TVP A-Z

Autocue - device for projecting text onto front of camera, usually lines for the talent
Amp, amplifier - device for increasing levels, usually audio, sometimes through powering speakers. Amp can also be an adjective
Barco - specialised screen for displaying multiple video feeds
Barndoors - shutters on studio lights for limiting output
Beer - alcoholic beverage made from fermented yeast and served cold. In TV Production at CSU these serve as a kind of demerit point
Camera, cam - device for recording visuals
Check - process of ensuring equipment is working
Clip - short segment of audio or video
Clipped - occurs when levels are above their threshold, can mean distortion
Colour bars - information showing bars of colour used to calibrate or establish recording level
Crane - a camera movement, usually lowering or raising, that can be done with a crane or similar support
Cue - prepare, as in 'Cue talent' to tell an actor to prepare for their take
Cut - stop, usually filming
Dimmer - adjustable switch for lights
Dolly - wheels, or some variation, providing mobility for a camera tripod, pedestal or other support
Dry run - rehearsal
Dub - copy
Exposure - the level of light recorded through the lens
Fade in/out - lowering/raising levels of sound or vision, usually from/to silence or black
Focus - verb for resolution, either allowing light or mental faculties to process an object
Foldback - speakers providing sound to talent
Gel - coloured transparent material for colouring light source
Grid, lighting grid - literally a grid configurations for hanging and powering studio lights
Iris - the camera shutters for controlling exposure and sometimes focal length
Levels - depending on context this can refer to volume of sound or exposure of cameras, amongst others
Locked off - usually a camera that has been set to an unchanging perspective or shot
Mic, microphone - device for recording audio
On air - broadcast, transmitted and sometimes recorded
Pan - a camera movement literally panning or turning from one side to the other
Patch - connection between components, such as an audio patch would be a lead conveying the audio signal between two devices such as a mic and a camera
Pedestal - heavy, gas-filled camera support
Print - record
Reflector - a reflective material used to redirect light
Roll - start playing pre-recorded audio or video
Servo - motorised remote switching mechanism
Shot - the perspective of a camera on the object being filmed, examples include wide shot (broad perspective); medium close up (navel to top of actor's head), close up (actor's face); extreme close up (actor's eye or other feature)
Sound mixer, mixer, mixing desk, desk - device for mixing/editing multiple audio streams in and out, possibly incorporating effects such as compression or reverb
Standby - await further instruction
Stinger - short clip used between segments in television show, usually to reinforce brand
Strike - pack away studio equipment
Stripe - colour bars
Studio pedestal, ped - device that serves as an indoor dolly
Take - a recording, or the process of recording, a scene or possibly even a single shot or line
Talent - usually the person appearing in front of the camera
Tighten - a camera direction for tighter framing
Tone - an audio signal used to calibrate or establish recording level
Track - a camera movement that can literally require tracks but can also use a dolly, ped or be handheld
Tripod - lightweight three-legged camera support
Vision mixer - device for mixing/editing multiple video streams, usually live, possibly incorporating effects such as dissolve or wipe
White balance - process of establishing the correct colour temperature for the camera
Wrap - as in 'That's a wrap' to indicate it is finished
Zoom - a camera lens that shifts focal length, into or out of a frame, allowing changes in lens type

Hit the lights

There are a number of differences between lighting a band for a multi-camera television production and lighting a band for purely an audience. In each case it’s worth noting the role of lighting in creating mood:

Many musicians don't realize that they are doing theater. If the lighting doesn't match, or stuff is just thrown up on stage, it's not going to work.

The value of a good lightshow isn’t normally what sells tickets but it can be the difference between bitching about the performer to your mate and being totally transfixed throughout the show. Consider the role of lighting at raves for example, watching a bloke play records from a distance isn’t very special but putting amazing lights above him can make it so.

You can massively improve the "wow" factor of your shows by thinking about the lighting

Or, to quote from someone selling their lighting services:

Dance-floor lighting at your event makes a huge difference! With the proper dance-floor lighting, attendees are more likely to get up and dance, and enjoy themselves.

Having looked at a few websites I’m struggling with the variety of lights, the roles they serve and how to combine them. It’s a bit more than discussing the effect different colours can produce so I’m going to skip straight to the role of colours:

Red: angry, dramatic
Blue: cold, night time
Pale purple: neutral
Orange/yellow: warm

I'd debate whether pale purple is neutral. Isn't it supposed to make people look unblemished, healthy and a bit sexy?

I haven’t had much luck finding websites discussing how to light bands for television so I’ll reiterate what was taught in class: include some white lights amongst the coloured ones, especially spotlights. These help the camera to focus, provide contrast and, most importantly, allow viewers to see better given the camera is a poor substitute for the human eye when dealing with varying or low light levels.

I can see the value in using white light sparingly. I’ve been fortunate to photograph a bunch of concerts and learned to check the lights before loading a roll of film into the camera. For bands using low level lights like Tool this allowed me to get useable images by using black and white. These days I’d expect it’s easier with a digital camera as you can adjust the film rating on the go. The one concern I’d have about using white light is how much. My experience of using a flash was that it ruined more pictures of bands performing than it helped as it can wash out any sense of atmosphere. This is more of a reflection based on my own experience though since a comparison between flash and white light is a bit stretched. Controlling the lights offers a lot more influence on the final appearance of the event than taking snapshots.

Dancing With The Stars

Dancing with the Stars is a multi-camera show on the Seven network. It has just started its third season with something of a whimper compared to previous seasons where they've had Pauline Hanson drawing a lot of free publicity from the mainstream media. This probably reflects badly on the producers, those people working behind the scenes in the lead-up to filming the show to ensure there’s talent on screen. Some of the talent is drawn from Seven’s stable of presenters and actors, notably Nicky Buckley, Ian Dickson (former judge on Australian Idol who has slipped into near-obscurity since he was poached) and Ada Nicodemou, who follows in the tradition of having a starlet from Home and Away. Other talent includes “national treasure” Dawn Fraser, familiar face Michael Caton and some football player (I think).

The hosts Daryl Somers and Sonia Kruger seem to be easy targets for critics like Helen Razer, who wrote in The Age:

Host Somers has a high level of discomfort with his auto-cue and a fondness for gags marginally less funny than those one finds in Christmas bonbons. Shiny co-pilot Sonia Kruger, despite her Amazonian good looks, has all the genuine on-screen warmth of a dalek.

I’d agree Daryl needs a new gag writer but otherwise they do their roles okay. Both pale next to Paul McDermott on the ABC’s Strictly Dancing.

The show must be a massive undertaking for the producers given the size of the set and band, a live audience and the number of contestants (and the six weeks of training they undertake). It has, however, paid off for Seven with the opening episode of the third series attracting 1.98 million viewers for its two hours.

Overview of regulations for children's broadcasting

There are many arguments for regulating the programming of television where it is aimed at, or potentially viewed by children. A couple of good summaries are here and here. Given the ease that issues surrounding children can be used politically, I’m surprised the ACMA/ABA haven’t issued reams of guidelines and codes. They have, however, provided the Children’s Television Standards (CTS), which need to be met as a licencing condition for Australian television broadcasters. "The objective of the CTS is to ensure that children have access to a variety of quality television programs made specifically for them, including Australian drama and non-drama programs."

The CTS appears to be reviewed and updated regularly (see here and here). Perhaps this is not surprising as it has been observed:

The quality of children's programming on commercial television has been a major issue since the commencement of television in Australia. The basic policy position with regard to children and television has been as follows:

• Children are entitled to be provided with quality, age specific and comprehensive programs geared to their special cognitive abilities and experiences;
• It is part of the public interest responsibility of commercial television licensees to provide such programs;
• Children, like adults, are entitled to a viewing choice and are entitled to the diversity of ideas and information that is central to broadcasting policy; and
• Commercial television has unparalleled access and large resources to reach young viewers, and licensees cannot expect to pass their responsibilities to the child audience to other outlets.

As a result the CTS outlines the ACMA/ABA must classify children’s programming before broadcast and; commercial broadcasters are required to meet minimum annual quotas of material in two classifications: 260 hours of children’s programs (C) and 130 hours of pre-school programs (P). C programs must include at least 32 hours of Australian children’s drama, 25 of which must be first release – meaning it is new content.

I am given the impression the ACMA/ABA establishes screening times for children’s programming through codes of practice, such as this (dated) one from the Federation of Australian Commercial Television Stations.

The CTS details acceptable advertising within programming for children, including their content, classification, ratio to programming and frequency. The ACMA/ABA also enforce the classification of advertising within periods that may be viewed by children, such as weekend sporting broadcasts as shown in this recent news release.

In July 2004 the ACMA/ABA established tighter regulations for advertising aimed at children, particularly food and beverages, in response to extended criticism from community and health groups.

From what I've seen compiling this brief summary, I expect the CTS is effective in maintaining community expectations of children's broadcasting - especially given the frequency of revisions the document appears to undergo.

Overview of Australian television code(s) of practice

The Australian television industry broadcasts following guidelines established by the Federal Government in the Broadcasting Services Act. These broadcasters are considered to self-regulate their programming by operating within the Code of Practice established by the Australian Communications and Media Authority (ACMA, formerly the Australian Broadcast Authority, ABA. I’ll refer to both as they still seem to be in the process of changing over).

This system is better described as co-regulation as the television industry follows agreed guidelines that are developed through consultation. The broadcasters can establish their own codes of practice and register them with the AMCA/ABA, such as those of the ABC and SBS, but the ACMA/ABA ultimately establishes standards with respect to particular matters. It is worth noting they can amend a code of practice “and whilst its breach attracts no ‘penalty’, the ABA may nevertheless impose conditions on the issue and/or renewal of licences.”

Professor David Flint, former Chairman of the Australian Broadcasting Authority, has said

The Australian system of co-regulation brings the regulation of broadcasting closer to the self-regulation the print media enjoys. Is this not more consistent to the standards of a democratic society, one where the various forms of media are converging?

He noted this relies on the power the AMCA/ABA has to regulate where codes of practice are lacking but he was satisfied the system operated successfully through comparison with attitudinal studies undertaken by the AMCA/ABA.

It is interesting Professor Flint thought complaints are not the best method to gauge community standards, suggesting they are not necessarily typical or representative. Complaints are, however, a democratic method for viewers to take issue with broadcasting.

Under this system of co-regulation complaints from viewers are directed to the offending station. They must be made in writing and within 30 days of the offending broadcast. The broadcaster then has 60 days to reply to your complaint. If they do not do this or you are unhappy with their response you are then encouraged to raise the issue with the ACMA/ABA, forwarding copies of any correspondence.

This system of regulation is not without critics. My view, not unlike Professor Flint, is it relies on a certain sort of person to pursue a complaint if they have to put it in writing. In recent years some complaints by politicians have been given discussion in the media, such as the 68 complaints made by former Senator Richard Alston, then Minister for Communications – the portfolio that oversaw the ABA. On that occasion the ABC’s Independent Complaint Review Executive dismissed all but two of these complaints:

It found the two instances were one of: "speculative reporting" and the second, a "tendency towards sarcasm" However, the review found 'AM' reported "reliably and competently" over 30 days of war coverage and that none of the Minister's complaints amounted to evidence of systemic anti-American or anti-coalition and partisan reporting.

An example of where the ACMA/ABA has acted in response to a broadcaster not responding to a complaint can be found here.