Cue and Cut

A practical approach to working in multi-camera studios

Roger Singleton-Turner

• Publisher: Manchester University Press
• Year: 2021
• ISBN:
  9781526162212
• Topic: Mezzi di comunicazione e arti performative
• Subtopic: Storia e critica della televisione

Cue & Cut is a 'practical approach to working in television studios' for anyone who might want to work in that medium. It's full of useful information about kit, and how you would use it to create multi-camera content. Written by a multi-camera producer-director with years of drama and teaching experience, it presents both a way of handling studios and a source of information about how things have changed from the days of monochrome to HD tapeless modes - with some thoughts on 3D HDTVThe book is firmly based in first-hand teaching experience and experience of producing, direction, floor managing (and so on) and on working with top flight Actors, Writers, Musicians, Designers of all disciplines and Sound and Camera crews, both at the BBC and in ITV. The book will certainly cover multi-camera aspects of Undergraduate, HND and B.Tech courses and should be useful to those on short courses, whether practical or post-graduate.

PART I

SAFETY AND GOOD PRACTICE

Safety first

What follows are some general points about safety in TV studios, whether student or professional. In the professional world, you will find regulations covering all these topics – and more – affecting every production unit in the UK. YOU MUST ALSO MAKE YOURSELF FAMILIAR WITH YOUR CENTRE’S HEALTH AND SAFETY GUIDELINES. These pages are intended to complement those. Other countries will have their own laws and regulations, but the general principles apply everywhere!

There are some points here about safety on location because it is sometimes necessary to include one or more single-camera sequences in a predominantly studio-based project.

There are two aspects to safety:

• your own protection; and
• your responsibility to others.

There are laws about both; if these laws are broken, someone – and it could be you – could end up in prison or you could be at the receiving end of a nasty court case and a huge fine. As a student, this is not likely to happen to you, but it does happen to production staff!

Risk assessment forms

In almost all circumstances, whether on location or in a stage or studio, a production will have to generate a risk assessment form. This will indicate the level of risk associated with the production and the precautions that have been taken. Many of the following points would have to be taken into account! Blank forms should be available at any professional or student centre, tailored for that centre’s needs. Otherwise, a search on the Internet for ‘production risk assessment form’ should locate something suitable.

Places of work

Each building and organisation will have specific regulations relating to the principal activities there. Here are some general points:

Always note where your nearest fire exit and fire assembly points are. If there is a fire drill – or a real fire – go straight to the nearest fire exit and make your way to the correct assembly point. Fire drills may often occur at inconvenient moments – but take them seriously, they could save your life and those of your colleagues!¹

If you, as a student, are separated from the rest of your group, get to a place of safety, then, as soon as it is possible and safe to do so, go to your proper assembly point.

Never block fire exits Your life and the lives of others may depend on these doors operating correctly.

Do not smoke except in designated areas – if there are any. Smoking in enclosed public spaces is now illegal throughout the UK and elsewhere, but a carelessly disposed of match or cigarette can still cause devastation. Cigarette smoke has been known to set off fire alarms, resulting in the evacuation of buildings, and sprinkler systems, causing inconvenience and material loss to everyone else.

Do not leave litter about. It can fuel a fire and turn a minor incident into a tragedy. It can also get in the way or cause trips, slips and falls.

If you see a liquid spillage on the floor, do something about it – clear it up, if this is appropriate, or warn whoever is responsible, like the Floor Manager in a TV studio, or a member of staff in a supermarket etc.

All this, and more, applies in virtually any place of work but TV studios and locations have their own potential hazards.

TV and film locations and studios

These will have a lot of electrical equipment. Often this can be high voltage: most studio lights run off 415 volts; the domestic AC supply, which can be lethal, is lower and in the range 110–240 volts, depending on the territory. For this reason, as well as to avoid spillage and consequent slips, do not bring drinks into TV Studios.²

Film and TV studios and locations are notorious for cables snaking across the floor. Watch your step, don’t run and don’t trip. Ensure cables are not stretched or likely either to cause someone to trip or to cause equipment to be accidentally pulled over.

Most studios have a fire lane, which may extend all around the studio. Play your part in keeping this clear of obstructions at all times. Ramps or cable-covers are often available to cover cables crossing such a fire lane.

Bags, coats and files left lying around are another hazard. Keep your own stuff tidy and in a safe place.

Equipment

You must learn safe procedures for each piece of equipment you use.

Sound

• Before moving microphones, be sure they are faded down on the sound desk.
• With any voltage, there is a danger of shock. This – and any possible damage to equipment – is made worse by contact with water. Even a personal mike may work off 12 volts. Spilling water on, say, a lapel mike could therefore cause a nasty, if not life-threatening, shock.
• Loud and prolonged sound can cause pain and can damage your hearing. Working close to powerful loudspeakers, with high levels in headphones or where howl-round is accidentally fed into headphones can be particularly dangerous. Working close to other loud sound-sources like jet engines and some industrial equipment causes the same range of problems. Appropriate ear-protection must be worn whenever appropriate – otherwise you could go deaf! (This warning is repeated under ‘Microphones & sound’).

Lighting

• Avoid plunging the studio into total darkness – this can be very dangerous.
• When adjusting a light or its filters, remember that they heat up quickly. Use appropriate gloves! Also, check that safety chains for lights and filters are properly secured.
• Check that safety gauzes are in place whenever it is appropriate. (These ensure that, if a bulb does explode, the studio is not showered with shards of red-hot glass.)
• Ensure that no cable is left dangling against a light (it could burn through) and that, in rotating a light, cables are not stretched (also see next section).

General

• No smoking, no food, no drink is allowed in any TV studio, unless it is an essential part of the action.
• Never stand on cables. Never place anything on cables. Camera cables in particular are fr...

Table of contents

• Cover
• Half Title Page
• Title Page
• Copyright Page
• Contents
• List of Illustrations
• List of Tables
• Preface
• Acknowledgements
• List of Abbreviations
• Introduction
• Part I: Safety and Good Practice
• Part II: Introduction to the Studio
• Part III: Content
• Part IV: Applying the Principles
• Afterword
• Appendix I: aspect ratios
• Appendix II: continuity – a summary
• Select videography
• Bibliography and references
• Suggested further reading
• Index