Dr. Ted HomePage
Audioboard Practice Sessions
Film in Production
Orthodontist Ted Rothstein demonstrates laser gum reshaping Gingivectomy
on BCAT:April 3, 2012, 10pm-- Dr. Ted Presents: 36th Year Practicing Orthodontics
Airing on YouTube October 30,
New Temporary Location of BCAT:
242 3rd St. (B63 stops at 3rd St.) BCAT is right next to STAPLES
AVCCAM HD/SD (Advanced
Video Coding High Definition)
Assuming I have been given correct
information regarding the new digital camera being used at BCAT,
I located this 6 page PDF guide to using it: 021112
addition, I found nice site showing the camera from eight different
See Photos and Videos of First Day of Legal Same-sex Marriages in NY by Dr. Ted Rothstein, Orthodontist
Going to the Chapel of Love--as sung by the Dixie Cups
Jaw Wiring OJW
Documentary for Dental Professionals
by Dr. Ted Rothstein a 28-minute video airing June 7 2011
[SCRIPT and FILM]
PRODUCTION: A HANDS-ON COURSE
BCAT a division of
(Taught by Victor Arnez, teacher,
actor and producer: March 17-April 3, 2008)
by novice student
Dr. Ted Rothstein
Certificate for "Remote / Non Linear
(and here is the link that
takes you to Avid digital
film editing software tutorials
AVID Pro HD
which is the course taught at BCAT
Keyboard Shortcuts Dr
Ted learning notes
Glossary of TV, Video film and audio terms:
DrTed Presents: A
health documentary on placing braces, a prequel to "Removing Braces" (YouTube)
All about the BCAT Mini
Protocol for Dr. Ted Present: first guest: Angel Wings from Heaven
Dr. Ted Presents: MiniStudio #1 with Patrick Metivier on Sunday June 7, 12noon-
Settings for the Sony HDV2 DV Camera
TELEVISION PRODUCTION A
free interactive course in studio and Field Production by Ron Whittaker, PhD
Index of TV Production Modules
Readings and Information
my BCAT Studio Production Training Certificate Below :-)
The blurb about me in the BCAT chatter quarterly newsletter
The Mackie 8.b
CONSOLE AudioMixer Essentials-- Ver. Dr. Ted
Shows I helped produced
The WALL box
contains a panel of 16 female ports all embedded within the wall that
separates the studio from
the control room.
The WALL box
in the (teaching studio) enables the audio and
visual signals generated in the studio by the microphones and cameras to pass into the control room
where they can be attenuated or strengthened and combined and finally recorded
as a "production" for broadcasting in real time or at a later date on:
BCAT 1 TimeWarner
Cable Channels 34 35 36
82 83 84
42 43 44
and music) and images recorded from video cameras in the studio are
electronically transmitted through the "WALL
BOX" to instruments inside the control room that choose, measure, channel
and modulate its volume so that they can be combined and recorded on tape/CD/DVD
allowing it then to be "edited" to produce a final audio-visual
production suitable for entertainment and /or education. The crew of the control
use their equipment to refine the incoming audio visual signals so that the
production is as close to the producer's desired end product as is possible (VTR-R (record).
Nowadays that end product is more likely to be a DVD.
If you get
“garbage” coming in thru the WALL box you will get garbage being produced on the
VTR-R/DVD tape deck.
MEMBERS OF THE
CREW ON THE STUDIO FLOOR:
(and each camera operator as well) wears a head set (intercom) linked in to the
control room allowing him to listen to commands/orders given buy the director in
the control room, which is sound proof and apart from the studio floor. A
large glass window separates the control room and the studio floor. it allows
some hand communication between operators in the control room and the personnel
and talent in the studio where the cameras are filming. The director conveys
his wishes to the floor manger who executes them by hand signals to the host
(producer of the show) and other crew members on the floor. Each camera person can hear directions to
focus/move cameras to capture desired views. The Director provides the
directions to crew as individuals or a group using the buttons on the
inside the control room. (4 buttons to talk; 4 buttons to listen; as well as
“talk all” and “listen all”.)
Movable CAMERA 1
directions from the Director and the floor manager to obtain the various shots
the Director orders, for example: Pan rt/lt; Zoom in/out; move camera rt/lt:
in/out; tilt camera up/down, "truck" right or left (moving camera on its rolling
pedestal sideways and "Dolly" forward or back (moving camera on its rolling
pedestal forward or back.
Movable CAMERA 2
directions from the Director and the floor manager for the various shots the
Director orders: Pan rt/lt; zoom in/out; move camera rt/lt: in/out; tilt camera
up/down: Camera 2 sees the talent from another perspective (as above).
the Lighting Board
Has control of
2 banks of lights about 20 of them altogether which can light the talent and the
set so the camera can capture the images of the talent and the host clearly and
The Host of an
interview show is
most often the Producer of the show.
and/or person(s) being interviewed).
person to manage electric wires sprawling on the floor
to attend to and manage the needs and movements of the talent waiting in the
wings outside the studio
EQUIPMENT UTILIZED BY THE CREW ON THE STUDIO FLOOR
The WALL box
There are two
WALL boxes; one is located on each side of the teaching studio.
It is the electrical interface box connecting all audio, and camera equipment in
the studio to the
equipment in the control room. It facilitates the transfer of
audio-visual electrical signals between the studio floor (crew/equipment) and
the control room (director/crew) and vice-versa. All electrical lines connect
into this box including the lines from the
Video- Monitor, Intercoms (headset-intercoms),
the teleprompter and host-talent mikes.
in the Wall Box are all female and they are numbered sequentially. The
numbers correspond to "channel strips" on the Audio Board. For example,
microphones are plugged in to red ports. The microphone plugged in to the red
port #1 sends its signal in to channel strip #1 of the Audio Board in the
Control Room where its audio qualities can be controlled for final recording.
XLR extensions cable, BNC cables, Microphones, Head sets and Communication
person and the floor manager wears a headset plugged into a "com"
(communication) box hanging at
their side, which connects to the “WALL box” via LXR cables (with male
chain connection” between the COM boxes that each crew member who is wearing a
headset can be established. This permits persons on the studio floor to talk to
each other. Each individual’s Com- XLR` cable connects to the WALL BOX at the
sockets labeled “INTERCOM”.
digital video Camera 1
digital video Camera 2
Camera #3; it is controlled by the operator of the “Robotic Camera Control Box”
in the control room and subject to the directives of the Director (as are Camera
1 and Camera 2). It is placed typically between Camera 1 and Camera 2.
movable video monitor screen in the studio permitting the crew to view what is
being filmed by the three cameras. It’s images are simultaneously being shown on
the “Program” Monitor
(labeled the “PGM”) in the control room.
is set up at the start of production and shows what is being “TAKEN” at each
moment of preparation for filming and during the actual filming of the
production. It connects to a power source. It receives its images by means of a
“BNC” cable (colored ORANGE) that is connected to “yellow” jack on the monitor
and connects at the other end to one of the ports on the “WALL box” called the
“Remote” port. The cable’s male part attachment rotates in to place when being
attached in to the WALL box.
two banks of lights that can control the 20 or so lights, mounted in the studio
ceiling, individually and collectively. The board folds out of a column when
CREW IN THE
(HE CALLS THE "SHOTS" LITERALLY AND FIGURATIVELY)
SEE BELOW HOW HE GIVES DIRECTIONS TO START THE SHOW
controls all. He is the “conductor of the orchestra” He controls the tempo,
volume and accuracy of the incoming and outgoing audio and visual signals that
will be recorded on the
director gives the order to “Roll tape” the
Recorder-Box operator hits
the Play-Record buttons.
orders all the previews and takes and shapes the “look” of the production by
constantly monitoring the.
Finally he ends the show.
the “lower third” name tags appearing and the look of the transitions (dissolve,
fade etc) between “takes”.
sets the “tone” of the action and guided the activities of the studio and
control room crew. He set the initial views of all the cameras.
pays strict attention to what the camera “sees” Are the curtains (called
cycloramas...Cykes for short) and typically blue or black) closed
and smooth? Are all extraneous cables out of view? Are all camera views in
Are the lights set at the right intensity? Have all extraneous
sounds been eliminated?
gives direction to the crew (see below) by directly talking to them. He talks to
the crew on the studio floor individually or as a group by use of the
communication is with the Floor Manager. He can also talk to each camera
operator, or the host (producer) or the talent. He does this through
room microphone which extends 18 inches from its “source” box. The source box
has on its console 4 “talk” buttons and below them 4 “listen” buttons, one for
each floor crew person They hear him through their headsets. To the left of
those buttons is a "talk-to-all" button and a "listen-to-all" button.
OPERATOR (also called the "TD")
and “takes” the various camera shots ordered by the director).
Description of the switcher box and how it functions: (updated 10/9/09)
Three rows of 7 keys each:
ASSIGN K1, K2 Top O O
O O O
TAKE Mid O O
O O O
PREVIEW Bot O O
O O O
Black Bars/tone Cam1/Util.
(robotic) Cam 2 Cam3 Cam 4 Char-Gen.
rows of three keys
O BKGD O K1 O K2
Mid O Diss. O Wipe O DVE
Bot O CUT-TAK O Auto Trans O No Name
Large-handle FADER LEVER
Before you there are 4 mini- monitors showing what each camera is
two large screen monitors: the PVW monitor and to the right of it the
the PVW permits the director and the TD to preview what ever
camera he plans to appear on the monitor (PGM) which is
recording the action (interview,singer dancer etc.)
Button CUT TAK: shuttles between the PVW (PREVIEW) AND THE PGM (ACTUAL
WHEN YOU HAVE SELECTED A CAM (1 OR 2 OR 3 OR 4)
Director says: "Preview C1": switcher taps C1 key in the bottom row
Director says : :Take C1": switcher tapS C1 key in the middle row or
taps CUT-TAK button or pushes FADER UP-FORWARD
(pulling the fader down always shuttles back to the PVW monitor: pushing
the fader forward always shuttles from the PVW back to the PGM recording
Director than says "Preview C2": switcher taps C2 key on bottom row
Director says : "Take C2": switcher taps C2 button in middle row or
taps CUT-TAK button or pushes FADER UP-FORWARD
(pulling the fader down always shuttles back to the PVW monitor:
pushing the fader forward always shuttles from the PVW back to the
PGM recording monitor
Previewing a slate on the character Generator: While the PGM screen is
recording one of the cameras
Have the slate selected on the PC of the Character
Select the CG key (bottom row) and the image will appear
on the PVW monitor
Director than says "Preview the CG": switcher taps CG button on
Director say : "Take CG": switcher taps CG button in middle row
or taps CUT-TAK button or pushes FADER UP-FORWARD
(pulling the fader down always shuttles back to the PVW monitor:
pushing the fader forward always shuttles from the PVW back to
the PGM recording monitor
Alternatively the director could simply say: "take cam 3", "then
say: "take cam 1" without saying "preview cam 1"
The 3x3 key-rows had keys that automatically produce certain
effects like dissolving or wiping as one changes from Camera to
The TOP row of the 6 key by 3 row panel works in coordination
with the TOP row of the 3x3 keys panel:
You may assign any of the keys on the top row of 3x7 to the K1
or K2 key of the 3x3 panel. So that when you strike the assigned
K key on it places the assigned function on the PGM screen
Example: Push the CG key (top row 7th key) then assign it to the
K1 key on (push the K1 key)
Henceforth when you activate the K1 key you cause the active
slate on the CG to appear on the PGM.
To preview on the PVW monitor slate over what a camera is
C1 off CG on (active red) K1 on
(active red lit)
C1 on (active red) CG off
C1 on (active red) CG off
In this mode you can shuttle PVW ---PGM---PVW WITH USING THE CUT-TAK
KEY OR THE LEVER FADER
To preview a chosen Cam (1 for example):
C1 on (active red)
In this mode you can shuttle PVW ---PGM---PVW WITH USING THE
CUT-TAK KEY OR THE LEVER FADER
[SPECIAL NOTE] The above info regarding the switcher
was posted October 15, 2010; Upon returning to the mains
studio control room 11/10/10, I observed the a
different switcher box had been placed. The console layout
was a bit different than the one described above]
NEW INFORMATION: The switcher console also has a row of
buttons that permit the operator to change from one Camera
view to another camera view much in the same way your cars
windshield sweep/wipe away the the rain. There are 10
buttons from which the operator can choose if he wants to
use a "wipe" effect when switching from one camera view to
another camera view. These buttons let the operator select
the direction and type of wipe (vertical wipe, horizontal
wipe, etc.) Here is how it works: Camera 3 is
rolling...Director says: "Preview Camera 2" then director
says "Take camera 2" The switcher then moves the large
"fader" lever forward (or back depending on its
present position) and the wipe will then wipe away camera 3
and make camera 2 the active camera. It should take about
one second to move the fader to its new position. Here is
something good to know: if the switcher moves the fader arm
just halfway he will create a "split screen" screen effect,
i.e. half the PGM screen will be showing what camera 3 is
viewing and and the other half of the PGM monitor will then
be showing what Camera 2 is viewing. Still another
button on the console is "Fade to black": Here is and
example of its use: The Camera 3 (or any camera) is rolling.
The segment being filmed is about to end and the speaker in
the film says his last word at which point the director will
say: "fade to black" at that point the operator pushes down
the "fade to black button and the image on the PGM monitor
fades to black...it's that simple. It's just another way of
bringing the curtain down and ending the show.
Some tips that are useful:
1. When the microphones have been assigned to their
individual channels the AB operator should lay down a piece
of white tape spanning the distance between the first and
last mic channel and write on the tape the name of the
person who will be using that mic channel. For example:
channels 5678 have been assigned to bob on channel 5, carol
on channel 6, ted on channel 7 and alice on channel
8. You would then place white paper marked
bob...carol...ted...alice along the bottom of the AB board
at the bottom of the channels to which their mics were
assigned. This is very useful when you are calibrating the
volume level for each individual who is going to speak
during the show/filming.
2. Upon entering the control room you might see that all the
monitors are showing "Color bars" To turn them off and
turn the cameras on you must press two small white buttons
on the upper right corner of the "Camera Control Console".
and then toggle down the mini steel switch farthest to the
right of the four switches that are present for each
of the two main floor cameras.
3. Control room operations include: Setting the VTR decible
level control to 20, Making sure you have placed a DVD
recording disc in the DVD. Making sure to start the DVD disc
to record by hold the little red button down until you see
"003 in the window of the machine. "FINALIZING" the DVD at
the end of the shoot by pressing a special sequence of
buttons on the DVD remote (get sequence from BCAT assistant
if you don't not know it).
4. Boosting control room volume when the TRIM switch, FADERS and
"CONTROL ROOM" volume control switches (in the Master Input-Output
section of the AB) are unable to raise the volume of a
channel's output: Assume mics for Ted and Alice are assigned to
channels 7 and 8... and their "R_L Mix" buttons are down.
You push the "assign (to buses)7-8" button (see alongside the Fader
lever (see page 6 of
). Then you press the two "assign switch to L-R mix"
buttons (just above the faders 7 an 8 in the "Master Control"
section of the AB (see page 10 of
). These faders (of the 7-8 bus) are now enabled to
use as volume controllers to raise and lower the volume of
ted's ch. 7, and alice's ch. 8 voice being heard in the control room
5. For mics other than "wireless mics") the "Mic-Line"
button is UP and the "FLIP" button is up.
6. It is possible to create an effect where the host/talent
of show is seen seated in front of a background photo (for
example a city skyline). How is this done? First the
photo has to imported
into the Character generator and incorporated as a "Slate"
The slate has to be selected onto the CG screen. The
switcher box (in the main control room
must be set as follows: This can only be done for Cameras 3
and 4 because they are run in a digital format The robot
cameras 1 and 2 are run in an analog format. Now the "CHROMA"
key must be ON "chroma key mode". the chroma Key must be
assigned to "Key 1" There are three knobs that
must be tweaked to get the color right: 1. Hue transp
2 Gain 3. Clip There is still another
button called "reverse" which is used to bring the images to
the front or to the back of one another. The desired effect
will work only with Cam 3 and cam 4 is on the program
(He pushes the
Play–Record buttons at the Director’s order to “ROLL TAPE” thereby channeling
all Audio-Visual signals in to the VTR-R where they are recorded on tape.
BOARD OPERATOR (AB)
called the MIXER)
member also operates the CD tape/music deck
also starts the
by pushing the small white button on the centrally located COM control panel at
the moment the Recorder Box Operator says “TAPE IS ROLLING…WE HAVE SPEED”.
and generates all text that appears on the PGM screen)
all script text for the host and talent to read from the TP)
THE CONTROL ROOM FROM LEFT TO RIGHT (THE BIG STUDIO CONTROL ROOM)
THE CONTROL ROOM FROM LEFT TO RIGHT (teaching control room) (NO PHOTO
MINI-SCREEN MONITORS (the six "minis" are located in the teaching studio)
which monitor events in the control room: 1 2 3 4 5 6. (They are labeled). The
director is constantly monitors them and uses them to decide which studio
floor camera he is going to use to make the next "shot" or "take".
monitor the VTR-S (Sound)
monitor the VTR- R (This is what the
Recorder Box Operator is watching to see if
the VTR-R(ecorder) recorder tape is rolling at the correct speed i.e. 30 frames per
monitor “BARS” (for control of color)
Camera 3 (the robotic camera)
shown in the photos are the ones located in the BIG STUDIO CONTROL ROOM
located on the desk beneath the six mini-screens mounted on the wall. They
permit correction of the amount of light passing through the lens of the cameras
and control of “depth of field” of the camera lens.
and the VTR-R (record)
control boxes (“decks”).
decks sit on the floor just behind crew member who is operating the
begins recording the production when the Director says “ROLL TAPE” and
the Recording Box Operator responds “TAPE IS ROLLING…WE HAVE SPEED”.
recording all sounds captured by the Audio Board operator.
The bottom row
of buttons lets you preview on the
PVW monitor screen what each camera is
looking at: These buttons include: CAM1,CAM2, CAM3, BLACK screen,
BARS ("UTILITY") button, CG (character generator).
To the right
of these buttons is a stand alone “TAKE” button and the ? button. There are also a KEY1
and "Transition" button, and a “Fader” arm/lever with little sequential green
lights to indicate that the effect is happening when dissolving to “Black”.
In addition to
the bottom row of PREVIEW buttons there is a row of identical buttons
just above it. These buttons also function as TAKE buttons. for the
identical button below it.
will say “Give me camera 1” The SWITCHER responds by hitting the "CAM1"
button which causes the image being seen by camera 1 to project in the Control
room on the Preview Screen Monitor (labeled the “PVW”).
(10" x 6"),
but oh so important, box is connected to the VTR-R deck which records the
incoming audio-visual data. Its control buttons “Play” and “Record” buttons
start the VTR-R tape recording. It records whatever the PGM monitor is
capturing from the cameras. It has Stop and Rewind functions as
To activate it
the operator needs to hit the RED RECORD and RED PLAY BUTTON on top of the box. If he
fails to do that when the director says "Roll Tape" woe to that
recording control box operator.
It sits on the
desk to the right of the SWITCHER. At the order to "Roll Tape" the person
in charge/control of this box hits the "Play" and "Record" buttons and
announces ”Tape Rolling” When he sees the digital frame counter on mini-monitor # 2 is
announces to the control room Director and crew "Tape is rolling…we Have
Speed". See also the ABO below
CAMERA CONTROL BOX
It seems easy,
but looks are deceiving. In brief it consists of a big black button to control
camera’s focus and a "Joy" stick to robotically cause the camera to pan left
and right and zoom in and out etc.
IS A DEVICE
ATTACHED TO THE FRONT OF THE CAMERA THAT ALLOWS THE HOST AND THE TALENT TO READ
THE SCRIPT PLACED ON THE TP OPERATOR’S PC SCREEN IN THE CONTROL ROOM.
projected on the TP computer screen is created by MS software
is initiated by clicking on an ICON on the PC desk top called "WinCue
download prepared script material on the PC’s screen.
The screen shows 4-5 words
per line and 5 lines per screen. The letters are about 1’ hi and 1’’ wide.
The lines are
best read double spaced. You can input original material to the screen from the
Talent can view this material on the large teleprompter screen directly attached
to the front of the camera.
The speed of
rolling the TP script forwards (or backwards) is controlled by a large black
round switch mounted on top of the hand-control stick.
button controls on the side of the hand-controller: One sets the script to
start and the other starts the script rolling so that it appears on the TP
screen in front of the host and talent.
of the TP roll-speed must pay attention to the host and talent; If the host
pauses he should pause, and if the host speeds up he may have to increase the
roll-speed as well.
of the TP either gets an order from the director to begin rolling the script
“…at 45321” or he begins rolling at the moment the host-talent begins speaking.
It’s not a daunting instrument to learn.
BOARD OPERATOR (ABO)
responds to the Recording Control Box Operator when he announces “TAPE IS
ROLLING…WE HAVE SPEED” by pushing the “WHITE START BUTTON” on the lower right
corner of the centrally located COM box just to the left of the AB.
responds to the Director’s orders “Bring down/up the music” or “Bring
down/up some audio effect that is part of the production."
The ABO is
given the CD which contains the music tracks that will accompany the film (almost always at the
beginning and the end of the production).
ABO places the
CD in the deck (see the “open-close” button) cues the CD to the correct track
and on the Directors command “…54321” pushes the “PLAY” button and
simultaneously moves the CD fader forward (slowly/rapidly) to the “0” mark. The
“ON” button must be green. It is located about 4 inches from the bottom of the
On the order
to “Bring music down” the operator pulls the fader lever all the way back to its
start position and turns OFF the green button by hitting it again. Then he cues
the CD recorder to play at the track that will be used the next time music is
called for by the director.
THE AUDIO BOARD (AB) (the one shown in the photo is located in the BIG
STUDIO CONTROL ROOM), However, the one described below is located in the
Teaching Control room.
DEVELOPED A PASSION FOR WANTING TO KNOW MORE ABOUT THE AB SO I SPENT 6 HOURS
MORE OF PRACTICE USING IT WITH EXPERIENCED PRODUCERS:
See what I learned in my practice
I am indebted to Gary Popkin, a certified BCAT producer, (http://www.hardfire.net)*
who generously sent me a 72-page
instruction manual on the use of the Mackie** AudioBoard which is comparable to
the audio board (sound mixer) used in the big
studio control room at BCAT. He shared it with me
b/c I expressed an interest in learning more about this formidable-looking
You may download the 72 page Mackie Manual here.
is a libertarian cable-TV political discussion program, produced in Brooklyn,
NY, by Gary Popkin.
You can view Hardfire on Brooklyn cable on Tuesdays at 9PM Eastern Time
on Time-Warner channel 35
and Cablevision channel 68.
Hardfire is also
Channel 2 on the Internet at the same time.
** Mackie Design Inc. : 16220 Wood-Red Rd NE, Woodinville, WA 98072 USA 800 898
3211 www.mackie.com Email:
CYBERCOLLEGE.COM YOU CAN READ MORE ABOUT AUDIO CONTROL DEVICES:
BOARDS, MIXERS AND
The AB is not for sissies. It looks formidable,
however do not be intimidated by it.
The teachers will show you its basic functions which in fact are
posted at the
bottom of of each of the most frequently used "channels".
The AB has 8
input “channels” on its left half. The first three channels receive the
weak audio signals from mikes 1 2 and 3
channel receives and controls the input signals of CD tape deck (music) and
other audio signals.
has multiple controls buttons to adjust the hi, mid and low frequency
sounds/signals so as to give them a “bright” sound (as oppose to a “flat”
The top most
control button on each channel is called is called the “GAIN” control and works
in conjunction with the fader at the bottom of the AB. It assists in
volume-control (amplifying and modifying the signal).
There is also
a small “ON” button that must be ON (Green) to enable the channel to “operate”
on the audio signals.
All 3 mike
faders may be controlled at once by have all three fingers on them they will
always be pushed to “0” when the talent-host is speaking.
in the control room is done by having each person wearing a mike on the studio
floor count down from 20. This allows the ABO to assign a mike channel to each
person and then make adjustments to the speaker’s voice so that the sound is
“clear” in the high, medium and low frequency ranges.
OVERVIEW OF THE
The AB is
composed of "channels" (strips) which receive electronic audio signals. The many
knobs and controls you see on each strip can control
various aspects of the sound that it is receiving.. Just to name a few you
already know (volume, treble, bass). Every single microphone or
is electronically connected to its own channel. That is why this machine looks
so formidable. (three singer and seven instrument require 10 channels
i.e. 10 microphones. However the buttons and knobs on each channel strip ARE IDENTICAL and have
identical functions in so
far as they are capable of altering the quality
of the sound that that is being recorded:
learn about the qualities of Audio signals
that can be manipulated with the
control knobs and buttons
on the channel strip by clicking
may also see the specific description
of the control knobs and buttons of a
single channel by going to
The Mackie 8.b
CONSOLE AudioMixer Essentials-- Ver. Dr. Ted for
switch and knob names) (see Pp 10 and 11 and below Pp. 11,12, 13
for detailed explanations of what they do. The job of the AB technician is to
make each channel of sound its "best" to that when all the channels are
"mixed" (combined) the resulting is as beautiful as it can be.
And when the
sound is combined with the video the result is the show you get to see and
See chart of the range of frequencies of all instruments including the piano and
the human voice.(Sound frequency chart in
landscape view PDF)
To the right of the channel strips is a section called the
"Master Section (see P. 4 of the MM). It consists of 8 BUS faders (4 paired)
labeled 1-8 from left to right and one more fader to the far right called the
Master Section Output Fader. Supposing the voices of four singers who
each have a mics are connected to channels 3,4, and 5 and 6 on the AB. The AB
operator can "assign each of those
4 channels (mics) i.e.give control to a single pair of buses. (See MM p4)
He can choose for example to assign the four mics to bus pair 5-6. He does
by pressing the 5-6 button to the right of the 3,4 5 and 6 channel faders. This
allows him to control the qualities (volume) of the four singers with the
Marked 5 and 6 in the master control panel. Indeed he can control the volume
just by using using the Master Section Output Fader alone.
Located just above the MS faders are the flashing green light meters that tell
the AB operator if the volume is too low or too high. He can use
the faders to adjust the strength of the volume. Moreover, he has a right
and left "VU meter" at the top of MS with moving needle pointers that
also tell him if the strength is to weak or too strong. They "dance" in
coordination with the green metering lights.
BOARD OPERATOR’S RESPONSIBILITIES
He makes the
production audio/music play on orders from the Director and makes sure that all
sources from the studio floor crew, host and talent and camera staff are audible
and of good quality for recording on the
“starts” the show by pushing the white START button on the centrally located COM
box when the words “Tape is rolling...We have speed” are spoken by the
person in charge of the Recording Box. This action starts the show and the
VTR-R to begin recording.
download the 72 page Mackie Manual here
first action is to set the “TONE” level. This requires his manipulation
of adjustment buttons, levers and control knobs on the last channel on the right
half of the AB. He begins by pushing forward both white handled fader levers to
“0” and adjusting the top-most red ”oscillator” knob so that the volume of the
TONE never causes the flashing indicator lights to light red (green and orange
are OK). The operator never touches the oscillator again. The AB is now
Director says “We will be going to BARS and TONE in 5 4 3 2 1” at
“1” the ABO hits the “ON” button on that channel and a tone sounds in the
control room. When the Director says “We are recording BARS and TONE for the
next 20 seconds the “ABO” counts down 20 seconds on the control room clock and
hits the “ON” button again to stop the tone from sounding.
other audio board such as the AUX (outside) knob found toward the top of the
channel and AUX (inside) towards bottom of line in this channel
Generator equipment is used to generate the opening titles, closing credits and
names of people appearing on camera. Each screen of information that is
produced on its screen is called a “SLATE”. (For example, the name/title of the
production, beginning credits, the end of the film credits, the names of people
appearing on screen.
you can see the CG 4.1 manual by clicking on this link
(CG 4.1 link to CG Manual PDF).
information can be made to overlay whatever the camera is filming.
The CG is a
program CGS 4.1.1) . So the operator can generate words with various attributes,
position and style. The operator can also control the rolling speed of the
titles and credits by adjusting the number of the frames allowed for the credits
to roll (for ex., if operator chooses 60 frames the credits slate will roll by
in 2 seconds. If he chooses 300 frames the credit will roll by in 10 seconds.
operator can program the order of the appearance of the SLATES.
When the CG
operator creates each SLATE he saves them to the name of the show he is
generating the slates for.
mouse-clicks each slate the Director asks to be shown. For example, when the
Director says “Preview Slate #4” the CG operator mouse-clicks on Slate
#4 and when the Director says “Take it” the
SWITCHER hits the “TAKE”
button causing that slate to appear on the Program Screen Monitor. (PGM).
HOW IT ALL
SOUNDS IN THE CONTROL ROOM WHEN THE DIRECTOR IS READY TO BEGIN THE SHOW
(Performed for the class by Victor Arnez)
actuality the entire set of remarks below takes about two minutes of time in the
begins: “Quiet on the set !”
manager, are you ready?”
(Manager responds “Ready”.
are you ready?”
(Crew must respond “Ready”)
(Person in charge of the
Play-Record box hits the
RED PLAY” and “ RED RECORD” buttons.)
Operator: “Tape is
rolling…we have speed.” responds the Recording Box operator when he
sees the tape frame counter running on mini-monitor 2 at which point the ABO
operator pushes the “WHITE button to begin recording the studio production
D: ”We are
recording black for the next 30 seconds.”
hits the button that says “BLACK” causing black to appear on the PVW and the PGV
screen for thirty seconds.
D: “We are
going to BARS and TONE in 5 4 3 2 1”
(at “1”, the
SWITCHER operator hits the button that says “UTILITY” causing COLORED BARS to
appear on the PVW and PGV screens AND the ABO operator pushes the “ON”
button on the last channel of the AB which causes a TONE to sound in the control
D: “We will
be recording BARS and TONE for the next 30 seconds”
(The BARS and
are seen on the monitors the TONE is heard for the next thirty seconds through
the sound room amplifiers).
D: “We will
be going to black in 5 4 3 2 1.”
hits the “ BLACK” button causing blackness to appear on the PGM screen.
person hits the “ON” button again causing the TONE to shut off.
D: “Give me
first slate.” (the Title slate)
(The CG operator mouse-clicks on the SLATE with the Title on it and the Title
appears on the PVW monitor.
hits the button marked "CG SLATE" causing the title to appear on the PVW screen.)
(The ABO hits
the play button
on the tape deck and moves the fader upward to the 0 position..."the "Normal"
balanced sound position)
hits the “SET-TAKE” button causing the Title to appear on the
(ABO hits the
PLAY button on the CD player causing the intro music to be heard in the control
room (and is being recorded) and moves the Fader levers on channel 8 forward to
D: “Give me
(the CG operator mouse-clicks on the 2nd SLATE) causing the slate to
be ready for viewing on the PVW.
hits the SET-TAKE button causing the contents of the second slate to appear on
the PGV screen.
manager we will be going to camera 3 in 10, 9…”
(And the floor manager continues counting down to 1)
(SWITCHER hits the CAM3 button causing preview monitor to show what camera 3 is
(The ABO person slides the fader on channel 8 back all the way causing the music
to be inaudible and hits the “ON” button again to prevent music sound from being
accidentally played again.
The ABO pushes forward the faders on channels 1 and 2 up to the “0” mark
allowing the host and the talent to be heard in the control room and to be “on
(The SWITCHER hits the SET-TAKE button causing the images of camera 3 to appear
on the PGM screen.
The host/announcer of the show speaks the first words
reading from the TELEPROMPTER… “Good morning and welcome to the BADA-BLlNG
is at liberty to give orders to use the “TRANSITION” AND “DISSOLVE BUTTONS AND
SLOW-FAST TO BLACK FADER LEVER and other video effects available on the
DIRECTOR WANTS THE HOST’S OR TALENT’S NAME TO APPEAR ON THE SCREEN ALONG WITH
THE HOST OR TALENT’S IMAGE HE SAYS:
Character Generator (slate with name)”
has already prepared slate with name; CG operator mouse-clicks on the “SLATE”
with the name of host or talent to appear on the PVW screen).
D: “Key 1”
KEY1 button enabling a name-over-image effect to appear on the program screen)
(SWITCHER hits the SET-TAKE button causing host’s or talent’s name to appear on
the PGV with host’s or talent’s image).
continues to request PREVIEWS and TAKES of each camera according to his creative
desires. He uses the switcher’s capabilities to move between the three studio
cameras using the switcher’s various transition effect buttons (dissolve fade
overlay). By doing so he enhances the viewer’s experience of the production.
HOW THE END OF
THE SHOW MIGHT SOUND
CAM 3 button.)
(CG operator clicks on the credits SLATE preconfigured to roll for 10 seconds
(ABO hits the CD ON button on the CD deck, and hits the MUTE (button up) See P.
10 #2 (Dr.Ted Mackie manual) on channel 15 and 16
and slides the fader on channel 15 and 16 forward to the raise the
The Mackie 8.b
CONSOLE AudioMixer Essentials-- Ver. Dr. Ted
(The SWITCHER hits the SET-TAKE button and Camera 3’s image appears on the PGV
(The ABO pulls the Faders on channels one and two back to their start position.)
(The ABO pushes the fader on channel 8 forward to the 0 position.)
hits the CG key and the SET (TAKE) key
slowly to BLACK”
pulls the Fade-to-Black lever back ( or forward) causing the PVG screen to fade
to black , and the Recording Control Box operator turn off the VTR-R and the VTR-S
a wrap, thank you crew”.
April 7, 2008
Orthodontic Jaw Wiring for Weight loss/Control
35 Remsen St.
Photos by Sam
Shows I helped produced
June 25, Assist Producer Aidan Doyle at BCAT studio show "On Da Money": in
charge of "Robotic
See: On Da Money Aidan Doyle: A
story based on my personal experiences with Aidan Doyle
July 15, Assist Producer Gloria Woods at BCAT Studio show: Family values:
July 27, Assist Producer to Karen Callier at BCAT studio on Impress Live
production: in charge of "Camera
August 21, Assist Producer Ruperto Davis as sole person in Studio
(Floor Manager)...Ruperto sole person in Control
August 25, Assist Producer Gary Popkin at
Groove Master's Show*: by Wesley Watson; Dir. Patrick Metivier, AudioBoard Gary
Popkin, and Host Wally Gator Watson 28min (CG operator)
(CG equipment) Dr. Ted. The host- producer of this production is Wally
Gator Watson who has been
my teacher on
previous occasion. Wally knows his craft as you can judge by the
planning that precedes his shoots. See the
Studio Floor Plan he prepares showing the layout and positioning of the
equipment, props and talent/guests that were the focus of his work on the shoot
I helped with. Then go see the
PDF I posted of his plan for shooting the 28 minute show second by second.
Producers and students at BCAT have in Wally a wonderful example of a true
January 15, 2009: Production assistant 2
episodes on the Real Linda Show with
Lin Ann: back-up mini
-camera operator and Studio Camera 4
March 5, Real Linda show: Airs
Saturday; Floor Manager and Camera 3 operator.
And Guest on the Subject of Small Claims
Court See March 5 at Site Additions by Date.
* Tuesdays a 12 Noon TW Ch. 34;
Cablevision Ch. 67 in Brooklyn, NY and www.bcat.tv
October 5, 2010 Camera operator: Across the Aisle. A production of
Saquan Jones. You can access this link to watch past episodes of Across
The Aisle (www.acrosstheaisle.tv).
The show is 28 minutes long with each segment being 9 minutes each.
October 9, 2010 Camera operator: the Rasheed Hafeez Show
(see my space vid) [Special Note: The main studio "shoot" was canceled
because except for Rasheed and myself all his other production assistants
were unable to be present. Instead I used the three hours to
to practice using the
CHARACTER GENERATOR :
A summary of my work that day can be seen
October 20, 2010 Camera operator: Across the Aisle. A production of
Saquan Jones. (www.acrosstheaisle.tv).
The show is 28 minutes long with each segment being 9 minutes each.
November 11, 2010 Technical Director (Switcher Box) operator and
Assistant AudioBoard: Across the Aisle. A production of
Saquan Jones. (www.acrosstheaisle.tv).
November 15, Living Life with Liza (premier of show about Soap
operas): Standby, Camera, Switcher, AudioBoard
BCAT produces a
newsletter every three-six months featuring their new producers. The
community relations liason Lee said it had to be less than 259 words. I
wrote it the next day
Ted” is an orthodontist practicing on Remsen Street in Downtown Brooklyn
since February 23, 1976, and as such, has treated 6000 adults and children
using braces that
on the front of the teeth, the back of the teeth and that are removable and
invisible. On the other hand, he has been a BCAT producer since May 23,
2008, and as such aired on BCAT on June 25, a 56-minute documentary film
entitled "The Development and Application of Orthodontic Jaw Wiring for
Weight Loss", (see YouTube:
http://www.youtube.com/user/drteddrted) and a "weekly" starting on
November 20th entitled. ”Dr. Ted Presents:", devoted at first to
helping Brooklynites understand how dentists go about relieving the fear and
anxiety people have about visiting the dentist. You can see his work in
orthodontics on his incredibly extensive web site at
www.drted.com , and his
accomplishments at BCAT at:
http:// www.drted.com/Studio_Production_Course.htm . He attributes his
accomplishments to an insatiable curiosity and his consuming love of being
first and foremost a student and teacher thoughout his life, as you can see
by visiting the web sites noted above--you will not be disappointed,
especially if you are now or planning to be either one of his patients or a
student at BCAT... Dr, Ted's new home away from home.Photog:
Lee Eddy Added October 25, 2008
Brooklyn Independent Television productions are supported in
part by the Independence Community Foundation, and the
Brooklyn Delegation of the New York State Assembly.
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