Week 8

     I was honestly disappointed to learn that the next classes had to be canceled. It turns out that even this can bring some positive things. The video lecture filmed by Przemek is very useful and I am happy that we have got an access to it. I have not had an opportunity to wrok as a vision mixer, director or floor manager and such a condensation of knowledge that I can access any time is comfortable. 

    

     I am interested in the role of visual mixer, but I have not asked to be assigned to it because I did not feel comforatble enough with vision mixer desk. While watching the video, many things became clear, like cutting to PC. When I think about it now, I could prove myself in this role. I have a good muscle memory, so after a moment working with the mixer, I shouldn't have many problems with operating it without looking at the desk. What I could focus on would be communication with a director. According to Lucy Brown and Lyndsay Duthie, vision mixers 'have to be in sync with the direc-tor, listening carefully to their instructions' (2016, p. 50). Rod Fairweather adds: 'Vision mixers want to know clearly and simply what to take next and when, so develop the habit of clear speech patterns' (2001, p. 70). This is what I think would be the biggest challenge for me - to read director's orders correctly.

     When it comes to directing, I do not think I would work well in this role. Too much involvement would lose me, I am an achiever type and I have high expectations from myself and others as well. I am afraid that I would not have enough patience to lead a big team and my stress would affect the rest of the team.

     In turn, I would like to try the role of the Floor Manager. I like that it gives a lot of freedom when it comes to movement, it seems to be the most dynamic role in the studio. This role is about organisation, and I feel comfortable with it. 

The video helped me understand the video mixer

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Sources: Brown, L. and Duthie, L. (2016), 'The Studio Environment' in The TV Studio Production Handbook. London: I.B.Tauris
Fairweather, R. (2001), 'The Studio Team' in Basic Studio Directing. Oxford; Boston: Focal Press

Week 7

     After the experience from the set of the culinary program, I was excited about working on live music programme, because I have expected it to be more static and so, less stressful and chaotic. After today, despite the fact that the group was very limited, I can say that my assumptions came true.

     I was surprised that scene appearance was up to the group decision. At first, looking around the studio I did not have any ideas and did not expect to create anything spectacular. But the commitment of our director filled me with good energy. When I have saw the final effect of our work, I have instantly wanted to engage as a camera operator and see what possibilities of shots this stage arrangement gives us. At the beginning I was afraid that the idea to add fairy lights, when we have already had lights, umbrellas and flowers, would be too much. I changed my mind after standing behind the camera. I have noticed that in fact, during close-ups it would fill the empty space behind performer's head.

     I have already had opportunities to work as a camera operator and at this point I feel that I have
significantly improved. I have a better feel of the zoom pace and camera movement. Initial positioning of cameras on the set today did not work well, because our director wanted the camera centrally in front of the performer to be our main camera. Taking the advice of our module coordinator on 180 degree rule for 1 person, I have suggested moving all the cameras in the way that made my camera (camera 3) to be the one placed parallel to the stage. Today's work was devoid of tension associated with haste. 

     I realised that during the as directed part, accurate instructions on how to move the camera are very important to me. It happened a couple of times that my zooms were not smooth because I was not sure at what point should I stop. This is a communication problem that we can certainly solve by talking about it with the director.

     

The effect of our work impressed me, positively!

Visit in Tinopolis

     I am glad that I had a rare opportunity to visit a TV studio during rehearsals and broadcast. The first thing I noticed, during the tour around the building, was that our university gallery and set does not differ much in quality and we have available amazing equipment to use. Obviously, Tinopolis has a professional studio, but for campus conditions - our is impressing as well.

     The main difference I noticed was extensive office facilities and the amount of work that has to be done to produce daily programmes. Starting from researcher's desks covered with books, ending on producer's desks covered with documents. As a Media and Communication students I expect that my future work will start from open space, so it was useful to see such an office not only in terms of how television is working.

     Later on, I could see that a style of work in Tinopolis is slightly different. I really like the combination of the roles of director and vision mixer. I think it significantly facilitates work, especially with dynamic programs. After my experience as a PA a week ago, I liked the way that camera changes were communicated, it was very quick, as short as possible - and communicated mostly by a director. Such an organisation would definitely help me in the last week.

     When it comes to studio, I was impressed especially by presenters and how smoothly they manage their time. Signals from the floor manager were visible and clear which had to help a lot, but I would find it very difficult to close withing strict time and do it naturally. I saw that camera operators often used a preview of live programme to match their shot to the previous one. During workshops we do that using a TV screen which would be more difficult in a big, Tinopolis studio. 

The visit was an unique and informative experience!