Studio Package Syllabus
Overview v. 07.2021
Studio Package is an 8 session, 3 hour course which will enable the student to gain the knowledge to perform the technical operations required for a studio based television show. This is a condensed, intensive, workshop for individuals who have had little or no experience in television production. By the end of the class, students will be familiar with the studio environment and will be able to work on many aspects of a full scale television show.
Course Completion requirements:
To become certified in the use of the studio A and B equipment covered in this class students must
1. Complete the course assignments and final project
2. Pass the course written test
3. Complete at least one volunteer session in any control room equipment position as part of a studio A or B production
4. Due to the hands on nature of the training, attendance and class involvement is a key factor that will determine the final grade as well
1. The volunteer session can be completed during the length of the course or after the course is done but volunteering as much as possible is recommended for practice and to gain further experience. Students must also complete the Studio Camera class volunteer requirement
2. Students that have not completed the above requirements or have missed significant class time risk receiving a failing / incomplete grade or only receiving a partial certificate for the equipment covered in this class. Registering for additional training will be required to complete any further training.
Final Project: The Final Project for Studio Package will be a compilation of several studio productions where each student will have to demonstrate proficiency in each equipment position covered in the course.
Learning Objective
Production positions and equipment skills covered in the class:
A. Cameras and teleprompter
B. Mics and audio board
C. Lighting grid and console
D. Technical director switcher
E. Character Generator graphics
F. SD, SSD (play and recording equipment)
G. Lightworks overview
Additional equipment
A. Monitor wall and Multiviewer 1 and 2
B. Chroma Key / greenscreen
C. Talk Show (ZOOM) interview capability overview
D. Set design / staging
Crew position roles and responsibilities
Learn the basics of how to work together as a crew to conduct a successful production
Student time reservations
Practice, practice, practice. To reserve studio/equipment and work on lessons outside of class time students can call the FPA equipment room at 571.749.1111 (weekdays 12pm 10pm / weekends 8am 8pm). Students have free use of the studio and can continue to reserve a workstation for practice purposes or to finish a lesson up to 2 weeks from the last day of the class. At the end of these two weeks certified students can continue to use the lab if working on approved FPA programs (this can refer to working on your own show or volunteering and helping other FPA producers).
POLICY REMINDER: Excerpt from FPA’s Operations Manual
Section IV TRAINING AND CERTIFICATION
Section B. - 1. - a. – iv: “Mandatory re certification may be required for renewed members in good standing who wish to use FPA equipment who have been inactive for one or more years. This is done on a case by case basis by the Director of Training. Determinations are based on equipment or policy changes during a member’s inactive period and/or their skill levels upon their return.”
Section B. -1. –b: “A member experiencing difficulty operating equipment may be required by FPA personnel’s discretion to pass hands on training or written test, and may be required to complete additional volunteer hours with veteran members”.
*IMPORTANT: At a minimum for this course certification to remain active students must remain proficient in the use of: studio camera and gear, teleprompter and countdown clock, mics setup including the snake box, video switcher basics, studio lights, light board, XPression basics, SSD, lightworks and recording options
Follow up courses to consider attending:
Producer’s Workshop: FPA TV producer and policy certification course.
Premiere and/or Avid: Non linear video editing. Post production.
CG for Beginners, Technical Directing, Audio for TV, Studio Lighting: Shorter sessions in studio A/B equipment training for those who may need additional refreshers.
Studio C: studio c equipment certification course.
Field Package
Session One
*The order of the materials covered in each session can vary depending on the speed of the class and student(s) abilities. Avoid arriving late or missing any sessions as best as possible.
Overview
Instructor introduction
Student expectations
Overview of course goals
Review Handouts
Review FPA Operations Manual regarding Production Studio rules, et al.
Discuss the final project (2 days)
Equipment / studio reservation procedures
o Student time reservation (students can reserve studio A/B to practice as a student and two weeks after the course ends)
o Extra equipment Check in/out procedures
o Waiver request policy overview (only for approved producers not for student time)
Problems with the equipment. Notification and red card system procedures
Volunteer overview, highlight of green volunteer form
Review essential production equipment:
TV Production Components
General Theory about how typical production works (talent, Crew, Equipment)
Studio A/B general set setup and the basic of sound and lighting
Pre production planning materials: Script, rundown sheet etc…
Camera Operation a review of studio camera operation
On/Off Switches (Red and Green Lights)
View Finder Operation (Brightness, Contrast)
Pedestal Operation Up and Down (Manual vs. Pneumatic)
Focus Operation (Zoom In to Focus)
Wide and Zoom Operations (Zoom In and Zoom Out)
Headset Fundamentals
When to talk and not talk Headset Removal
o Watch Center Camera on the Studio Monitor
o See how camera movement affects the shot
Teleprompter and talent monitors setup set up and operation
Director, Camera Movement Terms and Operations
o Pan, Tilt, Dolly, Truck, Pedestal, Zoom and Focus
Director, Shot Terms and Operations
o CU, ECU, MS, LS, WS, OS, 2 Shot, 3 Shot, HR and NR
Rule of Thirds
Practice Camera Operations
Watch Studio Monitors for Operation Functions
Headphone Usage and Protocols
Headset Fundamentals
Use of Talk Switch
When to talk and not talk Headset Removal
Studio Lighting and Operation
Show Light Board
Show Light Positions, Dimmers and Group Positions
Show how lights affect the camera shots
Overview of Light Types (Green vs. orange tape markings)
Light the Set
Adding or adjusting the lights (safety tips)
Saving a lighting preset
Demo of GOBO lighting shape/pattern stencil accessories https://tinyurl.com/WikiGobos
Crew Positions – Discussion or roles
Producer
Director/Technical Director
Floor Director
Studio crew: camera, audio, lighting, CG, tape operator and other equipment operators
Talent / guests / audience members
Audio
Why Audio is important to the shoot
Available FPA microphone Types Wired and Wireless
Wireless Operation
Set Up and Batteries
Placement on Talent
Wired Operation
Connection to Studio Boxes
Cables (Types and Ends)
The Audio Board
32 duplicates of One Channel
Board labeling (As shown on tape below the faders)
Sync wireless mics
Slider Operation, Meter Operation, Gain Operation
Setting Record Levels
Tone (To Be Used With the Bars)
Phone system
Additional Control Room equipment
Highlight each equipment and crew position
Discuss use of the monitor wall and Multiviewer 1 and 2
FPA’s Control room recording options and program TV Technical Standards
SD and SSD options
Intro to the switcher: Show switching from camera to camera
Basic three camera Switcher Button operation
Show effect of camera switching on the Studio Monitor
Use of Talk Show (Zoom)capabilities
Teleprompter setup and use
Character Generator system XPression basic overview
Lightworks software steps on how to record a show
Conclusion
Open Questions
What they need to do next
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Session Two
Review of Session 1 Set Design
Prop Room Overview
Set Usage
o Carpet, Chairs, tables, flooring (carpet and laminated flooring) and setup of new backdrop prop
Set curtain options / usage
Set basics share ideas of best positions setup a set in studio B (consider the positioning for the lights, prop needs and positioning of the studio cameras)
Forms
Break down of release forms and other forms necessary to create a program.
Studio Lighting and Operation
Show Light Board
o Show Light Positions, Dimmers and Group Positions
Show how lights affect the camera shots
o Overview of Light Types
Light the Set
Re hang and Re Focus lights for typical set
Conclusion
Open Questions
What they need to do next
Session Three
Review of Session 2
Set Design Prep production with the use of a Chroma key / green screen
Putting a simple two person interview set together: risers, carpet, backdrops, chairs, and props
For this mock product attempt the use of the green screen and the large studio set monitor
Consider best props to use with the green screen (as needed)
Consider Lighting needs
Consider Camera placement
Lighting Review
Using the Lighting Ladder demonstrate how light adjustments are made
Safety Issues
Basic three point lighting: key light, fill light, back light
Using the studio monitor while lighting
Manipulation of spot/flood control: light intensity
Review of GOBO lighting stencil accessories and usage
Floor Directing
Hand signals
Homework
Complete a rundown sheet for a mock one person, 5 minute production
o For example, a host segment in which they’ll be speaking directly to the viewers
Be prepared to discuss what forms to bring that will help a producer and their crew plan that type of segment
Session Four
Review of Session 3
Review individual 5 minute rundown production plans. Discuss how that production would be done
Audio
Why Audio is important to the shoot
Microphone Types Wired and Wireless
o How to Check Out Mics from Equipment Room
o Wireless Operation
o Set Up and Batteries
o Placement on Talent
Wired Operation
o Cables (Types and Ends)
o Connection to Studio Boxes
o Tracing microphones to Mixer Inputs
Mic vs. Line Feeds Line Inputs Usage and Set Up
The Audio Board
32 duplicates of One Channel
Board labeling (As shown on tape below the faders)
Slider Operation, Meter Operation, Gain Operation
Equalizer Usage
Auxiliary Channel Usage
Pan Controls
God Mic Usage
Setting Record Levels
Tone (To Be Used With the Bars)
CD Sound Inserts
Telephone system
Zoom audio
Session Five
Review Session 5
The Video Switcher
Comparison of audio board and video switcher
Program and preview buses
The three basic transitions and how to achieve them: cuts, dissolves and wipes
Review role of technical director
Review of basic switcher functions: using program and preview buses for cuts and dissolves
The effects buses: wipes, positioning effects, modulation, pattern limits, direct vs. mix, etc.
Downstream key: keying in graphics, clip, video fill signals, etc.
Work with Xpression Software
Chroma Key
Show Chroma Fundamentals demo
Each student will set up a chroma key
Recording a Show
Format options
SSD setup
SD options (camera iso option)
Lightworks setup
Lightworks program recording basics
Creating a new project
Saving the project
Pre roll
Creating a Rundown Assignment II
Create a 5 minute two person interview rundown sheet
Include graphic elements in the rundown sheet
Include at least one music element in rundown sheet (example, intro credits for a show)
Be prepared to discuss
Session Six
Review of session 4
Teleprompter usage
Setting up a new script, importing text from an outside source, using the controller and creating slugs
Countdown clock
background and text color options, setting up a timer, and using to communicate with talent XPression (character generator)
Note: Students can reserve classroom 1 upstairs, or control rooms A or B to practice using the XPression CG system
System Demonstration
o Create a Template
o Create a Title
o Create Lower Thirds Graphics
o Changing Lower thirds and Credit rolls on a template
o Key CG over video
o Explain the use of the sequencer and how to bring in elements of Lower thirds
CG file Structure and Set Up for Ease Of Use
Set up Continuous File System for On Going Shows
Review how and where to keep CG files:
When working on graphics for a show save all elements in the Member drive. Create a new folder with the producer name then inside this folder create a second folder with the show title. Add all graphic elements inside this folder.
Note: Our engineering team has now wired lines from the XPression CG computer to the Audio board in both studios A and B control rooms. This allows producers and their crew the option to play show openings, closing credits and b roll from the XPression computer if they don't want to purchase an SSD card. If you are having trouble setting up this step during a production please feel free to ask for assistance from our equipment room technical advisors.
Session Seven & Eight
Review Lightworks program recording basics
Creating a new project
saving the project
Pre roll
Final Project – Mock Productions
Check out equipment from cage
Quick set up for a mock show
Students run camera, floor direct, technical direct and run audio board
Studio Chain of Command
o Importance of chain of command
o Crew positions: who does what during a studio shoot
Multiple versions if time allows
Review and critique
Break down set (make sure set pieces are stored properly.)
Return equipment to the equipment room
Visit at least one of FPA’s studio shoot. Observe studio procedures.
Completion of final paperwork/evaluations
These are the TV Studio Control Rooms Recording Options:
SSD SD Lightworks
FPA’s Programming Technical Standards:
*Please remember to fill out the Program Submission form with each show you submit.
Television Program Length:
1. All 1/2 hour programs shall time out at no more than 28 minutes from the first frame to the last frame of visible video
2. All 1 hour programs shall time out at no more than 58:00 minutes from the first frame to the last frame of visible video
3. If a program is too short or too long the programming department reserves the right to pull it from the airing schedule and return it to the producer for time corrections to be made
Television Program DVD, Blu-ray, SD MPEG-2, HD File Start:
1. DVDs shall not have menus
2. No header is required
3. The program recorded on the DVD must start immediately
4. Only one episode may be submitted on DVD or Blu ray
5. Data files must be burned onto a DVD, dual layer DVD, or Blu ray
6. Only one file per the above format
Television Program Tape Start Requirements:
1. All tapes must start with 60 seconds of bars and tone at 20dbu
2. All tapes must then follow with 10 seconds of slate showing the program title, episode number, total running time, taping date, and producer's name
3. All tapes must then follow with 10 seconds of control track black, followed immediately by the program or a countdown followed by 2 seconds of black before the program starts
4. Multiple episodes may be submitted on tape as long as each episode is divided by bars and tone, slate, countdown with 2 seconds of black or 10 seconds of control track black as described in steps 1 3 above.
Television Program Tape, DVD, Blu-ray, SD MPEG-2, and HD File End:
1. All programs produced using FPA's equipment must conclude with:
a. 3 to 5 seconds of a slate that credits FPA
b. The FPA credits, may include:
i. "Production Facilities Provided by Fairfax Public Access, Fairfax, VA”
ii. Producer's name and/or production company
Phone number
Street address or e mail address
Copyright notice and date
c. 20 seconds of control track black after the end of the credits (tape only)
2. FPA makes available master media of bars, tone, as well as the FPA credit slate for the convenience of television producers
Television Program Tapes and DVDs:
FPA recommends submitting programs on digital tape or file
The recommended standard definition master tape format at FPA is DVCPro 25. Producers may also submit programs on DVCam, Mini DV, DVD and file formats, with restrictions.
iii.
iv.
v.
Quality note: DVDs may not produce results that are acceptable for cablecast.
Tapes shall have:
Continuous control track with no breaks from head of tape to at least 20 seconds past last frame of tape
20 seconds of black with control track at the end
Accepted Standard Definition Format for show submissions: Format Restrictions
DVC Pro 25 N/A
DVCam N/A
Mini DV SP only
DVD
SD MPEG 2 Files*
No more than 9 mbps (bit rate), no menus, color bars, slate, or countdown
720x480, audio bit rate of at least 192kpbs, audio sampling of 48khz, and strict mux rate of 9Mbps *see below for more detail
Blu ray Disc
HD Formats*
Playable Blu ray disc (currently down converted to SD, no copy protection on disc)
720p or 1080i resolution, MPEG 2 Program Stream, XDCamHD/XDCamHD422 *see below for more detail
Other
Due to the ever changing nature of the field and future technological advances, a fluid list of accepted formats is available at www.fcac.org/standards
Accepted File Requirements:
*SD File Requirements
All SD Files must be 720x480 pixels
MPEG 2 Program Stream
Main Profile, Main Level
Audio Codec: MPEG1 Layer II or Linear PCM
4:2:0 chroma format
Closed GOP Structure (Group of Pictures) with one I frame and four P frames every 15 frames, using the pattern
IBBPBBPBBPBBPBB. Video sequence frame before every GOP.
Interlaced Bottom Field First
Audio bit rate of 192, 256, or 384 kbps
Audio sampling rate of 48 kHz
Constant bit rate
Strict maximum program mux rate of 9Mbps for video, audio & overhead
*HD File Requirements
All HD files must be one of the following resolutions: 720p 1280x720 59.94fps 1080i 1920x1080 29.97fps
The following HD formats are accepted:
Note Bold formats are native to the playout system, and will require less transcoding time to be available on the playout system. Use of these formats is recommended when possible.
MPEG 2 Program Stream
MP2 or PCM Audio
I Frame Only or Long GOP
Fixed GOP Structure
Max of 2 B frames within GOP
Closed GOP recommended
.MPG or .MPEG file extension
XDCamHD/XDCamHD422
PCM Audio
.MXF file extension
Apple ProRes/ProRes 422 Avid DNxHD QuickTime
H.264 MPEG 4
High Profile/HiP or greater
When naming files, please do NOT use special characters in the file name. This includes spaces, periods, numeric symbols, etc. Files should be named as such: PublicAccessShow1.mpg
Studio Package course tip:
How to format an SSD Card in control rooms A and B
SSD format options for:
For Mac, HFS+
For Mac and PC, exFAT
(Can be reformatted in the future but it would delete all data)
Codec Recording Options
(In order or quality and file size)
Uncomp 10bit
ProRes HQ
ProRes
ProRes LT
ProRes Proxy
DNxHD QT
DNxHD MXF (if editing in Avid Media Composer only)
When saving show elements to an SSD card for playback make sure they are saved as 1080i (upper) and as one of the codecs above.
