Procedimiento de levantamiento de datos

Apart from the groups just mentioned, stage man- agers often must work with a variety of other peo- ple, including managers and agents. Others, who may not be aware of the demands of the studio, include the talent’s family and friends, inspectors of one sort or another, as well as animal handlers and their animals (from tarantulas to elephants), mem- bers of a chorus, social and religious groups, and extras. When the director/producer knows that any of these people will be visiting, it’s wise to let the stage manager know as early as possible so any spe- cial needs may be met. Everyone should realize that such groups may require more time and handling than those who are more familiar with the workings of a television production.

Graphics

Graphic artists, or “image editors,” work with and create images that serve as icons or logos for pro- grams or events. They also create the type style for supers, which adds essential information to the video. Typically, this is the type that indicates the names of talent or lets the audience know whether an event is happening live or was taped earlier. A production may require that a graphic artist or a character-generator operator be either in-studio or on call. News programs may have regular graphic artists as well as character-generator operators assigned. They may also use graphic programs built into editing packages.

As soon as possible, the graphic artist or charac- ter-generator operator needs a list of the graphics required, including the names and titles or artwork.

They input the information or artwork, a logo or icon, and check it before the program—ideally with- out time pressure, although that may not be possible on news broadcasts. In the case of end-credits, it’s best for the producer to indicate the order in which the graphics are to appear and which ones are to appear on-screen at the same time. By contract, the director and writer get full-screen credit. Usually, the director’s credit must appear as either the last title before the program or the picture begins or the first title at the end of the program or picture. Others involved in the production may share the screen, or they may be part of a roll, or crawl. The sooner that information can be made available, the easier and more accurate the job will be. Whenever possible the graphics should be checked and double-checked before they are put on the air. I was once responsible for using a lower-third super that identified Senator Jacob Javits as a Democrat from New York. In fact, he was a Republican, and I, as the director, should have caught it.

Makeup and Hair

The most usual function of makeup is to make the talent look “normal.” In fact, the talent is being seen under unusual circumstances. It’s far from “normal” to deal with set lights, the television pro- cess itself (two dimensions, lens distortion, etc.), and the realities of performing or being interviewed. At the least, powder removes the shine of oils on normal skin, which are unduly emphasized under bright lights and the scrutiny of close-ups.

However, makeup often exceeds what would be considered normal and actually enhances the way performers or guests look. Makeup is not plastic surgery, though. There is a limit to what can and can’t be done. Some people have natural features that can be enhanced with makeup; others don’t. Director/producers may wish to leave the makeup artists to their own devices, or they may have defi- nite ideas about “the look” they are after. If so, dis- cussion with the makeup artists and hair stylists becomes important. At the very least, the director/ producer will want to know how to create a sched- ule so the talent will be ready on time. I used to esti- mate that when there were no special requirements, women needed 30 to 60 minutes for makeup and men needed 10 to 20 minutes. If special require- ments existed, such as prosthetic pieces—like a false nose, scars, Mr. Spock’s elongated ears—more time

would probably be needed. Makeup artists and guests will vary.

Makeup is often a quiet place for the talent. The talent can’t talk because moving the face might interrupt the makeup process. It can be a very stress- relieving area. There are some times, however, when the director or producer must interrupt that stillness and give simple instructions regarding the program, such as “You’re on in the second half of the show. Michael, the stage manager, will escort you from the green room during a commercial break.”

Many celebrities insist on bringing their own makeup artists and expect the production to pay for this. Sometimes that’s a good idea, and sometimes it’s not. The celebrity’s personal makeup artist is apt to know how best to work with the celebrity; also, having friendly faces around makes the celeb- rity feel at ease and indulged. Both of these attri- butes may work well for the production. However, if the makeup artist is unable or unwilling to work within the production’s demands, problems may ensue. The issue of which makeup artists will be used should be discussed when the talent is booked.

POSTPRODUCTION

If the production will be edited, it usually enters the postproduction stage once the bulk of the production has been shot. The director/producer becomes involved with considerations about post- production long before the actual process begins. However, in some formats, notably commercials, the director may not be involved in the editing phase. Postproduction activities vary from format to format: dramas are handled differently from docu- mentaries, single-camera is different from multiple- camera editing, and so forth. Those differences greatly affect the way one shoots. In shooting for the single-camera format, for example, the camera oper- ator and director/producer allow enough head and tail at the end of each shot to create a choice of in and out points. In multiple camera production, there may be no easy in or out; it’s prudent at the begin- ning or end of the program to shoot multiple cut- aways intended strictly for the editing process. This means, for example, “nodders” for talk shows (dis- cussed in Chapter 10), applause shots for musical programs, and cutaways or coverage for news and documentaries. Other chapters of this book cover the various aspects of postproduction for each format.

The following individuals are involved in the postproduction process:

G The account executive/sales G The scheduler

G Reception G The librarian G Shipping

G The editor, graphics, and assistants G The sound mixer