Unit 4 All Notes

Topic - 1 Lecture- 25
Control Room and

Panel: Use of Switcher,
Chroma, Super-Impositions
Unit-IV
Multi Camera Editing
Subject: Video Editing
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OBJECTIVE OF LECTURE
Students would be able to :
฀
- Understand basic functioning of Television
Control Room.
- How control room is designed and about all
the personnel involved.
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Suggested further readings:
1.Herbert Zettl, TV production Handbook,

Thomas Wardsworth Publishing
2. Video Production, Vasuki Belavadi, Oxford
Publication
3. Millerson, G., & Millerson, G. (1999). Television
Production. Oxford: Focal Press,13 edition.
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Production Control Room
Production Control Room is the most vital part of a

TV studio. The basic television system is
considerably expanded when doing a television
production in the studio or in the field, such as a
telecast of a sporting event. The expanded systems
needs equipment and procedures that allow for the
selection of various pictures and sound sources; for
control and monitoring of picture and sound quality;
for the recording, playback and transmission.
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Concept of Production Control Room
-Multi-camera production, also called online
production. The video is completed at the time of
production. Production and post-production phases
merge into one.
-TV shows like KBC, Indian Idol or live newscasts

from the studios are multi camera productions.
Cameras placed at various vantage points cover
and capture action from different angles and
distances, providing perspective and ambience.
-In contrast, in single-camera production only one

camera is used for shooting a subject or an event.
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- Also called PCR, is a separate room adjacent to

the studio floor, where all the production activities
are coordinated. Here, the producer/director,
production assistant, vision mixer operator, audio
technician, and other production persons sit and
take decisions for broadcast live.
- The production control room or studio control
room (SCR) is the place in a television studio in
which the composition of the outgoing program
takes place.
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- The production control room is occasionally also

called an SCR or a gallery – the latter name
comes from the original placement of the director
on an ornately carved bridge spanning the BBC's
first studio at Alexandra Palace which was once
referred to as like a minstrels' gallery.
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- Master control is the technical hub of a

broadcast operation common among most
over-the-air television stations and television
networks.
- Master control is distinct from a PCR in
television studios where the activities such as
switching from camera to camera are
coordinated.
- A transmission control room (TCR) is usually
smaller in size and is a scaled-down version of
central casting.
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Master control Room
Transmission Room
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Studio
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Facilities in a production control room
- A video monitor wall, with monitors for program,

preview, VTRs, cameras, graphics and other video
sources. In some facilities, the monitor wall is a
series of racks containing physical television and
computer monitors; in others, the monitor wall has
been replaced with a virtual monitor wall
(sometimes called a "glass cockpit"), one or more
large video screens, each capable of displaying
multiple sources in a simulation of a monitor wall.
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- A vision mixer, a large control panel used to

select the multiple-camera setup and other
various sources to be recorded or seen on air
and, in many cases, in any video monitors on
the set. The term "vision mixer" is primarily used
in Europe, while the term "video switcher" is
usually used in North America.
- A professional audio mixing console and other
audio equipment such as effects devices.
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- A character generator (CG), which creates the
majority of the names and full digital
on screen graphics that are inserted into the
program lower third portion of the television
Screen
- Digital video effects, or DVE, for manipulation of
video sources. In newer vision
mixers, the DVE is integrated into the vision mixer;
older models without built-in DVE's can often
control external DVE devices, or an external DVE
can be manually run by an operator.
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- A still store, or still frame, device for storage of
graphics or other images. While the name
suggests that the device is only capable of storing
still images, newer still stores can store moving
video clips and motion graphics.
- The technical director's station, with waveform
monitors, vector scopes and the camera control
units (CCU) or remote control panels for the
CCUs.
- In some facilities, VTRs may also be located in
the PCR, but are also often found in
the central apparatus room.
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- Intercom and IFB equipment for communication

with talent and television crew
- A signal generator to gen lock all of the video
equipment to a common reference that
requires color burst.
Genlock (generator locking) is a common

technique where the video output of one source (or
a specific reference signal from a signal generator)
is used to synchronize other picture sources
together. When video instruments are
synchronized in this way, they are said to be
generator-locked, or genlocked. 16 of 19
Interruptible foldback (IFB), also known as
interrupted foldback, interruptible feedback, or
interrupt for broadcast, is a monitoring and cueing
system used in television, filmmaking, video
production, and radio broadcast for one-way
communication from the director or assistant
director to on-air talent or a remote location.
Genlock (generator locking) is a common
technique where the video output of one source (or
a specific reference signal from a signal generator)
is used to synchronize other picture sources
together. When video instruments are
synchronized in this way, they are said to be 17 of 19
Basic Studio Layout
Multiple Shooting Floor
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Basic Studio Layout
Single Shooting Floor

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Control Room and

Panel: Use of Switcher,
Chroma, Super-Impositions
Unit-IV
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฀
- Understand basic functioning of Television
Control Room.
- How control room is designed and about all
the personnel involved.
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Publication
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Production Control Room Set up
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Switcher
Switcher is also called vision mixer. With a series

of inputs to be combined, manipulated, and set out
on the programme line, a vision mixer is used for
selection and proper sequencing of images
supplied by cameras and other inputs sources like
titling, graphic machines and VTRs.
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Switcher
- The main concept of vision mixer is the bus – a

row of buttons, with each button representing a
video source. Pressing such a button will release
the video signal out of that bus. Older video
mixers has two equivalent buses called A and B
bus, such a mixer is known as an A/B mixer.
- Most modern mixers, however, have one bus that

is always the programme bus, the second main
bus being the preview bus.
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Switcher
- Both preview and programme buses usually have

their own video monitor. A professional video
switcher can handle up to 20-30 inputs. Another
main feature of a vision mixer is the transition lever.
This lever, simply creates transition between two
buses.
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Switcher
- Instead of moving lever by hand, a button

(commonly labelled as Mix) can be used, which
performs the transition over a user-defined period
of time.
- Another button Cut, directly swaps the buses

without any transition. Common transitions include
dissolves and wipes. The third bus on the vision
mixer is the key bus.
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Switcher
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Switcher
-These three main buses together form the basic
mixer section called Programme/Preset or P/P.
- Bigger production mixers may have a number of
additional sections of this type, which are called
Mix/Effects and are numbered.
- Another keying stage is called the down-stream
keyer. It is mostly used for keying text or graphics
and has its own Cut and Mix buttons.
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Switcher
- The main functionality of a video switcher is for

creating a master output for real-time video
broadcast or recording. They can create different
visual effects, ranging from simple mixes and
wipes to elaborate effects.
- They can also perform keying operations and
help in producing color signals.
- Video switchers work similarly to audio mixers.
They make use of multiple input sources, then
apply the desired effects and produce one or
more outputs.
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Switcher
- Most video switchers are based around program

and preview bus, which each has its own monitor.
The program bus is the main output feed, whereas
the preview bus is for choosing and previewing the
source that is about to go live. Using the preview
bus is optional. However, the preview bus is needed
in the case of any visual effects. A modern video
switcher has additional features like the ability to
store complex mixer configuration
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Switcher
Capabilities and usage in TV production:

- Besides hard cuts (switching directly between two
input signals), mixers can also generate a variety
of transitions, from simple dissolves to pattern
wipes. - Additionally, most vision mixers can
perform keying operations and generate color
signals (called mattes in this context). Most vision
mixers are targeted at the professional market, with
newer analog models having component video
connections and digital ones using Serial Digital
Interface (SDI).
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Switcher
Capabilities and usage in TV production:
-They are used in live television with video tape
recording (VTR) and video servers for linear video
editing, even though the use of vision mixers in
video editing has been largely supplanted by
computer based Non-linear editing systems (NLE).
Older professional mixers worked with composite
video, analog signal inputs.
- There are still a number of consumer video
switchers with composite video, S-Video or even

FireWire available. These are often used for VJing,
presentations, and small multi- camera
productions.
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Capabilities of Vision Mixer Operators
Vision Mixers edit programmes live (as they are

being transmitted or recorded), using a variety of
transition methods, such as cuts, mixes, wipes and
frame manipulation. They join together images
from various visual sources, including cameras,
video tape recorders (VTR Machines), graphic
generators and digital video effects (DVEs). They
are the Director's ‘second pair of eyes’ in the
gallery.
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- be able to work on a variety of different vision
mixing desks and equipment o have a good
understanding of the language of the transmission
- be able to stay calm and react quickly and
accurately under pressure
- have high levels of concentration and stamina
- have the discipline to respond to cues accurately
according to predetermined plans
- have the confidence to take the initiative and deal
with unforeseen circumstances or problems when
they arise
- be able to multitask
- have excellent organizational abilities
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- pay precise attention to detail

- have excellent verbal and written communication
skills, showing diplomacy, patience and sensitivity
have effective team working skills
- have advanced IT skills
- have excellent visual and aural awareness,
combined with artistic and aesthetic abilities
- have excellent colour vision
- have good sense of rhythm in order to produce
accurate and sensitiveTransitions
- be able to read a musical score, or to bar count
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Chroma
It is the process of electronically replacing the

green background with a picture. Green or blue
colour provide good contrast to the human skin
tones, and can make the talent stand out better
than any other colour can. The background needs
to be equally lit. It is important to eliminate all
shadows. The subject must be kept at a minimum
distance of 4 feet from the screen to avoid shadows
from falling on the screen.
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Chroma
The vision mixer has a chroma keying slicer. The

slicer must be switched on and the talent
superimposed on the green screen.
Superimposition stacks images on top of one
another, while matting completely replaces parts of
one image with parts imported from another.
Superimpositions, or "supers", consist of two or
more images combined into one.
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Chroma
In a nutshell, the chromakey process designates a

single, very narrowly defined color in one video
image and electronically replaces that color with a
second image, leaving the rest of the picture
untouched.
- Place a foreground subject in front of a
designated chromakey color (usually bright blue or
green) and feed the picture through one channel of
a digital switching system. Feed a background
picture through another. Command the system to
replace the designated color in the foreground
picture with the same areas of the background.
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Chromakey Setup
The most important factor in chromakey

backgrounds is uniformity of color, surface, and
lighting. The goal is to produce a backdrop with
(very nearly) the same hue, value, and intensity
over every single square inch. To use the paper,
hang it from a simple pipe rack, unroll it, pull it
forward until the wall-to-floor transition is a smooth
curve, and place your actors on it.
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Chromakey Setup
-For full-length shots the wall or paper roll should be

at least 9x12 feet. There are two reasons for this.
First, you need a minimum of six inches on all
borders to protect against shooting off the backing.
-Second, place the foreground subject as far from

that backing as possible, so as not to spoil the effect
by throwing the subject's shadow on the wall.
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Super Impositions
Titles, video or graphics appearing over an existing
video picture, partially or completely hiding areas
they cover. Character generator operator, which
produces titles/graphics, appropriate production and
ensures their ‘supering’ on the video during
production.
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Multi-camera Online
Editing: Concept and
Process
Unit-IV
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฀
- Understand concept of multi-camera
production and its benefits.
- Understand concept of online editing of live
events.
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Publication
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Multi Cam Shoot and Online Editing
Capturing a live event can be a formidable task.

Whether it's a wedding, concert, or presentation,
using a multiple camera setup can help ensure you
get complete coverage, without missing important
moments. In this segment, we talk about the
advantages and disadvantages of a multi-cam
setup, as well gathering the information you need
about the event.
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Multi Cam Shoot
-Use of more than one camera to shoot a production

is called Multi-cam production.
-Multi- cam helps you record different angles
simultaneously and shoot scenes much faster than
with a single camera.
-It requires great planning and lighting to make sure
the footage from each camera matches, but what
you can't control on location you can usually correct
in post.
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Multi Cam Shoot
-From a two-camera interview to a 20 plus camera

concert special, multicamera production is being
used more now than ever before. And with so many
camera types, codecs and editing workflows for
filmmakers to chose from, it’s important to learn
about Multi-cam Production.
-The multiple-camera setup, multiple-camera mode
of production, multi-camera or simply multicam is a
method of filmmaking and video production.
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Multi Cam Shoot
-Several cameras either film or professional video
cameras are employed on the set and
simultaneously record or broadcast a scene. It is
often contrasted with single-camera setup, which
uses one camera.
- The use of multiple video cameras to cover a
scene goes back to the earliest days of television;
three cameras were used to broadcast The
Queen's Messenger in 1928, the first drama
performed for television. The BBC routinely used
multiple cameras for their live television shows
from 1936 onward.
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Multi Cam Shoot
- Generally, the two outer cameras shoot close-up
shots or "crosses" of the two most active
characters on the set at any given time, while the
central camera or cameras shoot a wider master
shot to capture the overall action and establish the
geography of the room.
- Multiple shots are obtained in a single take

without having to start and stop the action. This is
more efficient for programs that are to be shown a
short time after being shot as it reduces the time
spent in film or video editing.
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Multi Cam Shoot
- It is also a virtual necessity for regular, high-
output shows like daily soap operas. Apart from
saving editing time, scenes may be shot far more
quickly as there is no need for re-lighting and the
set-up of alternative camera angles for the scene to
be shot again from the different angle.
- It also reduces the complexity of tracking

continuity issues that crop up when the scene is
reshot from the different angles. It is an essential
part of live television.
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Multi Cam Shoot
- The multiple-camera method gives the director

less control over each shot but is faster and less
expensive than a single-camera setup. In
television, multiple-camera is commonly used for
sports programs, news programs, soap operas,
talk shows, game shows, and some sitcoms.
- Multiple cameras can take different shots of a live

situation as the action unfolds chronologically and
is suitable for shows which require a live audience.
For this reason, multiple camera productions can
be filmed or taped much faster than single camera.
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Multi Cam Shoot
- Single camera productions are shot in takes and

various setups with components of the action
repeated several times and out of sequence; the
action is not enacted chronologically so is
unsuitable for viewing by a live audience.
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Multi-Camera Production Techniques
Follow the 180-degree rule:
Knowing where to put your cameras is one of the
biggest challenges for most production teams
moving from a single-camera to a multi-camera
setup.
For Example: In a football game, Team A is going
right to left; Team B is going left to right. If you place
two cameras on opposite sides of the ground, the
teams will be running in the opposite direction every
time you switch cameras and your viewers will be
left confused. All of your shots need to make sense
as a whole. The 180-degree rule ensures that all of
your cameras are filming from a singular direction.
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Make communication a priority:

Multi-camera shooting techniques are complex
enough that you need to make open communication
among your team. Each of your camera angles
should be different enough that shot changes are
clearly new and purposeful to anyone viewing the
live feed (two shots that are too close in perspective
both following the ball from a slightly different angle,
for example—might actually unsettle viewers).
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Have a clear vision for your multi-camera production:
Moving to a multi-camera setup for your live stream

events is a natural step in a lot of cases, but it’s only
beneficial if you have a clear idea of how you’re
going to use all of those cameras.
What are you hoping to achieve? Do you want to
bring in specific shots that you aren’t currently able
to get? Once you get started, you’ll likely feel
compelled to splice in multiple camera angles when
the action of the scene may not really require them.
As a result, you could end up with a disjointed
broadcast.
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Online Editing
Switching angles is no less significant in our own

professional production work, especially when we're
shooting live events for online delivery. And whether
we're streaming video live, or producing it for on-
demand online viewing, live switching is either the
only way to get the job done, or in many instances
simply the most efficient.
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Online Editing Basic Set Up
A switcher/SEG: This is the heart of the multi-

camera shoot, the device that switches the video
signal from one camera to another. SEGs (Special
Effects Generator) also perform other duties like
transition effects, chromakey/lumakey, and
triggering other devices like titlers, but their main
function is to switch between two or more video
signals.
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A video monitor: At least one or two, if possible the

primary one to view the switcher's Monitor output,
and another to view the signal as it appears when it
goes to tape, for quality control.
A VCR or Direct to Edit or other recording device:

This will be where the final signal gets recorded, the
output of the switcher/SEG. Optimally, it should be a
high- quality device, but this isn't necessary. A spare
camcorder will do nicely; a VCR works well, too.
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Crew: At least one camera operator per camera,
plus a technical director to operate the switcher. If
enough crew is available, you might consider an
overall director to lord it over the entire process.
You may also want to round up some lighting crew,
an audio technician, grips...there's always plenty to
be done on a multi-camera shoot. But the basic
crew is one cameraperson per camera, plus a
technical director to operate the switcher.
Wireless microphone headsets: These will make it
easier for the director to communicate with the
camera operators quietly while the shoot is in
progress.
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Transition effects: Many switchers have dozens of

built-in transitions, such as wipes, slides, page
turns, and other effects. Often, these are controlled
by typing a number into the switcher before
switching to another camera.
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Audio Mixer:Many video switchers have built-in

audio mixers. Which is a good thing, because when
you're recording the signal from two or more
cameras into a separate VCR, you'll need some way
to organize your sound. The best way to do this is to
use entirely separate mikes that are independent of
the camcorders themselves. Just plug the
microphones into the mixer, and send the output
directly to the VCR
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How to edit video from live events
- Live Edits and Post-Production Edits: First things

first, you must know the difference between a live
edit and a post-production edit. You may need to
hire another person to perform a live edit, which
creates a fast-paced edited sequence of what was
being filmed. A post-production edit, on the other
hand, involves executing tasks once shooting has
come to an end.
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- Project Directory: Once you decide which type of

editing style suits you, a project folder should be
created. This folder will eliminate confusion,
because it can be used to organize and access
every single file, including photos, graphics, raw
footage and sound.
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- Make a Copy: Memory cards and hard drives will

really come in handy when you are editing live
events. Don’t underestimate just how useful a
backup copy can be. Dropbox, OneDrive and the
Cloud storage system are just a few examples of
software that can be used for storing copies of your
files.
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- Clean it Up: Trimming is a big part of the editing

process and if you miss out this step, your live
video might be too long and a little bit messy to
watch.
- Video Editing Software: Your editing software is

the weapon you will use to transform live video into
a flawless production.
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Live Events: Recording,

Editing and Telecasting
Unit-IV
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฀
- Understand concept of Live recording and
editing of an event.
- Understand how video signals are
transmitted.
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Publication
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Live Event Recording
- A live event is an event which occurs in present.
For example Prime Minister’s speech on
Independence Day or a sporting event.
- The value of such events are high at the time of

occurrence and not after that. Although videos can
be referred for several purposes later too.
- When it comes to edit a live event, the team of

highly skilled professionals is required. For
example, news events happen very fast
sometimes. Like a Political rally or award function.
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- To determine whether or not you need to use

multicam video editing features, there are some
considerations worth making.
Many professional video editing applications have

built-in multicam editing functions. At its core, any
multi-layer video editing application can edit
multicam footage; however, it's typically
cumbersome to do so without more advanced
feature sets.
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- Even with the best tools, it can be tricky, so it's

important that you do the setup correctly. The best
way to do that is to have a plan to sync all your
camcorders.
- At its core, any multi-layer video editing
application can edit multicam footage; however, it's
typically cumbersome to do so without more
advanced feature sets.
- Even with the best tools, it can be tricky, so it's

important that you do the setup correctly. The best
way to do that is to have a plan to sync all your
camcorders.
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- Multicam editing is very challenging having more

than one camcorder at a shoot does not justify
multicam editing. There are many reasons that a
two-camera shoot will be a classic A/B edit, rather
than a full-blown multicam production.
- Editor’s first consideration is what the B camera is

doing. If B camera is simply shooting some
cutaways for safety, a classic A/B edit will suffice.
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- If the B camera is not rolling continuously,

that's another sign that multicam video editing
is unnecessary.
- Multicam editing is best when both camcorders
are running continuously, and you accurately
synchronize the action unfolding before the
cameras.
- Typical situations requiring multicam editing are
live events, such as concerts, recitals, plays
and other live performances.
- Multicam editing is very similar to live editing,
although it's not truly live, as you have the
flexibility to stop time whenever needed.
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Precision Control:
- When you are planning on a multicam edit,

consider putting a great deal of concentration in
the setup of the shoot. Ideally, a technical director
will coordinate camera operation with your camera
operators, or the camera operators will shoot the
footage in a way that will allow every frame to be
useable in the final production.
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- The worst-case scenario in a simple multicam edit

(e.g., a two-camera edit) is that both cameras have
unusable footage at a particular time during a live
performance. This type of challenge slows down the
edit tremendously. So, make sure that you shoot
with a plan before the multicam edit.
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Sync Now:
- The last shooting consideration will also save the

multicam editor a great deal of time. Always plant a
sync point at the beginning of the shoot by using a
clapboard or another mechanism, so that the editor
can quickly and accurately match the timing on both
camera sources. A clapboard is the ideal tool, as it's
both a visual and aural cue for the editor.
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- Someone holds the clapboard in front of the two

cameras, typically near where the talent will be.
Both cameras should start rolling tape and have a
view of the clapboard in the camera. The person
holding the clapboard will typically say "Mark" and
then clap the arm down on the clapboard and then
camera starts rolling.
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-The editor lines up both the visual cue of the

clapboard arm closing shut and the audio spike of
the snap sound of the clapboard between camera
A and camera B.
-If you do it properly, you will have both cameras
accurately synchronized.
-If you don't have a clapboard, you can use the
production assistant's arms. Have the assistant
hold out his arms, mimicking a clapboard, and
slap closed the top hand to the bottom hand. This
will also give a visual cue and a nice clap sound,
which will be just as useful to the editor.
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- A challenge to this camera-sync technique is the
venue. In many cases, you might be shooting in a
crowded and loud auditorium where both
camcorders will not record the clapping of a hand
or clapboard. This problem is preventable if you
plan on how your camcorders are acquiring sound.
-If camera A is using house sound and camera B is
simply recording from the onboard mic, you can
move camera B very close to the clapboard for the
sync. In this way, you can mark the shot near a
microphone so that camera A records the clap
through house sound and, with camera B nearby,
both should register the audio spike from the
clapboard. 14 of 24
Sync Later:
- Each video-editing application has a different
method for activating the multicam editing feature,
but, in each application, the editor must prepare
the clips with every frame synchronized.
- Until one of the video software teams creates a
tool that automatically syncs our footage, we're
stuck with doing all the tweaks ourselves.
- As the editor, your first task in doing a seamless
multicam edit is to sync all the cameras. If you're
lucky, the footage will have a clear sync point as
we just discussed.
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-The captured footage will rarely ever be naturally

synchronized. So, put camera A and camera B
video clips on separate video layers on the timeline.
Take a look at the audio layers and see if you can
identify the waveform spike from the clapboard.
-Also view the footage to find the clapboard. You

can toggle each layer on and off so you can see the
clips on lower video layers as well. Once you've
found the clapboard cue, you'll need to move one
clip forward or backward to match the audio spikes
in a single frame.
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- Once you get these points close, play back a few
seconds of the recorded performance. If it's close
but not precise, the audio will sound doubled (i.e.,
like an echo).
- At this point, you'll want to magnify the timeline
around the area of the clapboard audio spike and
then nudge the clips frame by frame. Test the
results again by playing back part of the recorded
performance.
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- If it's frame- accurate, the audio will sound like a
single source of audio. Otherwise, continue to
nudge the clips so that the spike occurs on the
same frame. This takes a little bit of patience as
you move from nudge to testing, over and over
again.
- Once you have all your clips synchronized, you'll
trim the excess footage away, so that each clip
starts at the same point. Now your clips are
synchronized and trimmed to the starting point of
your edit.
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Time Saver:
-Once the synchronizing is finished, multicam
editing can be a timesaver, especially when you're
editing long performances with many different
viewing angles.
-For the advanced multicam editor who is doing a
great many live performances, consider using
cameras that have timecode jam-sync capabilities.
-This feature allows every camera to run on the
same timecode, so that synchronizing footage can
happen in a much more logical fashion. It's so much
easier, but this type of camcorder is generally much
more expensive.
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- A live broadcast, also called a live transmission

generally refers to various types of media that are
broadcast without a significant delay.
The most common seen media example of the live
transmission is a news program or a news
broadcasting.
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- The first regular television broadcasts started in
1937. Broadcasts can be classified as "recorded" or
"live".
- The former allows correcting errors, and removing
superfluous or undesired material, rearranging it,
applying slow-motion and repetitions, and other
techniques to enhance the program.
However, some live events like sports television can
include some of the aspects including slow-motion
clips of important goals/hits, etc., in between the
live television telecast.
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- A broadcast may be distributed through several

physical means. If coming directly from the radio
studio at a single station or television station, it is
simply sent through the studio/transmitter link to
the transmitter and hence from the television
antenna located on the radio masts and towers
out to the world.
- Programming may also come through a
communications satellite, played either live or
recorded for later transmission. Networks of
stations may simulcast the same programming
at the same time, originally via microwave link,
now usually by satellite.
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- The modulator takes the data and produces a

radio freqency from it. This frequency is usually in
what is called the 'L-band' range (70-140Mhz).
-The modulator passes the information over
coaxial cable to an 'up converter', which converts
the radio frequency from 'L-band' up to microwave
freqencies in the C, S, X, Ka, and Ku band ranges
(frequencies above 1,000 Mhz).
- Once the final signal has been produced, it's
amplified to increase its total effective output
power. The signal is then sent out a dish via the
feed horn.
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Topic - 1 Lecture- 25

Control Room and

Subject: Video Editing

Students would be able to :

1.Herbert Zettl, TV production Handbook,

Production Control Room is the most vital part of a

-TV shows like KBC, Indian Idol or live newscasts

-In contrast, in single-camera production only one

- Also called PCR, is a separate room adjacent to

- The production control room is occasionally also

- Master control is the technical hub of a

Master control Room

- A video monitor wall, with monitors for program,

- A vision mixer, a large control panel used to

- Intercom and IFB equipment for communication

Genlock (generator locking) is a common

Multiple Shooting Floor

Single Shooting Floor

Control Room and

Subject: Video Editing

Students would be able to :

1.Herbert Zettl, TV production Handbook,

Switcher is also called vision mixer. With a series

- The main concept of vision mixer is the bus – a

- Most modern mixers, however, have one bus that

- Both preview and programme buses usually have

- Instead of moving lever by hand, a button

- Another button Cut, directly swaps the buses

- The main functionality of a video switcher is for

- Most video switchers are based around program

Capabilities and usage in TV production:

switchers with composite video, S-Video or even

Vision Mixers edit programmes live (as they are

- pay precise attention to detail

It is the process of electronically replacing the

The vision mixer has a chroma keying slicer. The

In a nutshell, the chromakey process designates a

The most important factor in chromakey

-For full-length shots the wall or paper roll should be

-Second, place the foreground subject as far from

Subject: Video Editing

Students would be able to :

1.Herbert Zettl, TV production Handbook,

Capturing a live event can be a formidable task.

-Use of more than one camera to shoot a production

-From a two-camera interview to a 20 plus camera

- Multiple shots are obtained in a single take

- It also reduces the complexity of tracking

- The multiple-camera method gives the director

- Multiple cameras can take different shots of a live

- Single camera productions are shot in takes and

Make communication a priority:

Have a clear vision for your multi-camera production:

Moving to a multi-camera setup for your live stream

Switching angles is no less significant in our own

A switcher/SEG: This is the heart of the multi-

A video monitor: At least one or two, if possible the

A VCR or Direct to Edit or other recording device:

Transition effects: Many switchers have dozens of

Audio Mixer:Many video switchers have built-in

- Live Edits and Post-Production Edits: First things

- Project Directory: Once you decide which type of

- Make a Copy: Memory cards and hard drives will

- Clean it Up: Trimming is a big part of the editing