#CCITV

[telecomunicazione]

Consolidated Communications espande il lancio di CCiTV nel New England

p Consolidated Communications espande il lancio di CCiTV nel New England Consolidated Communications, un fornitore regionale di pay TV e banda larga, sta espandendo l'impronta del New England per il suo prodotto CCiTV. La società sta introducendo il suo servizio TV ai consumatori nel Vermont e sta rendendo il servizio disponibile in altre località nel Maine e nel New Hampshire. CCiTV era già disponibile nel Maine meridionale e nella regione dei laghi, nel New Hampshire centrale e meridionale. CCiTV offre quasi 200 canali live, locali, nazionali e premium e offre funzionalità tra cui riavvio / riproduzione TV, telecomandi ad attivazione vocale, HD con compatibilità 4K e DVR cloud. Il servizio parte da $ 24,99 al mese per il livello base (che offre oltre 30 canali) e arriva fino a $ 84,41 al mese per oltre 180 canali. Sponsorizzato da Signiant GRANDI FILE, GRANDI SFIDE: perché Dropbox, FTP e i dischi rigidi di spedizione non sono più fattibili per i media e cosa puoi fare al riguardo Software di trasferimento file di grandi dimensioni - SaaS che semplifica lo spostamento di file di qualsiasi dimensione con velocità e sicurezza, indipendentemente dalla distanza - è essenziale per la tua azienda multimediale. Leggi questo documento per scoprire perché dovresti passare a una soluzione di prossima generazione. "Siamo entusiasti di offrire il nostro servizio TV unico nel suo genere in tutto il New England del Nord", ha dichiarato Rob Koester, vicepresidente della gestione dei prodotti di consumo di Consolidated Communications, in una nota. "La tecnologia basata su cloud offre qualità, flessibilità e affidabilità senza pari." CORRELATO: Consolidated diventa il primo operatore NCTC a offrire FuboTV I clienti di CCiTV possono guardare su TV, computer, tablet o telefono e avere anche la possibilità di saltare il set-top box di Consolidated e utilizzare invece un dispositivo di streaming TV collegato come Amazon Fire TV o Apple TV. CCiTV ha accordi sui contenuti con gruppi di reti tra cui A + E, Crown Media Family, Disney e ESPN Media, FOX, HBO, Turner, Viacom, canali di trasmissione locali, reti sportive regionali e altri. Questo servizio è disponibile nelle località del Vermont, tra cui Barre, Bennington, Brattleboro, Burlington, Colchester, Dorset, Hartford, Manchester, Montpelier, Readsboro, Rutland e Williston. Nel Maine, CCiTV è disponibile ad Auburn, Augusta, Bangor, Biddeford, Lewiston, Portland, Saco, Scarborough, Topsham e Waterville, oltre a numerose località aggiuntive in tutto lo stato. Le località del New Hampshire, come Center Harbor, Chesterfield, Concord, Derry, Dover, Epping, Keene, Laconia, Manchester, Merrimack, Nashua, New London, Portsmouth, Rochester e Salem, sono tra le città in cui è disponibile CCiTV. Maggiori informazioni su pay TV streaming video online Comunicazioni consolidate Articoli suggeriti Tech LG pianifica annunci acquistabili per le sue smart TV Video Amazon vuole vendere annunci OTT su Apple TV, piattaforme Android Gli operatori Verizon Media nominano CTO, propongono biz livestreaming

[maryrosemuseum]

Work has begun on #MaryRoseLIVE! #TeamBlue are filming a prerecorded piece for the show which will be broadcast live from the @MaryRoseMuseum on 2nd June 2017! #filming #history #MaryRoseHistory @ccitv @bigscreenportsmouth @portsmouthuni #surgeon #tudor #historic #documentary #Portsmouth #museums (at Mary Rose Museum)

[bsc-tvb]

Love cooking? Love eating fast, fresh food? This week CCI TV welcomes back Enwezor Nzegwu who is going to show you how to cook Muffin Burgers. Join us live on Friday 24th 12pm noon to either cook along, or be part of the audience on the red chairs in the Eldon Hub.. #portsmouth #universityofportsmouth #6ozburger #ccitv

from CCi TV Channel http://ift.tt/1QPPhCL via IFTTT

[xxvi-junior-blog]

Be sure to click the link below to see more from the interview and live performance of ‘Ceilings’ featuring Jordan D’angelo.

[callumolearytv]

Further Research: EQ usage for Sound Operation in a live environment.

In my last post on sound I talked about my interest in sound operation (here:I really love sound operating, as you’re a hugely important part of the show. Sometimes I think sound operators are quite undervalued in television, as much of the focus is on great visionary work. But if you’ve got no sound, you’ve got no show!

I’m now at a stage where I’m confident in working with multiple channels in live studio productions, but I thought to myself- how can I improve in this role still?

So I was looking my trusty Mackie 1604 VLZ3 mixer and I noticed I hadn’t used the EQ settings before, so I decided to experiment a little because I wanted to get the best out of their voices in today’s Eye On Portsmouth show. I did during the rehearsals rather than live because otherwise their voices would have been all over the place. We had a range of guests who had some really different voices. Today’s female presenter had a high pitched voice, but one of our guests had a much lower tone to his voice- it was incredibly low and quite bass-y so this gave me a chance to really experiment and even these out a little so it just sounded that bit better on broadcast.

So let’s break down EQ- it means equalization. It is essentially a filter, which can cut or boost different parts of sound within a system or show set up- in my case it’s the Mackie sound desk that allows me to do so. It adds that little bit of production value to a television show and it’s really worth knowing.

As mentioned, our female presenter had a high voice, so I cut this a little and added a low-pass filter to it, eliminating that squeak-like sound. Another guest had a low voice, it had quite a rumble, so I added some high pass filtering to his voice.

The problem with EQing is that you can only add so much filtering before it becomes completely overdone. Too much high-pass reveals a tinny sound, which feels really compressed, overproduced and doesn’t sound natural for the environment. Too much low-pass and you might as well be listening to a rumbling heartbeat- balance is the key!

Above: Here’s my set-up for today’s EyeOn Portsmouth. Lots of EQ twiddling but we eventually got there. 

A great experience today, I’ve enjoyed adding some real production value to the sound on a show!

Soundies- this is a great read on EQ and its capabilities. It’s quite music production based, but some of this can definitely be used in television. http://www.soundonsound.com/sos/dec08/articles/eq.htm

[laurenoconnelltv]

Freelancing for the CCI Staff's Live Show - 'Eye On Portsmouth'- 6th March 2015

Role: Camera Operator

I was asked to help out with the lecturers’ live show on Friday 6th March as our student shows for this unit have ended. I was willing to help and managed to get a Camera Operator role in which I was excited about, as I am really enjoying the experiences I am getting being a Camera Operator. It also felt good as I was asked specifically to do the Camera Operator role because they have seen me previously do this role and thought I had done a good job, which made me feel very happy. Being a Camera Operator for this show was a challenge as I was in charge of two different cameras at one time. One of the Cameras was the Sony EX3, where the other Camera was the Canon XLH1. Both of these cameras I have previously used and I feel quite confident with how to control each one. I felt that even though I knew these cameras, I was scared of the challenge given to me for what I had to do during the show. As the two cameras I was in charge of was for the guests I couldn’t practice my shots during the rehearsal before the show went live at 12pm, because they were not there. I made sure that I was as calm as possible to help me take the situation upcoming better, and made sure I was organised by setting up the cameras by linking them to the TriCaster through a BNC Connector, and had white balanced both cameras. The Director briefed me as to what shots my cameras will have during the show. The Sony EX3 was for a Mid-Shot (MS) of the guests and the Canon XLH1 was for a Close-Up (CU) of just one of the guests, depending on who was being spoken to by the presenters. The Director reassured me that I will be instructed to change shot when it was needed throughout the live show.

Above: Me setting up the Canon XLH1 Camera.

Above: Me setting up the Sony EX3 Camera.

During the show there were four different interviews taking place, so I always made sure that I set up shot as soon as the guests sat down. Skills were gained and improved on throughout the live show as I had very little time to move and frame up the next camera shot that I was told to do through the Director speaking to me through Talkback, so that the Vision Mixer could cut to my shot under the instruction of the Director. This made me feel like the skills improved were concentration, listening and quick paced camera shot set up. The first interview was just with one guest so I only had to use one camera (the Canon XLH1) for a Close-Up (CU) shot. This made me feel at ease as it was a simple task before the other interviews which had two guests.

Above: The shot I set up on the Canon XLH1 Camera for the first interview. The second interview consisted of two guests so I made sure I listened to the Director by setting up the Close-Up (CU) of the guest being spoken to first on the Canon XLH1 Camera and the Mid-Shot (MS) of the two guests on the Sony EX3 Camera. During the interview I had to quickly move to the other guest as each one was asked a question by the presenters. This was extreme pressure as I had very little time to do this as the Director wanted to broadcast my shot straight away before the next question was asked to the other guest.

Above: The Close-Up (CU) I set up of the guest on the Canon XLH1 Camera.

Above: The Mid-Shot (MS) I set up of the two guests being interviewed on the Sony EX3 Camera. Similarly to the second interview, for the third interview I had to do exactly the same process. For this interview I felt calmer as I had just succeeded in doing the quick movement set ups on both cameras.

Above: The Close-Up (CU) I set up of the guest on the Canon XLH1 Camera.

Above: The Mid-Shot (MS) I set up of the two guests on the Sony EX3 Camera. Finally, it was the last interview for the show and the last of the camera movements I had to do. The pressure for me had completely gone as I knew I could do this skill well. Once again there were two guests, in which the Sony EX3 Camera stayed on the Mid-Shot (MS) of the two guests, but the Close-Up (CU) of just one of the guests at one time, changed as I had to change from one guest to the other when instructed to do so by the Director.

Above: The Close-Up (CU) shot I set up of the guest on the Canon XLH1 Camera.

Above: The Mid-Shot (MS) I set up of the two guests on the Sony EX3 Camera. Overall, the show went successfully and I feel that I had become very confident in using both cameras because of the experience I had entailed in shows. As Prospects states ‘in a studio, where the camera operator usually follows a camera script, which gives the order of shots. This is practiced at rehearsal and is cued by the director during recording. The skill lies in interpreting what the director wants and acting quickly and effectively to achieve it’.  I feel that I can relate well to this statement as I followed all instructions and acted quickly on them but set up the shots well. As I wasn’t able to have a rehearsal with the guests as they were not there, I felt I dealt with the situation well and as I didn’t make any mistakes I was proud of my efforts. Camera Operating is a role I would take on again in the future as I enjoy the feeling you get when the show is live and the shot I’ve set up is broadcasted to the public. Finally, one of my lecturers told me that I had done a good job with the Camera Operator role and my camera movements were very slick, which made me happy as I know I have become much better since the first time I was a Camera Operator.

 Above: Eye On Portsmouth Logo

[cigarettesandbluecassettes]

Fighting a cold and looking like a mug whilst floor managing today #tvproduction #CCITV 👊

[lifeofatvbstudent]

World on a Plate- 07-11-2014

So, the show went live, and most definitely well! It seemed like a very hectic four weeks to make it happen, but it did indeed happen, and we were incredibly proud of the outcome!  Of course, live TV faces issues of all kinds, whether it's based upon the interaction within the show or if it happens behind the scenes away from the audiences eyes. In our case, we dealt with just the on set interactivity, but our Presenter Gully Burrows dealt with it very professionally and held the show together gloriously.  Floor managing the show did prove difficult, due to the freedom we had allowed the chefs and presenter to have. But, it was a live cooking show and that was the style we aimed for, and I ensured that I kept in the Presenters eye line and informed him before the show to be aware of the timings for the show. Admittedly, it wasn't seemless, but it was an entertaining and exciting show that was similar to no other. One that we were very proud of.  Producing live shows never claimed to be easy, but I guess you could say we made it look like it was!  Catch up with our show and many more below and let us know what you think! 

https://www.youtube.com/watch?v=mIRVALiL7nM&list=UUbUcTkAVUNdPZ7kSZbu_wlg&index=5

[tomwithad]

Tomorrow is the day of our live show "World on a plate". We've had good use of the studio space this week, and we've really got a great show in store. As I'm the floor manager downstairs, I have big responsibility to ensure that the studio is run smoothly and everyone is clear on what their task and job role will entail for the show. It's a tricky show to complete and it demands a lot of work to make it successful- which ours will be. Including cooking, food facts, international interviews and audience interaction. Jam packed!! Yesterday's rehearsal was slightly more about ironing out the creases, and ensuring that there were no errors in the script and that crew were clear on the structure of the show. Today though, myself and Becky Trimmer- sound operator- had the opportunity to decorate the set with international flags. And that was our main focus in today's session, our aim was to ensure that the set looked interesting and different from any other week before. And from the pictures above, hopefully you can see that we have achieved that. When the lights are on, the presenters are in and the tables are set, I know that the set will be exactly how I envisioned! So, today, job well done! Tomorrow morning will be a busy one full of rehearsals, and we'll be going live at 12!

[creatingbalanceproject]

The University of Portsmouth has a student TV station on campus called CCITV and today we were featured in a Creating Balance Special. Interviews with Simon Terry - Innovation & Brand Director, Anglepoise, Jack Daly - student and one of the participants, Paul Gonella - from Strong Island and one of the participants and Claire Sambrook - Project Leader and University Lecturer. Many thanks to all the students that filmed, edited and put the show together.

[xxvi-junior-blog]

This is an interview and performance that I did for CCI TV. I performed my latest single ‘Ceilings’ featuring Jordan D’angelo, the show was broadcasted live on The Big Screen at Guildhall and around the Eldon building too. This definitely allowed me to shine a little more light towards the XXVI brand.

[callumolearytv]

Freelancing for a staff-led Eye On Portsmouth.

Above: Sorting through AutoCue for today's Eye On Portsmouth.

Roles: AutoCue Operator and Sound Assistant

So now all student shows have beencompleted for the year, we still have space to fill for our regular Fridaynoon slot, as we still go live on the Portsmouth Big Screen, around theUniversity and online. Wanting to carry on gaining skills, I offered my services as an AutoCue operator and a Sound Assistant for a staff led Eye On Portsmouth. Although a relatively simple task, I’d never been an AutoCue operator before throughout my career in television to date. I was quite nervous as I was more used to being the one reading an AutoCue rather than the one in control of it.

We use a system called QStart to house the AutoCue script in the Eldon Broadcast hub. It’s really easy to set up as long as your file extensions are right (.docx .doc etc). All I needed to do was to make sure the latest script was on the system, import it and make sure the text was colored in white rather than black so the presenters could see it on the cameras.

Above: Although easy to forget (and I almost did!), I needed to make sure the AutoCue screen on the cameras was turned on via the little silver button- so small but so essential!

Operating the system was a little difficult at first because I wasn’t used to the sensitivity of the AutoCue dial, which controls the speed of the words shown on the camera. I accidently went too fast on it for the presenters, but after some practice I got used to operating it. I enjoyed the challenges of keeping in time with the presenters’ reading pace and when to start the autocue up again after interviews and VTs.

Once I got used to the operation of the AutoCue, I doubled up as a Sound Assistant. I did this because there were lots of guests on the show who were coming in and out, so the Sound Operator had his work cut out “unmicing” the finished guests “micing up” the new guests. This was done during the VTs so I stepped in to make sure the sound levels were appropriate because the Sound Operator had to vacate the sound desk.

Overall, it was a good experience to gain skills in running the AutoCue Operation system and I would happily help out on other shows again.

[callumolearytv]

Sound Operating for Team Red's final show: Eye On Portsmouth.

Above: The official graphic for Eye On Portsmouth the third and final show produced by Team Red for CCITV.

Role: Sound Operator

Having become more confident in studio sound operation throughout the course of the year,this was a role I was keen to take on. I was aware that this was the last showof the academic year and the group were planning to make this a memorable one.I expected a challenge and this was the case, as multiple channels of sound were used in the live broadcast- more than I had used previously. I felt this was a good thing though as it meant I would improve my sound knowledge, whilst also gaining the skill of working under extreme pressure.

As stated, this was the last show we were to produce as a collective on the CCI Channel for the Television Broadcast unit. Team Red’s final show was Eye On Portsmouth . To give some background, Eye On Portsmouth is very much a community based show. It looks to broadcast a host of really interesting events going on in Portsmouth through live interviews and features. On a personal note, this was a hugely enjoyable show to work on as I met so many great people doing great things for the community and it was great to be given the opportunity to get their stories out on CCITV.

Developing the show in its early stages was a creative cauldron. Lots of ideas were being mixed together and early minutes threw up a host of ideas. These meetings were well lead by the Producer and I contributed ideas. These early ideas included ones, which did not come to fruition for the final show. One of these ideas included a feature piece with Los Dave, an artist based in Southsea. However, after trying methods of contacting him, it was not possible to set a filming date. 

As a result, I suggested to the Producer a man called Ian Hendy. He’s a World Champion Natural Bodybuilder who also lectures in Marine Biology here at the University of Portsmouth. This was an idea thrown our way by the University’s press office for another unit called “TV Transmission”- a news programme for the University of Portsmouth. However, it was agreed in an earlier production meeting that it would be better to shoot this as a magazine-style feature as it didn’t fit into a news based show. To shoot this piece, the Producer organised a shoot with Ian in his lecturing quarters at the University. Here, he was interviewed about his lecturing, being a marine biologist and how he balances this with owning a gym in Southsea and regular training.

For the shoot I worked as the sound operator, using the Sony UTX-B2 transmitter microphone. I used the microphone because it was a small, portable device, which could plug directly into the Sony PMW-EX3 camera, a camera I’ve used throughout the year. As a precaution, I also made sure I had a second channel of sound being recorded in case the microphone breaks, meaning that I helped to make sure a reshoot wasn’t necessary. I chose a boom microphone to record the additional sound going into the second channel. During the shoot there were problems faced, as an automatic fan could not be turned off, which threatened the sound quality from the shoot but I resolved this issue by making sure the room wasn’t overcrowded, which meant the fan wouldn’t turn on. Upon reflection, I feel it may have been worth doing a location assessment beforehand so this problem could have been avoided.

Rehearsals

The bulk of my work as the Sound Operator for the show came during the rehearsals and on the day of the show. I used a total of 8 channels of sound for the broadcast through the The Mackie 1604 VLZ3 soundboard in the studio. Channels 1-4 consisted of the Sony UTX-B2 wireless tie microphones. Channels 5 & 6 were the Sennheiser eW100G3 handheld microphones, channel 7 was a beyerdynamic MCE86 ii, Channel 8 an AKG perception 150 and I reserved channel 9 as a spare channel should technical problems arise. Below explains how I used these microphones- there was a lot of choice, and narrowing it down took a while!

Channels 1-4- Sony UTX-B2 wireless tie microphones.

Above: The wireless receivers for the Sony UTX-B2 microphones connected to the soundboard. These receivers are operated by rechargeable AA batteries and plugged into the back of the Mackie soundboard via a 3-pin male XLR end. In addition, the transmitters were also operated by 2x rechargeable AA batteries. I decided to give these microphones to the guests and presenters because these gave a direct pick-up of their voices. I felt that these would be the best because if I used a handheld microphone I risked picking up excess noise.

Channels 5-6- Sennheiser EQ 100 G3 handheld microphones.

Above: Setting up the handheld microphones. Each microphone uses an EM100 True Diversity Receiver to receive the sound. The receivers each have 2 antennai for wireless range extension and I plugged these in because it would guarantee signal strength. The receivers use mains electricity for power, but they were also plugged in via a 3-pin XLR to the soundboard. The handheld microphones, like wireless tie microphones are powered via 2x rechargeable AA batteries. I chose these because I wanted to be able to pick up sound during the dogs feature of the show. One of these handheld microphones would also later double-up as a vocal microphone for the musical performance at the end of the show because they have a close-range pick-up and are used during musical performances on a variety of television shows.

Channel 7- Beyerdynamic MCE86 ii shotgun microphone.

Above: Setting up Beyerdynamic MCE86 ii. This is a shotgun microphone suitable for picking up sound from the audience in a question/answer situation, which was a feature the group planned and the Producer organised. Again, this plugged straight into the soundboard via the XLR ports at the back of the soundboard. In order for this microphone to be used efficiently, the Producer Dom Hall asked me to recruit a boom microphone operator for this part of the show, as this meant I could concentrate on operating the channels on the soundboard. I used this microphone because I didn’t know which audience members were going to be asking questions at that point in the show.

Channel 8- the AKG perception 150 microphone.

Above: the AKG Perception 150 microphone. This is a microphone I had not used previously, but after researching into it, I decided that this would be a good quality microphone to use for musical performances because of its pick-up range and its suitability for instrument recording. During the rehearsal, our musician Euan, who was playing out the show, was sound checked with the aforementioned Sennheiser microphone and the Perception 150 their quality and levels. I sound checked Euan because I needed to make sure I was prepared for the upcoming live show. Again, this microphone used a 3-pin XLR cable to plug into the Mackie sound desk, and power came via AA batteries. I was really impressed with the clarity and clearness of the sound it was able to record.

Above: the Shure SM58 vocal microphone.

Due to the amount of microphones I had and the amount of guests planned for the show, it was important to have a reliable contingency microphone should any technical difficulties or breakages happen during the show. Alternatively, I had this as an option for a vocal microphone for the live performance. This is a dynamic microphone which has in-built pop filters, which again improved the quality of sound.

Day of Broadcast:

The day of broadcast contained successes and technical difficulties, but it was one of arguably the most technologically impressive achievements at CCITV this year. I had high hopes heading into the show and the atmosphere was good amongst the crew when we arrived at 9am to prepare for the live broadcast at noon. We felt ready for our final broadcast of the Television Broadcasting unit.

Before long, I was wired up into the sound desk and discussions took place about achieving the best sound quality in particular areas of the show. As a sound operator, capturing the sound of audience participation was high on my agenda, and I spoke to the Director about picking up audience sounds such as clapping and questioning and we both agreed this was a key sector of the show. This was a success, and I instructed the boom operator I recruited to direct the microphone to the audience when the Director requested. I also made sure I used long XLR cable as it was important to make sure there was enough pull to reach audience members if they were far away.

I faced some technical problems during the broadcast, whereby the reliability of the handheld microphone (Sennheiser EM100’s) was questionable. When the microphones were live, there was an odd tapping sound coming from one of them, meaning that I needed to address the situation promptly.

One of the difficulties faced, was that the talent was not in the habit of keeping these microphones close enough within the pick-up range during interviews, so their voices weren’t picked up. I could not work out whether the tapping sound was coming from a presenter, so as a precaution I made sure the sound levels on both tie microphones were loud enough in case one of the handhelds stopped working.

Aside from this, the show was largely a success- it was entertaining and had some cool features, making it a good way to end the year. I’m confident in working with sound, and I look forward to developing my skills in using equipment. My knowledge of sound has enabled me to work closely with Directors and production crew and has enabled me to become a crucial part in building better studio shows. I’m now planning to develop my knowledge of EQ levels and sound panning when working on the remaining shows in the year.

Here's the link for the show!

https://www.youtube.com/watch?v=ExHv8SbuUCw

[callumolearytv]

Freelancing for Team Blue's World On A Plate Show.

Role: Camera Operator

Above: Discussing shots through TalkBack with the Director.

On the 22/01/2015 and 23/01/2015 I stepped in as a Camera Operator for Team Yellow’s World On A Plate show. As a Camera Operator, working on this show was the most challenging to date in comparison to previous shows. This was down to organizational issues within the production group. Despite having good ideas, a lack of full rehearsal and communication between both studios made the show challenging to work on. To overcome this, I tried to work as closely with the Director as I could but technical and organizational issues meant my time to discuss shots and receive instructions were limited.  This meant I had to work to the best of my ability to ensure that I had the correct focused shot at all times, but making sure I was also listening to the Director when they instructed me to suddenly change shot at short notice.

Another challenging factor to work with for this show was receiving verbal instructions rather than a camera script. I found this difficult to adapt to at first because normally I am given a script, but eventually I got the hang of working in this style and built upon skills I learned previously. Skills I learned during this show were focusing the camera quickly whilst conversing with the Director.

As the show went live, the tally light on my camera stopped working so I could not tell when the vision mixer was cutting to my camera. I was really worried about this, as I couldn’t tell when my camera was live, so I took it upon myself to keep calm and make sure I have close communication with the Director, to make the team was also aware of this situation too as soon as it happened.  

The show also had lots of camera movement and involved lots of refocusing on guests or food for the “chilli challenge” part of the show. This was a high-pressure environment that I had not necessarily been exposed to on other shows, but I felt I gained a new skill, as most of the camera work was successful. This was a real challenge, as I had no rehearsal, so I had to pick up skills quickly.

Overall, the show was a success as the ideas and creativity carried it through, but the quality could have been improved if communication was better. I feel I developed some good skills here and with more camera experience I will continue improve in my speed of operating the cameras.

Above: One of the shots a guest on the show trying a chilli. This shot was of good quality as I had enough time to get the focus right. On a personal note I'm delighted I caught this shot- look at the contestant's face! TV gold!

Above: Unfortunately this shot is out of focus. The Director cut to it but I was unaware of this due to the breakage of the tally light. Still a brilliant moment from the show though!

[callumolearytv]

Freelancing for Team Green's CCi Live show.

Role: Floor Manager

Above: Working as the Floor Manager in the CCi Studio for Team Green.

On both the15/01/2015 and 16/01/2015 I worked as a floor manager for Team Green,whom asked me to step in as a Floor Manager for their CCi Live show. During my role, I worked closely with the production team looked after a new presenter for the channel.

This was the first time I worked as a Floor Manager, and found the experience varied and challenging. Initial difficulties included distinguishing when the Director was speaking to me but after a while this was something I got used to by keeping a close ear on what was happening in the gallery whilst I was in the CCi Studio. Another skill I learned was keeping the presenter aware of what was going on at all times and making him more relaxed ahead of the show.

Above: The TalkBack system I used. This connected to mains electricity via a 5-pin XLR cable. To talk to my Director- who was the only other member linked to the system- I just pressed the “Talk” button. I also used a headpiece, which connected to via a 3.5mm jack. The TalkBack system fitted to the director’s box via a 3-pin XLR cable. I enjoyed using this and found it easy to use and set-up.

Above: The MC1 Headphones that come with the Talkback system. I find closed-cup headphones are probably better over a long period of time- they're more comfy!

This was a good experience and I built better communication skills by learning hand signals that Floor Managers traditionally use alongside, talking clearly and efficiently with my Director.

[callumolearytv]

Freelancing for Team Blue's Eye On Portsmouth show.

Role: Camera Operator

On both 20/11/14and 21/11/14 I worked as a Camera Operator for Team Blue who asked me to work on their show. I had undertaken camera work previously, but this time I wanted to learn more about setting up the studio prior to broadcast. Alongside this, I learnt about linking up the TalkBack system to the Director’s box, which connected via an XLR cable, whilst the earpiece connected to the TalkBack box via a 6mm headphone jack. This allowed me to keep communication with the Director throughout. 

Above: Working as a Camera Operator for Team Blue's show.

The camera I used was a Canon XLH1. This is a high-definition camera, which shoots at 1080i. The camera also has selectable frame rates but for UK broadcast transmission we use 25fps. It’s a good quality, affordable camera for broadcast. It excited me because it has a good range of settings giving lots of production options. It sends a good signal through the SDI slot and is really easy to set up, even for a first-time user of this camera like myself. However, one thing I found difficult about working with this camera was that it had a small screen to reference the quality of my shot. I’m not a big fan of using viewfinders, as my preferred technique is using the camera screen to reference my shot. I kept close communication with the Director through talkback on the quality of my shots throughout, as the size of the screen was too small to make sure focusing was good enough.

Specifically, my role was to converse with the Director and make sure my framing was appropriate for the studio content. I was required to frame on a static two-shot for one interview, then for the second half of the show I was responsible for framing the guest and switching between a close-up and two-shot.  I learned how to move the cameras safely, assuring that no cables were caught up in when moving to different areas of the studio and making sure shots were focused. Multitasking here was an important skill but also challenging because I balanced many tasks at once. This was successful as I managed to move the camera safely and keep shots focused. I would be a Camera Operator again because I would like to improve my skills, and keen to experience different types of shots for different shows.