BASIC STUDIO

PRODUCTION
MANHATTAN NEIGHBORHOOD NETWORK
CHAPTER 1
INTRO TO STUDIO
PRODUCTION

The MNN Studios

Recording & Timing

Intercom System
THE MNN STUDIOS
Once an MNN Certified Producer successfully completes the
Basic Studio Production Certification Course, they will
officially be able to reserve space in any of Manhattan
Neighborhood Network’s production studios.

59th Street Studios

• Open Studio (Studio 1)
• Closed Studio (Studio 2)
• Express Studio (Studio 3)
• Mini Express Studio (Studio 4)

El Barrio Firehouse Studios

• George Stoney
• Emiliano Zapata Express Studio
• Julia de Burgos Mini Express
2
OPEN STUDIO
Studio 1, known as the
“Open Studio” is located
at MNN’s 59th street
location. It is designed
to support small and
large-scaled
productions.

It features four HD
cameras and a separate
control room with state-
of-the-art equipment.
This studio is also
equipped with two
teleprompters and a
telephone system that
can place callers over
the air.

This studio space is

capable of housing a
studio audience, if
needed.

3
CLOSED STUDIO
Studio 2, known as the
“Closed Studio” is located
at MNN’s 59th street
location.

It features three cameras

and a separate control
room with state-of-the-art
equipment. This studio is
equipped with one
teleprompter and a
telephone system that can
place callers over the air.

Production types of
varying genres can be
produced in this studio
including everything from
music performance, news,
interview, magazine and
dramatic.

4
EXPRESS STUDIOS
At the 59th street studios, MNN has two
smaller, compact studios referred to as
“Express Studios.” These spaces are
designed to operate with limited or no
crew.

These studios feature robotic cameras

only and cannot accommodate a studio
audience. These studios are also
equipped with a teleprompter and
telephone system that can place callers
over the air.

Some of the equipment in the Express

studio is different from that in the Open
and Closed studios. That equipment
includes robotic camera system, audio
board and smaller production switcher.

5
GEORGE STONEY
STUDIO
This studio is located at
MNN’s El Barrio Firehouse
location. It is designed to
support small and large-
scaled productions.

It features three HD cameras

with one being equipped
with a teleprompter and a
separate control room with
state-of-the-art equipment.
This studio is also equipped
with a telephone system that
can place callers over the air.

This studio space is capable

of housing a studio
audience, if needed.

6
EMILIANO ZAPATA
EXPRESS STUDIO

This studio is located at

MNN’s El Barrio
Firehouse location.

It features two HD
robotic cameras with
state-of-the-art
equipment. This studio is
also equipped with a
teleprompter and a
telephone system that
can place callers over
the air.

Production types of
varying genres can be
produced in this studio
including everything
from music
performance, news,
interview, magazine and
dramatic.

7
JULIA DE BURGOS
MINI EXPRESS
STUDIO

This is the Mini Express

studio located at MNN’s
El Barrio Firehouse
location. This studio
space was designed to
be operated with
limited or no crew.

This studio features one

HD robotic camera and
professional production
equipment. It is also
equipped with a
teleprompter and a
telephone system that
can place callers over
the air.

8
RECORDING & TIMING
The primary recording option in all of MNN’s production
studios is the HyperDeck SD Card Recorder. Producers who
plan to record at MNN’s production facilities must obtain their
own SD cards. This recorder has been tested to work with
specific SD cards. Please see the recommended list in this
chapter before obtaining an SD card for your studio
production. The secondary and/or backup recording option is
Sony XDCam, a re-writable recording disk.

Note: Producers should not change the recording format on any of

MNN’s recording devices. Please notify a facilitator if you need
assistance with recording.
9
SELECTING AN SD CARD delete all contents on the card. To format an SD card, do the
following:
The SD cards listed below have been tested to ensure compatibility
with the HyperDeck SD card recorder. Other SD cards may work but
• Insert the SD card.
compatibility is not guaranteed.
• Press the MENU button.

• Turn the jog/shuttle wheel to navigate to the “Record” menu

and press the SET button to access its options.

• Scroll down until you see FORMAT CARD and press SET.

Select the card slot you want to format. You will then see two
options: exFAT and OS X Extended. Choose exFAT if the media files
will be reviewed using a PC computer. Choose OS X Extended if the
media files will be reviewed on a Mac computer.

• Use the jog/shuttle wheel to

select your formatting option
and choose SET.

INSERTING AN SD CARD • You will then get a warning

To insert an SD card into the slot, hold the SD card with the gold screen alerting you that all
connectors facing your HyperDeck’s LCD display and align it with existing media will be
the media slot. Gently push the card into the slot until you feel it lock erased. Use the jog/shuttle
into place. wheel to choose FORMAT.
Press the SET button.
To remove an SD card, gently push the card in until it pops out. Then
pull the SD card out of the slot. • Once formatting is complete, press SET to select OK. Then
press the MENU button twice to return to the preview screen.
FORMATTING AN SD CARD
The first time you utilize the HyperDeck SD card recorder, we OPERATING THE SD CARD RECORDER
recommend you format the SD card. Formatting an SD card will The HyperDeck SD Card recorder has two card slots. When two SD
cards are inserted, the recording will automatically switch over once

10
the current SD card is full. The HyperDeck SD card recorder can
record uncompressed high definition footage. To begin recording:

• Insert the SD card into either slot. The slot will illuminate
green to indicate it is ready for recording.

• Press the “record” button (circle icon) to begin recording. The

record button and the indicator above the slot will turn red
once recording begins. Note: The numbers in the top right
corner of the screen will indicate how much time is remaining
on the card.

• Press the “stop” button (square icon) to stop recording.

Each time you record and stop, it will generate separate clips. To
view recorded clips do the following:

• Press the PLAY button once to play back the most recent clip.
Press the “forward” or “reverse” buttons (icons look like a
sideways triangle pointing at a line) to jump between various
clips.

• To jog through a specific clip, press the JOG button and use
the jog/shuttle wheel to move forward or backward on a clip.

11
SECONDARY/BACKUP RECORDING
XDCAM is our backup recording option in the studio. They are
reusable and the two most common disc sizes are 23GB or 50GB.
The 23GB can hold approximately 60 minutes of HD recordings.
The 50GB can hold approximately 145 minutes of HD
recordings.
FORMATTING THE DISK
A brand new XDCAM disk is already formatted. After the initial use
of the disk, it can be reused for future recordings. Formatting the
disk erases all stored information so be sure you have backed up all
previously recorded material. To format:
• Press the SHIFT and DISC MENU buttons simultaneously.
• “Format disk” will appear highlighted in the menu.
• Use the PUSH SET knob to select the highlighted choice.
• A warning appears alerting you that if you press FORMAT
DISC again, your data will be lost.
• Press the PUSH SET knob to format the disc.
RECORDING ON THE XDCAM
To begin recording to XDCAM:
• Press PLAY and RECORD on the deck simultaneously.
To stop recording:
• Press the STOP button. Each time you stop recording, the XDCAM
deck creates a new file.
To continue recording:
• Press the PLAY and RECORD buttons simultaneously again.
To review recording:
• Press the THUMBNAIL button. Use the PUSH SET knob to scroll
through clips. Press the knob in to select the clip you would like to
playback.
12
TIMER
Shows airing for cablecast on MNN must be in one of two recording
lengths: 28 minutes or 58 minutes. One of the best ways to manage
timing between segments is to use the Harris timer.
These are the modes on the Harris Timer:
To set and activate the Harris timer:
• Press the UP or DOWN button under the MODE section.
Choose UP if you want it to count up to a specific duration of
time or DOWN if you want it to count down from a pre-
determined time.

• Clock: This mode displays a 24-hour clock. This clock is • Press the HOUR, MINUTE, and/or SECOND buttons under
visible on the timer and linked to clocks in the control room SET to select the time you want it to count up to or down from.
and on the clock mounted onto the studio camera or TV
• When you are ready to begin the timer, press the START
monitor.
button. Usually this happens after the director gives a 5, 4, 3,
• Up/Down: In the control room, you can set the timer to count 2, 1 countdown.
up to a certain time or down from a specified time. For
You can also pause or stop the timer by pressing PAUSE or STOP.
instance, if you have a 28-minute show and you want to make
sure it ends on time, you can set the timer to count DOWN
from 28 minutes. If you split your show up into segments, you
can set the timer for any numerical time of your choice. The
timer gives the producer the ability to manage production
time.

13
INTERCOM SYSTEM
In this section we will look at the intercom system at
Manhattan Neighborhood Network. This system gives those
in the control room the ability to communicate with those on
the studio floor. There is a headset attached to all manual
cameras allowing communication with the camera operator.
There is also a PA system so announcements can be made
before or after productions.

14

INTERCOM SYSTEM
Each manual camera has a headset attached that gives camera
operators the ability to hear commands from the control room.
An additional wireless headset can be requested from a
facilitator to use for communicating with the control room.
There are times, usually before a production begins and after it
end, when communication comes from the control room over
the loudspeakers on the studio floor.
To make an announcement over the studio floor speakers, hold
DOWN the Studio Announce toggle switch in the control room.
The abbreviation [S1SA] for Studio 1 Studio Announce will let
you make announcements in Studio 1. To announce in Studio 2,
hold DOWN the switch labeled [S2SA]. If you want to
communicate to the Floor Manager’s headset, select either WL1
or WL2. Note: WL stands for Wireless.
For communication between the operator on headset and the
control room, lift the toggle switch UP to “open” the line for the
selected crew person to communicate with you. Push the switch
DOWN to talk. To keep the channel open so you may speak to
the crew person and they can speak to the control room, quickly
lift the lever up once and down once so that both green lights
are lit. The first two characters on the communication panel
represents the Studio number. The camera operators are labeled
on the panel at C1 and C2 (for Open Studio Only).
S1C1 = Studio 1 (Open & Stoney Studios) Camera 1 Operator
S1C2 = Studio 1 (Open Studio) Camera 2 Operator
S1W1 = Studio 1 (Open Studio) Wireless Headset
S2C1 = Studio 2 (Closed Studio) Camera 1 Operator
S2W1 = Studio 2 (Closed Studio) Wireless Headset
Important note: Producers must request a wireless headset
from their assigned facilitator. Access to the headset is first-
come, first-served. Availability is not guaranteed.
15
CHAPTER 2

COMPOSITION & CAMERA OPERATION

COMPOSITION & FRAMING
There are traditional guidelines that may dictate how your
shot is framed. The goal is to create a shot that will keep the
audience’s attention and help you tell the story effectively.
To do so, a basic understanding of what message each shot
conveys is needed. In this section we will explore basic shot
types and rules of composition.

17
SHOT TYPES
EXTREME WIDE SHOT (EWS)

An extreme wide shot (EWS) is a shot that establishes your scene. It not only shows your
entire subject but it also includes the background and foreground. This shot can also be
used to show various actions occurring at the same time.

18
SHOT TYPES
WIDE SHOT (WS)

A wide shot (WS) is generally framed from the head to

the toe of your subject or object. This shot shows less
of the scene than the extreme long shot and begins to
bring the focus to the on-camera subjects. You see less
of the background and more of the people framed in
the shot.

The above image can also be referred to as a group

shot. Any shot that features more than two individuals
is referred to as a group shot.

19
SHOT TYPES

MEDIUM SHOT (MS) MEDIUM CLOSE-UP (MCU) CLOSE-UP (CU) EXTREME CLOSE-UP (XCU)

The close-up (CU) shot is

used to capture emotions
An extreme close-up (XCU)
from the subject. It is a very
shot focuses on an
powerful shot that draws the
individual element of a
viewer’s attention into the
subject or object. This
subject or object.
The medium shot (MS) The medium close-up (MCU) could be a person’s head,
is framed from the shot is a very common “news hand, eyes or feet or even a
This shot should not be used
subject’s waist to the style” shot. This shot is also detail shot of an object.
too often or stayed on too
head. This shot gives referred to as a “bust” shot long because if the subject
the subject room to since it is framed from right This shot adds emotion or
moves around you will not be
move a bit and show below the chest to the head. shows details. This brings
able to see most physical
hand gestures.This is a The space where the subject’s the viewer into the subject’s
gestures.
very common bust is located is usually personal space and allows
“storytelling” shot reserved for a graphic called them to feel connected to
since you are close a lower third which identifies the emotion expressed.
enough to see the the person or place seen on
context the subject is screen.
in and the emotion of
the subject.

20
OVER-THE-SHOULDER (O/S)
This shot is framed from behind a person who is looking at the subject. The person facing the subject should usually occupy 1/3 of
the frame.

This shot helps to establish the position of each person.

RULES OF COMPOSITION
HEADROOM
Headroom refers to how much space there is between the top of your frame and your subject’s
head. Proper headroom leaves about a finger worth of space above your subject’s head. In
television production it is considered bad composition if you cut off your subject’s head or have
several fingers worth of space above their head.

21
NOSEROOM
Noseroom is a composition rule in which the
composed shot should allow for some room in
front of the subject. Avoid having your subject’s
nose touch the edge of the screen. You also
don’t want the back of their head too close to
the edge of the screen. The important thing to
remember is to give your subject some breathing
room within the frame.
Bad Noseroom Good Noseroom

RULE OF THIRDS
The rule of thirds helps you to compose a shot properly. The goal is to
visually divide the screen into three equal parts vertically and
horizontally. The primary subject (for people, it’s usually the eyes)
should lie on one of the intersections (see red dots).

If you look at some of the images from this section, you will notice that
the primary subject never lies on the center of the frame but on one of
those red points. Keep in mind this rule is just a guide and at times
your subject’s location could vary.

22
 MANUAL CAMERA OPERATION
MNN’s studio configured camera (pictured left) is equipped
with the following:

• Teleprompter
• Time indicator
• Pedestal system that lets you raise and lower the
camera
• Dolly wheels with cable guards
• Zoom/focus control arms
• Headset for communication with the control room
• Viewfinder to see your image

A manual camera generally requires a person to operate the

functions of the camera. There are times when you can
compose your shot and leave the camera unmanned.
The most important thing to remember about manual
cameras is to never ever leave the tilt and pan locks unlocked
when not operating the camera. When actively operating the
camera, it is acceptable to keep the pan/tilt controls
unlocked.

In this section, we will go over the operation and movements

of manual cameras.

23
CAMERA OPERATION: PEDESTAL
The studio camera is mounted to a pedestal system which is
supported by a dolly. The dolly has wheels which give you the
ability to move the camera around the studio. All cameras,
including the robotic cameras (discussed in the next section) are
mobile and can be moved to various locations within the studio.

LOCKING/UNLOCKING DOLLY WHEELS

To lock the dolly, gently step on the black lever located

right above the wheel.
To unlock the dolly, lift up the black lever on the dolly
with your foot or hands. MOVING THE CAMERA AND PEDESTAL

To move the camera around the studio, first make sure

the wheels are unlocked.
Grab the pedestal ring with both hands and move to
your desired location.

Unlocking the dolly wheels allow you to relocate the studio cam-
era and perform basic camera movements.

24
UNLOCKING/LOCKING THE PAN AND TILT CONTROLS
There are two levers on the front side of the pedestal, one is
labeled with an up arrow (tilt) and the other with a right arrow
(pan). When the levers are in the DOWN position, they are
unlocked and you are able to pan and/or tilt. When the levers
are in the UP position, they are locked.
Here are a few key rules to remember when using the pan/tilt
locks:
• Never try to pan or tilt when the levers are locked.
• Never walk away from the pedestal leaving the pan/tilt
locks unlocked.
• Never force a camera to pan or tilt. Doing so may strip the
head and damage the unit. Notify a Facilitator if you are
having issues with the pan/tilt levers.
DOLLY IN/DOLLY OUT
Dollying the camera in or out refers to physically moving the
entire pedestal mounted camera toward or away from the
subject or to put it simply, in and out.
TRUCK (LEFT OR RIGHT)
Trucking the camera is similar to dollying but the action consists
of moving the entire camera pedestal left or right.
ARC
An arc shot is a camera move around the subject that happens in
conjunction with a dolly or tracking shot. The entire camera
pedestal arcs inward or outward but either way makes a
movement emulating an arc shape.

CAMERA MOVEMENTS
TILT/PAN
A tilt is when you move the camera up and down in a nodding
motion with the tripod arms. A pan is moving the camera head
left and right using the arms on the tripod. Make sure the locks
are unlocked before you attempt to tilt or pan.

25
ZOOM CRITICAL FOCUS
The right arm attached to the camera pedestal has a black Performing a critical focus calibrates the camera’s lens to ensure
rocker that will allow you to zoom in and out. Zooming magnifies that your subject remains in focus regardless what shot you
the image so the subject appears closer or farther away. frame. To conduct a critical focus:

Zoom into your subject’s eyes (or nose if the subject wears
glasses) until you can’t zoom in anymore.
Roll the focus so that the eyes are completely in focus.
Zoom out and frame your shot.

If your subject or the camera moves to a new position, you will

need to conduct another critical focus. If your subject will
continuously move about the set, you may have to adjust the
focus on the spot.

FOCUS
The left arm attached to the camera pedestal has a black knob
that you twist to the left or right to adjust the focus of your shot.
Focus refers to adjusting the lens to improve the sharpness of
your image.

26
ROBOTIC CAMERA
OPERATION
A robotic camera (pictured right) is mounted to a pedestal
like the manual camera. It can perform the same functions as
the manual camera. But unlike the manual camera, the
robotic camera is operated from the control room using a
joystick. All of MNN’s studios have at least one robotic
camera.

In this section, you will get an introduction of how to use the

Telemetrics control panel to adjust the camera position.

27
OPERATING THE ROBOCAM CONTROL PANEL
The studios located on the first floor of both MNN facilities each have two robotic cam-
eras. The two robotic cameras are controlled by a single unit (pictured right). You must
select the camera you want to operate by pressing the number of the camera.

BASIC OPERATIONS
Pan: Push the joystick left and right
Tilt: Push the joystick up and down
Zoom: Twist the dial at the top of the joystick left and right
Focus: Twist the focus knob on the left side of the control panel
Televator: Push rocker up to raise and down to lower the height of camera

QC MONITOR

The QC monitor, a broadcast quality monitor, is used as a reference for setting shots and
adjusting exposure. The router with blue buttons near the monitor allows the operator to
call up different cameras independent of the switcher, for on-the-fly calibration that won’t
interfere with other studio operations. The facilitator assigned to assist you with your
production will ensure your cameras are properly
calibrated.

28
CHAPTER 3

TECHNICAL DIRECTING
THE SWITCHER/TECHNICAL DIRECTING
The Ross Carbonite switcher is a powerful tool that will let you
compile and switch between a variety of sources, including video
feeds, pre-recorded video, still images, 3D graphics, text and
more.
The switcher also lets you incorporate transitions and special
effects. Learning how to master the switcher takes patience and
practice. In this section we will discuss the basic functions of the
production switcher.
The production switcher performs three primary functions:
selecting video sources, mixing the two sources and creating
effects.
A row of buttons on a switcher is called a “bus” and there are
three bus rows on the switcher. Let’s look at the function of each
row.
30
BASIC OPERATION

• Preview/Preset Bus: This row of buttons is

located on the bottom of the switcher and
is labeled “preset.” When a source is
selected on this row, you will be able to
see it in the monitor labeled “Studio#
PVW.” Selecting a source in preview lets
you see the image before it goes on air.
Another purpose of this row is to allow you
to create dissolves and wipes between
shots.

• Program Bus: The program bus is the row

above the preset bus. The green labels indicate the name of the source. The primary sources used at MNN are BK (black),
CAM1, CAM2, CAM3, CAM 4, CG, MAC. When one of the buttons on this bus is selected, the source is live and can be seen on
the monitor labeled “Studio# PGM.”

• Key Bus: The key bus is the top row of buttons and used for the purpose of utilizing keying effects. This could include keying
graphics or utilizing the chroma key effect. **Please consult a facilitator for assistance with this more advanced function.

31
 • Fader Bar: The fader bar towards the right
side of the switcher has a black handle that
lets the user manually control the speed of
transitions. The faster you push or pull the
bar, the faster the transition and vice versa.
If you stop the transition in the middle, it
creates a blending effect referred to as a
superimposition when using a dissolve or a
split screen effect when using a wipe.

• Auto-Transition: If you prefer not to

manually control the speed of your
transitions, you can select the [AUTO
TRANS] button to the left of the fader bar
and it will automatically perform the
transition at a predetermined speed.

• Delegation Controls Section: This section of the switcher delegates what effects are being used. For example, if you want to
perform a basic dissolve between two cameras you would do the following:
•

• Select [CAM1] on the preview bus. Select [CAM 2] on the program bus.
• Press [BKGD] on the delegation section. Press [DISS] right below it.
• Press [AUTO TRANS].

Now you will see a basic dissolve between camera 1 and camera 2. If you press the [WIPE] button, it will perform whichever wipe is
selected (there are various wipe options on the top of the switcher). Now the previous shot will be in preview and the shot you
transitioned to will be in program.

Explore and practice switching between shots using the dissolve and wipe transitions.

32

SWITCHER TRANSITIONS &
USE
Now let’s look at the main types of transitions available on the
switcher and how they should be used.
Cut/Take: This is the most commonly used transition. It
simply cuts from one shot to another. This is the safe and
recommended option if you feel you may need to edit out
potential switching errors or video content using editing
software. To cut from source to source or camera to
camera, simply press the camera buttons on the
PROGRAM bus. This method is known as “hot switching.”
Dissolve: This is the second most used transition and is a
gradual change from one source to another.
Fade: This transition consists of the source fading up
from black or out to black. Fades are usually at the
beginning or end of a program or segment.
To perform a fade out to black, do the following:
• Select the [BK] button on the preview/preset bus.
• Make sure you have [DISS] selected.
• Press the [AUTO TRANS] button.
To perform a fade up from black, do the following:
• Begin your first shot with the [BK] button selected
on the program bus.
• Select your opening source (whether it’s or Cam1
or MAC) in the PREVIEW/PRESET bus.
• Press the [AUTO TRANS] button.

• In dramatic productions, dissolves tend to

represent a change in place or time. Dissolves are
also commonly used during performance
productions.

Wipe: A wipe uses a geometric pattern to transition

between two sources. There are an array of wipe options
located on the top left of the switcher.
• This type of transition should be used sparingly.
Instead, try creating a split screen by leaving the
fader bar in the middle position.

33
CHAPTER 4

AUDIO &
COMMUNICATION
Microphones & Use

Audio Board

Communication Resources
MICROPHONES & USE
MNN offers an array of microphone options for various studio
production types. Here are the most common types of
microphones in in the production studios.

• Wired Lavalier
• Wired Handheld
• Wireless Handheld
• Wireless Lavalier
• Shotgun

35
LAVALIER MICROPHONE ATTACHING LAVALIER TO TALENT
Properly attaching lavalier microphones to talent can be a bit
A lavalier microphone is the most common microphone used in
tricky but with a little practice, it can be mastered. Here are a few
a studio production environment. It is a small clip-on
rules to keep in mind when attaching microphones to your tal-
microphone generally attached to the subject’s lapel. These
ent:
microphones are great for most studio production types due to
the ability to be hands-free. Lavalier microphones are extremely
• If wearing a button-up shirt, place the mic between the first
sensitive and should be
and second buttons from the top of the shirt. The position and
handled with care. Due to
location of the microphone may vary depending on which way
their size, it is common to
the subject is facing and their attire.
accidentally drop them
• Make sure the head of the microphone is facing away from the
which could damage the
subject’s body. Not doing so can result in hearing rubbing
entire microphone.
sounds from the subject’s clothes.
A few types of productions • Keep the microphone about 6-8 inches away from the subject’s
that commonly use lavalier mouth. Depending on the loudness or softness of their voice,
microphones include: you may have to place the mic higher or lower.
• Have your subject remove any dangling jewelry or tie back hair.
• Talk
Both may create random, unexpected rubbing sounds.
• News/Sports
• Make sure you run the lavalier cable underneath your subject’s
• Variety/Magazine
clothing. Unless absolutely impossible, make sure the cable is
• Documentary/Interview
not visible. If mic’d
• Performance - multi-instrumentalist
properly, the cable
Lavalier microphones are intended to capture audio from the should form a U
subject wearing the microphone. While you can hear sound from shape.
other individuals not wearing the microphone, the quality won’t
be the same. You can also attach lavalier microphones to music
instruments to capture their sound. When using lavalier
microphones for instruments, consult a facilitator to ensure
proper placement of microphones.

36
HANDHELD MICROPHONE SHOTGUN MICROPHONE
These types of microphones are These types of microphones are used when you do not want any
handled by the talent giving microphones to be visible but want to pick up audio. The
them control over the volume of shotgun microphone is hung from the lighting grid by a
the sound. Handheld facilitator.
microphones used in a studio
environment are best when the These microphones are generally only used to capture
number of talent exceeds the background noise, not for the purposes of recording primary
amount of lavalier microphones audio. Only use this microphone type if it is absolutely essential
available. They are also good to to your production.
pass around for studio audience
questions. Another use of these
microphones tend to be for
WIRELESS MICROPHONES
music performances. The In the next section, we will discuss how to integrate all of these
microphone can be held in the microphone types with the audio board. MNN’s studios primary
talent’s hands or mounted to a sources of audio are from wireless microphone systems. Wireless
stand. While handheld microphones (lavalier and handheld) give the talent the ability to
microphones are extremely useful, they have their be mobile and not have to deal with managing cables. These
disadvantages: microphone can be used in almost all types of productions.

• They keep the talent from being able to do things with their
hands.
• Audio levels may be erratic and fluctuate if the talent is not
consistent with where the microphone is positioned.
• If it is a wired microphone, the audio cable can interfere with
the mobility of a performer.
• Talent tends to forget that the microphone is there and may fail
to use it.
There is one important thing to remember when using wireless
microphones. They use a radio frequency to operate, therefore,
cellular devices could potentially cause interference. Make sure
all on-camera talent leaves their cell phones or any devices that
utilize cellular data away from the microphones. *Note: Wireless
microphones are not used in the Express studios at 59th Street.

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AUDIO BOARD
MNN’s professional audio board gives producers the
flexibility of producing any type of production scenario; from
a small one-on-one interview to a large-scale musical
performance. The audio board has a mix of wired and wireless
microphone inputs, along with other inputs such as CD,
auxiliary and more.

Let’s look at the features of the audio board and how to use
them.

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AUDIO MIXER

Touch Screen

Wired Inputs iPod/Aux

(#17 - #24) #29 #30

VU Meters

Monitor
Levels

Wireless Inputs Stereo Inputs

Source Inputs Centralogic
(#1 - #8) (ST1 - ST4) Master Audio
(#9 - #16) Area (Red=Stereo, Yellow=Mono)

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UNDERSTANDING THE AUDIO
MIXER
WIRELESS/WIRED INPUTS
The audio board has 8 total wireless microphone inputs (#1-#8)
and 8 total wired microphone inputs (#17-#24). Each separate
audio input is called a pot and has four primary functions. See
image on the right to locate the functions.
• SEL (Select): When you activate the SEL button, it
turns green. You are now able to see the levels of your
input and make any additional adjustments to your
audio in the Centralogic area.
• CUE: When you put an audio input in CUE mode, you
can only hear the audio coming from that input. This is
so you can individually test the audio coming from
your inputs (guest, host, CD, etc.).
• ON: This button turns the input ON or OFF. If you
intend to use the input, always make sure it is on. You
may choose to turn this off during PSA breaks or any
time you do not want someone’s mic or an input to be
on.
• Fader Lever: This is the white bar (see right) that you
can raise up and down. This is where you raise or
lower the audio level of your inputs (e.g. guest mic,
host mic, etc.).
SOURCE INPUTS
Source inputs include other sources going into the audio board.
Those sources include audio coming from the character
generator program Xpression (#11 & #12), a CD player (#13 &
#14), and the call-in telephone (#15 & #16). There is also the
ability to plug in any audio source with an auxiliary input. For
example, an iPod, MP3 player, tablet, iPad, laptop, cell phone,
etc. The auxiliary input is located on pots #29 & #30.
STEREO INPUTS
Additionally, there are Stereo inputs for the DVD player and Mac
computer. Audio coming from those sources can be found in the
Stereo inputs section listed as ST1-ST4.
CENTRALOGIC AREA
This area, located below the touch screen, lets you recall and
simultaneously control a set of up to 8 input or output channels.
This is where you also go to make any additional audio
adjustments to individual inputs such as the trim/gain.
MASTER AUDIO
This is the primary and most important audio output. The RED
stereo output is a combination of all the audio inputs mixed
down to a two channel stereo output. This is the final mixed
audio for your production. This should be ON and raised to 0dB.
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SETTING UP AN AUDIO SOURCE
Let’s go step-by-step on how to set up microphones and other
audio sources for your production.
STEP 1: Retrieve the needed microphones from a MNN
facilitator. If you are using wireless microphones, they will supply
them to you wilh fully charged batteries and establish the best
channel frequency to avoid interference. If you are using wired
microphones, plug the XLR cables into the wall box and place
the microphones into position for talent use.
STEP 2: Select your source group. On the right side of the
audio board, select the group of audio inputs for which you are
setting levels.
STEP 3: Set levels for each individual input. For instance, you
may need to setup wireless microphone 1 and 2 for your guest
and host, audio from a video you will play on the Mac computer,
and the call-in level for a phone interview.
• Make sure the ON button is illuminated.
• Raise the fader bar up to 0. This is just a starting point.
Raise or lower to ensure the levels are at least between
-12dB and -18dB. OPTIONAL: Adjust the trim/gain knob
when using mic inputs (#1-#8 or #17-#24) to raise soft
voices or lower extremely loud sounds.
• If you are testing the Mac or Phone input, play the video or
have someone call the phone number to test.
Input Selection Keys
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COMMUNICATION
RESOURCES
In this section, we will look at additional communication
resources at Manhattan Neighborhood Network. You have
the following items available for communication:

• Video Conferencing
• Teleprompter
• On-Air Telephones

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VIDEO CONFERENCING
You have the ability to incorporate video conference calls into
your studio production via Skype or Google Hangouts. These
occur using the MAC source on the switcher. To successfully
utilize the video conferencing resources, please do the
following:
• Make sure your caller is using a strong internet connection.
We do not recommend video conferencing with someone
using a cellular signal.
• Make sure you know your login information for Skype or
Google Hangouts. Conduct a test recording prior to the
day of your studio production to ensure connectivity.
• Notify your facilitator in advance that you will be utilizing
video conferencing so they can properly route the audio to
the studio during your recording.
• Make sure your subject is in a quiet location or utilizing a
USB or headset microphone, if possible.
• Make sure you make the video conferencing window full
screen to ensure your subject is visible.
Please note: Your subject will NOT be able to see you on their
screen. Please inform them of that in advance.
TELEPROMPTER
A teleprompter is a visual prompting device for speakers and
television performers that reproduces the current portion of a
script in enlarged letters. Teleprompters are attached to studio
cameras so the talent reads portions of their script during the
show.
ACCESSING COPY FOR TELEPROMPTER
To access the teleprompter computer, press CTRL-CTRL on one
of the keyboards in the Control Room. Select the option labeled
“TP PC.”
There are a few ways to get your script information on the
teleprompter.
You can paste the information into the body of an email and
send it to yourself. Open a web browser (Chrome or Internet
Explorer) to retrieve the text copy.
You may type the text directly into the teleprompter application.
You may bring in the copy on a portable or flash drive and plug
directly into the USB drive on the computer labeled
“teleprompter.” It is best to save your document as an RTF or
TXT file. Some Microsoft Word documents cannot be read
properly on the teleprompter PC.
ADDING COPY TO TELEPROMPTER APP
Copy the text information from the source by highlighting text
and pressing CTRL+C on the keyboard. Double-click to open
the teleprompter application WinPlusX ULTRA located on the
PC’s desktop.
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Paste the copy into the application by pressing CTRL+V. • Press the ACTIVATE PROMPTING button on the toolbar.
You will now see the text on the teleprompter’s monitor in
the control room & on the monitor in the studio.

After bringing in your text, you can make an array of adjustments

including the size, font and the ability to make the copy all
uppercase. This makes the copy more readable for the talent.
To make copy all uppercase, highlight the text you want to make
uppercase, select EDIT > FORCE UPPERCASE.
The teleprompter operator can now use the wheel (or foot
pedal in Express Studios) to operate the copy. Twisting the wheel
left and right will rewind or fast-forward the copy. Press “Run
Order Top” using the hand wheel to jump to the beginning of
the copy.

PROMPT COPY TO TELEPROMPTER

Once all of the copy is placed in the text area of WinPlusX Ultra,
you are ready to send the copy to the teleprompter located on
the camera in the studio.

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ON-AIR TELEPHONES
The on-air telephones are generally used during live shows that
integrate audience interaction. You can also use this to conduct
phone interviews with guests. Each studio has the ability to
accept telephone calls. Each phone system has up to six lines.
Each line has a row of three buttons. See below for how to place
a call over the air.
• When a call comes in, the top clear button will light green.
Pick up the phone and press the lit button.
• Greet the caller and get their question or comment or
prepare them for the interview.
• Place the caller on hold by pressing the second clear
button and put handset on the cradle. When pressed it will
become red.
• Inform the host, via the teleprompter, the name of the
caller or guest and any other pertinent information.
• To take the caller to air, make sure the phone input level is
raised on the audio board. Press the middle clear button
to take the caller off hold.
• Once the call is complete, press the DROP button. You
may also use this function if the caller is deemed
inappropriate.
Be sure to notify your facilitator in advance if you will be using
the phone system so they can properly route audio to the studio
floor. This will ensure the host can hear the caller.
The phone numbers for each on-air telephone are posted on the
bottom of the telephone. Give the number(s) out in advanced to
interview subjects or viewers.
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CHAPTER 5

EXPRESS STUDIO
PRODUCTION
Introduction to the Express Studios

Express Robotic Camera

Express Audio Mixer

Express Production Switcher

INTRO TO EXPRESS STUDIOS
Shows not requiring a large studio space can be produced in
our smaller studios. These smaller studios also give
producers with low-to-no crew a space to comfortably
produce their show. While these studios are smaller than the
Open, Closed & George Stoney studios, many of the same
types of productions can be created in them.

The equipment differences between these studios and the

larger production studios are the Robotic Cameras, Audio
Board and the use of a smaller production switcher. The same
production principles apply when using these studios.

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EXPRESS ROBOTIC CAMERA
There are two robotic cameras in each of the Express studios.
They are controlled by a Remote Control Unit which gives you
the ability to frame shots (see Ch. 2 for Composition &
Camera Operation), program and recall up to 16 shots on
each camera.

The robotic cameras in the Express Studio are on dollies

which can be moved around the studio by unlocking the
wheels. If you need assistance adjusting the height of your
camera, please contact a facilitator.

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OPERATING THE ROBOTIC CAMERA
Framing shots and operating the basic mechanisms of the
robotic camera is similar to the robotic camera in the Open/
Closed/George Stoney studios. The joystick on the right gives
you the ability to zoom in/out, pan left/right and tilt up/down.
ADJUSTING IMAGE QUALITY
Before you begin making any adjustment settings, make sure the
LOCK button is unlocked. If the LOCK button is lit then it is
locked. To unlock, hold the LOCK button for about a second
until it is no longer lit.

Adjusting the image involves adjusting three things:

• Iris: Controls the brightness of the image
• White Balance: Controls the color of the image
• Focus: Controls the sharpness of the image

Adjusting the Iris

• Select the camera.
• Press the MODE button towards
the top left of the control unit.
Mode toggles between
adjusting the iris/brightness and
the white balance. When
adjusting the brightness, make
The bottom row of the camera control unit, numbered 1-7 sure it is in the Brightness
represents the cameras in the Express Studios. There are two Adjustment mode. When it is
cameras in each of the Express Studios so we only use #1 and #2 selected, the VALUE and
of the 7 possible camera inputs. When you want to make BRIGHT indicators will be lit.
adjustments to one of the cameras, select the camera number • Turn the BRIGHT knob clockwise
on the bottom row and it will turn blue. You can now frame your to open the iris and brighten the
shot and make image adjustments specific to that camera. image.
• Turn the BRIGHT knob
counterclockwise to close the iris
or darken the image.

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Adjusting the White Balance HOW TO STORE SHOTS
• Select the camera. Framing and storing shots into the robotic camera unit is
• Press the MODE button until beneficial for productions with small crews. It is recommended
the R and B indicators are lit. you determine the shot types you would like to store before
• Turn the R knob to adjust the arriving to the studio. You can store a total of 16 shots using the
red channel or redness of the position buttons on the control unit. Shots are stored using the
shot. position buttons labeled 1 - 16. To store shots into positions 1-8:
• Turn the B channel to adjust the
blue or blueness of the shot. • Select the camera (1 or 2) on the remote control unit.
• Frame the shot.
• Store the shot by holding down BOTH the PRESET &
POSITION buttons at the same time.

If you need to store more than 8 shots, use position numbers

9-16. To store more shots:

• Select the camera (1 or 2) on the remote control unit.

Adjusting the Manual Focus
• Frame the shot.
• Select the camera.
• Store the shot by holding down SHIFT, PRESET, and
• Locate the focus controls on the bottom right of the unit.
the POSITION buttons at the same time.
• Press the AUTO/MANUAL
button until the FOCUS
light is lit.
• Have a crewperson or the
talent sit in front of the
camera. Zoom into that
person’s eyes.
• Twist the focus knob left or
right to adjust the focus
until the shot is clear.
• Using the joystick, zoom out and frame your shot.
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EXPRESS AUDIO BOARD
Another feature of the Express studio that differs from the
larger studios is the audio board. This board has less audio
inputs than the board in the Open, Closed and George
Stoney studios. If you are comfortable operating the large
audio board, the Express audio board will be easy to
understand.

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OPERATING AUDIO BOARD
Here are the steps to adjusting input levels:

STEP 1: Each audio source is sent to a master mix which is

controlled by the STEREO fader on the right side of the audio
board. Raise this fader to around 0db (the very top) before you
begin adjusting the individual audio source inputs. This fader will
control the sound of your production as a whole.

STEP 2: The primary inputs are 1-16 and labeled on the audio
board. Each input has its own fader to adjust the volume of that
individual input.
MONITORING AUDIO
The most important role of an audio engineer is to not only
• Make sure the ON button is selected. When selected the
indicator lights up. monitor the audio when conducting a microphone check but to
continue to monitor the audio throughout the entire production.
• Raise the fader to around 0dB. Play the audio and adjust as
necessary. The audio engineer should alway wear headphones when
monitoring the audio. Check the levels on the record deck to
STEP 3 (optional): If further adjustments are needed for make sure audio is being sent to it. Conduct a test and play back
microphone inputs ONLY, use the gain knob on the top of the the recording.
input channel. It is best to not turn this knob too much past the
one o’clock position. Doing so may cause distortion to your
audio.

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EXPRESS PRODUCTION SWITCHER
The switcher in the Express Studio is similar to the one in the Listed below are the source options for the Express Studio
Open, Closed & George Stoney studios. Each row of buttons is Switcher.
called a bus. It features three bus rows: key, program and preset. For detailed information about basic switcher operation, see
(Ch. 3) in this handbook.
PRESET BUS: The bottom row is the preset or PREVIEW bus.
This allows the director to preview the video source and utilize
transitions such as WIPES or DISSOLVES.
SWITCHER SOURCE INPUTS
PROGRAM BUS: The middle row of buttons is the PROGRAM
• BK (Black) • CG
bus.
• Cam1 • DVD
KEY/AUX BUS: The top row of buttons is used for effects and
• Cam2 • MAC
keying in graphics. Each button on this bus corresponds to the
• XDCam • BARS (color bars)
labeled video source.
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This handbook was developed for MNN’s Basic Studio Production course. Portions of this
handbook may not apply to all Studio Production environments as they represent
equipment and principles specific to Manhattan Neighborhood Network.

© Manhattan Neighborhood Network

Edition: January 2018

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