MED4114 Television Studio Production Skills Diary Week 4

Learning Diary Week 4 – 

In our fourth week of Television Studio Production Skills we filmed a short news report using the auto-cue in preparation for our assessment the following week. This was more difficult than the previous week as the two reporters had to be looking at the correct cameras whilst reading the auto-cue so the director had to make sure they were properly briefed on which cameras they would be cutting to and when.

We filmed five of these news reports and each time I took on a different role including camera operator, floor manager, PA, vision mixer and auto-cue operator. I also decided on the floor and gallery role I felt was best at to do in the assessment in week 5. For this I chose vision mixer and floor manager.


Television Location Production Skills Diary Week 4

In our fourth week of Television Location Production Skills we reviewed the footage we had shot the previous week and edited together using Avid Editing Software into a minute long sequence. We also learned how to adjust the sound levels for each individual clip so that it flowed better in places where the levels often changed greatly due to a change in location or environment.

For our directed study, we began to think about our first assessment which will be filmed in week 5. We were given storyboards to note down any ideas for shots and camera movement we will include. The first assessment will be a one minute long video of someone walking from Millennium Point to Parkside.

MED4106 Radio & Popular Music Reading Response Week 4

Popular Music Genres & Narratives

In ‘Studying Popular Music Culture’ (Wall, 2003) the opinions of various academics with different ‘processes of genre identification’ are discussed. The general view of genre is the different styles of music, for example, rock, metal or dance music. However, some theorists including Alan Moore suggest that the ‘musical form’ is the genre, for example a ballad or love song. However, Robert Walser believes that the genre of music can differ based on fan’s opinions and the expansion of genre that can results from a certain genre becoming popular or influential.

‘Popular Music and Local Identity’ (Mitchell, 1996) categorises music using styles which have progressed through time. For example, the popularity of indie rock began in the 1980s during the post-punk era when independent labels began signing ‘alternative rock’ bands alongside the introduction of Britpop. Mitchell also explains in detail how one genre can create another.

Wall suggests that genres can expand and form sub-genres, for example, Dance Music led to House and Garage, both names after the places they were originally played most. Techno music was also named after certain producers of dance music began using more forms of technology. Mitchell discusses the idea of ‘musical appropriation’ which involves borrowing or copying ‘a phrase or style or sound or inflection’ which can lead to new genres. An example of this would be the transition from Punk Rock to Grunge or the combination of Reggae and Techno that led to Jungle. However, this can also be seen as a ‘betrayal of origins’ by audiences who don’t want genres of music to be copied or changed. He also notes that ‘musical appropriation’ can result in copyright issues. Mitchell’s text focussed on the development of entirely new genres rather than Wall’s ideas of expansion into sub-genres.

These readings made me think about the relationship between producers, distributors and consumers in the music industry and how they each view genre differently. For example, a producer, or musician would most likely be aiming to make music in a certain style or genre, possibly similar to their influences and other similar artists. Distributors would be the managers or workers at a record label who would decide where the music was distributed and how it was promoted and could categorize it a certain way to make the intended target audience buy it. Finally, the consumers are the audiences looking for music to buy and possible basing their decisions on music they’ve previously bought of the same genre.

If I was going to research this area I would analyse an online music store such as the iTunes store. I would look at the recommended tracks and albums that are suggested based on previous purchases and see why the store sees them as similar. I would look to see if the name of the genre, the tempo, the vocals or the overall sound were the same.


Mitchell, T. 1996, ‘Popular Music and Local Identity: Rock, Pop and Rap in Europe and Oceania, Leicester University Press, Londno

Wall, T, (2003). ‘Genre’. In: (ed), Studying Popular Music Culture. 1st ed. UK: Hodder & Stoughton Educational. pp.(179-188).

MED4115 Television Studio Production Skills Diary Week 3

Learning Diary Week 3 – 14/02/14

In our third week we filmed two minute videos featuring a presenter demonstrating how to make a paper plane. We practiced a couple of times during the lesson and experimented with different shots and camera positioning.

In the directed study, we had to film the video five times at pre-programmed time slots where the cameras would automatically start recording. This was more challenging than previous weeks as it meant we had to be prepared to start at an exact time which could not be pushed back. During the recordings I took on roles I had done in previous weeks including camera operator, floor manager and PA. I also took on Auto Cue operator for the first time. This involved writing out an introductory sentence for the presenter and rotating the dial so it would move for him to see on the cameras. As it was so short, there were not have any problems with having to adjust the speed at which I turned the dial.

MED4114 Television Location Production Skills Diary Week 3

Learning Diary Week 3 – 13/02/14

In our third week we got to start using the cameras and tripods. We began by learning how to set up the external hard drive where any footage we shot would be stored. This involved formatting the memory card to erase any previous footage left on and putting it to the correct settings so we wouldn’t have any problems when importing the footage to the computer. We then looked at how to set up the tripods cameras. We experimented with different shot sizes and learned how to adjust settings such as white balance and the focus.

In the directed study we took cameras and tripods out in groups and shot about 60 seconds of footage each around the University which we will edit the following week in preparation for our first assignment task.

MED4106 Radio & Popular Music Reading Response Week 3

Political Economy

‘The Political Economy of Music Radio’ (2004) by Tim Wall looks at ‘critical political economy’ which regulates the ‘basic moral questions of justice, equality and the public good.’ Before Internet radio, many theorists did not think commercial radio was diverse enough and therefore was not in the interests of the public good. However, Wall predicted that the Internet would change this as there would be more choice and diversity.

‘Internet Music: Dream or (Virtual) Reality’ (1998) by Kon & Iazzetta describes their hope for Internet Music services. At the time of writing, Internet Music was just ‘one-way streaming of digitalized audio with very little interaction.’ This essay looks at how they think it will develop and the possible problems they will face. They also discuss the technological possibilities and constraints and possibilities of content including live concert broadcasts, education and composition.

Both texts discuss the positive opportunities the Internet is likely to have for the industry. For example, Kon & Iazzetta look into the idea of education through the Internet which had already helped schools and collages with distant learning. This could lead to musical opportunities including lessons and live broadcasts which would be educationally beneficial. For radio, the Internet would mean a wider range of programming which would promote variety and lead to a greater public good. It would also mean less regulation which could be positive as certain types of music could be played or topic discussed.

Also, both essays talk about funding; another aspect of political economy. Technical issues could occur with the creation of Internet Music meaning funding would be necessary for the expansion. There would also be issues involving time constraints, networks and operating systems that could cause problems. Wall’s predictions for the future of Internet Radio include a description of the characteristics of radio, many of which reflect Capitalist economic systems. This is largely because of the profit maximisation of the privately owned stations which suggests that funding would be required to help new stations start up with the introduction of Internet Radio.

As both of these essays were written before these changes had taken place, it shows what the authors saw as priorities in their respective industries. Generally, I think that Kon & Iazzetta prioritise funding for the introduction of Internet Music and Wall prioritises regulation as he sees the importance of diverse content as important. Political Economy is involved with both industries, although the introduction of the Internet into the industries would change it.

To research this area I would look at a current internet radio program and compare its content to an on-air station such as the BBC. I would look at the language used, topics discussed and the music played to see if the regulation is of the same standard. I could also talk to listeners of the Internet Radio station to see if they prefer it because of the content which they cannot get on on-air radio.


Kon, F. Iazzetta, F. 1998 ‘Internet Music: Dream or (Virtual) Reality’ In: ‘Proceedings of the 5th Brazilian Symposium of Comupter Music’ pp 69-81

Wall, T, (2004). The Political Economy of Internet Radio. Radio Journal: International Studies in Broadcast & Audio Media. 2 (1), pp.27-44

MED4115 Television Studio Production Skills Diary Week 2

Learning Diary Week 2 – 07/02/14

In the second week of Television Studio Production Skills we reviewed some of the interviews filmed in the directed study last week and picked out aspects of each one which could be improved. We then split into the two groups from last week and went to either the studio floor or the galleries. This week I was in the group on the studio floor. Once again, we filmed several interviews between two people and switched roles in between them.

I took on the following roles:

  • Floor Manager – I was responsible for letting the people on screen (the only people not wearing headsets) know what the people in the galleries were saying. Firstly, I had to listen to the Director as they explained where they wanted the people to be positioned. After the Director had finished the sound engineers would do their sound check and I would have to tell either the presenter or the guest to talk for as long as it would take them to correct their sound levels. Finally I would listen to the PA during the countdown to the start and finish of the rehearsal and transmission and use hand signals to tell the presenter how much time they had.
  • Camera Operator – Before the rehearsal or transmission began the Director would instruct each camera operator on how they wanted their camera positioned and whether they wanted it to be zoomed in at all. Once the Director was pleased with the positioning of each camera they would move on to sound check before beginning. I took on this role several times on different cameras.
  • Cable Basher – This involved making sure the cameras connecting to each of the cameras remained untangled. It also involved preventing this further by picking up cables for cameras which were moving and moving alongside the camera.