Field Production and Synthetic Environments

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Field Production and Synthetic Environments

• Skip Sparkman

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OVERVIEW

• ENG Electronic News Gathering
• EFP Electronic Field Production
• Big Remotes
• Synthetic Environments
• When outside the studio, the world becomes your
  set, but you lose some control! Field producers
  adapt to the environment

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Electronic News Gathering

• Time Location Nature of News events are
  un-planned
• Pre-Production means assurance your equipment is
  ready to operate
• News Videographer Shooter
• Sometimes works with reporter, other times alone

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Electronic News Gathering

• On Camera Reporters should stand in shaded areas
  when possible
• Camera should be white balanced in each new
  lighting situation
• Take care with audio quality, watch for wind
  noise and echo from walls
• Two audio channels camera mic and handheld or
  lapel
• Record ambient sound separate from report

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ENG Transmission

• May require Microwave or Satellite Van
• Sending a satellite report is up-linking
• Reception at station is downlinking

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Electronic Field Production

• All non-ENG and non-Big Remote out of studio
  productions
• All equipment and cables are taken to the shoot
• Requires careful pre-production planning

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EFP Pre-Production Remote Survey

• Remote or Site Survey Field Inspection
• View the location for decisions on set-up
• What is light availability?
• Is there adequate electrical power and outlets?
• What is the noise level?

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EFP Pre-Production Remote Survey

• What set props are required?
• Will releases be required for people who might
  end up in the video?
• What modifications to the site are required?

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EFP Survey Team Questions

• What is the event all about?
• Where is the event to take place?
• How do we adapt the environment to the medium
  requirements?
• What technical facilities are needed and
  available to produce this event?
• Who is a contact person at the site?

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Tips for Remote Survey

• Survey the site at the same time of day the event
  will be telecast. Youll get a better idea of
  how the sun will affect the production.
• Prepare a location sketch showing major streets
  and structures and main features of the location.
• Note size of space and features
• Develop a bad weather plan.
• Note Remote survey questions pg. 376

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Field Production

• Have an equipment checklist
• Camcorders
• Camera Mounts
• Videotape
• Power Supply
• Audio
• Cables and Connectors

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Field Production

• Have an equipment checklist
• Monitor and Test Equipment
• Lighting Instruments, Supplies and Equipment
• Intercom
• Miscellaneous

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Shooting Outdoors

• Equipment determined by conditions and
  environment
• Considerations
• Weather
• Foreground
• Background

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Shooting Indoors

• Rearrange furnishings and pictures for best
  shots.. May require lowering paintings and
  pictures if talent is seated.
• Attend to specific lighting requirements.
• Check outlet availability
• Sandbag light stands
• Heat shield curtains and flammables
• Take care with indoor/outdoor light mix

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Shooting Indoors

• Attend to Audio
• Conduct brief audio rehearsal to hear sound
  pickup
• Choose best sounding mic
• Separately record main sound and ambient sound
  (remember you have 2 audio tracks) The 2 tracks
  can be mixed in post production.

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Shooting Indoors

• Other Production Reminders
• Take care to avoid property abuse or harm
• Maintain safety awareness
• Protect equipment from weather
• Keep accurate field logs of tape content in order
  of tape segments
• Return property to original condition
• Use your checklist to tear down and pack equipment

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Post Production Wrap-up

• Make protection copies w/time code for editing
• Review tapes and prepare VTR log with shot lists
  and in/out time code numbers
• Note good and bad takes

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Big Remotes

• A field production of large event for live
  transmission
• Sports
• Parades
• Concerts
• Political and Government events

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Big Remotes

• Use high quality field cameras with big zoom
  lenses
• Typically controlled from a remote truck with
  control room configuration (see fig. 15.6, pg.
  384
• May include an up-link truck for satellite feed

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Synthetic Environments

• Electronically created settings
• You can chroma key photos, video tape or computer
  generated effects behind a foreground shot
• New options provided by the computer
• Parts of sets can be matted through blue screen
  technology

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Virtual Reality

• Animated computer generated environments/events
• Size relationships are a major issue for reality
• Synthetic scenes should fit the people in the
  scene

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Interactive Video

• Viewer control over programs and video display
• Many applications
• Instruction Design
• Recreation

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Remember

• All out of studio productions are field
  productions including electronic news gathering
  (ENG), electronic field production (EFP, and
  large remote telecasts.

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Remember

• ENG involves newspeople and equipment for
  reacting quickly to a developing news event.
• Event is videotaped and edited for broadcast or
  can be transmitted live.
• Pre-production for ENG means being ready to
  respond.

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Remember

• EFP is planned in pre-production
• Includes documentaries, magazine news stories,
  investigative reports, on-site interviews,
  commercials.
• Remote or Site Survey is important

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Remember

• Pre-production
• Remote surveys provide technical information on
  power availability and access, light and sound
  needs, space available, camera and equipment
  placement.
• Establishing a contact person is essential.

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Remember

• Production
• Use your checklist for equipment needs
• Be aware of changing weather conditions and
  random sounds
• Be aware of changing light conditions
• Respect property and attend to safety
• Be careful of light instrument placement
• Monitor sound carefully (2 tracks)

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Remember

• Big Remotes
• Live and Video Taped of large events
• Coordinated from the remote truck

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Remember

• Synthetic Environments
• Electronically generated
• Use chroma key and matte
• May use interactive and virtual reality
  environment

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Key Concepts

• In field production, you must adapt to the
  environment!

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Key Concepts

• Whenever possible, have the reporter stand in a
  shaded area rather than bright light.

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Key Concepts

• The remote survey is an important pre-production
  activity for all field production except ENG.

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Key Concepts

• Prepare a checklist of all equipment needed, and
  test all equipment before taking it to the remote
  location.

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Key Concepts

• Watch the weather and background for shot
  continuity when shooting outdoors.

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Key Concepts

• After the production make sure you leave the
  location the way you found it and make sure you
  brought back everything you took to the field.

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Key Concepts

• Big remotes resemble multi camera studio shows,
  except the event takes place outside the studio,
  and the control room is located in a truck.

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Key Concepts

• Synthetic environments can be built partially or
  completely by a computer.

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