TV-guided broadcasting is a comprehensive work that combines art, technology and television awareness. The creative thinking of TV-guided broadcasting must be formed before the filming collective presents the final result through the operation of the electronic device. "The nature of television requires that the broadcaster supervise a production group and manipulate a complex machine to express a video. The guide must account for the intention to the filming group, while assisting the video to complete the program by selecting the lens and using the sound. Everything first comes from the idea of ​​the guide, and then a series of equipment and production techniques to reflect these ideas on the screen.†With the rapid development of the TV industry, ESP TV studio production, EFP TV live production and news The live broadcast of the program and the broadcast of sports events have increased significantly, and the high-quality dissemination and recording have placed higher demands on the pilot work.
The guiding work is to clearly express the video at the moment when the signal is cut out, to restore the scene, to grasp the rhythm and properly represent the atmosphere and environment that should be present. In the face of such a complex and artistic work, a broadcaster should have an editorial awareness. TV editing is an important part of TV creation. The editorial consciousness in the guide is to have the idea of ​​TV editing throughout the creation of the program. It is a highly creative creation activity.
In the actual work, there is a strong similarity between the editing and the specific work of the guide. It can be said that the concept of the guide covers the concept of editing. The principle of switching and TV screen editing is basically the same, but the editing of the guide work is different from other TVs. The editing status of the production of the program has its own particularity.
In the process of editing general TV programs, combining paragraphs, arranging rhythms, considering picture effects, using sounds, and adjusting the narrative structure require each step. So it’s not uncommon to spend a few hours editing a minute or two. However, the characteristics of on-site production are that it is produced at the same time as the program. In the process of guiding, there is not enough time to improve the details of the camera and switching. Whether it is the combination of the picture or the control of the rhythm, it needs to be completed at the moment of cutting out. This immediacy is characterized by what TV does not have. Therefore, in order to produce programs to the highest standards, the creators of the program should try to know more about the program or the event itself and make careful planning. In real life, certain programs and events are not one-time and can be repeated, so the early rehearsal provides a pre-judgment space for the instant switching of the guide.
On-site production can be divided into two kinds of on-site productions of “pre-displayable programs†and “unpredictable programs†according to the type of program. For example, song and dance programs, dramas, concerts, and rehearsal celebrations can be previewed or previewed; sports events, current events, etc. cannot be previewed. Be sure to watch in advance for previewable shows. For example, a live broadcast of a drama must be previewed several times in advance, and a rehearsal script should be obtained. The pilot and camera personnel should carefully study the script and make a split-lens plan after having a sufficient understanding of the theme and emotions. It is the decomposition and refinement of the whole story. This script with a lens tip will be called the basis for the live production. Then determine the number of cameras used, camera positions, and task assignment based on program type, size, and site conditions. After that, the rehearsal and drills with the machine will be carried out. After many trainings, the screen cut out by the guide can ensure that it is as beautiful as possible, and the broadcasted program will conquer the TV audience; large-scale political news, social news, its development sometimes It is not transferred by individual will, nor is there a fixed law to follow. If you need to broadcast live or live coverage of such a program, the so-called "unpredictable program", its production process and key aspects of the game are quite different from "pre-viewable programs." In the face of on-the-spot reports of political news and social news programs, the first work is to conduct a thorough investigation and understanding. The agenda for the event, and even the new situations that may arise, must be prepared in advance and have a detailed understanding. Based on his extensive experience in the past, he has a rough estimate and speculation about the events or scenes. In the face of a live sports program with duality (both fixed and unpredictable), there are generally rules to follow. For example, the venue, time and process of the football match are familiar to us. The number of cameras used in the field, the location and the division of the camera are also basically clear. Under such circumstances, the normalization operation is a trend of today's sports broadcast, and the trend of the norm will be discussed in the following text.
The pilot work is a comprehensive operation under the cooperation of multiple types of work. The pilot work needs to have a large editorial awareness. It not only requires a tacit cooperation between the guide and the camera, but also with the continuous development of the TV industry, the accumulation of the pilot experience, and the division of labor. The trend is becoming more and more obvious. In the process of TV broadcasts in the past, we often see the position of the pilot, but now it is gradually replaced by the director group or the video director. The number of guides has also grown from one or two people in the past to five or six people in the past. The division of labor is clear, there are adjustment guides, switching guides, technical guides, large-screen guide broadcasts, executive guides, and controlled broadcasts. There are also two levels of guidance or even multi-level guidance to complete the retransmission task. This is the performance of the continuous maturity of TV program production, and it is also the performance of the continuous improvement of the pilot program.
In the specific guiding work, the embodiment of editorial consciousness is everywhere. Here, only the rhythm grasp, emotional control, objective reporting of things and standardized editing ideas are combined with the theory of audience psychology and television broadcasting to explore the guiding editor. The specific expression of consciousness.
1, the grasp of the rhythm
In the production process, rhythm is an artistic element that cannot be ignored. Television is a complex of time and space. The rhythm is naturally expressed both in the flow of time and in the form of motion in space. In addition, TV is a comprehensive art of audio-visual, and the rhythm is attached to the image of the activity and attached to the sound. It is an organic combination of visual rhythm and auditory rhythm.
In the specific work of the guide, the rhythm is even more important, especially in the broadcast of the variety show. A large variety show is often made up of dozens of shows. The switching of each program is to grasp the rhythm, and the rhythm of the whole party needs more control. How to grasp the relationship between the overall rhythm and the specific rhythm in the unit paragraph, how to use the paragraph rhythm to form the overall rhythm is a need to conduct in-depth thinking. Of course, the whole party and the rhythm of each program have a great relationship with the program itself and the internal rhythm of the whole party. The guide can control only the external rhythm of the program. Within a limited controllable range, the guide can control the rhythm to the fullest.
The rhythm has a close relationship with the lens. The length of the lens, the content of the lens, the movement of the lens, etc. all have an effect on the TV rhythm. In particular, the length of the lens is the most important issue in editing. Because of the different lengths of the lens, different editing relationships are formed. It has a direct impact on the sound and picture of the entire TV work, the rendering of emotions and the clarity of the narrative, thus determining the rhythm of the TV.
2, emotional control
In addition to the narrative picture, the lens language is descriptive to describe a certain mood, atmosphere or image. In the production of TV programs, the live broadcast and recording of TVs are all through the scene shot switching, synchronizing the picture, and reproducing the real scene of the scene, so that the TV audience is infected with the real scene atmosphere. Whether the program brings emotional resonance to the audience, emotional venting, and direct relationship with the camera's ability to connect.
The talk show emphasizes the control of emotions. From the perspective of audience acceptance theory, the talk show program can be expressed by the interpersonal communication method of interactive participation, equal communication and dialogue, and the audience will be willing to accept it. Therefore, in the talk show, it is necessary to use the lens to narrow the distance between the talker and the audience, so that the audience in front of the TV has a feeling of equal dialogue with the star and the party. Can the audience enter the inner world of the talker, can they achieve emotional resonance, how to brew the scene emotions to create a mood field for the TV audience, and the broadcaster should pay attention when switching.
Generally speaking, for the control of emotions, pay attention to "based on the psychological emotions of the characters, according to the emotions of the characters' emotions, etc., select the editing points in the expression process of the expressions." The choice of emotional editing points should focus on the expression and rendering of the characters' emotions, and generally need to be longer in grasping the length of the lens. After the editing of the character's emotions is basically completed, the character's psychological activities can be displayed to the fullest, thereby mobilizing the audience's emotions and enhancing the appeal of the whole film. The selection of the action editing point is easy to grasp as long as the rules of the action are mastered, and the determination of the emotional editing point is based on the editor's understanding of the plot, content, and meaning. The psychological feelings of the inner activities of the characters are invisible and intangible. Therefore, the choice of emotional editing points is irregular and difficult to elaborate. Therefore, the choice of emotional switching points can best test the artistic literacy of the broadcasters.
In order to avoid the monotony of the speaker's single close-up during the interview, the studio set up a horizontally movable position in front of the audience to display the stage panorama in motion. I call it the “emotional lensâ€. Rolling or traversing is used to show the relationship, environment, scene and scale. Generally, the lens is required to be even and even, so that the viewer can continuously find and see the new content in the space presentation, so the movement should usually be expressive. main body. It is set up to adjust or render the mood of the scene, and is the embodiment of the awareness of the broadcast. When the respondent is talking, in order to prevent the single lens from being too long to bring visual fatigue to the audience, the host's reflection lens can be countered. However, such hard work has artificially broken the original narrative rhythm and mood, and sometimes it will destroy the fluency of emotion expression. At this time, this movable "emotional lens" played a role in keeping the emotions continuous and enhancing the expression of the emotion to a certain extent, and also played a role in restoring the sense of the scene.
3. Objective reporting of facts
In journalism, objectivity means that news reports must respect objective facts and reflect them according to the true nature of things. The objectivity of facts determines the objectivity of news. The editorial ideas of these news theories must run through the guidance process of news programs. If there is no such objectivity in the news, the facts will be regrettable. For example, the final broadcast of the 9th Women's Volleyball World Cup, due to the subjective intention of Japanese TV, when the Chinese women's volleyball team defeated Japan's last goal 3-0, until the closing ceremony, a large period of time before the closing ceremony, the Japanese guide There is no shot for the Chinese team that won the championship. In the picture, it is not a frustrated Japanese player, but an expressionless Japanese audience. Due to the fact that the Japanese director ignored the objectiveness of the news, the Chinese audience lost the right to know. We had to read from the next day's newspaper the exciting scene of the Chinese team winning the championship. Even if you don’t switch from the audience’s psychological awareness and schedule the lens, you should not delete such an objective lens from the capture of news events. The camera and switcher have no feelings, but if you operate it, if you The subjective will of the above is added, and the objectivity of news reports is lost.
Such an event reminds our TV broadcasters that the film must be objective and fair in conducting news reports or broadcasting international events. Objective reporting of news facts should be inscribed in the hearts of every TV worker.
The pilot work has strong political, policy and ideological characteristics. It involves the propaganda policy, purpose, program setting, reporting plan development and implementation, and broadcast effects of radio and television. Therefore, some people compare the pilot work to the "heart" in the process of making and broadcasting radio and television programs. All links related to the design, layout, instructional production, modification and processing, and auditing of the program must be handled by the pilot to determine the choice and direction.
4, standardized editorial ideas
With the international influence of sports events expanding, the broadcast of sports events has entered a stage of standardization of television broadcast public signal production.
Take the TV broadcast of the Athens Olympic Games as an example. The Athens Olympic Television Production Committee (AOB) has established strict and detailed technical requirements for the production of television international signals for each competition. Every detail of the entire television international signal production process embodies standardized operations all the time. For example, the participating TV stations will receive two manuals before and after Athens. The manuals describe the requirements for the producers, the plans, the equipment provided, the power supply facilities, the venue layout, the environment, the map, etc. . Standardization permeates every detail, and it is strictly regulated to guide which screen and what scene to cut. All equipment used by technicians who produce international signals is provided by AOB, and the sound quality standards are the same, which is conducive to standard production. All AOB staff members work in a detailed manner, each with their own duties, and each department's work is staffed. For example, the work of wiring, that is, a part of people are responsible for the timely routing in place according to the requirements of the AOB. When the OB van is in place, all the integrated cables including power, video, audio, and various ports are already installed. The audio producers only need to use a short line to sing the microphone according to the AOB requirements. There are also standards for the use of subtitles. In the workflow, AOB has strict requirements, such as when the subtitles come out, how long, in what form, and so on. The lens required by AOB must be understood by people from the age of seven or eighty to seventy or eighty years old. It is not possible to use a small-acting lens that can only be understood by professional sports personnel. Such as not to shoot, not to shoot, switch not too fast, the audience can not shake too fast, etc., AOB has put forward detailed and strict requirements. AOB also stipulates the entire workflow. From pre-match preparation to international signal production, and then to the end of the game, there are also standards to follow, and the production staff must strictly follow the workflow.
In summary, editorial thinking should run through the creation of the program. It involves all aspects of TV production and is highly creative. The editorial awareness of the guide is a manifestation of the comprehensive ability. It must have the ability to control the editing of the screen, but also the energy of teamwork, and also have a full understanding and understanding of the audience psychology. At the same time, in the face of the ever-changing technological progress and the world's advanced production concepts, the editorial awareness of the guide must also keep pace with the times and keep up with the pace of the times. Only with such editorial awareness can we complete the guided mission and give the audience the best TV programs.
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