Television performance techniques module 6

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Television Performance Techniques

Ronie M. ProtacioExecutive DirectorCenter for the Arts & Sciences

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Performing Techniques

Speak directly to the camera, with other performers or the studio audience

Be aware of the television audience watching at home ( a small intimate group)

There is no reason to scream at the “millions of people out there…”

Talk quietly and intimately to the family who were gracious enough to let you come into their home

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Performing Techniques

The camera is your audience Adopt your performance techniques to the

characteristics of the performance and other production elements, such as audio and timing

{Camera Lens Look directly into the lens whenever you

intend to establish eye contact with your viewer

Stare into the lens and keep eye contact much more than you would with an actual person.

Glancing away from the camera would break the intensity of communication between you and the audience – thus breaking the “magic”

Look at the lens casually and in a relaxed manner

{Camera Switching

Know which camera is “hot” by following the floor director’s cue or by looking at the tally lights

Switch eye contact with the camera quickly but smoothly

Do not jerk your head from one camera to the other

If you suddenly discover that you have been talking to the wrong camera, look down as if to collect your thoughts and then casually glance into the “hot” camera and continue talking in that direction until you are cued to the other camera.

{Camera Switching

Ask the director or the floor manager if there will be camera changes during the program, and approximately when the changes will happen.

Mark all camera changes in your script When demonstrating something, keep

looking at the medium shot (MS) during the whole demonstration not the camera on CU of the object you are demonstrating.

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Close-up Techniques

The tighter the shot, the harder it is for the camera to follow fast movement.

Restrict your motions severely and move with care. As director if he/she plans to do close-up’s and

approximately when Stand as still as possible; do not wiggle your head. Hold objects being demonstrated steadily. Don’t pick-up objects arranged on a table Take a quick look at the studio monitor will tell you

how you should hold the object

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Performer & Camera

The camera sees everything you do and do not do

It faithfully records your behavior in all pleasant and unpleasant details.

Control your actions without ever letting the audience know that you are conscious of doing so.

{Warning Cues

During on-the-air performance, give the director and studio crew visual and audible warning of your unrehearsed actions.

When you want to get up, shift your weight first, and get your legs and arms into the right position, focusing on the middle part of your body, and your head may hit the boom mic.

Use audio cues like: “Let’s go over to the children and ask them… “ or “If you will follow me over the lab area, you can actually see…”

Be specific when you cue unrehearsed visual materials. Ex. “we now go to the next slide…”

Don’t try to convey the obvious. The director, not the talent runs the show.

Avoid walking toward the camera to demonstrate the object.

{Performer & Audio

Speak clearly & effectively besides looking natural & relaxed.

A super bass voice and affected pronunciation are NOT the only requisites for a good performance

What you have to say must be important You need to say it with conviction and

sincerity Get needed training

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Microphone Techniques

Lavaliere Microphone Once it is properly fastened, you don’t

have to worry about it anymore. If you have to move from one set area to

another on cam, make sure that the mic doesn’t get tangled up in the set or set props.

Gently pull the cable behind you to keep the tension off the mic itself.

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Hand held Microphone Make sure that you have enough cable

for your planned actions Treat it gently Speak across it, not into it. Hold the microphone near you when you

are talking. Point it toward the person as he/she

responds to your questions.

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Boom Microphone Be aware of the boom movements without

letting the audience know Give the boom operator enough warning so

that he/she can anticipate movements. Move slowly enough that the boom can follow.

Don’t make fast turns because they will involve a great amount of boom movement.

If you have to turn fast, try not to speak. Don’t walk close to the boom.

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Desk Mic Try not to move the desk mic once it has

been placed by the audio engineer. Sometimes the mic may be pointing away

from you toward another performer, but this may have been done purposely to achieve better audio balance.

{Audio Level

A good audio engineer will take your audio level before you go on air. Many performers have the bad habit of mumbling or speaking softly while the level is being taken, and then, when thry go on air, blasting their opening remarks. If the level is taken, speak as loudly as you will actually do in your opening remarks. Thus the audio engineer will know where to turn the pot for an optimun level.

{Opening Cue

At the beginning of a show, all microphones are dead until the director gives the cue for the audio. You must therefore, wait until you receive the opening cue from the floor manager or through the IFB (interrupted feedback system). If you speak beforehand, you will not be heard. Do not take your opening cue from the red tally lights on the cameras unless instructed.

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Performer & Timing

Television operates on a split-second timing. Although the director is directly responsible for getting the show on and off on time, the performer has a great deal to do with such timing. Careful pacing throughout the show is important Learn how much program material you can cover after

you have received a time cue. Look comfortable and relaxed although you have to

cram a lot of important program material into the last minute.

Be prepared to fill an extra 30-second without appearing to be grasping for words and things to do.

Practice is needed.

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Performer & Post-production

Make sure that you look exactly the same in all videotaping sessions.

Maintain the same energy level throughout the taping sessions.

On repeat takes, try to maintain identical energy levels.

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Floor Manager’s Cue

The floor manager, who is the link between the director and you, the performer, can communicate with you nonverbally while you are on the air. He or she can tell you whether you are too slow or too fast in your delivery, how much time you have left, and whether you speak loudly enough or hold an object correctly for camera close-up.

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3 Types of Visual Cues

1. Time cues2. Directional cues3. Audio cues

Time Cues

CUE MEANING HANDSIGNAL

Show about to start

Show goes on the air

Extends arm above head & points with the other hand to camera that will go on air.

Points to performer or live camera

Time Cues


Go ahead as planned

Speed UpAccelerate what you are doing. You are going so slow.

Touches nose with forefinger

Rotates hand clockwise with extended forefinger. Urgency of speeding up is indicated by fast and slow rotation.

Time Cues


Stretch.Slow down. Too much time left. Fill until emergency is over.

Wind up.Finish up what you are doing. Come to an end.

Stretches imaginary rubber band between hands.

Similar motion to speed up, but with extended arm above the head. Sometimes expressed with raised fist, or with a good-bye wave, by hands rolling over each other as if wrapping an imaginary package.

Time Cues


Cut.Stop speech or action immediately.

5 (4,3,2,1) minute(s) left until the end of the show.

Pulls index finger in knifelike motion across the throat.

Holds up five (four, three, two, one) finger(s) or small card with number painted on it.

Time Cues


½ minute30 seconds left in show

15 seconds left in show

Forms a cross with two index fingers or extended hands. Or holds card with a number.

Shows fist (which can also mean wind up). Or holds card with number.

Time Cues


Roll VTR(and countdown)Projector is rolling. Film is coming up.

Leader numbers as they flash by on the preview monitor, or VTR beeper countdown.

Holds extended left hand in front of face, moves right hand in cranking motion.

Extends five, four, three, two one finger(s), or simply clenches fist or gives cut signal.

Directional Cues


CloserPerformer must come closer or bring object closer to camera.

Back.Performer must step back or move object away from camera.

Moves both hands towards self, palms in.

Uses both hands in pushing motion, palms out.

Directional Cues


Walk.The performer must move to next performing area.

Stop right here. Do not move anymore.

Makes walking motion with index and middle fingers in direction of movement.

Extends both hands in front of body, palms out.

Directional Cues


Ok. Very well done. Stay right there. Do what you are doing.

Forms an “O” with thumb and fore fingers extended, motioning towards talent.

Audio Cues


Speak Up.Performer is talking too softly for present conditions.

Tone Down.Performer is too loud or too enthusiastic for the occasion.

Cups both hands behind ears, or moves right hand upwards, palms up.

Moves both hands toward studio floor, palms down, or puts extended forefinger over mouth in shhhh-like motion.

Audio Cues


Closer to mic.Performer is too far away from mic.

Keep on talking until further cues.

Moves right hand towards face.

Extends thumb and fore finger horizontally, moving them like the beak of a bird.

{ Ask the floor manager to go over the cues before you go on air

React to all cues immediately, even if you think one of them is not appropriate at that particular time.

React quickly and smoothly. Do not look nervously for the floor manager

if you think you should have received a cue Do not acknowledge a cue in any way

Understanding the Floor Manager’s Cue

{Prompting Devices

Prompting device must be totally reliable Performer must be able to read the

prompting copy without appearing to loose eye contact with the viewer.

{Cue Cards

The size of the cards and the lettering depends on how well the performer can see and how far the camera is.

Hold the cards as close to the lens as possible The hands should not cover any part of the copyand

he/she follows the performer’s lines. Learn to glance at the cards without loosing eye contact

with the lens for more than one moment. Make sure that the copy is in correct order. Snap fingers in case the person holding forgets to turn

page. In case of emergency, you can do adlibs Know the topic long before the show begins

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Studio Teleprompter

Make sure that the text doesn’t appear as a mirror image onto the glass plate.

The newscaster can control the speed with which the copy appears

Practice reading while off the air

{Fourth EditionHerbert Zettl

Television Production Handbook

Television performance techniques module 6

Education

camera lens

performer camera

camera changes

camera switching

wrong camera

camera tofollow fast

boom microphone

performer audio