PART 6 Production Techniques FIGURE 21.1 NBC decided to interview Michael Phelps after he had won his eight Olympic gold medals, outside and with a crowd as the backdrop to provide an exciting atmosphere. Remote Production versus Studio Production Both of these types of productions have pros and cons. Studio productions provide the maximum amount of control over the subject. The lighting and audio can be minutely controlled, providing the perfect levels for the production. Studios provide a clean location that is usually impervious to weather conditions and has full climate control. However, there are times when the crew has to be on location. Remote locations can provide context and an exciting atmosphere (cheering crowds); see Figure 21.1. While weather can disrupt or even cancel a remote production, when the weather is nice, natural lighting and outdoor scenery can provide stunning images. There are also times when it is actually less expensive to shoot in the field than to rent and schedule studio time. Shooting on Location Remote productions require anticipating what may hap- pen. It is essential to assemble a team that can anticipate what is going to happen and know how to deal with it. The crew must be able to work well together and plan for contingencies in case something goes wrong. The more familiar the crew is with an event--especially a news or sports event--the better they can cover it. Under- standing the intricacies of the event allows the director and talent to clearly communicate what is happening. 350 FIGURE 21.2 ENG camera crews cover a press conference with a government official. (Photo courtesy of the U.S. Department of Defense, by Cherie A. Thurlby) THE SINGLE CAMERA ON LOCATION The single-camera production has some important advantages. It is extremely mobile, and thus easily relocated. It can be surprisingly unobtrusive. It is largely independent of its sur- roundings, and it is economical (Figure 21.2). Typical Setups Single-camera crews come in all different sizes, depending on the goals and the size of the production budget: One-person single-camera crews are increasingly being used by many news stations, sports shows, and documentaries. These operators run the cam- era, a microphone, and even an on-camera light. Some may even act as the reporter (Figure 21.3). Two-person single-camera crews are often made up of a camera operator who is responsible for the camera and a second person who is the reporter/ director and may be responsible for the audio. Three-person single-camera crews are usually made up of a camera operator, an audio person, and a director/reporter (Figure 21.4). Power Supplies Professional video cameras normally require a DC power supply, which can be obtained by using an AC power adapter or batteries, or even by plugging into a car's cigarette lighter or DC outlet. Batteries come in all different configurations. Some batteries fit on the camera, others