Staff Arrives and Studio Opens
-
Staff Arrives and Studio Opens
Producing and Showrunning
-
Instructor(s): Brad Perkins, tbd
In the entertainment industry, a television producer (compare to film producer) is generally in charge of, or helps coordinate, the financial, legal, administrative, technological, and artistic aspects of a production. The Showrunner is the person who has overall creative authority and management responsibility for a television program. “the vision of the show as a whole does not come from the freelance or even the staff writer, but from the showrunner.
Sound Engineering, A1, A2 and Boom Operation
-
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.
Class Time: 2 Slots
Lighting and Set Design and Hair, Makeup and Wardrobe
-
Instructor(s): Pastor Karen Perkins, Tamara Walter, Karen Lawfer, April Dooleyr
The production designer is responsible for the production's visual appearance.They design, plan, organize, and arrange set design, equipment availability, and control a production's on-screen appearance. The production designer is often called the set designer, or scenic designer. They are trained professionals, often with Master of Fine Arts (MFA) degrees in scenic design. The set designer collaborates with the theater director to create an environment for the production—and communicates details of this environment to the technical director, charge scenic artist and property master. Scenic designers create drawings and scale models of the scenery. The set designer also takes instructions from the art director to create the appearance of the stage, and design its technical assembly. The art director, who may also be the production designer, plans and oversees the formation of settings for a project. They must be well versed in art and design styles, including architecture and interior design. They also work with the Cinematographer to accomplish the precise appearance for the project. The scenic designer collaborates with the theatre director and other members of the production design team to create an environment for the production, and then communicates details of this environment to the technical director, production manager, charge artist, and property master. Scenic designers. A professional make-up artist is usually a cosmetology beautician, and applies makeup to anyone who appears on screen. They concentrate on the area above the chest, the face, the top of the head, the fingers, hands, arms, and elbows. Their role is to manipulate the actor's on-screen appearance to make them look younger, older, larger,etc. Body make-up artists concentrate on the body rather than the head. Make-up itself is substances to enhance the beauty of the human body, but can also change the appearance, disguise, or costume someone. Make-up artists, hair stylists, costume designers, and dress technicians combine their efforts to transform actors into characters, presenters, etc. The costume designer makes all the clothing and costumes worn by all the Actors on screen, as well as designing, planning, and organizing the construction of the garments down to the fabric, colours, and sizes. They greatly contribute to the appearance of the production, and set a particular mood, time, feeling, or genre. They alter the overall appearance of a project with their designs and constructions, including impacting on the style of the project, and how the audience interprets the show's characters. etc.
Class Time: 2 Slots
Lighting and Set Design and Hair, Makeup and Wardrobe
-
Instructor(s): Pastor Karen Perkins, Clarice Bethers, Karen Lawfer, April Dooley
The production designer is responsible for the production’s visual appearance.They design, plan, organize, and arrange set design, equipment availability, and control a production’s on-screen appearance. The production designer is often called the set designer, or scenic designer. They are trained professionals, often with Master of Fine Arts (MFA) degrees in scenic design. The set designer collaborates with the theater director to create an environment for the production—and communicates details of this environment to the technical director, charge scenic artist and property master. Scenic designers create drawings and scale models of the scenery. The set designer also takes instructions from the art director to create the appearance of the stage, and design its technical assembly. The art director, who may also be the production designer, plans and oversees the formation of settings for a project. They must be well versed in art and design styles, including architecture and interior design. They also work with the Cinematographer to accomplish the precise appearance for the project. The scenic designer collaborates with the theatre director and other members of the production design team to create an environment for the production, and then communicates details of this environment to the technical director, production manager, charge artist, and property master. Scenic designers. A professional make-up artist is usually a cosmetology beautician, and applies makeup to anyone who appears on screen. They concentrate on the area above the chest, the face, the top of the head, the fingers, hands, arms, and elbows. Their role is to manipulate the actor’s on-screen appearance to make them look younger, older, larger,etc. Body make-up artists concentrate on the body rather than the head. Make-up itself is substances to enhance the beauty of the human body, but can also change the appearance, disguise, or costume someone. Make-up artists, hair stylists, costume designers, and dress technicians combine their efforts to transform actors into characters, presenters, etc. The costume designer makes all the clothing and costumes worn by all the Actors on screen, as well as designing, planning, and organizing the construction of the garments down to the fabric, colours, and sizes. They greatly contribute to the appearance of the production, and set a particular mood, time, feeling, or genre. They alter the overall appearance of a project with their designs and constructions, including impacting on the style of the project, and how the audience interprets the show’s characters. etc.
Lunch
-
Lunch prepared by crew members catering.
Television Directing
-
nstructor(s): Paul McDermott, Jared Campbell, Brad Perkins
Instructor(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
Showrunner Camp Daily Broadcasts
-
Prep time for daily broadcast
Showrunner Camp Daily Broadcasts
-
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:
Thursday Evening Tech Rehearsal with Talent Schedule
-
Craft service call
Thursday Evening Tech Rehearsal with Talent Schedule
-
Tech crew call
Thursday Evening Tech Rehearsal with Talent Schedule
-
Talent call
Studio Closes and Staff Leaves
-
Studio Closes and Staff Leaves
Thursday Evening Tech Rehearsal with Talent Schedule
-
Dismissal