1. Production Performance Lesson 1 - Staging and Interacting with Talent
Broadcast/Video Production II

2. Production Staging and Interacting with Talent
Objectives
Define foreground, middle ground, and background
Explain the function and importance of the vector line in camera staging
Differentiate between a jump cut and an error in continuity
Differentiate between a dramatic aside and ad- libbing
List three things that production staff members must remember when working with non- professional talent

3. Production Staging and Interacting with Talent
Important Terms
Ad-Libbing
Background
Camera Line
Cross-Camera Shooting
Cutaway
Dramatic Aside
Error in Continuity
Foreground
Jump Cut

4. Production Staging and Interacting with Talent
Important Terms
Middle Ground
Staging
Teleprompter
Vector Line

5. Production Staging and Interacting with Talent
This lesson discusses the placement of furniture, props, and talent in front of the camera
Staging: the arrangement of items, such as furniture, props, and talent, in a shot
Theater production staging refers to the movement instructions given to the performers by the director
Video Production staging also applies to the placement and movement of cameras

6. Production Staging and Interacting with Talent
This lesson will present guidelines and methods of effective staging for television production

7. Production Staging and Interacting with Talent
Areas on a Set
The television screen is a flat piece of glass
All images displayed on the screen are two- dimensional
An important goal in production is to create the illusion of three dimensions in order to increase the realism of television images
The effective use of the areas on the set creates three-dimensionality on the television screen

8. Production Staging and Interacting with Talent
Areas on a Set
Foreground: the area on a set that lies between the talent and the camera
Middle Ground: the area on a set where the most important items in a picture are usually positioned. This is the area in which the action of the program typically takes place.
Background: the material or object(s) on a set that are placed behind the talent in a shot

9. Production Staging and Interacting with Talent
Areas on a Set
Foreground
Placing areas in the foreground is a good way to create three-dimensionality
Novice camera operators often ignore the foreground area of a set when framing a shot
This is an important area for staging to create a realistic image for the viewer

10. Production Staging and Interacting with Talent
Areas on a Set
Middle ground
This is the area where the most important items in a picture are positioned. This is the area in which the talent performs and the action of the program usually takes place.

11. Production Staging and Interacting with Talent
Areas on a Set
Background
This is the material or object(s) behind the talent in a shot. The distance between the talent and the background, if properly lit, greatly contributes to creating three- dimensionality.

12. Production Staging and Interacting with Talent
Areas on a Set - Example
If the set depicts the interior of a living room:
A back wall and partial left and right walls are placed in the background
A couch facing the cameras is placed in the middle ground
A coffee table or chair is placed in the foreground

13. Production Staging and Interacting with Talent
Camera Staging
If using multiple cameras for a production, each camera is assigned a number
Industry convention numbers the cameras from the camera operator’s point of view from left to right
Camera Camera Camera 3

14. Production Staging and Interacting with Talent
Camera Staging
The images from the cameras are displayed on monitors in the control room that are also arranges from left to right
Camera Camera Camera 3

15. Production Staging and Interacting with Talent
Camera Staging
Stage directions, however, are given from the performer’s point of view.
Stage Directions
Up Stage Right
Up Stage Center
Up Stage Left
Stage Right
Center Stage
Stage Left
Down Stage Right
Down Stage Center
Down Stage Left
Cameras/Audience

16. Production Staging and Interacting with Talent
Camera Staging
Cross-camera shooting: a two-camera shooting technique in which the camera on the left shoots the person on the right side of the set and the camera on the right shoots the person on the left side of the set.

17. Production Staging and Interacting with Talent
Vector Line: an imaginary line, parallel to the camera, which bisects a set into a foreground and a background. Also called a camera line.
It is extremely important that all cameras remain of the same side of the vector during shooting
If the program cuts to the image of a camera on the opposite side of the vector line, all items in the picture are reversed
This is a grave production error

18. Production Staging and Interacting with Talent
VISUALIZE THIS
Shooting a basketball game example

19. Production Staging and Interacting with Talent
Vector Line
Creative use of the vector line may result in savings in the production budget
Shooting a train from Arizona to Oklahoma and returning from Oklahoma to Arizona example
The train runs once and two scenes are accomplished with one take

20. Production Staging and Interacting with Talent
Cutaways
Cutaway: a shot that is not a key element in the action. It is commonly used to bridge what would otherwise be a jump cut.

21. Production Staging and Interacting with Talent
Cutaways
When a cutaway is used, the audience should not feel that the shot is jarring or out of place
A cutaway shot should not include an integral action or moment in the scene
One of the most common uses of cutaways is to bridge what would otherwise be a jump cut
Teacher and student example

22. Production Staging and Interacting with Talent
Cutaways
Other Uses
Adding interest to a slow-paced program
Showing the reaction of other characters to events or dialog
Providing nod shots for an interview format program
Providing charts, graphs, text, or video to supplement the speaker
Covering audio editing of a long-winded speaker

23. Production Staging and Interacting with Talent
The Jump Cut
Jump cut: a sequence of shots that constitutes an error in editing. This error occurs during production when cutting between camera shots and results in an on-screen object or character appearing to jump from one side of the screen to the other.
Error in continuity: an error that occurs during editing where a sequence of shots in the finished product contains physically impossible actions or items

24. Production Staging and Interacting with Talent
Jump Cut
Found too often in television programs because it is a very easy mistake to make
Sometimes, incorrectly, called an error in continuity
Error in Continuity
Occurs when the finished product contains physically impossible actions or items
Jump Cut example

25. Production Staging and Interacting with Talent
Errors in Continuity
Occur during the editing process
A hat disappears off an actor’s head from one scene to the next
Wounds look severe in one shot and almost healed in the next shot
A glass is one-quarter full of soda in one camera angle and three-quarters full when the scene cuts to another camera angle

26. Production Staging and Interacting with Talent
VISUALIZE THIS
Woman and man on a date example

27. Production Staging and Interacting with Talent
How to Avoid Errors in Continuity
When performers are eating, show the audience before and after shots of the items on the table
On large shoots, a person in charge of continuity constantly snaps photographs of all the on-screen elements in a shot. The next time the scene is shot, everything is returned to its exact position.

28. Production Staging and Interacting with Talent
Production Equipment in the Shot
In dramatic programming, it is not acceptable to see production in a shot because the director tries to simulate real life
Viewers may see a microphone boom dip into the top of the picture or catch the boom shadow on the background flats
Microphones and cameras should never be seen in a completed dramatic program

29. Production Staging and Interacting with Talent
Production Equipment in the Shot
The only exception is if the dramatic production is set in an environment that naturally includes production equipment, then seeing these items in a shot is okay
For example, a television drama about a television station would probably have non- functioning equipment on the set that serves as props or set dressing
It is okay for the audience to see production gear ( i.e. cameras, mics, and lights) in news programs, talk shows, and game shows

30. Production Staging and Interacting with Talent
Talent Placement
All cultures have acceptable “bubbles” of personal space
For example, Far Eastern and some European countries have virtually no personal space as the cultural norm. Western cultures have a larger “bubble” of personal space as a norm.
We are comfortable in our bubble of personal space and become uncomfortable when others enter this space uninvited
Close friendships and romances have smaller or nonexistent bubbles

31. Production Staging and Interacting with Talent
Talent Placement
When performing on television, people must be placed much closer to each other than is considered normal in Western culture
Placing performers as if they are in real life makes the distance appear much greater on the television screen
Therefore, all performers on television must adjust their personal space to allow them to be very close to others

32. Production Staging and Interacting with Talent
Talent Placement
This lack of personal space is a bit of a shock to an actor performing and reciting lines in front of television cameras for the first time
The ultimate goal is a good television picture
Everyone on the production team must contribute to this effort and realize that things that look or feel a bit unusual in real life, often make a good picture on the camera

33. Production Staging and Interacting with Talent
PRODUCTION NOTE
Placing performers appropriately on the set example

34. Production Staging and Interacting with Talent
Dramatic Programming
In most dramatic programming, the talent cannot look directly at the camera

35. Production Staging and Interacting with Talent
Dramatic Programming
The exceptions to this are:
If the camera is used as a subjective camera. When the camera is shooting from the viewpoint of one of the program’s characters, it is natural for the other cast members to look directly at the character/camera.
In the case of a dramatic aside
Dramatic Aside: when a performer steps out of character and directly addresses the audience

36. Production Staging and Interacting with Talent
Dramatic Programming
Dramatic asides are not regularly used in television programming

37. Production Staging and Interacting with Talent
Dramatic Programming
Ad-Libbing: when talent speaks lines or performs actions that are not in the script or have not been rehearsed
Ad-libbing can be a disaster on television because the script involves more than just the actor’s dialog
The TD follows the script exactly and uses certain words as cues to cut to shots from a different camera

38. Production Staging and Interacting with Talent
Dramatic Programming
Ad-libbing can be a disaster on television because the script involves more than just the actor’s dialog
The TD follows the script exactly and uses certain words as cues to cut to shots from a different camera
If the word or line is not recited, the TD does not cut to the scripted shot
Camera operators cannot follow the shot sheets

39. Production Staging and Interacting with Talent
Dramatic Programming
Once a script has been finalized during the camera rehearsal or dry run, it is in the best interest of the entire production for everyone to follow that script during the shoot

40. Production Staging and Interacting with Talent
Non-Dramatic Programming
In non-dramatic programs, such as game shows, news, documentaries, sports programs, and talk shows, the talent may look at the camera at any time because addressing the audience is part of the very nature of the program
For example, a news anchor tells the audience about current events, and therefore, looks directly at the lens to speak to the audience

41. Production Staging and Interacting with Talent
VISUALIZE THIS
Network news broadcast anchor looks at the ceiling example

42. Production Staging and Interacting with Talent
Non-Dramatic Programming
In non-dramatic programs, the talent should directly address the audience/television camera
There are two exceptions to this rule
Talent may look down at their notes
An anchor may look to the side at a co- anchor, but only is the co-anchor is included in a two-shot that immediately follows

43. Production Staging and Interacting with Talent
Non-Dramatic Programming
News anchors and talk show hosts commonly read their lines from a teleprompter
Teleprompter: a computer screen positioned in front of the camera lens that displays dialog text in large letters, which allows the talent to look directly at the lens of the camera and read the text

44. Production Staging and Interacting with Talent
Non-Dramatic Programming
The camera shoots right through the screen at the end of the lens, without seeing the dialog displayed
If the camera zooms in too closely on the talent, the audience can see the talent’s eyes moving from left to right as they read the teleprompter
Because of this, the tightest shot of anchors on news programming is usually between a mid- shot and a medium close-up

45. Production Staging and Interacting with Talent
Non-Dramatic Programming
It is common to see a small pile of papers on the desk in front of news anchors
These papers are usually props to keep the talents hands from moving around
Many people uses their hands when they speak, but this is distracting to a television audience
The audience assumes that the papers are a script, so it does not appear out of place

46. Production Staging and Interacting with Talent
Non-Dramatic Programming
Ad-libbing is a more common occurrence in non-dramatic programming
In some formats, like talk shows, very few things are actually scripted
A comment from an audience member or guest may provoke an unplanned course of discussion
This does not cause a great disruption, as it might in a dramatic program
An experienced TD can easily follow the conversation

47. Production Staging and Interacting with Talent
Staff and Talent Interaction
This affects the success of the production process and is an important topic when learning television production
Every member of the production staff has the opportunity to interact with the program’s talent at some point
Professional behavior in a studio can be friendly and jovial at times
But when guests are present, more serious and professional behavior is a must

48. Production Staging and Interacting with Talent
Managing Guest Talent
Guest talent are naturally uncomfortable when entering the studio
The environment is strange and they know very little about studio activities
They see strangers in semi-darkness and many of them are afraid about being placed under bright lights
A nervous guest will not look good in front of the camera
So it is a good policy to help them relax

49. Production Staging and Interacting with Talent
Review the Talent Information Sheet

50. Production Staging and Interacting with Talent
To Help Guest Talent Relax
Prepare them for the experience before they arrive. Explain what they should expect, provide suggestions for clothing and makeup selection, and offer some information on what is expected from them during the production process
Designate a staff member to greet the guest upon arrival and be their friendly guide during the production process

51. Production Staging and Interacting with Talent
To Help Guest Talent Relax
The greeter should introduce the guest to other director, offer some refreshments, and keep them talking
A tour of the facility that includes a description of the various activities helps ease the guest’s anxiety. For example, allowing them to observe the editing process may help distract them from their nervousness.

52. Production Staging and Interacting with Talent
To Help Guest Talent Relax
The greeter may take the time to introduce the guest to some of the crew members. Everyone on the production team is responsible for making the talent comfortable to produce a good program.
The greeter should try to answer all of the guest’s questions

53. Production Staging and Interacting with Talent
To Help Guest Talent Relax
Guest talent should not be place under the studio lights until the program is ready to begin. Under the bright light, they won’t be able to see anything in the studio. They can only hear the surrounding activity and will wonder what is happening. Keep the talent informed to ease their anxiety.

54. Production Staging and Interacting with Talent
Working with Non-Professional Talent
Production personnel may often work with non- professional talent and must be prepared to react and compensate for their actions
The cameraperson must be alert because non- professional talent may move unpredictably
If the shot is too tight, the talent may leave the frame before the cameraperson has time to react
To compensate, never have a shot tighter than a medium close-up of non-professional talent standing in a shot

55. Production Staging and Interacting with Talent
Working with Non-Professional Talent
Professional talent always provides a cue to the camera operator when they are about to move
The talent shifts their weight to one foot and turns their body in the direction they are about to move before actually moving
This gives the camera operator time to adjust and follow them

56. Production Staging and Interacting with Talent
Working with Non-Professional Talent
From a seated position, a professional leans forward, perhaps placing their hands on the desk to push up, and smoothly rises from the chair
Experienced talent will not abruptly spring from the chair, like a jack-in-the-box

57. Production Staging and Interacting with Talent
Telephone Etiquette
In the studio, the floor manager and camera operators wear headphones to communicate with the director and other control room personnel
During production, no one wearing headphones should laugh at any time
In a studio setting where the talent is not able to see the staff, sudden laughter from an unknown source is unsettling to an already nervous guest

58. Production Staging and Interacting with Talent
Telephone Etiquette
The nervous guest may think people are laughing at them
This is probably not the case, but remember the guest is already self-conscious in an unfamiliar environment

59. Production Staging and Interacting with Talent
Telephone Etiquette
The volume of the headphones is also important to consider
If the volume of the headphones is set too loudly, talent in the studio can hear what the director is saying, even if the microphones are not picking up the sound
Barely audible sound of someone speaking is distracting to talent, especially to non- professional talent
Set the headphone volume controls appropriately for the student environment

60. Production Staging and Interacting with Talent
WRAPPING UP
It is important to know what to do with the people and objects in front of the camera
The placement of visual elements in the picture is called staging
Correctly staging a set adds to the visual appeal and realism of a program
Successfully managing guest talent and keeping them relaxed during production also improves the visual appeal of a program

61. Production Staging and Interacting with Talent
WRAPPING UP
When talent is nervous or anxious they may fidget, sweat, or shake while on the set
This is not the best portrayal of the talent on the television screen
Even if all other production guidelines are followed, neglecting staging techniques and guidelines will result in a program that resembles a common home video

62. Production Staging and Interacting with Talent
THE END