Staff Arrives and Studio Opens
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Staff Arrives and Studio Opens
Craft Service and Catering
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Instructor(s): Brad Perkins, Karen Lawfer, Clarice Bethers
Craft service or craft services is the department in film, television and video production which provides cast and crew with snacks, drinks and other assistance. Craft service workers are nicknamed "crafties" because they provide their services to the other departments, known as crafts, in a set. Other departments such as camera, sound, electricians, grips, props, art director, set decorator, special effects, hair and make-up, are referred to as crafts. . Craft service is different from catering; craft service refers to the food always available to the crew while they are working, while catering is provided by a catering company or a restaurant and handles full meals. Typically there is one main table where the snacks and coffee are set up (which is simply called "crafty" or "the crafty table"). Occasionally there are two craft service stations, with one being for cast and crew and another for non-union background actors. A "satellite" crafty may be set up next to the camera, as they may not be able to leave their workstations. In addition to snacks and drinks, the craft service department clears the set of trash. Aside from snacks and beverages, craft service may also supply bandages, aspirin, gum, antacids, toothpicks, hand sanitizer, sunscreen, and hand-warmers. Crew member will get their AK Food Worker Card during the camp.
Class Time: 1 Slot
Welcome, Introduction to Television Production, the Juneau Live! Studio, Daily Camp Broadcasts, Story-boarding, ENG
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Instructor(s): April Dooley, Brad Perkins, Group Advisors
Storyboarding
House and Greenroom Managing, Interfacing with Talent and Guest Services
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Instructor(s): April Dooley, Pastor Karen Perkins, Brad Perkins, Karen Lawfer, tbd
Finally, Resurrection Lutheran Church success in operating its community service programs (the CBJ Warming Shelter, the Juneau's largest Food Pantry and the Juneau Live! Studio) results partly from following our Guest Service Guidelines These guidelines are derived from the Disney Institute. Crew members will participate in an abbreviated version of this train that all RLC staff and volunteers complete.
Lunch
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Lunch prepared by crew members catering.
Television Directing
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nstructor(s): Paul McDermott, Jared Campbell, Brad Perkins
Unlike the film counterpart, a director in television usually refers to the gallery (or control room) director, who is responsible for the creative look of a production through selecting which shots to use at any given moment. The director views the action on the studio floor through a bank of screens, each linked to one of the cameras, while issuing instructions down to the floor manager. They also control the gallery area, calling for sound rolls, digital on-screen graphics and video rolls. Some directors also work more closely with on-camera talent and others also act as both producer and director. A video control operator (typically credited as video control, and sometimes as a video engineer or video operator) controls the video console to regulate transmission of content—everything from test patterns to live and recorded telecasts. Video control operators view the action on set through video monitors and set switches and observe dials on the video console to control contrast, framing, brilliance, color balance, and the fidelity of the transmitted image. They monitor the program to ensure broadcast technical quality, and review the program to determine that the signal functions properly and is ready for transmission on schedule. Video control operators and video tape operators are used only in television productions recorded on video tape because of the growing use of broadcast automation with video servers. The video tape operator (VT operator or VTR operator) cues and prepares video inserts into a program. A VT operator sets up and operates video tape equipment to record and play back the program, reads the program log to ascertain when to record the program, and when it airs. They also select sources, such as satellite or studio, for the program, and select the video recording equipment to use. They are heavily used in sports programming, and in all video taped productions, including television news programming, and sometimes sitcoms, if they are shot on video tape), they are also responsible for action replays and quickly editing highlights while a show is in progress. As the title suggests, video tape operators only work in video taped production. Although, VTR operator's still work on digital productions. It is a name that has just stuck to the playback operator. They can also be on set editors to give the director and director of photography the ability to see how what they shot cuts together.
Class Time: 1 Slot
Sound Engineering, A1, A2 and Boom Operation
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Instructor(s): Keith Giles of Alaska Music One, Bradley Perkins, tbd
A1 is the primary audio engineer responsible for the technical design and operation of associated sound systems (e.g. mixers, microphones, intercom, IFB, RF equipment, PA/monitoring, music/sfx playback, multi-track recording, and more). Generally speaking, the A1 supervises all audio crew members during build, rehearsal, and show phases of any production. Ultimately, the A1 will have routed, recorded, and mixed all sound sources heard during the program broadcast. The A2 helps get microphones or other audio devices to the right place or to the right person. An audio assistant (A2) positions and interconnects audio devices, such as microphones and intercoms, from the television production truck to the venue. Typically, larger productions use two or more A2s. The boom operator is part of the sound crew, and an assistant to the sound engineer or production sound mixer. The boom operator's main responsibility is microphone placement, sometimes using a "fishpole" with a microphone attached to the end—and sometimes using a "boom" (most often a "fisher boom"). The fisher boom is a piece of equipment that the operator stands on that lets him precisely control the microphone at a greater distance from the actors. They also place wireless microphones on actors when necessary. The boom operator strives to keep the microphone boom near the action, but away from the camera frame so it never appears onscreen. They work closely with the production sound mixer, or sound recordist, to record all sound while filming including background noises, dialogue, sound effects, and silence.
Floor Direction and Camera Operation
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Instructor(s): Adam Garner, David Brabaw, Karen Lawfer
As the head member of the camera crew, the camera operator uses the camera as instructed by the Director. They ensure the required action is correctly filmed in the frame, and must react instinctively as the proceedings take place. If the camera operator is also a cinematographer, they also help establish the theme and appearance of the show. The cinematographer—or director of photography (DP)—regulates lighting for every scene, frames some shots, chooses lenses, decides on film stock, and strives to match the project's visual appearance to the director's vision. However, the cinematographer does not usually move the camera on the set, as this is usually the exclusive role of a camera operator. The floor manager represents the director on the studio floor, and gives instructions and direction to crew, cast, and guests. It is closest to the role of an assistant director, as the job frequently entails barking orders to keep a production on schedule. The floor manager is always in direct contact with the director via talkback in the gallery. The floor manager also checks that the floor is clear and safe for the performance, checks that scenery and set pieces are ready, turns on appropriate lights, makes announcements to staff and audience, helps maintain quietness and order, calls cues, and prompts talents as required. They also provide cues, timing and other information to the presenters and talents. An assistant floor manager (AFM) sets the stage, prompts contributors on the studio floor, and ensures that everyone knows their place in the script. This frees the floor manager for other duties. They often oversee a team of runners. Increasingly, assistant floor managers are asked to help design and prepare props, and help set and reset action on the studio floor.
Showrunner Camp Daily Broadcasts
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Prep Time for Daily Broadcasts
Showrunner Camp Daily Broadcasts
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These daily br0adcasts serve a number of goals:
opportunity to practice skills being learned in camp
learning to work in a team setting
preparing for a live broadcast
going live on the studio’s announced schedule (3:30 each day of camp) to the public
working in front of a studio audience (at least other groups, but could be anyone who shows up, if broadcasting from studio) or public (if broadcasting from outside studio)
Crew members from other groups may act as talent for other groups’ broadcasts. Check out the latest broadcast:
Studio Closes and Staff Leaves
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Studio Closes and Staff Leaves