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The Art of As Live

As Live TV

Studio productions vary depending on what the premise of the show is. Focusing on game shows and Quiz shows, I am going to break down the details of an as live programme in order to understand it within a deeper context.

Genre

"TV quiz shows in America grew out of a popular radio format of the 1930s; and both genres have been aimed principally at a daytime, and largely female, audience." (Boddy, cited in Creeber, 2008) Game shows and quiz shows have been a long-standing and ever-evolving format that everyone is familiar with. Even if you've never seen the quiz show before, you know roughly what will happen, because of the hundreds of iterations of the same format that have come before it. Commonplace for common knowledge questions, skill-based tasks and a hint of a comedic tone, live game and quiz shows are an easy watch. However, this means that coming up with fresh ideas can be a challenge, and it requires the audience to suspend their disbelief so that they can fully immerse in a familiar format. "Suspension of disbelief is important for live TV as the purpose is to make the audience feel as though they're there when they aren't." (Marriott, 2007:8) However, when a format is successful, it will last for years, like shows such as Who Wants to be A Millionaire?.

The Studio

The studio environment is tailored to suit the needs of whatever programme is currently recording in the studio. They are built with high ceilings to accommodate large set pieces, and sound dampening walls to keep noise pollution out. They also have a lighting system that can be changed to whatever the needs of the production are. The lighting grid is set up so that the lights can move up and down freely, controlled by lighting directors and gaffers. Finally, the studio floor is smooth so that cameras can roll across on tripods easily, and it can also be painted different colours for different productions. The paint is removable at the end of the recording. You need to be careful with the studio floor as the paint can chip and get damaged.

Audience

Game shows and quiz shows commonly have audience in attendance at the recording. This can heighten the tension of the programme, as the viewer will be able to hear their reactions to the programme and this will influence their own reaction. If there is an audience but the studio is very quiet while a contestant is playing a game, this adds to the tension and creates suspense. Some programmes acknowledge the audience during the show, and some don't. Acknowledging the audience can add a sense of theatre to the programme which wouldn't be appropriate for a tense programme like Master Mind but can make it more fun and engaging for children's television. The Slammer on CBBC interacts with the audience directly as a tool in the show. They are questioned about their opinion of the performance on the show and are the source of judgement for who wins 'freedom'. This is fun for children to watch because they feel involved, and it creates more of a feeling that the programme was made specifically for them. "Live TV is mediated for the audience, changing the way it's experienced by them." (Marriott, 2007:6) Programmes use audiences in order to add emotion, dimension, and involvement into the programme.

Shot types

The Chase contestants
There are certain shot types that are commonly used in studio productions. This isn't to say that they are exclusive to studio, but there are shots that are recognisable as game show shots. For example, contestants of the show are often framed together to show that they're a team. It's also common for the presenter to speak directly to camera. "Speaking directly to the camera gives a sense of live-ness." (Marriott, 2007:43) This brings the audience 'in' and makes them feel involved in the game. This also encourages viewing, because audiences like to play along, especially with knowledge questions like on The Chase.

Equipment

Certain equipment is used largely or exclusively within a studio environment.

Jib

A jib is a long 'arm' that holds a camera at one end and is controlled from the other. It is useful to create dramatic, high-angle and low-angle shots, especially for sweeping up and down. It takes a lot of practice to use a jib as they can be very heavy and fiddly to use. However, with practice, they can create beautiful dramatic shots.

Track and dolly

A track and dolly refers to a camera tripod on a frame that rolls along 2 'tracks'. This is effective for smooth tracking shots and adds a professional and clean appearance to a shot. They are used on both single camera and multi camera productions, but can be especially effective for live TV.

Control room

The control room is where the programme is edited together live. With collaboration from the director, producer, script supervisor and vision mixer, the programme is put together from all of the shots that are available.
There will be a panel with all of the camera feeds and relevant camera numbers. The director can use this to decide which shot to take next. There are larger screens usually titled 'Preview' and 'Transmission'. The preview screen is used so that the director can view individual shots on a bigger screen before they take the shot. The transmission is what is actually live and being broadcast/ recorded.
The vision mixer works at at a vision mixing desk. They will have rows of buttons that control the preview and transmission. 

Talkback

The producer, director, and script supervisor all use talkback to communicate with the other members of the team, such as the sound department, VT control room and the floor manager and camera operators. The director is usually the person to communicate with everyone and give them directions on what they need to do. The script supervisor will be letting everyone in the team know how long they have of different sections of the show, such as how long left on VT and how long left of the actual programme. The floor manager will relay this to the team on the floor. The producer will only be talking to the director and potentially the presenter. They will be adjudicating games and giving verdicts on right or wrong answers. They also may remind the presenter of their lines.

Mission Control

I will be using this to develop Mission Control and make the rehearsal process much smoother. It will help to be able to practice with developed knowledge of what is expected of everyone on the programme.

Bibliography

Marriot, S. (2007) Live Television: Time, Space and the Broadcast Event London: Sage Publications.

Creeber, G. (2008) The Television Genre Book (Second Edition) London: Palgrave Macmillan.

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