The Gallery experience from 29th June 2010
As I had few mornings of it was an irresistible opportunity to have a closer look into work in the gallery during Breakfast shows during the World Cup.
To begin with, our producer for the morning show was Simon, he explained to me that he would usually make sure of the right headlines and speak to presenters before the show and also keep them informed during the show, check the VTs and OBs waiting on his signal to be their turn to speak. He would be the one to queue hi/her for the show. He would usually suggest the next topic of the conversation during the show if needed and he would tell the director what to drop if needed. He would always have to hold hard with his decisions and be in full authority over the show.
Martin Coates was directing this morning, I allowed myself for a lots of questions and shadowing every single person in the gallery trying to learn as much as possible about their individual roles in the production of the show.
The director of this morning, Martin emphasised that it is important to communicate with all members of the production team, he said he would always make sure he spoke to presenters, make sure that the scripts are prepared and presenters are familiarised with them; he would check up whether the studio is well prepared (set, cameras, lights etc). Martin explained that it is important to have the sets of the prepared well before every show as well as keeping an eye on the rights angle and framing of the cameras from the gallery. He also said that important role of the director is also thinking ahead of the producer, the director must know what's the worst case scenario if things went wrong, "what if I need to drop something from the script, and what will I do next, think always of the plan B".
The questions for the interview would be prepared by presenters and the producer and topics of the show thoroughly discussed with the producer.
Duncan Walkinshaw was vision-mixing this morning, he would be also directing other shows. While being sat next to Duncan, I realised how fascinating his role is. He would always emphasise that being focused and always ready for the next step is important while vision mixing. He would always remind me of the rule of thirds while framing the shot and making sure of sufficient looking room on the presenters and guests. He would always say that in football everything happens like "snap snap snap" of the fingers, vision mixing for football programs is all about quick "cuts" and a lot less "wipes". While observing him I could see what a perfectionist he was, he was always listening very carefully to conversations in the studio and follow the rule of importance of catching the reaction of the person. If the interview would focus longer on the quest talking he would go for wider shots or moving shots from the JIB. If action-reaction situation involved need of seeing all the people in the studio, the wide shot of three or four was necessary.
Important were good framing, head room, looking space and quick reactions from the single camera operator to work well with good vision mixing. He told me about function of each screen he would have to be looking at while vision mixing and how important it is to be aware what is happening on every single one of them.
EVS screens were on the left hand site of the wall, middle screens were the cameras, 1, 2, 3, 4, 5 and the JIB(cam6). He would always listen carefully which camera was the most relevant to be shown in vision according to the conversation. If the conversation was going more intimate or personal the close ups were ideal and "always look for reaction" as well as pay attention on the movement on the JIB. It is important to choose different pace of vision mixing to different moods of the show and read the body language of the presenters and guests in the studio, he said that "the eyes are often a motivation for the cut".
After the show finished I could practice on switching and cutting to the cameras and was told that it is also always important to save every set up we have prepared for ourselves for particular show.
Rami Mohammed was our EVS operator and Francesca Daisy Gray-Walkinshaw was the PA. She Helped to prepare the script and running order made sure everyone had a copy, she would also help to write links and operate the Autocue.
Another crew member operating EVS, Josh Keys also emphasised that the team work is crucial he said that "preparation and being focused and organised is the most important thing". Josh was also the one editing the packages, queuing the up on EVS.
As I had few mornings of it was an irresistible opportunity to have a closer look into work in the gallery during Breakfast shows during the World Cup.
To begin with, our producer for the morning show was Simon, he explained to me that he would usually make sure of the right headlines and speak to presenters before the show and also keep them informed during the show, check the VTs and OBs waiting on his signal to be their turn to speak. He would be the one to queue hi/her for the show. He would usually suggest the next topic of the conversation during the show if needed and he would tell the director what to drop if needed. He would always have to hold hard with his decisions and be in full authority over the show.
Martin Coates was directing this morning, I allowed myself for a lots of questions and shadowing every single person in the gallery trying to learn as much as possible about their individual roles in the production of the show.
The director of this morning, Martin emphasised that it is important to communicate with all members of the production team, he said he would always make sure he spoke to presenters, make sure that the scripts are prepared and presenters are familiarised with them; he would check up whether the studio is well prepared (set, cameras, lights etc). Martin explained that it is important to have the sets of the prepared well before every show as well as keeping an eye on the rights angle and framing of the cameras from the gallery. He also said that important role of the director is also thinking ahead of the producer, the director must know what's the worst case scenario if things went wrong, "what if I need to drop something from the script, and what will I do next, think always of the plan B".
The questions for the interview would be prepared by presenters and the producer and topics of the show thoroughly discussed with the producer.
Duncan Walkinshaw was vision-mixing this morning, he would be also directing other shows. While being sat next to Duncan, I realised how fascinating his role is. He would always emphasise that being focused and always ready for the next step is important while vision mixing. He would always remind me of the rule of thirds while framing the shot and making sure of sufficient looking room on the presenters and guests. He would always say that in football everything happens like "snap snap snap" of the fingers, vision mixing for football programs is all about quick "cuts" and a lot less "wipes". While observing him I could see what a perfectionist he was, he was always listening very carefully to conversations in the studio and follow the rule of importance of catching the reaction of the person. If the interview would focus longer on the quest talking he would go for wider shots or moving shots from the JIB. If action-reaction situation involved need of seeing all the people in the studio, the wide shot of three or four was necessary.
Important were good framing, head room, looking space and quick reactions from the single camera operator to work well with good vision mixing. He told me about function of each screen he would have to be looking at while vision mixing and how important it is to be aware what is happening on every single one of them.
EVS screens were on the left hand site of the wall, middle screens were the cameras, 1, 2, 3, 4, 5 and the JIB(cam6). He would always listen carefully which camera was the most relevant to be shown in vision according to the conversation. If the conversation was going more intimate or personal the close ups were ideal and "always look for reaction" as well as pay attention on the movement on the JIB. It is important to choose different pace of vision mixing to different moods of the show and read the body language of the presenters and guests in the studio, he said that "the eyes are often a motivation for the cut".
After the show finished I could practice on switching and cutting to the cameras and was told that it is also always important to save every set up we have prepared for ourselves for particular show.
Rami Mohammed was our EVS operator and Francesca Daisy Gray-Walkinshaw was the PA. She Helped to prepare the script and running order made sure everyone had a copy, she would also help to write links and operate the Autocue.
Another crew member operating EVS, Josh Keys also emphasised that the team work is crucial he said that "preparation and being focused and organised is the most important thing". Josh was also the one editing the packages, queuing the up on EVS.
