| | Beyond Our Control
PRODUCTION PROCEDURES 1972-'73
1) Assemble cast, costumes and properties in the set, preferably as the prior bit is concluding production. Doublecheck functional properties and costumes at this time.
2) The cast will begin line rehearsals on their own as soon as possible, working to develop timing and complete memorization.
3)WALK-THROUGH REHEARSAL: The cast will walk through the entire bit starting and stopping the action to mark positions for camera blocking. Audio will attempt to follow the action appropriately.
4) RUN-TROUGH REHEARSAL: The entire bit will play through from start to finish at its normal pace, continuing to the conclusion unless total chaos develops. All those in charge will make notes of problems including acting, lighting, audio, camera blocking,
mal-functioning properties, etc, (Film will not roll during this run-through.)
5) REPAIRS: Everything will pause while corrections are made, For stardardization, all corrections will be relayed to the studio via the Floor Manager. The Director will handle all corrections in the following sequence:
6) FINAL RUN-TROUGH: The entire bit plays through from start to finish with full audio. Film will roll during this Run-Through.
1) Report to the Videotape Rom immediately when we announce that we are starting a new bit. Put the headset on and keep it on. DO NOT INITIATE CONVERSATION.
2) Double-check our location on the tape, comparing the log to the machine counter. This will insure that we do not accidentally erase previosly-recorded bits.
3) Just prior to the FINAL RUN-THROUGH and the TAKE, the Director will call for "Positions." If all is ready, respond by saying: "Videotape Ready." If there is a problem, request a delay.
4) When the Director calls for "Roll and Record Videotape," start the machine recording. If the warning lights extinguish properly, respond immediately with "Tape Rolling,'Nothing further need be said.
5) When the bit begins (that is, when the video fades in with actual content) note the machine counter position on the log. Do not log from the point where you start the machine or where the color bars appear.
6) When the final video fades-out, let the tape run about ten seconds more and then stop the machine. Unless requested to the contrary, rewind the mahine to about 15 seconds prior to the starting point and stand-by for playback. Double-check your written log for exact timing as the bit plays back,
7) Do not attempt any other tasks. Do not operate any other controls on the machine, Never attempt to remove the tape from the machine, switch anything, or close the doors.
1) When production is announced, report to your camera immediately. Put your headset on and Keep it on at all times. KNOW YOUR CAMERA NUMBER. Do not expect the director to call you by name. DO NOT INITIATE CONVERSATION ON THE INTERCOM.
2) Double-Check your script and review your shooting sequence.
3) During the WALK-THROUGH REHEARSAL, the bit will stop and start repeatedly. At this point you will be instructed on close-ups, angles, pans, zooms, etc.You may wish to use note paper to make an abbreviated shot sheet for later reference, simplifying the script.
4) Following the WALK-THROUGH REHEARSAL, the director will call for a RUN-THROUGH REHEARSAL. This time, the bit will proceed from beginning to end, unless evrything falls apart. Attempt to follow the action perfectly at this point.
5) REPAIRS follow the RUN-THROUGH REHEARSAL At this point, camera problems will be discussed between you and the director. The director will use a predetemined sequence to insure that all areas are covered. The seqence is: Audio; Projection; Acting; Camera; Props; Sound EFX; Miscellaneous. When you rturn arrives, use the intercom to straighten out problems.
6) The FINAL RUN-THROUGH should proceed relatively smoothly and should be used to basically refine your pans, zooms, etc, as well as refining up your timing and finalizing your familitarity with the script.
7) FINAL INSTRUCTIONS are more or less a duplication of REPAIRS
8) THE TAKE
1) Wednesday evening, review the script with your cameramen and the Production Manager to pre-determine blocking, positioning and shot assignuents as much as possible.
2) Examine the script to determine which cues need be called and which need not. (Look particularly for audio cues which can be taken purely from the video.) Mark your script accordingly.
3) If possible, observe the Line Rehearsal to see how closely the action matches the description in the script.
4) Call for the WALKT-THROUGH REHERSAL. This is the time to determine camera blocking, as the actors stop and restart the entire skit. Relay all instructions to actors via the floor manager. At this point, check on practicality of zooms, close-ups, pans, etc.
5) Call for the RUN-THROUGH REHEARSAL. This time the skit will run through from start to finish, unless everything falls apart completely. Make notes as you go. Do not roll the film for this rehearsal.
6) REPAIRS. Now pause to correct all the deficiencies. Relay your requests to the studio via the Floor Manager; it will not be necessary to leave the Control Room. For standardization, operate in the following sequence so that nothing 1s missed:
Audio: note corrections in mix, cues, postioning of mikes.
Projection: note corrections for slides.
Studio: Acting: request revisions in positioning, cheating toward cameras, pausing to cue sound efx or close-ups, louder or softer delivery, etc.
Camera: double-check problems with focus, close-ups, zooms, pans, etc.
Props: check that all props work correctly and are in position.
Sound Etc: check on feasability of studio sound efx and levels.
7) FINAL RUN-THROUGH. Call far "Positions" to insure that all posts are manned. Audio, projection, videotape and studio will report in as "Ready" or will request a delay. If everyone is ready, run through the entire bit. Roll the film for this rehearsal.
8) FINAL INSTRUCTIONS. by now, things should look pretty good. Now is the time to issue any final requests to refine timing and delivery of the material. Review each pout in the standard order:
9) THE TAKE. When you are ready, call for the final take. Request "Positions" and await a report from each post as before. Then use the following sequence:
a) Call for Bars and Tone
b) Set your clock at -:45
a) Can for "Roll and Record Videotape"
d) Wait for response from VT (Tape Rolling)
e) At -:15, call "Kill Bars and Tone" and "Stand By"
f) At -:05, call "Five Seconds"
g) Cross your fingers and fade it in.
1) Examine the script carefully in advance; know what the cue-lines will be. Mark your script if necessary. Discuss plans with your assistant (see #8)
2) When the bit is announced report to the audio console. Put on your headset and keep it on. Do not initiate any conversation on the intercom circuit unless you run into trouble.
3) Now play through each cart, doublechecking its contents Watch for false cues (if the cart does not start or stop propery). Check the levels of the audio and mark your script if somthething is unduly loud or soft.
4) Play through all background music/EFX tapes, doublechecking their contents. Check for drcp-outs, broken splices, etc. Note the level and mark your script accordingly.
S) Set up your microphones in the studio, working with the Production Manager and the Floor manager. If necessary, mark your "keys" with special labels. (For example, if ANNOUNCER is on mike input #11, It might help to make a small Announcer label and attach it over that key to a assist you in making qauck switches.)
6) Listen to the LINES REHEARSAL and attempt to judge Sound levels from the studio. Follow the action and practice your switching sequence.
7) Prior to the RUN-THROUGH REHEARSAL, request a mike check from the director. This will probably be the only time you will need to initiate conversaticn over the intercom. Request which mike you wish to have checked and the director will, relay this request to the studio. Set your levels accordingly.
8) You will have an assistant for every bit to assist you in plugging in cartridges, starting and stopping tapes, etc. Your main concern is with the final mix, and how it sounds...not with the mechanics. Use your assistant where possible.
9) During the RUN-THROUGH RHERSAL, attempt to use the entire audio sequence... . find out now how timing problems affect the mix, what cartridges are faulty, etc. Make notes.
10) REPAIRS following the RUN-THROUGH RHERSAL will permit you to explain problems. After the rehearsal, the director will call for oommments and make corrections, starting with Audio.
11) Prior to the final RUN-THROUGH, the, director wll call "Positions." Your response is "Audio Ready" if everything is re-cycled and ready to go. Otherwise request a delay.
12) For the FTNAL RUN-THROUGH, everything will play through precisely as in the final take, with film rolling.
13) FINAL INSTRUCTIONS follow, with any last-minute problems examined.
12) For the TAKE, the Director will again call for "Positions" Again respond: "Audio Ready." The director will then can for "Bars and Tone;" flip the appropriate switches. These will run for :30 and then will be killed A 5 second warning is also given by the director
GENERAL: Try to take your cues from the video as much as possible. 90% of the time, the audio should fade in with the video; you can do this much more easily by watching the monitor and fading in simultaneously; the same goes for fad-outs at the end. Similarly, many cues for carts need not be called by the director. Watch the monitor closely and cue yourself accordingly to save time.
1) Report to the Projection Room when the bit is announced. The Production Coordinator will deliver all film, slides and super-slides to you. Double-check immediately with the projectionist on duty whether or not the chains can be loaded.
2) Working with the on-duty Projectionist, load film and slides into the chains and stand-by.
3) Slide changes will be called for by the Director via the intercom. You may respond via the intercom, but do not initiate conversation,
4) When the Director calls for "Positions," respond on the intercom by saying "Projection Ready."
5) Unless advised to the contrary, film will not be rolled until the actual TAKE. This is to preserve the soft, scratchable film we use. If film is rolled and we interrupt the TAKE, please take down the film and re-thread it; do not operate the projector in reverse as this is very hard on the film.
6) If film breaks, advise the Director and re-splice it very carefully yourself. Do not get fingerprints or dirt on the film.
7) At conclusion of the bit, return all materials to the Production Coordinator.