Recommendation report – Studio Operated by Students

Transcription

UNIUNEA EUROPEANĂ
GUVERNUL ROM\NIEI
MINISTERUL MUNCII, FAMILIEI ŞI
PROTECȚIEI SOCIALE
AMPOSDRU
Fondul Social European
POSDRU
2007-2013
Instrumente Structurale
2007-2013
OIPOSDRU
“AUR” – ASOCIAȚIA
NAȚIONALĂ A
SPECIALIȘTILOR ÎN RESURSE
UMANE
Recommendation report –
Studio Operated by Students for
Students
Andrew Robert Cheetham
UNIUNEA EUROPEANĂ
GUVERNUL ROM\NIEI
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UMANE
Contents
Introduction............................................................................................................... 2
Structure.................................................................................................................... 3
Student TV Specific Structure ................................................................................. 3
Case Studies ........................................................................................................... 17
Production Specific Structure ............................................................................... 21
Student TV Processes and Outcomes .................................................................. 43
Flagship Programmes – News and Entertainment Programmes ....................... 59
Entertainment ......................................................................................................... 68
Technical Reccomendations ................................................................................. 73
Ethics ....................................................................................................................... 90
Student TV Rights and Obligations....................................................................... 94
Recommendations ................................................................................................. 97
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Introduction
Student TV is one of the greatest experiences I have personally had, with it I have
climbed to Everest base camp, directed 3 dramas, produced my own content, got
free access to bars, clubs and festivals, laughed, cried and made some of the best
friends of my life. Naturally I am a big fan of new stations/studios starting up and am
glad I can help producing this guide.
The guide itself may make student TV seem very formal, that is because underneath
the fun and enjoyment there is actually a strong structure and need for responsibility
and hard work. Do not let this put you off, the formal structure and set up of student
TV is what makes it enjoyable and gives program makers the ability to go out and
create fantastic student shows.
The first suggestion above any other is of course have fun, student TV would be
bland and boring without the fun and excitement of making programs with your
friends, remember this and the value of a motivated team working together and that
will help in any situation.
The suggestions in this guide are just that; suggestions, there are no right answers,
every situation is different; therefore use this as a guideline not a template for
success. It has been based on what works for UK stations, which have developed on
their own with very limited support from outside agencies other than universities.
I wish you the best of luck and hope you have a truly awesome and enjoyable
experience with student TV.
Andrew Cheetham
Notes
I refer to studios and stations throughout the guide just to highlight the UK term for
student studios
The guide usually gets straight to the point so is easy to be broken down for use
under the various headings.
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Structure
Student TV structure has both similarities and differences to the structure of
conventional television. This can be broken down into 2 different structure groups:
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Student TV specific
Production specific
Whilst the production specific structure still his elements and responsibilities unique
to student TV, is structure is predominately similar to conventional TV structure and is
concerned with the planning producing and distribution of TV programmes, including
the broadcast structure. The student TV structure is however unique in that it is
specifically built to allow students control over the studios members, programming
and image. It is also designed to allow effective management of students by other
students, whilst also ensuring a degree of responsibility and accountability remains
with those who take on that role.
Student TV Specific Structure
The student specific structure sits over the production specific structure, the
changing roles and nature of student TV mean that different people will take on
different roles in the production structure on a week by week basis. The student TV
specific structure is therefore primarily concerned with management and leadership.
Studio/Station
Manager
Head of
Programming
Head of News
News Editor
Secretary
Head of
Marketing and
Finance
Head of
Entertainment
Head of
Presentation
Head of
Technical
Head of
Training
Entertainment
Editor
Student volunteers in production structure
This structure represents a standard approach to running a station in the UK, a
committee of heads who coordinate the actions of the studio. These positions are
filled from the student volunteers and are usually elected based on them presenting
themselves as candidates. The individual roles each have their own responsibilities
and requirements but it should not be forgotten that these positions do not remove
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people from the production structure, leaders and managers are still required to make
programmes, operate broadcasts etc., in addition they also influence and manage
the approach and direction of the studio and ensure its members have the support
and motivation they need.
Studio/Station Manager
Studio/ Station Manager - Role
The Studio Managers role is the overall coordination and management of the studios
members and assets. They manage meetings between volunteers; ensure production
and distribution run smoothly and coordinate the communication and workload of
both committee members and volunteers in the production roles.
The Studio Manager is forward thinking in that they help to manage and steer the
studio in line with preset goals or long term plans. They control the stations direction
and are often involved with formulating goals for the station.
They are also a figurehead who communicates with other organizations, sponsors,
universities, other studios and individuals on behalf of the station. They also are
responsible for the welfare of volunteers in addition to motivation and morale
amongst the students.
Studio/Station Manager - Requirements
A Studio Manager has to be first and foremost a good leader. This leadership needs
to be seen through confidence, control and excellent communication.
Confidence to speak in front of others and act upon ideas and directives, whilst also
having confidence in the studio and volunteers underneath them to allow them to
function without constant interference.
Control of both the studio and its members but also personal control, knowing the
limits of the role and avoiding at all costs becoming a tyrant.
A Studio Manager must be able to communicate and listen in equal measures.
Opinions and ideas must be sought from the committee and volunteers and
incorporated into a Studio Managers leadership. Furthermore a Studio Manager is
required to communicate both internally to the studio and without outside bodies, so
an excellent verbal, email, written and general confidence in communication is
required.
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A Studio Manager must always remain focused, motivated and inspirational; many
will look to them for support and guidance. Equally a Studio Manager must
understand the limits and constraints of the studio they are leading as not to push
them to hard. As with any volunteer role a good sense of humour and patience are
vital.
Studio/Station Manager - Responsibilities
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Lead and guide the station responsibly and in accordance with long term aims
and the ideas and suggestions of all student members
Manage and coordinate the committee, in turn managing the volunteers in the
production roles
Communicate clearly with all members, outside bodies and between different
areas of the station to ensure a clear passing of ideas and information.
Listen to the ideas, suggestions and issues of members and incorporate this
into leadership and studio aims
Lead by example, know the limits of the students they lead but also inspire
and motivate them to ensure the station has high morale
Ensure meetings and briefings take place
Support production and distribution
Ensure problems are raised and dealt with
Overall manage the studio and its members with the support of the committee
to create a string student TV identity and create good student programmes.
Secretary
Secretary - Role
The Secretary acts as a second in command to the Studio Manager in addition to
being in charge of administration within a studio.
They communicate on behalf of a Studio Manager and manage email, facebook and
twitter accounts as well as also communicating on behalf of production teams.
The secretary is also someone who supports committee and production positions by
being able to stand in or arrange cover in the event of absence or problems.
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Secretary - Requirements
A Secretary must have excellent verbal, written and email communication skills in
addition to being able to use a variety of social media communication options.
A Secretary must understand all workings of the studio to communicate problems
and issues to the Studio Manager as well as stand in or provide cover in situations of
absence or low numbers.
They must also be able to undertake a variety of administrative tasks and in turn
need to have excellent organisational abilities; including ensuring the studio has
regular social events to encourage teamwork.
Secretary - Responsibilities
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Organise Studio administration; camera booking forms, regular inventories,
records of volunteers, records of programmes in production, records of
different production teams
Act as a second in command for the Studio Manager
Communicate and ensure that various people perform administrative tasks
i.e. a producer recording who is in their production team etc.
Communicate on behalf of production teams.
Communicate internally and externally on behalf of the Studio Manager
Arrange locations for meetings, filming and social events
Help fill in gaps in production teams or organize cover for absence
Head of Marketing and Finance
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Head
Marketing
and Finance
Role
• ofThe
Studio Managers
role is- the
The Head of Marketing and Finance combines the role of treasurer and marketing
into one role, meaning the individual has control over the finances and advertising,
image and branding of station/studio.
Due to limited money being readily available the finance role is usually limited to the
allocating of small budgets to production teams, advertising and studio expendables
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such as tape, stationary, tools, sd cards/tapes etc. Even so the role incorporates a
degree of advising and support to the studio to help it function with minimal funds.
The marketing side of the role is primarily concerned with advertising a studio’s
identity, its output and communicating with possible sponsors or advertisers.
Head of Marketing and Finance - Requirements
The Head of Marketing and Finance is required to have numerical skills in
understanding, calculating and handling various amounts of money.
They must be able to assess spending and advise the committee and production
teams on the need to spend the minimum. In addition they must be able to
communicate clearly with outside support on the studios money matters.
The role requires an excellent knowledge and approach to marketing; this includes
both physical and digital advertising using a range of tools from posters to social
media. The role requires an individual to be able to promote, circulate and maintain a
strong brand and identity, whilst modifying and updating the brand where necessary.
Individuals must also be able to communicate clearly with both outside sponsors,
internal distribution members and the committee and all volunteers about the use of
the brand/identity.
Head of Marketing and Finance - Responsibilities
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Control, handle and act as signatory on studios account
Advise committee and production teams on spending
Allocate limited funds to production teams
Support and advise production teams on how excel with limited funds
Research and check any purchases that need to be made
Advertise and promote studio’s identity
Communicate marketing tactics to all members of the studio
Communicate with outside elements about advertising, branding and
sponsorship
Work with Head of Presentation to develop, modify and circulate studio
branding
Work with distribution elements of the studio to promote programmes and the
studio as a whole
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Head of Programming
Head of Programming - Role
The Head of Programming is the senior person who directly influences programme
making. It is their role to encourage, advise and foster programme making.
As part of their role they ensure production teams have minimal problems, help
generate programme ideas and act as a communication link between different
production teams. They also keep the committee informed of programmes in
production. At a broadcast the Head of Programming also takes on the position of
Broadcast Producer and is responsible for the content and programming that is
broadcast that week.
Head of Programming - Requirements
A Head of Programming needs to be full of ideas, practical ability is desirable but of
overall importance is the ability to think on your feet and support programme makers
by suggesting new ideas, approaches and styles to production teams.
The role requires a good knowledge of TV norms and how these can be adapted
changed or modified for student TV.
In supporting programme makers it is important to have good links throughout the
studio as a Head of Programming will often link teams together by suggesting a
Camera Operator or Presenter to a team.
Communication and approachability has to be excellent, in many stations/studios it is
often the Head of Programming that is required to be the crucial link between all
volunteers and be influential in organising meetings, ideas sessions and monitoring
the progress of a programme.
Head of Programming - Responsibilities
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Encourage and support all programme making within the studio
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Be a crucial link between production teams and individuals in communicating
ideas and helping allocate roles
Act as the Producer of the weekly broadcast; directing the broadcast team and
helping allocate programmes and content
Organise and run ideas sessions for programme makers
Monitor progress of programmes in production
Report on programming to the committee
Provide ideas and advice to programme makers
Be overall responsible for the production process within the studio and the
programme output
Head of Presentation
Head of Presentation - Role
The Head of Presentation is responsible for the graphic, branding and imagery the
studio uses within its programming and broadcasts, working closely with the Head of
Marketing and Finance the Head of Presentation supports marketing and
advertisement through creating logos and identity images.
The Head of Presentation’s role also incorporates overseeing the post-production
phase of programme making, helping and supporting editors as they work on various
programmes.
Head of Presentation - Requirements
The Head of Presentation requires a good eye for graphical design, whilst a
background in this subject is not mandatory; the role requires someone who is
confident to work with images, logos and designs, in addition to the software
necessary to create graphics such as Adobe Photoshop.
The Head of Presentation must also be a confident and good editor in visual, audio
and graphical editing and be familiar with the programmes required to successful edit
in post production.
In addition the role also requires the individual to provide constructive criticism and
guidance to the post-production editors, so an ability to advise and offer ideas is
crucial.
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Head of Presentation - Responsibilities
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Support the Head of Marketing and Finance in ensuring a strong brand and
studio identity
Modify and develop studio branding
Promote studio identity through, images, idents, stings and adverts
Oversee post-production editors, advise, review and support their work
Help develop graphics for production teams and individual shows
Work with Head of Training in providing presentation training to members of
the studio
Work with Head of Programming and Presentation Editors to create a timeline
and running order for a broadcast
Head of Technical
Head of Technical - Role
The Head of Technical is the senior technician with in the studio, they help with
technical issues raised in production and are on hand at broadcast to help configure
internet link up and work any technical problems in the broadcast.
The position also works with the Secretary to ensure filming kit is booked, signed for
and returned, whilst also ensuring equipment is used and stored correctly.
It would be wrong to think that the Head of Technical has to have all the answers,
whilst needing a greater knowledge of tech issues than most, the role is equally
about noticing and raising issues that may need to be dealt with externally i.e. by a
repair shop or servicing department.
Head of Technical - Requirements
A good knowledge of technical issues and the common problems of filming with,
maintaining, operating and storing of the studio’s equipment
An up to date knowledge of the basic operating requirements of the individual pieces
of equipment.
The ability to teach and instruct others in the use of equipment.
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A Head of Technical is also required to problem solve and address issues with the
resources they have, from ‘bodging’ cables together to make them work, making
makeshift dollies or lighting spaces with limited studio lights
An up to date knowledge of the computer and internet programmes needed to
broadcast live on the internet.
Head of Technical - Responsibilities
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Maintain, store and ensure care of all the studio’s equipment
Work with the Secretary to ensure an effective booking and issuing system for
equipment
Report technical issues to the committee
Organise servicing and repairs of equipment
Support production teams in their technical requirements
Problem solve and suggest ways round limited equipment
Provide technical support to a broadcast
Ensure internet feed of a broadcast
Work with Head of Training to provide training in use of equipment
Head of Training
Head of Training - Role
The Head of Training is role to ensure that training and practices are carried out
amongst the members of the studio. It is not predominantly the role of the Head of
Training to always carry out these training sessions themselves but to identify what
areas people need training on and orgainsing training sessions between the correct
people.
The role incorporates internal training, such as orgainsing the Head of Technical to
teach some basic camera skills, to new members or the Head of News to hold a
news workshop. It also incorporates identifying areas that need outside help; such as
arranging talks with journalists or orgainsing a careers talk for the studio.
To this extent the role of Head of Training is a Human Resources role, recognizing
what skills the studio has amongst its members and what skills should be brought in
from the outside.
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Head of Training - Requirements
There are no specific technical requirements for a Head of Training, they could either
be skilled in tech issues, producing issues or presenting issues. The main skill
required is the ability to identify in what areas the station needs training and how best
to achieve this.
The role requires an ability to seek the most effective source of training both
internally and externally and ensure this is delivered to the right people.
The role also requires a skill in admin in ensuring records are kept of studio
members’ skills and weaknesses, so these can be addressed to ensure the studio
has a uniform skill within its members.
An ability to speak to an audience is crucial if a Head of Training is going to lead
training sessions themselves.
Head of Training - Responsibilities
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Ensure training is carried out within the studio
Support Heads of News, Entertainment, Programming, Presentation and
Technical in providing relevant training for those areas
In addition task the various heads to provide training on their individual areas
Keep records of studio members individual skills and weaknesses to address
and support
Organise internal training provided by studio members
Arrange outside speakers to come and give training of both direct application
to Student TV and also careers and general TV practices
Where applicable lead training sessions on various subjects
The Flagship Shows
As part of the committee positions it is common practice to incorporate several
programme heads, making production of those shows based in the very foundation of
the studio, this takes place for several reasons.
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Ensures there are always a certain number of programmes in production as
the Producers are mandated to do it by their role on the committee
• Gives the studio flagship programmes it can always rely on for a broadcast
• Allows the studio to concentrate on programmes from its very beginning.
• Creates roles which are specifically aimed at producing a specific programme,
whilst creating a series identity for the flagship programmes
The standard approach is to create a Head of News and a Head of Entertainment
though this is not at all extensive, it could easily be a flagship Sports show or cookery
programme.
The advantage with having a News and Entertainment programme enshrined in the
studio’s structure is that they represent two basic styles of television and can easily
be tailored to a student audience. The differences and approach to these
programmes are explored in the Processes section of this guide, but the actual roles
are quite similar.
Head of News/ Entertainment
Head of News/Entertainment - Role
These individual positions are the producers of programmes, they have all the
responsibilities of a production producer except they are committee members and are
usually expected to produce a show weekly or bi-weekly.
The roles incorporate creating a wider and more fluid team than another programme
under production, as these are flagship programmes they are part of a series and
therefore camera operators, presenters etc. can change almost weekly.
The roles also mean a large degree of leadership as the flagship programmes often
require a large numbers of contributors and the managing of those involved.
Furthermore both positions require a constant stream of ideas to keep them new and
fresh each week, whilst also developing the individual shows identity within the
studio.
The roles are designed for Individuals wishing to be constantly working on the same
type of show and see a series progress and develop, they allow for a greater degree
of experimentation as the weekly shows allow different styles to be tried.
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Head of News/Entertainment - Requirements
Both roles require a large degree of leadership as there will be large and changing
teams that need to be managed, one week there may be 4 camera operators at your
disposal the next week it may be hard to organize one. To this extent managing
people and resources is a big part of the role
The same pressure and demands of a normal Producer are in effect, however in this
case it becomes, under more scrutiny and is more accountable as the roles exist
within the structure of the committee; the main requirement being to produce a
weekly show
The roles require plenty of ideas and the wish to stick with a programme through a
series; the roles require a fresh and enthusiastic approach each week.
In addition to the pressures of being a Producer the Heads of News and
Entertainment also help other production teams who are operating within a similar
area, this could be a documentary based on the news for example or a spin off
entertainment show based around films, this incorporates a wider management and
support requirement into the roles.
Overall the requirement is to act as the Producer of a weekly show and ensure it is
produced, distributed and advertised as to form a basis of the studio’s other
programming.
Head of News/Entertainment - Responsibilities
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Overall to produce and manage a weekly News/Entertainment programme
(see Process)
To manage and support a changing team of people working and contributing
towards the weekly programme
To use and support the News/Entertainment editor
To develop a style and identity which promotes the series of programmes
Encourage members to contribute or work on the weekly programmes
To organise content, presenters, technical requirements and teams working on
the programme
Report issues and development to the committee
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Produce a programme which forms a foundation for other programming within
the studio
Provide any support, information or live section of a weekly programme for use
in the live broadcast
Help and support production teams working on similar areas of programming
News Specific
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Produce a factual accurate and unbiased news show in accordance with good
journalistic practice (see Rights and Obligations section)
Investigate, question and make news relevant to students
Form a basis and inspiration for an expansion of the studio’s news
programming
Entertainment Specific
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Produce a show which students will find entertaining, incorporating aspects
which are relevant to students
Form a basis and inspiration for an expansion of the studio’s entertainment
programming
News/Entertainment Editor
News/Entertainment Editor - Role
In support of the two flagship programme heads are the News/Entertainment Editors;
these roles are to support the Head of News/Entertainment, act as their second in
command and be responsible for the post production element of the programme.
The roles are very much a key link between the members working on the flagship
programmes and the programme head. Whereas the Head of News/Entertainment
will often be the planner, and assign jobs and content sections to various members
and teams it is the News/Entertainment Editor who will check and work with the
members and report back to the Head of News/Entertainment.
In addition it is the Editors role to coordinate post production of various sections of
content and finally edit all these sections together into the final programme, whilst
also ensuring identity and a style form part of the finished show.
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News/Entertainment Editor - Requirements
The Editor roles require an individual to work well as key link in a team, both taking
instructions from above and receiving issues, progress reports from below.
They require a good knowledge of the various editing software used in post
production and also a working knowledge of camera skills and filming techniques to
coordinate both editing and production teams.
Editors must also be able to assemble different sections of content into a finished
programme and therefore need to have good editing skills; the ability to use graphics
and similar tools to provide branding and identity is also a skill that must be learnt for
the role.
News/Entertainment Editor - Responsibilities
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Support and advise the Head of News/Entertainment
Act as programme head in their absence
Act as a communication link between the Head of News/Entertainment and the
teams making content for the programme
Help and support the teams making content for the programme
Oversee the editing of the sections of content
Edit together the various sections into a final programme
Incorporate programme identity and branding into the edit
Considerations and Appointments
It is important to remember in addition to the above requirements and responsibilities
all of the committee have additional responsibilities which goes with the roles of
leading the studio.
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Leading Students
It is not easy to motivate, inspire and lead fellow students, it requires patience,
good leadership and a sense of humour. Individuals in student TV specific
roles should always remember that they are working with people who have
similar skills and it is about encouraging teamwork and a studio identity rather
than a tyrannical hierarchy of leadership
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Constructive Criticism and Support
Students in committee roles will have to comment and help shape others work,
this has to be done constructively and with a focus on support. The aim of
student TV is to encourage and experiment, things do not always work,
solutions and ideas should always be given, not just a rejection of ideas or an
approach
Not Outside or Above the Production Structure
Being on the committee does not exclude individuals from also taking on
production roles (with the possible exception of the news and entertainment
roles). The committee represents the leadership and direction within a studio,
it is often increased if the committee members are also active programme
makers themselves.
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In addition there are also the production specific roles to consider as many of these
share issues which committee members must consider, especially communication.
Appointment
Individuals are usually elected to the committee roles by a studio wide election,
Individuals put themselves forward and present their reasons for wishing to be
elected and why they thinking they are good enough. An important consideration is
brought in here; Committee members are managers and leaders they do not need
every skill required for a role as if it were a job, rather the drive and ambition to adapt
to the role and increase their knowledge to function if appointed.
Case Studies
The following three case studies are observations and advice from former Committee
members at LSTV
Experiences of being a Station Manager
Alice Salfield – Station Manager LSTV 2010/2011
Highs
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Finding the most fantastic friendship group at university and making friends for
life
Nights out, socials and experiences of making television that I will never forget!
The satisfaction of facilitating members making fantastic programmes that you
can all enjoy and be proud of
Watching new members’ skills and confidence grow and being part of helping to
make this happen
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Opportunities that would not come about otherwise – interviewing influential
people, access to events, job/work experience offers
• Organising finances that enabled us to dramatically increase our equipment and
work to a higher standard
• Being the person that people inside and outside the society come to for advice,
help etc
• Representing the society to the outside world
• The success of events that have taken much organisation such as Children in
Need
• Watching a year’s worth of work at the annual ‘showcase’ with family, friends
and lecturers – finally being able to relax!
• Being recognised for our hard work at the National Student Television
Association (NaSTA) Awards – winning 7 awards including Best Broadcaster for
the third year in a row
Difficulties
•
•
•
•
•
Balancing final year of degree with the time-consuming task of running LSTV
At times feeling as though I was not putting enough time into LSTV or in to my
degree – feelings of failing at both!
Managing friends, housemates and peers!
Getting people to listen in meetings
Not having time to get involved in such a hands-on way and not making as
many programs
Do:
•
•
Delegate – you can’t do it all yourself
Trust people to do the job – they can probably do it as good as, if not better,
than you
• Always try and keep smiling and be friendly to new faces
• Communicate well with your members
• Keep on top of emails and admin duties
• Always be aware of your financial situation and what money should be going in
and out
• Communicate with your union/university
• Make programs and remain an active member of the society as much as
possible
• Help new members make programs
• Have fun (and go to the pub)!
Don’t:
•
•
•
Worry too much
If you are worrying, prioritize what to worry about! What can you do that will help
inspire and facilitate more students to make TV?
Try to be too professional – it kills the fun and puts people off
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Experiences of being a Head of Programming
Rob Winstanley - Head of Programming LSTV 2010/2011
PROGRAMMING
The responsibilities of someone involved in a stations programming are twofold.
Firstly they need to make sure they are encouraging the production of new
programming, facilitating new members and new ideas, secondly they must make
sure that once an idea is put into motion that it comes to fruition and gets completed.
Failing to do both of these things can result in wasted time and energy or a stale
environment where the same people continue to make the same programmes.
Moreover, failing to tackle both these areas effectively results in a boring station.
Above all the aim of the game is to have fun making the things you want.
FACILITATING NEW IDEAS:
This as we have said is one of two key ideas in the effective management of
programming at your station. There a number of ways and opportunities to do this
effectively but also a lot of threats and possible stumbling blocks in this area of the
job. One of the main benefits of getting to grips with this area of programme
production is that you are involved with programme ideas from the start. This is
extremely beneficial as it allows you to not only be aware of potential programmes
but also allows you to be interested and involved with the new projects and perhaps
more importantly the new people. For me the most important part of being involved
with programming is making sure you know who you have within your television
station as an in depth knowledge of the people you work with enables you to
effectively and efficiently match people to projects ( more on this later).
It is important to make new members, who come armed with new ideas feel
welcome. It can be a daunting prospect to join a new television station and this is
only amplified when that station wants you to share your own ideas. As a
programmer you have a responsibility to make sure this can happen. Failing to do so
will result in limited numbers of ideas and participants. This leads to a number of
failings within a station including a lack of material and a sour or stale atmosphere.
To make sure you effectively entice and integrate new participants and their ideas it
is important that you take care in presenting yourself in an approachable and kind
manner. I think it is wise to make yourself the go to guy within the television station.
Whereas a producer or station manager may have responsibilities including budgets
and distribution, your aims centre on the programmes and programme makers
themselves. In this way make sure that when someone has an idea, rather that
calling for help they call for you!
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COORDINATING PROGRAMME MAKING:
The second part of being an effective programmer is of course making sure
that once up and running the programmes the station is making come to a
conclusion, achieving the best that they can. As mentioned earlier understanding the
people within the station is key to this. This is an important factor as it means that
when you are asked for help or you realise that a programme is stalling or in danger
of faltering you can suggest a person with the skills needed to steady and positively
impact upon that production. This is also important because as the station grows and
you get to a stage where multiple programs are being made at the same time, it is not
feasible for you to deal with every project alone. This is one of the hardest parts of
the job. It is difficult to stand back and not feel drawn into every problem that arises.
However, it is important not to do this as through stepping in and fixing the problems
you may well prevent other members fixing issues themselves or stop other
members taking responsibility and stepping up to deal with the issues that arise. As a
programmer you are there to co-ordinate and support and you must be aware of the
variety of ways you can do this, rather than allowing other people to rely on your own
ability as a programme maker.
CONCLUSION:
The role of a programme making and co-ordinating is a very diverse and
enjoyable one. You have the opportunity to be involved in all the aspects of your
station. The scope for meeting new people and being involved with new and exciting
programmes is limitless. However, you must be mindful that that a television station
is only as good as the sum of its parts. As well as the programmes themselves you
have a responsibility to encourage and develop the people that are making the
programmes. It is important to achieve on both of these fronts if you are to be
considered effective.
As before the best advice and support you can give is to make sure making
programmes is an inclusive and enjoyable process. If there is a high level of
participation and enjoyment a number of problems will take care of themselves,
contributors will be willing to get stuck in to develop and further their own ideas into
new and exciting programmes.
Experiences of being a Head of News
Emily Broadbent Head of News LSTV 2010/11
Being in charge of a weekly news show can be very stressful, but so long as
you stay on top of what is going on around your University and make sure other
people are keeping a look out for events it makes everything run so much smoother.
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The key is getting as many people involved as possible. You will find many people
are nervous about getting in front of the camera for the first time, or interviewing
people about things out of their comfort zone, encouragement is all they need, if you
reassure them that it’s ok to mess up, you can do it over again until it’s right then they
will come back. Make sure you keep including new members, it is very easy to keep
giving stories to the people you know are good and reliable, but later in the year you
will find you are left doing a lot of work. Training days are a great way of teaching
people the basics, but the best option is to give them a basic story at first and let
them build their confidence up. It will mean that sometimes the stories will have a
reporter that looks like they are on the verge of tears, the tape won’t have recorded or
even absolutely no sound at all, but there is only one way to learn. It was very
frustrating at times but it got easier as the year progressed and the team (and me)
got much better with the equipment. Remember it is amateur news, it’s the only time
you have to make mistakes without losing your job over it!
The best part of being head of news was definitely getting involved with major stories;
we covered a massive student protest in London and got footage as good if not
better than the national press. It reassured me why I want to go into this career and
helped me gain amazing experience whilst doing it. You will find that lots of people
do want to help student journalists out, most people will talk to you but you will get
turned down by the people who think they are far too important to speak to students.
Remind them that it is good media practice for them, you can send them the
question’s in advance and, no matter how long you think the interview will take,
always say “ it’ll only take 5 minutes!”
Remember that the news programme is aimed at students, it’s great fun making
serious reports around town and about events going on in the country but your
viewers can see this on national TV. You’ll find a lot more people will want to get
involved if it’s at a more amateur level that they are comfortable with. Make good
contacts, especially with your Union. Speak to your executive committee when you
first start the programme, you will find they will have a big part in most of the stories
you will cover. Most importantly of all, remember why you are doing it. If you are not
enjoying it you won’t make good programmes. Being in charge means it is up to you
to ensure that people like it and want to keep involved. Being head of news has been
great fun for me, I’ve met amazing people and gained really important skills all whilst
doing what love.
Production Specific Structure
To run a TV studio at any level from; student to professional requires a detailed
breakdown of the work required, into job areas and then the positions which exist
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within those areas. It is best to consider them in the 3 areas of: Production, Postproduction and Broadcasting. The Production specific structure runs under the
direction of the committee and therefore the areas in turn come under the coordination of the Programme heads (Heads of Programming, News and
Entertainment) and the Technical and Distribution heads (Head of Technical,
Marketing and Finance and Presentation), who are in turn supported by the Studio
Manager and Administration heads (Head of Training, Head of Marketing and
Finance and Secretary).
Studio Manager and Administration
Heads
Programme Heads
Production
Technical and
Distribution Heads
Post
Production
Broadcasting
This streamlines production by putting it in a logical process, any programme goes
through each area, and each area is monitored and aided by the committee.
Production takes place along a linear route from idea to finished programme and
ultimately to broadcasting a programme (see processes) with different people being
involved at different stages. Assigning roles and positions can take place in several
different ways but is common for a producer to pitch an idea to the studio members
and then seek out members who wish to fill the different roles, allowing various
members of the studio to work on productions they are interested in and try out
different areas of the production process.
Within each area: Production, Post Production and Broadcasting there are a list of
positions which operate under the remit of that area. The Programme producer,
straddles all three and is involved in managing a programme from idea to broadcast.
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Production
To plan, reaserch and film a programme.
•
•
•
•
•
Researcher
Camera-operator
Sound-operator
Director
Presenters
• Visual editor
• Audio editor
• Presentation editor
Broadcasting
To present, film and record live shows and to play
pre-made programmes
•
•
•
•
•
•
•
•
Camera-operator
Sound-operator
Vision Mixer
VT operator
Director
Floor manager
Broadcast assistant
Presenters/Anchors
Programme Producer
Post-production
To edit video and audio, create graphics and
format a programme.
Where if numbers allow, there is scope to have each of these positions entirely
individual it is often on a student scale, more practical to have someone do several
jobs: i.e. Camera Operator in both production and broadcasting or the Researcher
being the Presenter.
The work ultimately becomes divided between the two elements of the studio;
production and distribution with Post-production straddling both elements.
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Production
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Distribution
Post-production
Broadcasting
Programme Producer
Role
•The Producer is the overall 'boss' of a programme,
combining the various producer positions of
conventional TV into one role
•They oversee an idea from creation to broadcast and
organise all production, logistical and artistic elements
of its creation
•They link the various elements of the production teams
and are the constant figure throughout the three tages
of a programmes creation and distribution.
•They are also the key link between the committee
positions and the production teams.
Requirements
•A Producer must be able to lead a production team
and effectively manage people and problems asthey
arise.
•Must be confidentto lead and make suggestions but
also be open to others ideas and thoughts
•Understand the basics of TV content but also have
ideas for new approaches and styles
•Be able to turn ideas into content and programmes
suitable for television
•Crucially must be able to comunicate clearly with all
members of the production team at the various stages
•Impose deadlines on themselves and teams they lead
•Be able to link all content back to the audience;
students
Responsibilities
•Either pitch an idea to the studio. or take on someone
elses idea to develop it into a programme
•Recruit and manage a production team
•Ensure that team is briefed and kept informed of
developments within the production
•Support and guide all the different members of the
production and post-production teams
•Help and advise the broadcasting team in regard to
broadcasting the finished programme
•Address any problems faced by individuals in the
production process.
•Overall lead, manage and be responsible for a
programme from the start of he production phase till its
broadcast.
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Production Roles
Researcher
Role
•Researchers are key to providing the
background and information of any
programmes.
•They are resourceful, seekers of content and
subjects to give a programme its depth and
subject matter
•Researchers will undertake many differing
tasks, from investigating content to arranging
contributors or briefing presenters
Requirements
•A researcher must be able to handle large
amounts of information and quickly analyse
its relevence
•Must be confident in speaking to outside
bodies and individuals whilst also be able ask
favours or questions
•Have an investigative approach yet not apply
bias
•Be able to turn raw data or infomation into
content and ideas suitable for television
•Able to comunicate clearly with other
members of the production team
•Work to a tight deadline
Responsibilities
•Research the topics as agreed with
programme heads and generate information
for content
•Be responsible for providing factual
grounding for a programme.
•Be jointly responsible with the producer for a
detailed plan of content, contributors and
sections of a programme
•Communicate with contributors and
interviewees
•Brief presenters on content
•Brief crew on programme structure
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Production Roles
Camera-operator
Role
•Camera-operators provide the visual element to
the production process.
•They arrange and film the subjects and people
organised by the production team.
•Camera operators are creative and have an eye
for a 'good shot' knowing that their work effects
the look of the programme
Requirements
•A Camera-operator must be able to use,
maintain and troubleshoot the studios cameras
•They must have a creative outlook and be
willing to apply exciting and innovative styles to
their filming
•They require a good knowledge of shot types,
filming styles and camera practices
•They must know the hazards of filming in
different environments and be able to identify
anything that may damage or detract the shot
they are filming
•They must be able to respond to instructions
from the production team
•They must also be able to communicate their
ideas clearly to the production team, presenters
or subjects they are filming
Responsibilities
•Take responsibility for all filming of the
programmes
•Ensure all cameras are looked after and used
correctly on a shoot.
•Be responsible for the basic visual apperance of
a programme
•Frame shots, film sequences in line with the
directors instructions
•Operate any additional camera equipment such
as tripods and dollies
•Ensure all equipment is returned after a shoot
•Ensure tapes and footage is handed to the postproduction team
•Work with the Sound-operator to ensure a
technically succesful shoot
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Production Roles
Sound-operator
Role
•Sound-operators provide the audio element to
the production process.
•They organise the recording of audio on a shoot
and ensure sound is audible and clear
•Sound-operators are dilligent and have a
wtachful eyes and ears for peaks and
interference knowing that their work effects the
sound of the programme
Requirements
•A Sound-operator must be able to use,
maintain and troubleshoot the studios audio
equipment
•They require a good knowledge of audio; being
able to understand the differences in recording
a conversation, music or ambient background
•They must know the hazards of recording in
different environments and be able to identify
anything that may damage or detract the audio
they are capturing
from the production team
ideas clearly to the production team, presenters
or subjects they are recording
Responsibilities
•Take responsibility for all audio of the
programmes
•Ensure all audio equipment is looked after and
used correctly on a shoot.
•Be responsible for the basic sound apperance
of a programme
•Mic up presenters, record music or ambience in
line with the directors instructions
•Operate any additional sound equipment such
as boom poles and amps
•Ensure all equipment is returned after a shoot
•Work with the Camera-operator to ensure a
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Production Roles
Director
Role
•Directors in television have a varied role depending
on the programme they are working on, if it is a
drama or comedy they have more creative freedom,
on a series however they work to the specifications
outlined by the series Producer
•A Director molds the show coordinating acting,
presenting or features.
•A Director will instruct the crew to film and record
what is nessecary for the programme
Requirements
•They require a good knowledge of all aspects of
filming as they will have to coordinate visual, audio
and presenting elements of a shoot
•They must know the hazards of filming in different
environments and be able to control and coordinate their crew in accordance with the different
programmes they will work on
•They require a detailed knowledge of different
programme types
•They must be able to respond to instructions from
the Producer and suggestions from the production
team
•They must also be able to communicate their ideas
clearly to the production team, presenters or
subjects they are directing
Responsibilities
•Take responsibility for the end result of production
•Ensure all equipment is looked after and used
correctly on a shoot.
•Co-ordinate all production crew in filming and
undertake shoots according to the Producers
specifications
•Direct camera-operators and Sound-operators to
capture the correct visual/audio
•Direct presenters and contributors in their delivery
and style
•Ensure the script or research brief is followed
•Brief the Producer and Post-production team on
the programme at the end of the production stage
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Production Roles
Presenters
Role
Requirements
Responsibilities
•Presenters are the face of a programme and are
diverse due to the many different types of
programming
•Some presenters are tailored to a certain
programme style such as news or entertainment,
whilst others can be general programme
presenters
•Presenters introduce items, deliver facts, interview
contributors and make a programme accesible to
its chosen audience
•A Presenter must be out-going, confident and an
excellent communicator
•They are required to be relaxed in front of a
camera and have a memory for scripts or peices
of infomation
•They must have the ability to interview a
contributor or present infomation clearly
•The audience must be able to relate with the
presenter so they must present without seeming
to be patronising or removed
•In specfic programmes different requirements are
necessary; news presenters must have a
journalistic approach, entertainment presenters
must be light and humourous
•Presenters must be able to take instructions from
the production crew and be able to work to their
requirements
•Take responsibility for the presenting and
narration of a programme.
•Work with the researcher to gain knowledge and
incorporate specfic infomation into a show
•Work in line with the production teams
requirements
•Be responsible for learning scripts or sections of a
show
•Present with enthusiasm and effort to ensure a
lively, watchable programme.
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Post-production Roles
Visual editor
Role
•The Visual editor assembles the raw footage into
a programme, they use skills and artistic flair to
set the mood, pace and style of a show
•Whilst working within the programmes parameters
they have a huge impact on how the show looks
in both style and substance
•A visual editor also converts and captures raw
footage
Requirements
•A Visual editor must have an excellent
understanding of the operating software
•As well as technical know-how a creative style is
also required as this will directly effect the
success of an edit
•An ability to understand different approches to
programmes and the willingness to experiment;
editing is very much a trial and error process
•An understanding of the filming process, so as to
understand the footage they have to edit
•The ability to tailor expertise and creativity in line
with the desires of the Producer and the
requirements of the programme
Responsibilities
•Take responsibility for the visual element of the
Post-production process
•Work to the brief set by the Producer
•Meet with the Director to understand what
happened in the Production stage
•Work closely with the Post-production team to
ensure a well rounded programme
•Capture raw footage from the production stage
•Edit footage to a high standard in the time set by
the Producer
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Audio editor
Role
•The Audio editor, edits the sound of a programme,
they use skills and artistic flair to set the mood,
pace and style of a show
•Whilst working within the programmes parameters
they have a huge impact on how the show sounds
in both style and substance
•They add music, ensure a stable sound level
throughout and address any problems which may
have arisen during Production
Requirements
•An Audio editor must have an excellent
•As well as technical know-how a creative style is
also required as this will directly effect the
success of an edit
•An ability to understand different kinds of music
and the effect they have on a show
•An understanding of the audio recording process,
so as to understand the footage they have to edit
•The ability to troubleshoot any audio problems
that where not identified in the Production Stage
•The ability to tailor expertise and creativity in line
with the desires of the Producer and the
requirements of the programme
Responsibilities
•Take responsibility for the audio element of the
•Work to the brief set by the Producer
•Meet with the Director to understand what
happened in the Production stage
•Work closely with the Post-production team to
ensure a well rounded programme
•Source music and sound effects for the
programme
•Edit audio to a high standard in the time set by the
Producer
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Presentation editor
Role
• The Presentation editor, puts the final
touches to a programme and helps prepare
them for Broadcast
• They also prepare graphics and titles for
programmes and the Broadcast as a whole,
ensuring studio identity and continuity
• They are the final quality check on
programmes ensuring all previous stages
have created a quality show
Requirements
• A Production editor must have an excellent
• An ability to create graphics and titles for
both programmes and the broadcast
• As well as technical know-how a creative
style is also required as this will directly
effect the success of any graphics and titles
• An understanding of the Broadcasting
process
• The ability to troubleshoot any unnoticed
problems in an edit
• The ability to tailor expertise and creativity
in line with the desires of the Producer and
the requirements of the programme
Responsibilities
• Take responsibility for the final checks of the
• Work to the brief set by the Producer
• Work closely with the Post-production team
to ensure a well rounded programme
• Create graphics and titles for programmes
and broadcasts
• Format and export finished programmes
• Create a running order and timeline of
shows to be broadcast
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Broadcasting Roles
Camera operators
Role
Requirements
Responsibilities
•Camera-operators provide the visual element to the
Broadcasting process.
•They film the broadcast as organised by the
broadcasting team.
•Camera operators are creative and have an eye for
a 'good shot' knowing that their work effects the look
of the broadcast
•A Camera-operator must be able to use, maintain
and troubleshoot the studios cameras
•They must have a creative outlook and be willing
to apply exciting and innovative styles to their
filming
•They require a good knowledge of shot types,
filming styles and camera practices
•They must know the hazards of live filming and be
able to identify anything that may damage or
detract from the shot they are filming
•They must be able to respond to instantly to
instructions from the Broadcasting team
•They must also be able to prepare set up and
maintain filming throughout the broadcast under
the pressure of being 'live on air'
•Take responsibility for all filming of the broadcast
•Ensure all cameras are looked after and used
correctly during the broadcast
•Be responsible for the basic visual apperance of
the broadcast
•Frame shots, film sequences in line with the
directors instructions
•Operate any additional camera equipment such as
tripods and dollies
•Ensure all equipment is returned after the
broadcast
•Work with the Broadcasting team to ensure a
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Broadcasting Roles
Sound-operators
Role
• Sound-operators provide the audio element
to the Broadcasting process
• They organise the recording of audio at a
broadcast and ensure that all presenters,
contributors have access to mics and that
VTs are playing the correct audio
• Sound-operators are dilligent and have a
wtachful eyes and ears for peaks and
interference knowing that their work effects
the sound of the broadcast
Requirements
• A Sound-operator must be able to use,
maintain and troubleshoot the studios audio
equipment
• They require a good knowledge of audio;
being able to understand the differences in
recording a conversation, music or playing
VTs
• They must know the hazards of recording in
a studio be able to identify anything that may
damage or detract the audio they are
capturing
• They must be able to respond instantly to
instructions from the broadcasting team
• They must also be able to communicate any
problems clearly to the broadcasting team,
presenters or subjects they are recording
Responsibilities
• Take responsibility for all audio of the
broadcast
• Ensure all audio equipment is looked after
and used correctly during the broadcast
• Mic up presenters, record music or ambience
in line with the directors instructions
• Communicate mic changes and sound
issues to Floor manager
• Operate the sound desk during the
broadcast and maintain audio feed to the
internet
• Ensure all equipment is returned after a
broadcast
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Broadcasting Roles
Vision mixer
Role
• Vision mixers provide the overall visual
element to the Broadcasting process
• They operate vision mixing equipment and
combine this with the VTs to create the
finished image of a Broadcast
• Vision mixers are essentially live editors who
cut between different camera shots
Requirements
• A Vision mixer must be able to use, maintain
and troubleshoot the studios vision mixing
equipment
• They require a good round knowledge of
television; being able to understand the
overall visual experience they are trying to
achieve
• They must know the hazards of the studio
be able to identify anything that may
damage or detract the visual output they are
capturing
instructions from the Director
especially the Camera operators
Responsibilities
• Take responsibility for the final visual element
of the broadcast
• Ensure all vision mixing equipment is looked
after and used correctly during the broadcast
• Work with the Camera operators to wire up
the cameras to the vision mixing equipment
• Operatet he vision mixer during the
broadcast and maintain visual feed to the
internet
• Follow the Directors instructions on when to
change shot and switch to VT
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Broadcasting Roles
VT operator
Role
• VT operators insert the pre-made
programmes into the broadcast
• They operate the VT computer and combine
this with the live element to create the
finished image of a Broadcast
• VT operators cue and stop programmes, and
control the timeline of the pre-made
programmes
Requirements
• A VT operator must be able to use, maintain
and troubleshoot the studios VT computer
• They require a good round knowledge of
television; being able to understand the
overall visual experience they are trying to
achieve
• They must know the hazards of the timeline,
understanding the importance of when to
start and stop a programme
instructions from the Director
especially the Vision mixer and director
• An excellent sense of timing is needed, as
VT operators work to split second changes
from live to VT
Responsibilities
• Take responsibility for the pre-made visual
element of the broadcast
• Ensure all VT equipment is looked after and
used correctly during the broadcast
• Communicate with the Presentation editor to
learn timings and any issues about the premade shows
• Operate the VT computer during the
broadcast and maintain the timings of the
programme timeline
• Follow the Directors instructions on when to
switch to VT
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Broadcasting Roles
Director
Role
•Directors in a broadcast are the contoling and coordinating element which brings the broadcast
together they have an amount of creative
freedom, however they work to the specifications
outlined by the Studio Manager
•A Director controls the show from the gallery,
coordinating cameras, vision, VTs and presenting
•A Director will instruct the cameras and vision
mixer in what shots to get, whilst also ensuring
the VT operators is keeping to their timings and
presenters have a structured schedule
Requirements
the broadcast as they will have to coordinate
visual, audio and presenting elements of a
broadcast
•They must know the hazards of filming in a
studio and be able to control and co-ordinate
their crew in accordance with the aim and style
of the broadcast
from the Head of Programming and comunicte
this to the broadcat crew, in addition a Director,
should be able to identify any problems amongst
the team
ideas clearly to the broadcasting team, and
exercise a degree of control over the team
Responsibilities
•Take responsibility for the end result of broadcast
•Co-ordinate all broadcasting crew in filming and
undertake a broadcast according to the Head of
Programming's specifications
•Direct camera-operators, vison mixer and VT
operator in what to film, when to change shot,
when to start a VT
•Direct presenters and contributors in their
delivery and style
•Ensure the script and schedule is followed
•Brief the Studio Manager at the end of a
broadcast
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Broadcasting Roles
Floor manager
Role
•A Floor manager is directly in control of the studio
floor, serving as a link between the Director in the
gallery and the crew and presenters on the floor
•Their role is to communicate any infomation to the
relevent crew, to cue presenters and control any
audience or contributors at the broadcast
•Before a broadcast they ensure the floor is set up
and ready and during a broadcast they control coordinate the crew
Requirements
the broadcast as they will have to coordinate
visual, audio and presenting elements of a
broadcast
•They must know the hazards of filming in a studio
and be able to control and co-ordinate their crew
in accordance with the aim and style of the
broadcast
•They must also be away of all health and safety
aspects of a broadcast
•They must be able to respond to instructions from
the Director and communicte this to the broadcat
crew,
•They require excellent comunication skills as they
must be able to communicate the Directors
instructions clearly to the broadcasting team, and
exercise a degree of control over the team
Responsibilities
•Take responsibility for the studio floor
•Co-ordinate all broadcasting crew in filming and
undertake a broadcast according to the directors
instructions
•Undertake safety, technical and schedule checks
before a broadcast
•Control any off camera action or movement
•Relay times and messages from the Director,
Broadcast assistant and gallery
•Cue, and give time signals to presenters and
contributors in their delivery and style
•Ensure the script and schedule is followed
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Broadcasting Roles
Broadcast assistant
Role
• A Broadcast assistant acts as a schedule
co-ordinator before a broadcast and ensures
that times are kept during the broadcast
• Their role is to communicate time and
timings of the broadcast to the relevent
crew, so that the schedule, VT timeline and
broadcast all run to the right length
• They predominantly communicate with the
Director, Floor Manager and VT operator
letting them know how long is left in a
programme, or how long the presenters
have left to speak etc
Requirements
• They require excellent comunication and
timekeeping skills as they must be able to
communicate exact time instructions clearly
to the broadcasting team
• They require a good knowledge of all areas
of the broadcast
• A Broadcast assistant must also be able to
plan a schedule according to the Studio
managers requirements
• They must know the hazards of studio time
management and the consequences of not
addearing to timings
• They must be able to respond to
instructions from the Director and time
requests from the Floor Manager
Responsibilities
• Take responsibility for the broadcast timings
• Link with the Production editor to learn
timings for all programmes for the broadcast
• Organise and circulate a schedule based on
the Head of Programmings specifications
• Work with the Presenters in organising a
script
• Relay cues and timings to the Director,
Vision mixer, VT operator and Floor
manager
• Ensure the script and schedule is followed
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Broadcasting Roles
Presenters/Anchor
Role
Requirements
Responsibilities
•Presenters are the face of a broadcast and are
the links between programmes
•They make a broadcast more accesible and add a
human element to the live experience
•Unlike
individual
programmes,
broadcast
Presenters need to be accesible to all and are
under more pressure due to 'being live'
•Presenters introduce shows deliver facts, and
interview contributors
•A Presenter must be out-going, confident and an
excellent communicator
•They are required to be relaxed in front of a
camera and have a memory for scripts or peices
of infomation
•They must have the ability to interview a
contributor or present infomation clearly
•The audience must be able to relate with the
presenter so they must present without seeming
to be patronising or far removed
•The added pressure of live means presenters
must be able to cope under these circumstances
and be able to think on their feet if there is a
problem playing a VT
•Live Presenters must be able to take instructions
from the Floor manager and be able to work to
their requirements
•They must also be able to talk whilst
simultaneously recieve instructions visually or
through a head set, a very difficult skill to
master!
•Take responsibility for the presenting of the
broadcast
•Work with the broadcast assistant to learn the
schedule and formulate a script
•Work in line with the broadcast teams
requirements
•Be responsible for learning scripts and schedule
•Follow the timings and instructions from the
Director and Floor manager
•Present with enthusiasm and effort to ensure a
lively, watchable programme.
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Further Requirements and Responsibilities
Whilst all the above have unique roles, responsibilities and requirements, there are
some general points that all positions must be aware of and adhere to:
Technical skills
Whilst specific requirements might need the knowledge to use editing software or
operate a camera to a high level, all positions need a basic understanding of the
technical skills employed in running the TV studio. This encourages greater idea
sharing and the ability for cross positional support if one area is struggling;
furthermore it enhances the amount of skills picked up by the individual. In addition to
Studio specific technical requirements there is also basic ‘tech’ knowledge such as
computer literacy or radio communication skills which is important for the studio to
function. At some point nearly all crew will have to produce documents to support
their role and the ability to speak clearly and concisely into a radio set is crucial in the
execution of a broadcast. Overall a good basic knowledge of the equipment is
required by all crew to ensure care in its use and the ability to step into a role if
required.
Creativity
Though some positions allow for a much more open expression of creativity, all roles
must have a creative and imaginative approach to their work. Student TV is one of
the few chances you get to experiment openly with ideas. Remember new and
different approaches to a programme are the way forward. Whilst not ignoring the
lessons and styles of current TV shows, remember that they have already been
made so new ideas are the way to get yourself on the TV map. This means all
positions should approach their work creatively whether it be trying a ‘quirky’ camera
angle or producing a new take on a traditional programme style
Overlap
All positions have their own areas of expertise but as the same goal is trying to be
achieved by all, a certain degree of overlap exists. This means that not only do
individuals work with others on their area, but that the whole process becomes very
reliant on each position fulfilling their tasks within an allotted deadline. The
consequence of failing this is that the next stage in the production or distribution
process becomes delayed and that has the same knock-on effect on the next stage
and so on. Rather than struggling it is far better to use the overlap in advantage of
sharing skills; for example, the visual, audio and presentation editors working
together rather than waiting for each other to finish, or the Presenters helping the
researcher in trying to find information for the script of a programme.
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Even when the process is linear it still requires a link between the various positions
and this highlights the third and most crucial point: Communication
Communication
Of all the skills required communication remains the most valuable, through it ideas
are shared, programmes are produced and crucial instructions are given. TV is
ultimately concerned with the art of communication so understanding and applying is
good practice for making programmes. It is therefore very important that positions
communicate their actions and proposals frequently with those in their team and
those it will directly affect. Those who have positions which straddle the Production,
Post-production and Broadcasting boundaries should take extra care to communicate
the progress of a programme so as to keep the production and distribution elements
aware of deadlines and projects being undertaken. Meetings both formal and
informal are a good way to keep track of the Studios activities and these should be
held at various levels and their outcome made readily available for all the teams.
Ultimately communication can make or break a student run studio as whilst other
pressures contribute to success and progress, communication affects the day to day
activities of the student members who have busy lives outside of the studio.
Communication Continued - Keeping it Civil
Whilst there is no doubt TV is a fast paced environment requiring quick decisions,
control from those in charge and a degree of pressure, this does not give people a
blank slate to bark orders or be openly rude. Whether on a shoot or in a studio for a
broadcast communication should be clear, precise and delivered with a degree of
authority. The consequences of Directors, Producers etc. communicating through
sarcasm, rudeness and as a tyrant means that respect is lost and the whole process
becomes a chore rather than an enjoyable learning experience.
Camera
Operators
Presenters
Sound
Operator
Director
Floor Manager
Vision Mixer and
VT Operator
Head of
Technical
Head of
Programming
Broadcast
Assistant
Communication during a broadcast
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As we can see communication overlaps, and interlinks different roles it is imperative
that people:
•
•
•
•
•
Respect lines of communication and use them to their full advantage
Do not lose their temper, shout or be rude especially during broadcasts or a
shoot, it will only prolong any problem not solve it
Communicate clearly, precisely and accurately
Raise any communication problems when they arise
Point out communication failures at de-briefings and meetings
Student TV Processes and Outcomes
Student TV as with conventional TV is dominated by processes, everything is
controlled by a continued process of creating ideas, producing programmes,
broadcasting completed programmes, ensuring distribution and then the process
begins again.
This section will therefore highlight some of the necessary process and outcomes a
studio should adopt to get the maximum out of the time and resources they have
available. It shouldn’t be forgotten that as volunteers the members of the studio will
have other commitments and a strong set of common practices and weekly structure
are vital so that valuable time is not lost in trying to work without a set process or
structure for programme making and broadcasting.
To this extent the following processes will be looked at;
• Weekly Structure
• Planning a Programme
• Producing a Programme
• A Broadcast
Also to give an example of two desirable outcomes and programme ideas a sample
News and Entertainment programme will also be featured in this section.
However it is first important to consider how the studio should set up in its first weeks
of existence.
The First few Weeks
Every newspaper is set up differently and at different speeds but as an example let
us consider that the studio has already got the necessary funding, has a sizeable
group of willing volunteers and wishes to begin broadcasting as soon as possible.
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•
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•
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Organise first mass meeting
This is an important social exercise as much as it is necessary for the studios
success, it is a chance for people to meet, air ideas and get to know each other
before the serious business of programme making takes place.
Hold Workshops, Training and Practice Sessions
As soon as possible get people using the equipment, this is a time to try out ways
of filming and presenting without worrying about deadlines. This is also an
important time to find out peoples strengths and weaknesses and encourage
those who have strong potential to consider committee roles
Elect Committee
For the studio to be successful it will need student leadership from the start, it is
important to agree on the committees roles and hold democratic elections for
people to put themselves forward in leadership roles.
Develop an Identity and Branding
Identity and branding are as important to the teamwork and unity of a studio as
they are to advertising it, getting everyone behind an identity is a great way to
add a social element to the creation of a studio.
Conduct Audience Research
Find out what students want to see, they are the audience, get out and ask them
what interests them, what does not. This is a good opportunity to tie this in with
advertising and spreading the studios new identity.
Begin to Focus on the Flagship Programmes
Use the flagship programmes as a start point for the rest of your programming,
practice skills and develop new styles. This is a good chance for people to try the
different production roles whilst still under the structure of the new committee’s
guidance.
Hold Idea Sessions
Get people taking and circulating their ideas whilst encouraging the first elements
of programme making.
Encourage the Production of Simple First Programmes
Start small and build up, encourage people to try out their ideas in 5-10 minute
programmes as pilots for later ideas
Plan and Advertise the First Broadcast
Set a time and date for the first broadcast and circulate this around as many
students as possible, make an event out of this, after all it is the first ever
broadcast by the studio! Consider what is going to be in the first broadcast to
make it special
Focus on Producing and Finishing the Flagship and Pilot programmes for the
Broadcast
This is a chance to work under the pressure of a deadline for the first time, there
will be problems but do your best as this is the first time the studio and its
members have tried this.
Hold the First Live Broadcast
Show the flagship programs and any pilots that have been made. Do not worry
about the technical excellence of the broadcast just yet, the fact you have got this
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far is an achievement in its self, talk about what to expect, come across as
vibrant exciting and overall student focused.
Follow the Broadcast with a Social Event
The first few weeks will have been busy and hectic, the members will have all
deserved a drink. This is a very important consideration it helps foster team work,
morale and encourages friendships within the studio
Debrief with Different Teams and then all the Members
What worked well, what did not work well? Go over the issues of the first couple
of weeks and recognise problems, successes, ideas and suggestions from
everyone in the studio. Incorporate this into a strategy
Committee and Management Form a Grand Plan
Consider where the studio should be in: 2 weeks, a month, 3 months, a year.
Consider the success and problems of the first few weeks and incorporate this
into a strategy for how to improve.
Slowly Ease Into the Weekly Structure
Walk do not run, slowly try out a weekly structure but understanding the issues
and needs of the studio is far better than suddenly trying to achieve everything,
have patience the weekly structure of programming and broadcasts will not
happen overnight.
In the first few weeks it is important to remember mistakes will happen, there is no
need to worry too much at this point. It is far more important to set up a fun studio
with teamwork and motivation, than it is to produce a technically sound programme
and broadcast in a stressful and un-enjoyable environment.
Overall the problems and issues are of the first few weeks are part of the whole
experience. Remember that even though there is a committee hierarchy, it is about
working together and management rather than the top people having all the
solutions. Some problems encountered will be the same as any other student
television studio the world over, others will be unique towards your studios situation.
Weekly Structure
A week in student TV will always be different from one week to the next, however it is
important to have some repeating structure and events so as best to use the time
and resources available. Below is a sample week focusing on the activity of the
committee, studio as a whole and weekly and general production teams.
Committee
Monday
Tuesday
Studio
Manager and
Head of
Programming
debrief with
various
Committee
Meeting
Wednesday
Thursday
Friday
Saturday
Heads of
Training
and
Technical
holds
organized
Heads of
Programming
and
Presentation
assist with
final edits,
Studio
Manager
and
various
Heads
assist with
Sunday
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production
teams
Studio
Production
and ideas
meeting
Weekly
Production
Team
Researching
and filming
sections of
programme
General
Production
Team
training
session
Filming
Update
meeting on
progress
Weekly
Meeting and
social
activity
Filming and
editing
Training
session
Attend
meeting
Section
draft or
final edits
Key
interview
and
filming
Filming
Attend
meeting
Filming
and
editing
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assemble
Broadcast
timeline
Broadcast
Deadline
Complete final
edit and hand
to team
assembling
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Broadcast
Live
Broadcast
Watch or
attend
Broadcast
Programme
Meeting for
week
ahead
Provide
crew for
Broadcast
What can be seen is that there is a tight turn round within a week, the committee
need to be able to support and manage this, but also programme makers need to
have good schedule to work from in order to predict when their show will be ready
and the amount of work needed to get it finished. Therefore there is a need for strong
planning and production processes.
The Planning Process
The planning and production of a programme is linear to fit with the structure and
roles of the studio, the only section which does not fit into any set guidelines is the
idea process.
Ideas
It is impossible to pin down where or how to generate good ideas for student TV
instead it is best to consider what works well and creates good student programmes.
Ideas can form at any time so it is important to encourage lots of communication
within a studio so people feel comfortable talking and discussing even the vaguest of
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thoughts. It is also important to encourage meetings for writers, producers and
members to meet and discuss thoughts in brainstorming sessions. Never forget that
some of the best ideas are also generated socially and it is always important to
promote the studios’ social side as not only does it promote teamwork and fun but
can be a genuine source of good ideas and discussion.
A few guidelines also help create and expand ideas:
 Must be relevant to the output – Student
Ultimately students are the audience, programmes have to reflect this. If the idea or
programme fails to be relevant to students it ignores the main aim of student TV
 Does not have to be limited
This however does not limit the choice of programmes student life is funny,
entertaining, sad, factual and random; create programmes that reflect this
 Some ideas may be hard to achieve in one programme but can be combined
with others to try a new approach
An idea should not be dismissed because it is too small, it my fit well with someone
else’s ideas or be able to form part of a larger show
 Adapt and adopt conventional TV
Find the gaps in the market, notice which shows are not aimed at students. For
example there are no student talk shows, music shows etc. but this does not mean
there shouldn’t be in fact some of the best ideas address these gaps. Until 10 years
ago student TV in the UK stayed away from some genres, thinking it was impossible
for students to have relevance that has changed, consider every genre and do not be
shy if the idea is relevant to students pursue it.
 Do not copy what already exists
Do not blankly copy what already exist but take conventional TV as an inspiration to
change and modify what is already in the mainstream, sticking student in the title
does not turn a conventional TV show into a student one and while some styles are
almost impossible to avoid consider how to approach them. For example; there is no
point reviewing films for the general audience, there are a lot better qualified people
to do that but if you review a film in how it relates or portrays students that is a clever
way round the experience gap.
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 Genres do not have to be rigid
Entertainment can be both factual and funny, drama can be as equally as powerful
as a news report, use traditional styles but do not be constrained by them
The Golden Rule: Try Something New
The biggest success story of student TV is that it is a chance to try something new,
new ideas, new approaches and new styles. When coming up with ideas do not feel
limited student TV is chance to experiment without the fears and constraints of the
working environment.
Planning the Programme
When an idea is expanded and seems suitable to be pursued it is then best to assign
a producer to the production, this could be the same person who came up with the
idea or equally someone else adopting it. It is then the producers job to begin to
assemble a production team, who will produce the programme at this stage it is
important to put the programme idea through a series of questions to produce a
production plan. This process can be as informal or formal as you wish, either a
group of friends casually approaching making a programme or a more formalised
structure of planning; either way it is important to consider the following:
 What is the aim of the show?
 What is the main theme?
 How is it relevant to the audience?
 How can we make it new/different?
 What genre/style?
 How long to make?
 How long will the programme be?
 How many sections?
 Who do we need?
 What do we need?
 Any special considerations? (Scripts, access to a certain place or person,
special props etc.)
The First 5 points establish the overall aim and desired outcome of the programme,
whereas the following points begin to address the practicalities of producing it. The
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end result of this is that an overall structure to producing the show and the producer
is not blindly trying to make a programme, this checklist can then be turned into a
more structured programme plan:
Programme
Name
That’s Entertainment
Producer
Director
Andrew Cheetham
Chris Eastwood
Genre
Aim
Relevance
Light entertainment
To review student entertainment in the Leeds area
Entertainment being reviewed is aimed specifically to
students on a budget
3 sections with links and interviews between; One
main presenter, 3 different options being reviewed by
3 additional presenters
Style/Approach
Length
Production length
Crew
Equipment
Special
considerations
Production start
date
Aimed broadcast
date
20 mins
2 weeks
8
1 camera, 1 tripod, 2 microphones, 1 top light
Access required to theatre and two bars. Interviews
with 6 individuals on location, 2 interviews with
main presenter, 1 bar is dark – need light
24/06/11
9/07/11
This provides the studio with an idea of what is under production and when it is likely
to be completed, this is useful not only for planning broadcasts but also for allocating
equipment and avoiding duplicating of programmes. For the Producer and production
team it forms a basis guideline for the production which is then added to by a detailed
breakdown of the programme. Notice the crew number, this is because as I
mentioned earlier there is often several roles taken on by one individual due to the
numbers available for a production team, for ease during the processes I while point
the individual positions roles to clearly show how these interact.
Detailed Programme Plan
Detailed Programme Plan
That’s Entertainment
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Crew
Andrew Cheetham
Chris Eastwood
Programme Breakdown
00.00.00 30 secs
00.00.30 30 secs
00.01.00 1 min
00.02.00 1 min
00.03.00 1 min 20 secs
00.04.20 2 mins
00.06.20 40 secs
00.07.00 30 secs
00.07.30 1 min
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Comments
Producer
Director, Presentation
Editor
Rosie Skirrow
Camera Operator/Sound
Operator
James Winstanley
Mary Holmes
Holly Small
Freddy Fenn
Presenter, Researcher
Presenter, Researcher
Presenter
Presenter, Visual Editor
Matthew Posner
Camera Operator/Sound
Operator, Audio Editor
Comments
Welcome Link
James,
outside
university bars
Titles and contents
Music,
pictures
and
graphics Voiceover (VO)
James
observation of student Scripted, James
entertainment;
Link:
into first report Maha
Bar
Overview of Maha Bar, Music, cutaways and VO
live music venue
Mary
Walk round Maha Bar Scripted, Mary
more information, link
to interview
Interview with Maha Mary, Mr Newham and
Bar
manager
and MC Dixy
resident DJ
Closing
link
and Scripted, Mary
opinion of Maha Bar
Opinion of Maha Bar
Scripted, James
link into Riley Theatre
Dance Show
Welcome and Overview
Scripted, Freddy
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of Riley Theatre Dance
show
Interview with 2
Dancers and joining in
with Dancing
Final Review and
Opinion of Dance Show
00.08.30 3 min
00.11.30 1 min
00.12.30 1 min 30 secs
00.14.00 30 secs
00.14.30 1 min 30 secs
00.16.00 2 min
00.18.00 1 min
00.19.00 30 secs
00.19.30 30 secs
James Interviewing
student singer, Link into
JH Cocktail and BBQ
bar
Overview of JH bar
History and
Development of JH Bar
Cocktail making with
Barman
Vox pop with bar
customers and
conclusion
Summary and closing
thoughts
Credits
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Unscripted, Freddy
Scripted, Freddy
James and Sarah Delo
Music, cutaways and VO
Holly
Scripted,
Holly
and
cutaways
Unscripted, Holly, Mr
Howarth
Unscripted Holly
Scripted, James
Music,
pictures
graphics
and
From this programme plan we can see a detailed breakdown of the planned
production, again a plan does not necessarily have to be this formal, though the
larger the production the better it is to have a detailed plan.
From here the planning breaks down further into a filming plan, this takes on two
styles a filming schedule and a filming plan.
Filming Schedule
A filming schedule is the breakdown of where and when the production will be filmed,
it is useful in assessing how long the production will take and what equipment and
people are needed on different shoots. Below is an example from the ‘That’s
Entertainment Programme’
Scene/Section
Location
Equipment
Cast/Crew
Time/Date
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Riley
Theatre Riley
Theatre, 1 reporter mic, Freddy,
Report
Union
Road, 1 shotgun mic, Matthew,
Chris,
University
1 tripod
Andrew
JH Bar Report
JH
Bar. Leeds 1 reporter mic, Holly,
High Street
1 shotgun mic , Matthew,
Chris
1 tripod
Maha
Bar Maha Bar, Leeds 1 reporter mic, Mary,
Report
Woodhouse Street 1 shotgun mic, Rosie,
1 toplight, 1 Chris,
tripod
Andrew
Main Links
Outside
1 reporter mic, James,
1 tripod
University Bars
Rosie,
Chris,
Andrew
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24/06/11
15.00
27/06/11
18.00
1/07/11
22.00
3/06/11
13.00
This helps avoid worrying about when things are going to get filmed and is invaluable
to a producer in knowing what is going on and when. This approach cannot always
be achieved especially with something as fast paced as news however even a rough
scribbling down of when and where things are happening at the stat of the day can
help prompt you during the rush to get things filmed. In the other extreme full call
sheets can be produced for a days filming though unless coordinating lots of different
elements who do not usually work together these are often considered a bit too
formal for student TV
Filming Plan
The final breakdown of the plan is the individual shooting schedule, focusing on what
actually gets filmed on a shoot, not everyone likes/does these especially if they are
unaware of what is exactly going to happen on location but even the most basic form
a rough guide to what needs to be filmed. Below is a section of a filming plan from
the ‘That’s Entertainment’ programme.
That’s
Entertainment
JH Bar Report
Time
Action
Notes
Overview
30 secs
Cutaways
to Lots of signage
and
drinks
music with VO
that relate to
JH Bar, crucial
to film front of
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History
Development
2007-2013
and 1min 30 secs
Cocktail Making
VOX
Pop
Conclusion
POSDRU
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Holly
cutaways
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and
2 min
Holly
and
Barman
unscripted
mixing
cocktails
and 1 min
30
secs
of
opinions and
30 secs Holly
saying
goodbye
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building,
cocktail menu
and BBQ
Film
Holly
against
bar’s
‘history
wall’
cutaway
to
various
pictures
from
50s,60s,70s CU
and MCUs on
Holly
Follow action
and
conersation,
cheat and refilm
crash
zooms
and
tight shots on
cocktails being
poured
etc.
after get plenty
of cutaways of
bar,
spirits,
menus
and
bottles etc.
CU and ECU on
customers, Slow
zoom out of
holly
saying
goodbye
This then forms the basis of the film and is useful for the post-production team in
establishing what footage the crew were trying to achieve. Very diligent Camera
Operators may even log what shots they got. This whole process forms the basis of
the planning and execution of a production.
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Breakdown of the Production Process
Researcher explores
subject and reports
to Producer
Producer Briefs PostProduction team
Visual and Sound
Editors edit
programme together
Producer formulates
production plan with
researcher and
production team
Camera/Sound
Operators liase with
Editors to hand over
rushes (raw footage
Producer oversees
edit and gives
suugestions
Producer creates
filming schedule
based on availability
of the team
Sections are filmed
under coordination
of the Director
Presentation Editor
applies graphics and
final touches
Director and
Camera/Sound
Operators produce
filming plan
Presenters work with
Researcher to create
script
Producer and team
have final check
Programme is
exported and given
to Broadcasting
Team
The whole process is never set in stone, it changes with each production but this
gives of an idea of the overall process start to finish.
Notable differences include if a script is written before the whole process and the
production tailored to it, such as with a dram for example. Similarly sections could be
made weeks apart from each other and the whole process repeated several times
before the post production stage.
What is important to remember however is the interlinked nature of the roles and
processes which make student TV and this is the main critical issues; student TV
survives and succeeds by all members of the production team working together to
achieve the same goals. Regardless of how formal, official or documented the
planning and production process is, the need for a strong plan and team work in
filming and producing the programme is what determines how successful a show will
be.
In addition it is important to remember not to rush programmes in production,
sometimes deadlines will be missed and productions extended this is part of the
learning curve.
Above all do not ever forget that student TV is an enjoyable activity undertaken by
willing volunteers; fun has to be at the heart of everything. To that extent do not be
put off by the planning and production formalities, rather use them as a guideline and
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tailor them to individual projects keeping what is useful and dismissing what is not.
Ultimately there is only one way to learn… by going out and making programmes!
Broadcasts
Broadcasts form the anchor of a studios weekly timetable, the chance to get together
and show case the work of the week and turn the attention to a different aspect of
TV. Broadcasts are as fun as they are challenging and require a great deal of effort
for them to run successfully, ultimately it is about everyone involved doing their job in
the right order and on time for the broadcast to go ahead smoothly.
Process
Head of Programming
communicates with
programme Producers to
establish what is ready for
broadcast
Director gives approvel that
Broadcast is ready
Head of Presentation
announces Broadcast is
starting on social media
Head of Programming and
Head of Presentation assemble
a VT timeline for the Broadcast
Floor Manager ensures
Presenters in position and that
Cameras etc are ready.
director starts Broadcast,
Broadcast Assistant keeps time
Head of Programming briefs
Director and Broadcast team
Broadcast Assistant produces
schedule and works with
Presenters on a script
Broadcast runs along schedule
with Floor Manager controlling
studio floor and Director
controlling gallery
Head of Technical tests all
feeds and stream to internet
Head of Technical briefs and
supports Camera/Sound
Operators, Vision Mixer, and
VT Operator in setting up
equipment
Broadcast ends, Head of
Technical oversees De-rig and
Head of Programming
organises debrief with Studio
Manager
The whole process again relies on teamwork, a Broadcast is usually working to a
preset deadline so it is best to leave plenty of time to iron out problems and conduct
checks before a broadcast, the difficulty in a broadcast is not with the technical
infrastructure but with the timings. When timings are missed or wrong presenters stay
on camera to long, cues are missed or programmes finish too early. It is these
mistakes that make student TV look unprofessional not the differences in camera
quality or subject matter. It is very important that the Broadcast Team are aware of
timings and are kept informed of them by the production assistant.
The whole process again relies on teamwork, a Broadcast is usually working to a
preset deadline so it is best to leave plenty of time to iron out problems and conduct
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checks before a broadcast, the difficulty in a broadcast is not with the technical
infrastructure but with the timings. When timings are missed or wrong presenters stay
on camera to long, cues are missed or programmes finish to early. It is these
mistakes that make student TV look unprofessional not the differences in camera
quality or subject matter. It is very important that the Broadcast Team are aware of
timings and are kept informed of them by the production assistant.
Example Broadcast
Below is a rough example of a broadcast running schedule it highlights the different
elements such as live links and VTs.
Broadcast
Saturday 2nd July 2011 13.00
Content
Show Opener title sequence
Live Link – subject: welcome
and contents
News
Live Link – subject: last week
Entertainment show
Live Link – subject: interview
singer featured in ents show
Documentary: Housing Nightmares
Live Link – subject: Housing
Comedy Music Video
Live Link – subject comedy,
goodbye and singer playing
out the end of the broadcast
Length
Overall Time
1.30
1.30
2.00
21.00
1.30
17.42
3.30
24.30
26.00
43.42
3.00
15.00
1.30
6.21
5.00
46.42
1.01.42
1.03.12
1.09.23
1.14.23
Watch-ability
As can be seen above a wide variety of programmes and live links make a good
student broadcast, while news is key to student TV you do not want your broadcasts
to become too serious or they become dull and to fact heavy, neither do you want
your broadcast to be to comedic and silly; always try and ensure there is a good mix
of shows being broadcast, having a flagship news and entertainment show helps this.
Similarly live links by the presenters are crucial to the success of the broadcast, as I
mentioned early presenters need good on screen confidence and chemistry and
having a male and female usually helps this. They are required to have both scripted
and unscripted conversations and some of the best presenting usually involves the
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latter. By assigning themes to a link it allows the presenters to talk realistically
between each other about a subject without seeming to rigid and scripted.
Don’t just leave the live links with the presenters, invite guests for interview, do news
updates, bring in live music or acts, have a cookery demonstration anything that adds
to the watch-ability of the broadcast.
In addition experiment with all aspects of the broadcast from the set to the camera
angles. Nobody wants to see 2 people stood in front of a blank wall, student TV has
had all sorts of sets from living rooms to old fashion cottages, try something
interesting that will catch the eye.
Similarly with the camera angles and lighting use the space available to try new shots
and different perspectives this is far more interesting than just flicking between 3
almost identical camera angles.
Issues to remember
There are of course some issues to remember when broadcasting live; namely you
are live! Avoid swearing, slanderous comments or things that would reflect badly on
the studio. Firstly you never know who might be watching and secondly you do not
want the studio to get an unpleasant reputation.
Also remember when you are live camera movement, crew talking and people
moving around can easily be picked up on camera or microphone, its little mistakes
that come across very obviously.
Sound is huge issue with both programmes and broadcasts; it should be treated
equal to, if not above vision. Always ensure that sound is audible and free from
peaks or interference, nothing turns a viewer away quickly than dodgy audio.
Identity is big part of broadcasting, use this opportunity to highlight your station, its
branding and contents, the bigger identity you can create the more views you will
attract.
Finally, as with all student TV, enjoy broadcasts use them as a chance to enjoy each
other’s work. Encourage volunteers to attend to be audience and observe the
broadcasting process, take advantage of the good feeling immediately after a
broadcast and go for a drink together!
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Websites and Commercial Issues
Websites
In the modern day of TV on demand programmes and broadcasts are becoming
more of an option for viewers to watch in their own time. This means to be at the
same level of conventional TV, student TV often requires a similar on demand style
service.
This usually means the creation and maintenance of a website dedicated to the
studio. Videos can either be uploaded directly to an embedded player, which is
either; written, bought or hosted elsewhere. The most basic of options involves
simply hosting links to sites such as youtube but doing this loses some of the
individual feel of the studio’s identity. Creating an online category of completed
shows is a great way to gain viewers by advertising them on social media and
providing a way of exploring the studios content.
A website is also the basis for the studios live broadcast, and again this could either
be achieved through pre-built streaming options such as U-Stream or by
incorporating a company’s, universities or a completely original live stream. The
advantage of starting out on U-Stream is that it is pre made easy to link with and fool
proof, an excellent starting point for live internet broadcasting.
The creation and maintenance of a website can also lead to new roles such as that of
a webmaster; someone entirely responsible for uploading videos and linking social
media, this role requires a certain degree of web based knowledge and computer
skill. The role could also easily be incorporated into that of Head of Marketing and
Finance or Head of Presentation.
Other advantages of a studio website include:
•
•
•
•
•
•
•
•
Links to social media
Showcases identity and brand
Can advertise upcoming shows
Create members profiles and members area for communication between
volunteers
News and updates from the studio
Show pages for series productions
Helps provide links with other student media
Increases knowledge and accessibility of the studio
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Commercial Issues
The subject of advertising is a difficult subject to broach, while some advocate it
others avoid it at all costs. As with everything each studio and its approach is
different.
Advertising may however change your studios status, for example the cost of buying
software or music may be reduced due to you being a student organization, this
however can be altered if you are starting to generate revenue. Similarly some
streaming servers may not allow its users to advertise as they often have their own
pre paid advertisements embedded
There are ways round this, advertising on the website is subject to different rules than
advertising in a broadcast and is a viable option, similarly gaining advertisement or
sponsorship for clothing or the studio itself is subject to different rules. Either way
advertisement should be approached with thorough understanding of the laws and
rules otherwise it becomes just as costly to pay for licenses and register funds as the
amount being generated from the advertisement.
Flagship Programmes – News and Entertainment
Programmes
The following section highlights the format content and issues of two of the most
important styles of show for student TV News and Entertainment
News
Format
•
•
•
•
•
•
Opening title sequence – a strong set of images that define the programme
Opening link with headlines – welcomes viewers to the show and gives
information of what is to come on the programme
Lead story – the biggest and most important story, more time will often be
given to the lead story than others that follow
Link from presenters into next story – this follows the same format as
mainstream media
Second story – this should be judged as the second most important story to
the audience
Link from presenters into next story – this follows the same format as
mainstream media
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•
•
•
•
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Third story – there can be as many news stories as you have time for but be
careful to concentrate on the two most important first. Other stories should
follow in a rank of importance.
Link out of news stories into an update of the weather
Weather - usually a 3 day forecast of weather to come in the local area only
Link out of weather and into final student voxes
Student vox pops (voice of the people) – comments from students about a
particular topic that is particularly relevant on campus/in the surrounding area
Sign off link – to conclude the programme, provide information of the next
broadcast and any other relevant facts.
Content
•
The opening title is the first thing the audience see, it needs to define the type of
programme that they are watching and at the same time it needs to catch their
attention, making them want to continue to watch the rest of the programme. The
images used should either be relevant to the stories within the programme –
however this would mean a new title sequence and would need to be changed
each week; or images from around the university, such as a sequence of
landmarks could be used as a more general introduction to the programme.
•
The opening link is the first time that the audience are addressed or spoken to
within the programme. Usually for a link, there are two presenters, preferably a
boy and a girl (although other combinations can be used). The presenters
welcome the audience and give details of the news stories to be featured within
the programme in a clear and concise manner. It is essential that the presenters
appear to be friendly, and are dressed fairly smartly as this creates the best first
impression for the programme.
•
After a short introduction from the presenters into the lead story, more detail
should be given through images from the event or scene - usually in the format of
a VT (video transmission) filmed and edited before a broadcast. This should be a
sequence of images that tell the story from the place of action, usually another
reporter will do a piece to camera at some point giving the latest update of
information at the time of filming. A voice over can be used in which the reporter
will talk over the images to describe in more detail the events of the day. The lead
story will usually be longer than the other stories that will follow within the
programme. It must feel like it has a definite beginning, middle and end
conclusion.
•
Back to the two presenters from the previous link, either in a studio or out and
around the university. The presenters line up the basic details of the next story to
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be featured within the programme in a clear and concise manner. It is essential
that the presenters have not changed clothing or appearance too drastically from
the start of the programme as this may confuse the audience and mean the
programme will not flow as well in professional style.
•
After a short introduction from the presenters into the second story, more detail
a VT This should be a sequence of images that tell the story from the place of
action, usually another reporter will do a piece to camera at some point giving the
latest update of information at the time of filming. A voice over can be used in
which the reporter will talk over the images to describe in more detail the events
of the day. It must feel like it has a definite beginning, middle and end conclusion.
•
around the university. The presenters line up the basic details of the next story to
be featured within the programme in a clear and concise manner. It is essential
that the presenters have not changed clothing or appearance too drastically from
the start of the programme as this may confuse the audience and mean the
programme will not flow as well in professional style.
•
After a short introduction from the presenters into the third story, more detail
a VT. This should be a sequence of images that tell the story from the place of
action, usually another reporter will do a piece to camera at some point giving the
latest update of information at the time of filming. A voice over can be used in
which the reporter will talk over the images to describe in more detail the events
of the day. It must feel like it has a definite beginning, middle and end conclusion.
Usually the third story will be much shorter in length than the two top stories as
they have much greater importance and depth.
•
around the university. The presenters introduce the weather correspondent and
cross over to them in a clear and concise manner. It is essential that the
presenters have not changed clothing or appearance too drastically from the start
of the programme as this may confuse the audience and mean the programme
will not flow as well in professional style.
•
Another presenter should be stationary against either a green screen, to allow
graphics to be projected behind them such as a map of the local area; or the
presenter should be in an area around the university which is most relevant, for
example by a group of trees and flowers or water. The presenter should give
information of what the next three days weather around the university area will be,
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giving the temperature, percentage of rain likely and if wanted the wind speeds.
The delivery should be slightly more upbeat than the tone of the presenters in the
VT’s of news stories, but this section should have a fairly fast pace as only a small
amount of information is being given to the audience here.
•
around the university. The presenters introduce the topic for student discussion
for that particular week and cross over to them in a clear and concise manner. It is
essential that the presenters have not changed clothing or appearance too
drastically from the start of the programme as this may confuse the audience and
mean the programme will not flow as well in professional style.
•
This focuses the programme on its student audience as a question is asked by a
presenter which is then answered by people from around the university. It gives
the audience a chance to be involved in the programme and gives a range of
opinions from other students about issues that are directly affecting them. For
example a response to one of the news stories featured or a look at some of the
week’s sporting highlights with comment from student fans works particularly well.
This can also be filmed and edited prior to the broadcast as this gives the chance
to choose the best answers to include (and edit out anything rude).
•
around the university. The presenters conclude the programme and provide
information of where and when the next broadcast will be, along with any further
information such as a link to the programme’s webpage. It is essential that the
presenters have not changed clothing or appearance too drastically from the start
of the programme as this may confuse the audience and mean the programme
will not flow as well in professional style. This is the last thing that the audience
see; it is essential that this is polite and invited the audience to watch again.
Quality Standards
•
The pictures in the opening title must be self-explanatory as to why they are
there, for example they are from items within the programme or landmarks that
are familiar to the students of the university. It is essential that the title
sequence is not too long, as this would not keep the audience’s attention - it
should be one minute maximum. The use of graphics here may give a more
professional finish, or could be used to give images that could not otherwise
be filmed by students, for example images of a moving globe.
•
The presenters should be clear-speaking and concise. The main emphasis of
the programme is on the stories and the headlines, not them. However it is
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important to remember who the audience is – student television is often aimed
at other students. Slight informalities of speech can be permitted as long as
they are not too frequent.
•
The Lead Story – This should consist of a mix of images from the event, for
example a protest or campaign and interviews with key people who are
involved. The interviews may run longer than one to two minutes, but be
careful to edit the interview so as to only include relevant comments. The lead
story as a whole must be coherent, so be careful which images to use as cutaways over the top of the interview to break it up. If the interviewee is talking
about a particular thing that happened during the day, use images of people or
if you have them, images of the interviewee from the event earlier in the day
as this makes the package flow. When filming interviews, it is good to get a
variety of shots as this is more useful when it comes to editing. For example if
there are no relevant images from earlier in the day to overlay over the top of
the interview to break it up, other shots to get include: a 2-shot (with the
interviewee and the presenter) and noddies (where the presenter is agreeing
or encouraging a response from the interviewee). Some more diverse shots
include a close up on the interviewee’s face or hands (if they make lots of
large gestures). It is essential that there is no assumed knowledge – it is a
journalists’ job to tell the audience all they need to know about an event. With
the lead story, sometimes a little background information can be given,
however this is usually in the form of previously shot images and a short voice
over of the presenter. The presenter may wish to do a piece to camera, this
shows the viewer that they were at the scene of the day’s events and therefore
places them in a position where the audience will listen to them as they were a
witness and are relaying back the facts of the day. However, the main focus
should be on the events and not the presenter, if a presenter does a piece to
camera that is too long, it will bore the audience and may cause them to turn
off the programme. Placing the presenter in front of an action packed scene at
a point during the day will maintain the audience’s attention as they have two
things to focus on.
•
The second and third stories should be shorter than the lead story while
following the same style and format as described above. However with these
stories you would not usually go into any detail on the background to an event
as there would not be enough time. Usually, the stories should get lighter in
their news values towards the end of the programme, just before the weather,
to signify the end of the programme as you cannot go straight to weather or
sport coverage after hearing about death or serious tragedy.
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•
The weather presenter should be stationary to allow graphics next to or green
screened behind them, this can be filmed in a variety of locations as described
above. The weather report should only last for about one minute maximum as
it is just intended as a quick update – the student audience would not
necessarily be interested in too much detail, so the priority is to tell them the
temperature and if it will rain etc. Remember, for a student weather forecast, it
is a specialised weather update, with information about the surrounding area
ONLY. It must also be accurate not fictional!
•
Student vox pops are optional; however they are a good way to invite your
audience to participate within your programme. This will keep them watching
week after week as it is the topics that are most important to the students that
get discussed here. The style of this can include a presenter briefly or it could
just use a lower third graphic to show the audience the week’s question.
Filming vox pops on the move is a good idea as this footage can then be sped
up and it will look as if the programme has travelled across campus to find the
most interesting answers to the week’s question.
Quality Standards of the programme as a whole:When deciding which news story to cover remember these key aspects:
•
Immediacy – when did the even occur? Is it new news? If it is not a new topic,
it is best to take a different angle on the story for example has a new fact
emerged or to focus on a different person within the story, as this moves the
story on for the audience.
•
Audience – who is your programme designed to be viewed by? Will the
audience be interested in the topics covered and why?
•
Reach – how many people does this story affect?
This process should help you decide which the lead story is for the week.
Risks
When collating the information to produce a news story, it is essential that all sides
have been spoken to as it is journalistically wrong to create a biased account of
events. The information relayed to the audience MUST be objective (neutral) and
impartial (unprejudiced and unbiased). If information has been left out by human error
or purpose, one consequence is that the party feeling misrepresented may make a
claim against you that you have created a libellous account and have defamed them.
The definition of defamation is in several parts; a news story could be classed as
defamatory if it:-
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Is to a person’s discredit.
•
Tends to lower him or her in the estimation of others.
•
Causes him or her to be shunned or avoided.
•
Causes him or her to be exposed to hatred, ridicule or contempt.
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While filming for the programme, it is essential to stay safe. You have to be aware of
your surroundings, some examples of where safety might be an issue are as follows:•
When filming at a nightclub – be aware that the people around you may be
intoxicated, so to keep the equipment safe you must keep a strong hold on it
and keep it in view at ALL times.
•
When filming in a crowded area/protest – be aware that some people may
have attended the event for more violent means and therefore might not
respond kindly to being filmed while creating damage to other’s property etc. It
is essential that you know where areas of safety are such as the nearest
police station etc and that as a group, you allocate a meeting point for if the
group get broken up my the crowd. Making sure that the cables are coiled up
and kept in your hand as much as possible prevents the camera from being
knocked over by sudden movement. It also protects the general public, as you
are preventing a trip hazard.
Critical Issues
In order to avoid defamation, there are basic things you can do to ensure that there
are no complaints, such as contacting the other party to see if they have any
comment on the event(s). This enables them to put forward their opinions, meaning
that the account is not longer biased, as long as equal amounts of time are given to
both sides. By giving them the ‘right to reply’ you are alerting them of your intentions
to publish a story on a particular event/cause, when you contact them, you are
inviting them to accredit or deny facts. It may come to light through this process that
the facts of the story have not been checked properly previously – this may result in
the termination of your news story as you CANNOT publish inaccurate accounts.
However, not all people wish to comment, even if the facts are correct. There are
many reasons for this, sometimes it is not in the best interests of the organisation, or
the person you have contacted is not qualified to give you a comment. In this case
you can either ask to be referred to the correct person, or the organisation will
publically refuse to comment. If you have given the right to reply, but an organisation
has not taken you up on this offer after several times of you contacting them, it is
acceptable to publish the story, however you must include either in graphics or in a
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voice over who you contacted and the fact that they have refused to answer your
questions. Be aware that sometimes an organisation may simply refer you to a recent
press release on the issue instead of commenting directly to you, this also must be
cited within your work.
The legal defences for defamation are as follows:•
The comments made were justified and can be proven to be true
•
If a defendant can prove that the defamatory statement is an expression of
opinion on a matter of public interest and not a statement of fact, he or she
can rely on the defense of fair comment. The courts have said that whenever
a matter is such as to affect people at large, so that they may be legitimately
interested in, or concerned at, what is going on or what may happen to them
or to others, then it is a matter of public interest on which everyone is entitled
to make fair comment.
•
If untrue defamatory allegations are published on an occasion of privilege or
absolute privilege, they will be protected from a claim for defamation.
Although the law of defamation exists to protect reputations, it is recognised
that in particular situations it is to the benefit of society generally for people to
be able to communicate without the fear of being sued for defamation. This is
so despite the risk that a person’s reputation will be damaged and they will not
be able to restore it by bringing a claim for defamation.
•
It is also possible to offer to publish a retraction, in the form of an offer to
make amends. This is an offer to publish a suitable correction and a sufficient
apology and to pay the claimant compensation and costs.
To ensure the safety of equipment and crew whilst filming, it is essential to keep
focused on the task at all times. By arranging to meet up in the area an event is due
to take place in will help keep the crew and equipment safe as you are able to see
which are the vantage points to get a good overall view (which is good for the
programme) and you are able to arrange a safe place to meet if people get separated
or things get out of hand (which ensures no one gets hurt). Using common sense is
the key to ensuring safety!
Success Factors
•
Good, clear, well pronounced voice-overs are essential for success. The
audience is learning the information of an event from the account and words
that you give them – if they cannot understand what is being said in time to the
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pictures on screen, then the message is lost. Be aware of strong accents here
as this may hinder the overall delivery.
•
When doing a piece to camera, it is essential not to speak too quickly (as the
audience will not understand or hear all of what you are saying) or too slowly
(as this can sound patronising and may be boring for the audience).
•
Good graphics that are well presented and put together, for example
appearing at the right time and fading off screen add a professional quality to
the programme and can transform a simple weather report for example.
•
Originality – whilst conforming to the ideas of the mainstream media, student
television does allow more scope for imagination. Be creative!
•
Unless you have a top of the range studio, desk based links can be dull and
unimaginative
•
Be aware of people being too passionate about a story. Although their
background knowledge and keen interest may give them a clear advantage to
start off with, their passion about the story on one side or the other may lead
them to create a biased account of events.
•
Set up a network of contacts around your university. Press officers and staff at
the university will have background knowledge of the university which may be
useful. These are people you may wish to contact for further stories so be
polite!
Remember that making news is fast paced. While accuracy is vital, it is also
important to remember the audience are also students – so enjoy yourself
whilst making the programme!
Further News Programming
News can then be further expanded into different areas:
•
Documentaries
•
Talkshows,
•
Interview and debate panels
•
Lighter factual programmes
•
Even drams and satirical comedies
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News remains one of the key features of student TV it is at the heart of the appeal to
the audience as, if done correctly it address and investigates issues which would
otherwise be ignored by conventional TV.
News therefore should be used to great affect at attracting an audience, target the
issues that affect students and the studios local area and you are covering a niche
which few others fill. Mention this in advertising and incorporate the news into the
stations identity and it will form a platform for other programming.
Entertainment
Format
•
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•
•
•
•
Opening title sequence – a strong set of images that define the programme (it
is an option to put an act or an item in front of the titles, which is not really
used for News or a Factual programme)
Opening link – welcomes viewers to the show and gives information of what is
to come on the programme
Comedy sketch – could be either a part of a soap/sitcom style programme
which returns each week with the same characters giving details of their latest
antics, or a one- off comedy sketch which could be topical e.g. in the lead up
to Halloween or Christmas
Link from presenters into next item
Music performance – could be a one off band performance, solo artist, or a
more frequent student ‘house band’
Interview with the band/solo artist from presenters
Link out of interview with band into next item
A review of an event/night, bar, club, show or performance
Link from presenters into final item
This could be the presenters doing something funny in a final link or a
card/magic trick being performed
Sign off link – to conclude the programme, provide information of the next
broadcast and any other relevant facts.
The advantage of making an entertainment programme is that the structure is
not as rigid as making a factual programme.
Content
•
The opening title might not be the first thing that an audience see as discusses
above, there is the option to put a comedy sketch or other entertainment
programme at the very start of the programme. For the title sequence, this is
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an advantage as it is already establishes the genre of programming. While
there is much more scope for creativity within an entertainment title sequence,
it is still good if the images are eye-catching and relevant to student life.
•
The opening link is the first time that the audience are addressed or spoken to
directly within the programme. Usually for a link, there are two presenters,
unlike news; there are less typical conventions that the presenters must follow.
The presenters welcome the audience and give details of the other
programmes to come within the show. It is essential that the presenters
appear to be friendly, jokes within links also work well between the presenters.
•
Comedy Sketch – Again, remember your audience! Following a student night
out is always a funny experience; this could be shown as a one-off, or as a
part of a series which might follow a group of characters around over a period
of time, a week for example. Other ideas for sketch shows which have worked
well in the past include spin off programmes from mainstream TV. However if
you do wish to carry these out, it is VERY important that you come up with a
new angle that can be used for the student audience – for example, steal or
no steal was a programme made for LSTV, in it the presenter went around
town testing whether different antics would be classed as a ‘steal’ or not, with
one anecdote of the female present trying on an excessive amount of beauty
testers. DO NOT BREAK THE LAW in aid of the programme though!
Christmas or Halloween specials also work well as there is plenty of scope for
creativity with all the fancy dress costumes and traditional roles and
stereotypes to discuss.
•
Back to the presenters from the previous link – either in a studio or a student’s
house or out and about around the university or town to appear similar to
students who the programme is aimed at. The presenters introduce the next
item of the show – the use of puns and word play is always good here. Unlike
news the links do not have to be serious, however they do have to link the
programme in a coherent manner!
•
Music Performance/dance act – This adds variety to the show as a whole.
While it is good to create funny programmes, the entertainment show can be a
way for more diverse groups of people to get involved – music and dance acts
work well as the focus and pressure is off the producers and presenters as
they just need to introduce the act and enjoy with the audience. Filming with
more than one camera works well as it gives more scope in the edit.
•
Interview with band/dance act – Simplicity is the key here! Ask questions that
you would want to know the answer to – like when is you next single coming
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out/where do perform? While vague questions like what is their favourite
colour may work as a one of – they will not be enough for a whole interview.
Asking many open ended, why, how, where, questions keeps the performer
talking and makes it easier for the interviewer to keep an interesting
conversation going…the more natural it is, the more natural and better it
comes across to the audience. Also do your research on the act – there is
nothing worse that the interviewer/presenter not knowing who they are talking
to.
•
A review of a night, bar, event etc. is one of the main premises for an
entertainment show, it is a good way of making the show relevant and
engaging to the audience and a good way to highlight and showcase student
relevant events or locations. It adds diversity to a show and can often be
boosted by interviewing or taking part in an activity at the location, questioning
a live shows director for example or taking part in a cocktail class at a bar. Ask
around you will often get free access if they know they will get some publicity
from appearing on student TV.
•
Link into final item - Magic trick/demonstration etc.– The presenters taking part
in a magic trick or a demonstration such as cookery for example is a good
diverse end to a show, even having a practical joke played on them works
within the entertainment structure as it keeps the tone light and funny. Getting
more people involved in the programmes is also good for the station as a
whole as it increases its audience span! It is important to have a strong ending
as this will be the first section that is remembered by the audience.
•
Sign off – presenters welcome the audience to tune in next week – a hint of
what’s to come will tease the audience… The presenters could also provide
information of where and when the next broadcast will be, along with any
further information such as a link to the programme’s webpage.
Quality Standards
•
•
The pictures in the opening title must be self-explanatory to an extent,
however as stated above, there is much more scope for creativity; for
example, the use of graphics or green-screening a person or object onto a
funny/topical landscape or scenario. It is essential that the title sequence is not
too long, as this would not keep the audience’s attention - it should be one
minute maximum.
The presenters should be clear-speaking and concise. However unlike factual
programmes, the presenters are far more central to the programme – often it
is their personalities that come through and make the links between
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programmes more entertaining. It is still important to remember who the
audience is – student television is often aimed at other – always think would
this be funny to my friends?
Comedy Sketch – Planning is the most important think to complete when
thinking of doing a student sitcom/longer comedy sketch. It is important to
remember these key things: Characters – will students be able to relate to
them? Locations – will you have enough access, think about if you need to go
back there and re-film, will you have the time OR be able to? Camera Crew –
do you have enough people to come and help you films if it is an elaborate
shoot? One of the thinks that makes a student sitcom easier to edit is a variety
of camera angles – if there is enough cameras/people it might be easier to film
two at the same time BUT be VERY careful to make sure that the camera
crew are not in shot (unless this is intended).
Filming links in a student house may be a good way of identifying with the
audience – however be aware that you will probably need extra lighting as just
using the normal one or two ceiling lights will not be enough - and in the edit,
different shots may vary in their brightness which will look
unprofessional/careless.
Music Performance/Dance Act – It is important to note that if a good job is
done with a particular group, then they are likely to come back again with new
material for you – which benefits them as they get coverage and you get good
material!
Interview with band/dance act - simplicity is the key here! Remembering again
a variety of different shots is the key – for example: a one shot of the main
singer/dancer, then cut to a wide shot, close ups and 2-shots or more – BE
CREATIVE!
A review – This can just be shot on one camera and on microphone
Link into final item - Magic trick/demonstration - Getting more people involved
in the programmes is also good for the station as a whole as it increases its
audience span!
Sign off – this does not have to be elaborate however remember the lighting
needs to remain constant throughout (see above section).
Risks
•
Do not break the law or do anything which could be construed as harmful to
yourselves or those around you!
Critical Issues
•
Is it entertaining? The whole point of an entertainment programme is to
entertain the audience – does each section full fill this?
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Does it have good access? There is no point trying to review a film or talk
about a band if there is not sufficient footage available. The footage does not
have to be complex in this instance, but do not try and over-stretch yourself as
it will show in the quality of the finished product.
As with everything, keep the focus on the student audience. You could have
the best access in the world, but if the student audience are not interested in
the bands/films etc then the programme fails at its specifications.
Success Factors
•
•
•
•
•
•
•
•
•
•
Good, clear, well pronounced voice-overs are essential for success. The
audience may miss some information from the joke(s) if they cannot hear it all
properly!
Strong accents may help some comedy sketch shows, however be aware that
they could also hinder other forms of sketch shows.
When doing a piece to camera, it is essential not to speak too quickly (as the
audience will not understand or hear all of what you are saying) or too slowly
(as this can sound patronising and may be boring for the audience).
Good graphics that are well presented and put together, for example
appearing at the right time and fading off screen add a professional quality to
the programme and can transform a music video and add another dimension.
Originality – whilst conforming to the ideas of the mainstream media, student
television does allow more scope for imagination. Be creative!
Unless you have a top of the range studio, desk based links can be dull and
unimaginative.
Set up a network of contacts around your university. You never know where
the next hot new band or act might come from.
Fancy dress, funny costumes !! Catch the eye it will pay off to stand ou from
the crowd.
Be careful that the programme focuses too heavily on the presenters – while
they do need to be funny, if too much emphasis is placed on them only – other
students outside the television station might not find the programmes as funny
as they do not know the presenters. Always think of the WHOLE audience!
Remember that making an entertainment programme is meant to be
entertaining for you, the producers too– so enjoy yourself whilst making
the programme!
Entertainment is another important factor of student television it helps provide a
difference to the factual style of news, but whilst still being informing and engaging to
the viewer. Entertainment is such a large label that allows for a vast option of ideas
meaning that an entertainment show can differ largely from one week to the next.
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Most importantly entertainment represents the most important element of student TV
having fun in making programmes.
Entertainment can also lead to a number of other programmes such as:
•
•
•
•
•
•
Music shows
Sport shows
Music videos
Comedies
Review shows
Dramas
Technical Reccomendations
Every studio works with different equipment and has often procured and expanded its
resources as the studio has evolved and developed.
First it is important to consider what technical requirements student TV actually
needs:
TV Cameras
Camera need to be multi fuctional, rugged and versatile enough to be used on a
variety of productions, whilst also having the capability to be used as broadcast
cameras. In the current age HD and card recording are desired as HD is becoming
the standard format for productions and cards are quicker and easier to use than
tapes. Cameras need to withstand a lot of handling and need constant care and
correct transporting and storage. Relying to heavily on the top of the range models
will often be dangerous as replacement parts, accessories and support for these
models can be very expensive, equally to cheap a model and quality is drastically
reduced. Medium versatile models are the best for withstanding the needs of student
TV. Cameras also need to be user friendly and easy to learn and troubleshoot when
attempting programmes.
Sound
Good microphones and sound equipment is vital as audio is equally important as
vision. For presenting interviewing and in production a combination of basic,
directional and shotgun microphones provide various options for different situation,
ideally if budgets allow sound kits and boom style equipment is also desirable but are
not vital from the offset. For broadcasts a decent sound desk and condenser are
important to control and tweak input so that the output is audible and a pleasant
experience for the viewer. In both situations the audio equipment is only as good as
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the user and a correct knowledge of sound issues is important to avoid peaks,
interference etc.
Studio Facilities
When considering studio facilities students often need to avoid spending money on
sets or backdrops as the budget rarely allows much money for this area, sets are
usually put together out of what is available and charity shops or 2nd hand furniture
often looks effective if not adds a student theme to the look. Lighting however cannot
be overlooked and it is very much dependent on the space and ambient light
available. Avoid failing into the trap of buying too many lights only with correct lighting
knowledge is a large number effective, simple back lighting and front lighting is
enough to avoid shadows and provide light to a set, though size and space can alter
this. Other studio facilities are in the gallery the vision mixer has to be able to cope
with the various inputs whilst also providing options for graphics. There needs to be
enough monitors for the amount of inputs plus an overall broadcast output screen,
size is an obvious issue referring to space but it is good to have the broadcast screen
as large so that crew and audience can see what is being broadcast. The exopense
of broadcast monitors can be avoided if willing to convert regular TVs into monitors
through the use of adapters. Finally it is always important to remember the various
converters that will change signal such as the need to convert the VTs from a
computer to the broadcast signal and the broadcast signal into an output computer
for streaming to the internet.
Computers and Editing
Computers need to be powerful enough to cope with media editing especially HD
footage and it is one area where it can be fatal to avoid the expense. An ideal
solution would be to have computers scratch built to the specifications required by
the studio, this can avoid the additional purchase of adaptors, capture card add ons,
inputs etc. Failing that computers need to be studied to know their speed,
specifications, memory and capicities. Memory is getting larger but so is its use by
using HD footage. Storage is also important and as studios developed network
storage is useful so that projects can be accessed on any computer and
exported/finished shows are stored centrally, however this is an option that requires
networking skills and security settings so is not an intial concern of a starting up
studio. Computers should be able to run the standard editing software and also be
able to act as VT timeline during a broadcast or a streaming computer for broadcast
output to the internet. To this extent 2 out of the 3 computers will be in use during a
broadcast and design and position of a studio needs to reflect this need. All the
computers require the additional necessities such as monitor, speakers and an ability
to capture cards from cameras.
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The editing software should initial reflect the ease of its use and the needs of the
studio; some systems are unnecessarily complex and this does not help a studio
develop as the software is hard to master and teach. Editing software should be
compatible with different programmes and allow not only visual editing but graphical
and audio editing to increase the volunteers skills and output. Similarly a system
should not be to simple and unlikely to appear in a workplace or its mastery becomes
pointless for the development of the studios members. Some students favour having
different editing systems over different computers, though whilst useful in learning
different software this can be problematic when exporting or combining programmes.
In addition using software that can be acquired outside of the studio can mean
members can increase their output by editing and working on projects at home.
Additional Equipment
There is also the need for a large amount of additional equipment, some is technical
such as the need for batteries, chargers and additional camera cards due to the
amount of use the cameras will get and the need for fast turnarounds in handing over
equipment. Other additions are crucial to the running of the gallery and broadcast;
the vast amount of adapters and cables required these vary in quantity with the
needs of each studio however many are usually required for the cabling of a
broadcast. Other needs are support and mechanical, tripods and dollies to provide
much needed stability and the ability to do moving shoots. Tripods should be well
built and with a good head to avoid accidents and provide fluid and subtle
movements of the camera. A toplight is also useful in providing on location light,
especially as students often film in dark clubs.
On top of this there are numerous other needs of a studio, some that can be catered
for others that cannot, every ‘techi’ could provide a list of ‘essential’ equipment but it
is important to stick to the basics and expand as the studio expands. After all it
should be remembered that good kit does not necessarily make good TV.
Below is a recommendation for some of the basic equipment needs for a new studio
to produce programmes and broadcast on the internet. I have included the product
descriptions and specifications as a rough guideline to what is required and added
notes to their importance or other options.
Cameras
3 @ £3739.88
Panasonic AG-HPx171
(inc battery sd card case and shotgun mic)
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The AG-HPX171 is equipped with a newly-developed 1/3inch progressive 3-CCD system, which substantially
improves signal-to noise (S/N) ratio and prevents smear. Its
lens has a focal length of 28 mm (35mm equivalent) at the
widest angle, which has been achieved by further refining
the wide-angle lens design of the highly-reputed Leica
Dicomar lens used in the existing HVX202 model. Also
features an SDI (HD/SD switchable) output compatible with
a variety of applications.
The AG HPX171 features:
- Compact, Lightweight and Perfectly Balanced
- 28mm wide-angle zoom lens widest in the class
- New progressive CCD with low noise and low smear
- 20-step variable frame rate selection
- Comes equipped for HD-SDI output
- Waveform Monitoring, vector scope and histogram display
The AG HPX 171 includes:
-
13x zoom lens with 28mm (35mm equivalent) wide-angle setting. 72mm
diameter and cam-drive manual zoom.
AC adapter/charger, AC cord, DC cord, Eye cup
5400mAh battery pack
Wireless remote controller with button-type battery
Microphone holder, Shoulder strap, Ferrite core
Component video cable, Pin-BNC conversion plug
P2 card software driver install CD-ROM
Notes
A camera like this is rugged and easy to use, but whilst still allowing technical and
skillful filming and the use of HD. The ability to attach a bnc cable also makes them
suitable for broadcast filming.
Additional Camera Equipment
6 x Panasonic CGA-D54 Battery @ £129.97
3 x Panasonic E-Series P2 Card 32 GB @ £439.97
4x Panasonic CGA-D54 Battery Charger @ £12.99
3x Panasonic AJ-PCD2GPJ Single-Slot P2 Memory Card Drive @ £349.97
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Using two USB slots--one for data transfer, the other for power--the drive lets you offload footage from
a P2 card to any computer or laptop. Rugged and reliable, the AJ-PCD2GPJ works with all P2 cards
and formats, and is compatible with Windows 7, XP, Vista and Mac OS X operating systems.
- Single-slot P2 card drive with USB 2.0 interface
- Light and compact construction makes it portable and ideal for field work with a notebook PC
- Supports both Windows and Macintosh operating systems
- USB bus power eliminates need for AC adapter.
Notes
The amount of additional equipment is obviously optional, but for a student studio
with high level of projects under production and relying on a limited number of
cameras and computers it is best to have as many batteries, capturing facilities and
memory cards as possible.
Additional Microphones
3x Sennheiser Omini directional
rugged reporter microphone
@ £226.38
2x Sure SM 58 @ £74
Notes
These mics combined with the shotguns supplied with the camera provide a range of
options and will allow good sound quality in productions and broadcasts.
Vision Mixer
@£2,979.97
Panasonic AG-MX70E (AGMX70 AG MX70) 8-Input Professional Digital Vision
Mixer / DVE.
Panasonic AG-HMX100 multi-format HD/SD digital AV mixer
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The Panasonic AG-HMX100 is an affordable, highly versatile unit integrates a HD/SD video switcher,
audio mixer, MultiViewer and control panel in a single, compact unit.
The HMX100 features a built-in MultiViewer output and combines high-quality video switching with embedded or analog
audio mixing functions. It offers a very flexible user interface and supports SD, HD formats, plus switching of 3D sources.
Panasonic AG-HMX100 features
- 7 video inputs: 4 SDI, 2 HDMI, and DVI-I
- 12 audio inputs including: 4 SDI, 4 XLR, 2 HDMI, Mic
- 9 video outputs: 4 SDI, 2 HDMI, 2 analog composite, DVI-I
- 6 audio outputs including: Program — XLR, SDI, Preview — SDI; AUX SDI; headphone
- Two analog composite inputs allow direct connection to legacy video sources (in SD system
mode)
- Ability to mix embedded audio from HD/SD-SDI camcorders and other sources
- Genlock, GPI, RS-232C and tally output
- 12-bit processing ensures high image quality
- Supports 1080/59.94i, 1080/50i, 720/59.94p, 720/50p and 480/59.94i and 576/50i
- Built-in Multi-Viewer allows users to view up to 10 images on a single display, including video
sources, audio levels, and a waveform monitor
- 5.7" LCD screen displays five-row matrix menu which, combined with 5 rotary switches, allows
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you to change functions quickly and easily
- Digital effects include: basic pattern key, transition wipes, chroma and luminance keys,
downstream keying (DSK), title key, time effects (still/strobe) and fades (in/out, video, audio).
- Preset/event memory buttons.
- Connects easily with Panasonic projectors via DVI-D, HD-SDI and RS-232C connections to mix
various sources during a presentation, and can remotely control the projector's power and shutter
settings.
- Weight: less than 20 pounds
- Up to 100 event memories
- 10 keys for setting inputs
- Joystick control of key adjustments
Notes
A versatile and good value vision mixer with the features required for a student
studio. Easy to use and teach others how to use.
4 x Camera and VT monitors
@ £617.18 (2nd hand)
JVC DT-V1710CG 17-Inch Broadcast Monitor with Modular Design for HDTV and
Standard Video Display
This is the 17-inch version of the multi-format JVC production monitor. The DTV1710CG can display virtually any standard definition and high definition video
format on the market today. It will even display 24 frame HDTV video. The monitor
comes without any video or audio inputs standard. At least 1 optional card (sold
separately) must be inserted in its back panel for any video inputs. But because there
are 9 optional cards and 3 slots in the monitor the unit can actually be set for your
particular needs. And future changes can be implemented whenever necessary. The
picture tube itself is an advanced flat design for a more accurate critical picture
display. For widescreen video the unit comes with a 16:9 mask that allows you to
view the picture without seeing the unused portions of the screen. Additionally the
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monitor has the capacity to be hooked to a tally-light system and it can be used
anywhere in the world with its 110 to 230 volt power requirements.
Multiple DTV Formats Supported
The DT-V1710CG displays most of the major signal formats including 480i, 480p,
576i, 576p, 720/50p, 720/60p, 1080i, and 1080i/24 frame.
Flat Screen Glass CRT
The Monitor displays 800 lines of resolution with its flat glass tube. The DTV1710CG's CRT has a relatively high brightness and contrast for reduced eyestrain
during long editing sessions.
16:9 Aspect Mask
The DT-V1710CGU comes with a 16:9 aspect mask. This allows you to display
widescreen video without seeing the unused portions of the screen.
Modular Input Choices
The monitor comes standard without any video or audio input connectors. A selection
of 9 optional boards offer all video signals including Composite, S-Video, Analog
Component, HD-DSI and SD-SDI. Audio inputs are included in each board. The
monitor can accept up to 3 of those optional boards.
RS-232C Controllable
The DT-V1710CG can be controlled with a computer like many professional video
components via 9-pin RS-485, a version of RS-232C. Also a 15-pin closed system
trigger. Both of these control connectors comes standard.
Notes
2nd Hand due to price of monitors but good size and specifications to be camera and
VT monitors. Other options include converting conventional TVs (see below in
preview monitor) though this option will display different colour variations and delays.
Conversion cards need for video input.
1 x Output Monitor
32” LG HD TV @ £278 and BNC to scart
convertor @ £14.99
Notes
This is a cheap way round the price of broadcast
monitors by feeding the preview feed through a
converter it allows a HD tv to show the broadcast
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output so it can be watched in the gallery.
1 x Basic Lighting
Westcott uLite 3 Light Video Lighting Kit
@ £ 119.78
The System includes 3 uLite constant light fixtures,
bulbs (2- 500W, 1- 100W) two medium (20x20") heatresistant softboxes, 7' light stands, and 6" diameter
reflector and backlight stand.
The collapsible softboxes provide soft natural-looking
light with open shadows and manageable contrast. The
6" diameter backlight light is ideal for creative effects or
to separate your
subjects
from
the
background, reducing post-production work.
Notes
This is an affordable and effective way of providing lighting for broadcasts and
productions.
1 x Sound Desk
Yamaha MG166CX-USB - 16 channel, 4-Bus Rack-mountable Mixer
@ £391
The MG166CX-USB is a compact mixer with 16 input channels, ten
mono and four stereo line inputs, Mono inputs have switchable 80Hz
high pass filters and switchable 48V phantom power. Mono inputs can
accept either or XLR connections, while stereo inputs can accommodate
either RCA or " connectors. All inputs have three band EQ, with a
sweepable midrange band on mono channels, as well as 3 aux sends,
one switchable pre/post. Six channels offer Yamahas exclusive singleknob compression. Lighted channel on/off and phantom power switches
are easily seen. Built in high quality digital effects provide 16 different
reverb, delay and echo editable presets. Dual 12 segment LED meters
allow visual monitoring of the main stereo outputs. USB connectivity
allows direct connection to a PC, improving audio quality
Notes
Allows greater control over broadcast audio input and output, allows for expansion of
sound capabilities such has having bands in the studio etc, can add music to
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broadcasts from computers mp3 players etc. also crucial in outputting a good audio
feed for the internet.
1x Sound Compressor
@£70
Behringer MDX-1600 Autocom PRO-XL 2-Channel Expander/Gate/Compressor
The Behringer MDX1600 Autocom Pro-XL Compressor is a
dual-channel
compressor/limiter/expander
that
will
increase vocal presence and energy, compress mono or
stereo signals without loss of high frequencies, and
minimize dangerous signal peaks. Integrated dynamic
enhancer, de-esser, and low-contour filter provide the
utmost in signal enrichment.
Notes
Crucial in outputting a good audio feed for the internet, gives greater control and
quality to broadcast audio.
Computers x 3
@ £2,347.61
Rain Computers Inc. Venturi Pro II Video Editing Computer
•
•
•
•
•
•
•
3.06GHz Intel Xeon Quad-Core
6GB RAM
640GB 7200rpm System Drive
4TB (4x1TB) 7200rpm Scratch Drive
DVD Burner
nVIDIA Quadro 4000 2GB Graphics
Windows 7 Professional (64-bit)
The Venturi Pro II Video Editing Computer from Rain
Computers is custom built with multimedia applications in mind.
The system is powered by a quad-core 3.06GHz Intel Xeon
"Bloomfield" series CPU and is loaded with 6GB of RAM for maximum performance. A 640GB
7200rpm hard drive is installed for the operating system, and the system features 4TB of scratch
storage.
Graphics are provided by a dedicated workstation-class nVIDIA Quadro 4000 GPU
with 2GB of memory. The Quadro features 256 CUDA cores, delivering support for
Adobe Premiere CS5's Mercury Playback Engine. Mercury supports realtime editing
of high-resolution video.
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USB 3.0, FireWire-400, and eSATA are built in for high-speed device connectivity.
There is plenty of room for expansion and upgrades -- the computer will support PCI
Express and PCI expansion cards, up to 24GB of RAM, and up to 12TB of storage.
Designed for use with video editing software like Adobe Premiere, Sony Vegas and
Avid Media Composer
Powered by a 3.06GHz Intel "Bloomfield" Xeon quad-core processor and 6GB of
DDR3 memory
Professional strength nVIDIA Quadro 4000 enables Mercury Engine Playback in
Adobe Premiere
Expandable to 12TB of high performance RAID storage
Seven PCI and PCI Express expansion slots for additional graphics and full size
capture cards
Windows 7 Professional (64-bit) is custom-tuned by Rain for audio and video
production
Processor
3.06GHz Intel Xeon Quad-Core (Bloomfield)
Cache
8MB
System Bus
4.8GT/s QPI
Memory
Slots: 6x DIMM
Type: PC3-10600 1333MHz DDR3 Dual-Channel SDRAM (240-pin
DIMM)
Installed: 6GB (3x2GB)
Capacity: 24GB
Graphics Display
nVIDIA Quadro 4000 with 2GB RAM
Storage and Expansion
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Hard Drive
System: 640GB 7200rpm SATA III with 64MB cache
Scratch: 4TB (4x1TB) 7200rpm SATA III each with 64MB cache
Optical Drive
StormDrive Dual Layer CD/DVD Writer
PCI Expansion
4x PCI Express x16
2x PCI Express x1
1x PCI
Input/Output
2x USB 3.0
6x USB 2.0
Ports
Display
Audio
1
Video
2x FireWire-400
2x eSATA
2x PS/2
2x DisplayPort
1x DVI
8x 1/8" (3.5mm) Audio Jacks (2x Front, 6x Rear)
1x Coaxial S/PDIF Out
1x Optical S/PDIF Out
None
Communications
Wired
Network: 10/100/1000Mbps Gigabit Ethernet Connector (RJ-45)
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Modem: None
Wireless
None
General
Operating System
Windows 7 Professional (64-bit)
Electrical
Requirements
AC: 120/240VAC
Consumption: 850W
Environmental
Requirements
None
Dimensions (WxHxD)
8.25 x 19.5 x 24.2" (21 x 49.5 x 61.5cm)
Weight
60 lb (27.3kg)
Notes
Good quality high spec computers make the difference between editing ease and
editing nightmares, especially when considering HD footage. The ability to upgrade
and increase memory and ports is also highly useful when considering the
progression of the studio. Computers built and aimed entirely at editing are the best
options as is speaking directly to companies and having a computer built to your
specifications, however a computer like the one above is a highly tuned well built
option capable of successful media editing and compatible with the camera and
studio options.
3x Monitors
@ £76.99
ASUS VH192D - 18.5" - widescreen TFT active matrix LCD display
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18.5" 16:9 widescreen with HD resolution and anti-reflection glare panel enables borderless full-screen
video display and more vibrant color performance.
3x Speakers
@ £20
Logitech LS21 2.1-CH PC multimedia speakers
Notes
Simple and effective monitors and speakers for editing and play back.
3 x Adobe Production Premium Student Addition
@£333.60
Inc.
Adobe
Adobe
Adobe
Adobe
Adobe
Adobe
Adobe
Adobe
Adobe
Adobe
Adobe
Premiere Pro CS5
After Effects CS5
Photoshop CS5 Extended
Illustrator CS5
Flash Catalyst CS5
Flash Professional CS5
Soundbooth CS5
OnLocation CS5
Encore CS5
Bridge CS5
Device Central CS5
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Notes
Excellent editing and production package allowing visual, audio, graphical and
picture editing in addition to media support and exporting options. Premiere is
suitable for editing and broadcast purposes and all software works in support of each
other. Easy to learn the basics of all programmes and suitable for instruction and
development workshops. Massive range of support material and tutorials on the
internet.
2 x Convertors
@ £1379
Grass Valley / CANOPUS ADVC1000 Broadcast-Quality Bidirectional SDI/DV
Converter
ADVC1000 is a professional, high-quality bidirectional
SDI/DV video converter designed for use with broadcast
studio equipment. - Sync technology ensures perfect
conversion of all frames during DV-to-SDI conversion.
Featuring front-side controls and LCD display, analog
video and unbalanced audio outputs for monitor preview,
and a solid half 19-inch rack mount design, ADVC1000 is
an ideal SDI in/out solution for any DV interface in a studio
environment. - Canopus has realized perfect signal
synchronization output with an external reference signal
(house sync) for Windows* and Mac OS based DV-to-SDI
conversion. ADVC1000 features original technology to
control and synchronize the transfer rate of IEEE 1394
communication with an external reference signal. This
prevents skipped and duplicate frames and produces
perfect
conversion
of
all
frames
during
DV-to-SDI
conversion. - ADVC1000 converts DV device control
signals to RS422, to control an external VTR. Such control
makes it possible to take in data from professional VTRs
such as Digital Betacam from any standard DV editing
software that features DV device control. - ADVC1000 is
quickly configurable. Front panel controls include a mode
switch and menu selection buttons with an LCD display for
conversion settings. - ADVC1000 can operate as a standalone device not requiring a computer while keeping any
preprogrammed settings
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Notes
Two of these convertors are required one, to link VTs to the vision mixer and the
second to convert the broadcast signal from the vision mixer to the computer
streaming the broadcast to the internet. This is the HD option however cheaper SD
versions are available, they are crucial bits of kit and their purchase is often
overlooked when attempting live broadcasting on the internet.
Additional Equipment
@£ 399.95
545GB Pro heavy Duty Aluminium Video Tripod
Manfrotto 545GB is a two stage, twin leg, lightweight aluminum
professional video tripod. Due to optimization of the upper and
lower collars, the tripod guarantees more torsion rigidity and
payload (55 lbs.), plus improved shooting performance. The collars
have also been redesigned to be aligned with the single tube
tripods. The die cast aluminum crown features a built-in 100mm
interface bowl, which can be adapted to a 75mm if needed. The
tripod is equipped with floor–level spreader. It comes with quick
on-off rubber shoes for better grip on smooth floors. Highlighted
Features: • Built-in 10mm interface bowl, can be adapted to a
75mm if needed • Rubber shoes guarantee a better grip on smooth
floors • New designed collars, integrated in the overall product
ergonomics for improved rigidity • Floor-level spreader for
improved tripod stability •
3 x Heads
@£ 109.95
701 HDV Pro Fluid Video Head
2 directional fluid head with adjustable grip, spirit level, adjustable handle and safety lock.
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1 x Basic dolly
@£109.95
Notes
The tripods and heads are not the cheapest but
are well made, sturdy and provide much better
options for filming productions and broadcasts than
the cheaper range of tripods. The dolly provides
more filming options and is especially useful in live
broadcasts for moving shots and more variation
than simple static filming.
2 x Toplights
@£216.00
Litepanels
The professional LED light that runs off 6 standard
AA batteries. MicroPro daylight on-camera lighting
fixtures harness the company's proprietary LED
technology in ultra-lightweight, compact package.
Shift-free, Flicker-free, Heat-free At the top of the
Micro Pro housing is a convenient integrated
dimmer dial that puts instant 100% to 0 dimming
with minimal color shift right at the operator's
fingertips. Includes coloured gels for different
lighting effects.
Notes
Extremely useful for filming in low/poor light, which students inevitable door,
especially in bars, clubs etc. Also useful for lighting when large lights are impractical.
Budget
The above recommendations add up to £35,841.45 (40,840.45 EUR)
This was based on giving each station £38,885.81 (44,305.79 EUR)
Meaning the combined TV studio budget would be at 132,917.37 EUR
Leaving 67082.63 EUR for the 3 newspaper budgets.
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After these recommendations each studio is left with £3044.36 (3,467.28 EUR) This
would need to be spent on additional purchases such as cabling especially XLR and
BNC and the various adaptors required i.e BNC to phono, XLR to jack etc. It is also
useful to factor some of this money into potential servicing costs for camera or admin
costs such as printing. Additional purchases such as talkback radio system for
communicating in broadcasts or increased microphone capabilities such as a boom
and sound kit are also desirable.
As with anything there is always hidden costs, buying web domain names,
purchasing additional memory, the endless roles of gaffer and insulation tape,
printing posters or acquiring decent headphones. To this extent it is useful to keep
some money for such situations and this can be one of the Marketing and Finance
roles, in assessing potential expenditure.
All of the above recommendations were accurate at the time of typing and were
sourced and checked on several websites, where possible the manufacturer the
names of some of the websites are given below.
As I said at the start of this section, each station/studio is different and has different
needs these suggestions therefore should be tailored to the needs of your studio.
Prices vary over time and it is sometimes necessary to purchase 2nd hand
equipment, however contacting suppliers and manufacturers can lead to deals and
sponsorship and may result in reduced costs or better deals.
Ethics
The subject of media ethics is being hotly debated in the UK at the moment, with
phone hacking scandals, the effect of the media on elections and super-injunctions
are all major talking points in the current day and age. Media ethics is a difficult
subject to approach as it is underpinned entirely by the imaginary line of where public
interest stops and a person’s privacy and rights start. The ethics of media also differs
massively from case to case; there is a huge difference between the media stalking a
celebrity on a night out to the press hounding the relative of a murder victim, yet both
could be seen as breaches of journalistic good practice.
Each country has a different take on Journalistic ethics and each country also has its
own scandals, stories and examples to base good practice and ethics upon. This
section will therefore highlight some of the key principles of media ethics and then
outline the specifics that are relevant for student TV.
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The Basics of Ethics
Ethics within the media come under two broad headings; Journalism and
Entertainment.
Journalism
The ethics of journalism is one of the most well-defined branches of media ethics,
primarily because it is frequently taught and practiced on a day to day basis.
Journalistic ethics tend to form the basis for the other areas of media ethics.
• Manipulation. News can manipulate and be manipulated. Governments,
corporations, universities, individuals, businesses may attempt to manipulate
news media. Anything from censorship, control or misinformation can be an act
by someone to influence or manipulate the news.
• Truth is at the heart of good news but can also be a conflicting point within
journalism. For example there is a line between reporting the truth and public
interest, information that may be truthful but kept private may not be in the public
interest to expose, this becomes a balancing act between reporting the truth and
understanding public interest.
• Slander and Libel Similarly privacy also plays apart, exposing information on a
public figure just because it is true overlooks the rights of privacy, a classic
example of where free speech and privacy clash, accuracy and facts must always
be used to avoid a story becoming slanderous
• Shock Journalism There is also the ethical issue of how far should one risk
shocking an audience's sensitivities in order to correctly and fully report the truth;
this can be seen in the use of photos or details about elements of crime or similar
gruesome event.
• Conflict with the law. Journalistic ethics may conflict with the law over issues such
as the protection of confidential news sources, such as should a journalist have to
reveal their source of information to the police. There is also the question of the
extent to which it is ethically acceptable to break the law in order to obtain news.
For example, undercover reporters may be engaging in deception, trespass and
similar activities to gain information for a news story.
• Democracy. The reporting of democratic processes must be approached in a fair
and balanced manner, this can often be a time when the media makes the most
mistakes as it favours one candidate over another, certainly in the case of
television an equal platform is usually given in democratic processes where as
print media need only avoid slander and inaccuracies.
• Harm Limitation. This is the ethical approach to collecting and reporting news, it is
an ethical understanding that the pursuit of news and a story can cause harm or
discomfort to those affected by the issue at hand. This then means that journalists
have to approach reporting and investigating with certain considerations ranging
from sensitivity, accuracy, understanding and compassion.
• Accuracy. All of the ethical issues tend to come back to accuracy the basis of any
good journalism; accuracy makes the difference between lies and facts. Words
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like ‘allegedly’ and ‘apparently’ are the journalists friends to avoid wrongly
accusing individuals without further evidence and the importance of fact checking
and research are key to ethical reporting.
Entertainment
Entertainment media also has a set of ethical issues which affect its use.
•
•
•
Violence. The depiction of violence and sex, and the presence of strong language
are common throughout music, drama, books, film and television. Ethical
guidelines and legislation in this area are commonly found in government policy
and what a TV station show or a newspaper can print is usually regulated for.
There is a grey area around reviewing third party content; songs, films etc. that
use violence, strong language and this is usually kept in line with the image of the
media body doing the review.
Stereotypes. Entertainment media makes heavy use of stereotypes. Stereotypes
may negatively affect people's perceptions of themselves or promote socially
undesirable behavior. The stereotypical portrayals of men, affluence and ethnic
groups are examples of major areas of concern in the use of stereotypes. Both
entertainment programming for TV and entertainment reporting in print media
needs to avoid an overuse of these stereotypes and their connotations.
Taste and Taboos. Entertainment media often questions our values for artistic
and entertainment purposes, this can mean art, music, events, films that
deliberately set out to challenge the norm. Whether the media body is
undertaking this challenge to the norm or merely reporting on it, it is important to
consider the taboos and tastes it affects and whether reporting on or challenging
artistic values is weighted to heavily as damaging to the status quo in regards of
public interest. Where as artistic/entertainment reporting is more subjective than
news reporting there is still the values and ethics of the reader/viewership to
consider.
What becomes apparent from reviewing the ethical issues that affect the media is
that they are a balancing act between the truth and value of the issue they wish to
report versus the public interest and taste of the audience, all underpinned by the
important issue of accuracy.
For an ethical basis to programme making what is required is a general set of
guidelines for ethical programming within the Student TV, these should be developed
along with aims and issues for the studio in the early start up phase and circulated to
ensure all members are aware of their importance to good balanced programme
making.
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Ethics and Student TV
Based on the above points it is important to have a set of guidelines for ethical
programming within your studio, these guidelines will be specific to the needs and
workings of the studio but as rough guide these basics should be considered.
Overall Ethical Aim
The overall ethical aim of the Student TV studio is to provide programming for the
specific relevant audience whilst understanding their tastes, needs and interests and
the overall ethical issues of broadcasting news, factual, and entertainment content.
To educate, highlight, entertain and inform in an ethical and accurate manner.
News Programming
All news programming will endeavour to be accurate and objective in its reporting of
stories and issues. Facts will be obtained using ethical and legal practices at all
times understanding the sensitivity of the individual news issues at hand. Facts will
be checked for accuracy before broadcasts and all news will be based around the
specific public interests and concerns of the relevant audience; students of the
university. Sensationalist, shock and slanderous journalism will be avoided at all
times.
Entertainment Programming
Entertainment programming will be geared to the specific audience; students and will
understand their tastes and taboos, endeavouring to be cutting edge, whilst avoiding
unnecessary shock or taste issues. Whilst controversial programming may be
undertaken this will be done within the guidelines of relevant legislation of the
countries broadcasting laws and will seek only to inform, entertain, highlight and
educate not to offend or shock. Portrayals of violence, sex and similar issues will be
done in line with the specific audience, broadcast laws and broadcast times.
Stereotypes and inaccurate portrayals of people, groups or places will be avoided
other than to highlight these stereotypes.
Other Issues.
The overall issue of ethics in the media is very much a case by case basis. For
example it would be wrong to say violence has no place in student TV as done will it
can be a powerful tool in both factual and dramatic programmes.
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UNIUNEA EUROPEANĂ
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Common sense becomes the main tool in providing ethical programming, violence for
example can be suggested or partially seen to fit in with broadcasting times or the
audiences taste. Consider each programme before it is made, sort the ethical issues
out in the planning stage to avoid them become a problem once the programme is
made.
Always remember the independence of the studio as well, avoid the influence of
outside bodies trying to influence programme making, this in itself can be an ethical
issue.
Overall consider each issue carefully and within the structure of the studio and
understand that ethics are an everyday part of successful programme making.
Student TV Rights and Obligations
Student TV is not a normal activity it is a strange mix of volunteering, practicing for a
career, experiencing a working environment and enjoying a social experience. It is
important to establish both rights and obligations to safe guard the experience, fun
and quality of student TV.
Rights
Rights for all volunteer members
All members have the right to a fun and enjoyable experience; this is the foundation
of student TV and the most important for a happy motivated studio.
All members have the right to bring forward ideas and attempt programmes within the
studios remit; obviously not every idea will be produced and some programmes may
be unachievable due to money or scale, but it is important that all members feel they
can suggest programmes and are not unduly restrained.
All members should have access to the equipment and facilities; once trained on
equipment it is important that members feel they can access the studio’s resources
so as to effectively make programmes.
All members should have access to necessary training; for the equipment to be used
correctly and the members to feel confident in using equipment it is vital that access
to training is provided
Members should have support from the committee; to be an effective committee and
studio it is important that the committee act in support and guidance for all the
members
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UNIUNEA EUROPEANĂ
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PROTECȚIEI SOCIALE
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UMANE
Members should have the right to influence the studio’s development and elect its
committee; the leadership of the studio should reflect the members needs and ideas
and therefore should be democratic and transparent.
Members have the right for their footage to be shown in a broadcast; it is important to
allow all productions airtime as this showcases all aspects of student TV, however
any technical or production issues should be addressed before a broadcast to ensure
that both viewer and distributer are happy with the content.
Ultimately all members of the studio should feel that they can make student TV and
receive the full support from the studio, they should feel that they are producing and
making programmes in a safe and rewarding environment with an effective and
structured system supporting them.
Rights of committee
The committee should have the right to act on behalf of the studio and represent it in
leadership and in communication with outside bodies.
The various committee positions should have the right to exercise leadership and
influence over the area they manage.
The committee have the right to make decisions that affect the development and
evolution of the studio.
Rights of factual/news producers
News/factual producers must have the right of editorial independence and freedom of
the press to report and investigate student issues fairly and free of bias.
Obligations
The rights of member also go hand in hand with the obligations those rights entail.
These obligations come under several headings in line with what the obligation
relates to
Project specific
CV and Employability
Each member is obliged to treat the undertaking of student TV as a potentially career
and employability boosting activity, members are therefore obliged to treat the whole
project as a realistic, important and challenging situation and must do their upmost to
help student TV develop and succeed, for their own and others betterment.
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UNIUNEA EUROPEANĂ
GUVERNUL ROM\NIEI
PROTECȚIEI SOCIALE
AMPOSDRU
POSDRU
2007-2013
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NAȚIONALĂ A
UMANE
Structure
All members are obliged to respect and support the structure of the studio; without a
clear and well built structure student TV becomes just a group of people running
around with cameras, it is necessary to ensure a structure is in place to support
production and distribution.
Professionals
All members must respect and understand the roles and input of any professionals
from the TV world, universities or elsewhere to ensure student TV comes across as a
professional and mature activity.
Media Specific
Production roles
Members must also respect the different production and post-production roles that
exist to ensure programmes are made in a realistic environment where teamwork is
key to success.
Programme/production rules
Any programme/production rules that are made also need to be followed to ensure a
smooth running of the studio. For example these could be:
- deadline rules i.e. must have shows exported by Friday night for them to be in the
Saturday broadcast
- production rules i.e. no one can film alone with equipment after 21.00
- or any other rules which aid and support programme making.
Output rules
All programmes must conform to the output audience and general rules of
broadcasting such as not showing nudity, drug use heavy violence etc.
Audience Specific
Watch-ability
All members are obliged to the audience that programmes and broadcasts, should be
of good quality and entertaining/informative, ultimately it is the audience who are
watching the shows so they need to have good watch-ability. (Remember there is
room for mistakes, this is not necessarily about technical skill but rather about putting
in maximum effort into ideas and the shows aims)
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UNIUNEA EUROPEANĂ
GUVERNUL ROM\NIEI
PROTECȚIEI SOCIALE
AMPOSDRU
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2007-2013
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NAȚIONALĂ A
UMANE
Relevant
Very importantly content should always be relevant to the target audience students,
remember the important saying of student TV; ‘for students, by students’
News/Factual Specific
Members undertaking news/factual programmes are obliged to follow correct
journalistic practices and approach stories, reports and investigations without bias,
slander or liable. Every effort must be made to be factually accurate and report a
story in a balanced and fair manner.
Committee Specific
The committee are obliged to lead and manage in a fair and democratic way and are
answerable to the needs and issues raised by the student members they represent
Ultimately the committee are answerable to the members and must endeavour to
ensure the studio is a fun and productive experience, avoiding, poor management
and oppressive leadership at all costs.
Student Specific
Ultimately all members should aim to make the most of their experience and
contribute towards a fun and productive environment. Output and success is
measured by the effort and time put in and for student TV to be the truly rewarding
experience it is it is important for all members to give 100% effort to the studio and its
productions.
Recommendations
My own personal last recommendations:
New ideas and experimentation
Student TV is about trying new things, go out and experiment with everything, from
the way you film, to the people you interview. Try and fill the gap that conventional
media misses and do not be afraid to explore and develop new ideas, these are
ultimately what catch the audience and employers eyes.
News is key
News really is fundamental to student TV it is the one subject that can truly be
tailored right down to the student and made entirely relevant to the audience, it
covers a gap which conventional news rarely does. Use news as a pull to get
audiences then expand into other areas of programming.
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UNIUNEA EUROPEANĂ
GUVERNUL ROM\NIEI
PROTECȚIEI SOCIALE
AMPOSDRU
POSDRU
2007-2013
2007-2013
OIPOSDRU
NAȚIONALĂ A
UMANE
Remember the audience
Who is the audience? Is the programme relevant? These are 2 questions which must
always be asked, link everything back to the students who you are trying to get as
viewers.
Fun
Enjoy the experience for all the structure and roles, student Tv is still about making
programmes because it is an enjoyable activity. Work as a group of friends in a
friendly social environment and good programming will come as a by-product. Make
everyone feel part of the experience and they will have a vested interest in its
success.
Learn by doing
The best way to learn is by picking up a camera and going out and trying to make
programmes, practice and practice and skill will come.
Finally as a UK TV celebrity said at the NaSTA awards: Enjoy the student experience
while you can and:
“Make television you want to make, not television you think you should make”
98

Recommendation report – Studio Operated by Students

Transcription

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