4th November

Today we had another session with Peter where we learnt more about the Audio Mixer and the different signals.

STOB --Weak-->Audio Desk--Ana, Line level-->DIV-300 (Digital)

An Audio Mixer has 12 Mic inputs, and 4 Line inputs. A Mic level has a weak signal, whereas a Line level has a strong signal (1 volt).
All equipment in the 21st Century is digital, but it used to be analogue. There is a few differences between analogue and digital signals. An analogue signal is tolerate, and can take frequencys louder than it is designed to have (can handle +3, +6, +9). Whereas a digital signal cannot handle this without becoming extremely distorted and ruining the sound quality. This is measured in a VU meter, which measures frequency / volume units of audio. You must not allow the signal to go above 0, as the signal will become distorted, and the meter will turn red to warn you that the signal is peaking.

Peter also told us the correct terms to use for camera movements.
Pan is where you move the camera side to side, without moving the pedestal.
Tilt is where you move the camera up or down.
Crab is where you move the camera left or right by moving the pedestals. This is called track in film productions due to the tracks laid on the ground to help move the camera.
Track back and track forwards is where you move the camera backwards or forwards via the pedestal without moving the camera.
Ped up / down is where you use the pedestal to adjust the level of the camera (eye level, high angle, low angle). This is easily done by pushing down on the circle bar located halfway up the pedestal.
You must use instructions from the cameras point of view, and you musn't zoom or move when on-line as it looks tacky and is very difficult to pull off.

When a red light is on the top of your camera, this means you are on-line and is called a tally light in the industry. The director will tell you when your camera is on-line so you need to hold the shot! The cameras that will be on the outside edges of the TV studio are called pole cameras, or winger cameras.

When filming you need to remember the rule of 3rd's, where you must have the eyes on the upper third. Remember headroom! A safety shot will always be in place in case a shot goes wrong and the director needs to use this shot until it has been sorted. This is usually a wide shot. The eyeline is the direction of where the talent is looking, and this determines which camera will be filming them.