not currently dressed in a shirt and tie for on-camera presentation, I make sure I have those clothes in the car so I can change into them if I need to.

What suggestions or advice do you have for someone interested in a position like yours? Make sure that you get to know all aspects of television news and how to execute different functions in a time-saving manner. Learn how to shoot efficiently. Learn how to write conversationally. Learn how to present enthusiastically yet naturally oncamera. Learn how to edit quickly. Learn what your producers and managers want and why they want it.

FIGURE 2.33
Taylor Vinson, News Videographer/Multimedia Journalist

Taylor Vinson is a news videographer, one-man-band and/or multimedia journalist for WFTS-TV in Tampa, Florida. His previous work has included working as a videographer/reporter for WLEX in Lexington, Kentucky and as a reporter for NBC.com.

INTERVIEW WITH A PROFESSIONAL: PHIL BOWDLE

Briefly define your job: I oversee all aspects of our church communications including video, design, print, web, marketing, and public relations.

What do you like about your job? I love doing a job where I can see tangible results and I believe in the cause.

What are the types of challenges that you face in your position?

 The industry changes so quickly it is difficult to keep up to date.

 Managing the demands and timelines of a busy organization.

 Developing systems for teams (staff and volunteer) to accomplish big projects.

How do you prepare for a production? As communications director, I map out each stage of the project into smaller lists of tasks in a project management system called Basecamp. It is there that I assign tasks and milestones to staff and volunteers to accomplish the project. In my role, I also am involved in revisions and approvals of all design/video elements.

What suggestions or advice do you have for someone interested in a position like yours? You don’t have to be an expert in any one thing. But it helps a ton to have a great working knowledge of how all the different pieces of communications work together to communicate effectively. Skill in design/video/writing/etc. is important, but learning how to effectively work and lead people is equally as important.

FIGURE 2.34
Phil Bowdle, Director of Communications.

Phil Bowdle is the Director of Communications at a church in Georgia.