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Chapter 17. Radio and Television

Radio and television broadcasting depend upon electronic equipment. Thus, effective speaking, to be used in connection with these two mediums of communication, requires certain modifications and special techniques which are not necessarily demanded in other speech activities. The basic rules and suggestions for effective speaking, given in other chapters, are applicable to radio and television. Those chapters should be re-read, especially the chapters dealing with dramatization, oral interpretation of liteature, and public speaking. This chapter will be limited to comments relevant to radio and television speaking.

Generally, it can be said that radio and television performing requires much more polished, casual, and less mannered or exaggerated styles of speaking and moving than do other speech activities. In radio, the slightest vocal variation, inflection, or stress is greatly amplified, requiring complete control by the speaker at all times and a somewhat less dynamic usage of pitch, volume, and tempo, than in other forms of speech work. Moderation is the watchword. In television the same is true, with the additional fact that the visual image of the performer is, at the same time, amplified and transmitted. Gestures must be small, easily executed, and held to a minimum. Often a camera angle, lighting effects, or focus (the degree of apparent closeness of the camera) can emphasize a situation much more than a gesture or a line reading can. There is an old saying that the camera never lies this is true of the television camera and the microphone as well. The television and radio speaker should be in complete control of his manner of delivery at all times and appear as natural as possible. Remember that, the majority of the time, you will be coming into a family's living room like a guest, and you will want to be appealing, interesting and, above all, well mannered in all that you do.

1. Using Broadcasting Facilities

There are certain problems that arise out of the use of the medium of amplification (or broadcast) that you will need to understand and to solve through practice. Let us consider each one separately.

The Microphone

The electronic device that picks up and transmits sound is called the microphone. Besides its uses in radio and television, it is an invaluable aid to the speaker who addresses a large audience. However, since it is a highly sensitive instrument, speakers must exercise caution when using the microphone.

SPEAK DIRECTLY INTO THE MICROPHONE

First, always adjust the height of the microphone so that you may talk comfortably into it, not over or below it. Second, since microphones differ in power, you should test the one you are to use for the proper distance required for good voice reproduction. The slightest variation in the distance between the speaker and the microphone will make a big difference in the volume being broadcast. There is a volume control on all amplifying systems which may be used to increase or to decrease the broadcast volume, but the individual speaker must attempt to maintain a reasonable range of volume. To help do this, it will be necessary for the speaker to regulate his distance from the microphone in accordance with the volume used.

After the normal distance for proper microphone pick-up of the voice has been established, the speaker should move closer to the microphone when speaking softer than his normal volume, and must move away from the microphone when using a louder delivery. This will help maintain a relatively constant level of sound waves against the microphone. Nothing will be lost of the intensity or presentation. With a little practice and listening, this technique becomes automatic. It is a good idea to mark the script so as to remember to regulate the speaker's distance from the microphone when necessary. The words usually used to designate this movement of the performer for the sake of microphone positioning are "close" and "back," or "on" and "off," meaning "close" to the microphone, "back" from the microphone, directly "on" the microphone, or a distance "off" from the microphone.

Since microphones and amplifying systems have narrow limits of variation, extremes of volume are poorly transmitted. Whispers will not be heard and shouts will result in annoying distortions.

NOTICE THE SOUNDPROOFING OVERHEAD AND THE DRAPERIES BEHIND THE ANNOUNCER TO KEEP THE STUDIO QUIET

Speakers must be careful to avoid any action that may interfere with the satisfactory transmission of sound. Especially they should avoid touching or striking the microphone or its stand at any time. They should not hold papers between their mouths and the microphone, rattle papers, or make any other extraneous noises.

The Studio

The first time you speak in a radio or television studio, you will notice some differences from your other speaking experiences. First, the room itself will make a difference. Because reflected sounds (the echoes) tend to multiply in an ordinary room, radio and television studios have the walls and ceilings covered with materials that absorb sound waves rather than reflect them. The floors are usually carpeted, because of the quieting effect carpet materials have on sound. Your voice will seem lifeless to you and, if you do not expect this, you may become disturbed about it, but do not fail to concentrate on your speaking. You will soon become acclimated.

A second important difference between speaking in a studio and in other situations is the lack of an audience with whom you can communicate directly. In most speech situations, there is a cycle of communication that takes place. The speaker stimulates the audience and the audience, in turn, stimulates the speaker. This, of course, cannot happen if there is not a studio audience, as in some radio and television broadcasting. As a result, therefore, you must compensate for this shortcoming by attempting to imagine the reaction of the audience, and allowing time for reaction.

The Nature of Radio and Television Audiences

Although radio and television audiences are usually larger than those in other speech situations, they differ in these respects:

1. They are grouped in small, informal situations.
2. All ages are represented.
3. All educational levels are represented.
4. People from all walks of life are present.
5. All members of the audience have the alternative of turning to other stations or other interests,
6. You are coming to them, usually in their own homes.

These differences, if kept in mind, should stimulate the speaker to talk in a conversational manner appropriate for the small group in an informal setting. The speaker should avoid appeals to special interests of particular groups. He should use the so-called universal appeals appropriate for "all men everywhere." Since people from all educational levels are represented, materials presented must be within the experience of "everyman." Sentences should be short and simply constructed. Words should be those of common usage, and points of view adequately supported. Because each member of the radio and/or television audience has other stations to which he may tune and other activities to which he may turn, the speaker must make every possible effort to hold the attention of his audience. The radio speaker can appeal only to the auditor. senses of his listeners and therefore must depend on pleasantness and variation of voice and interesting content to hold his audience. The speaker on television appeals to both the auditory and the visual senses of his audience. His situation is more like the public speaker's in that he may use gestures, movements, and facial expressions to hold the attention of the audience. He may also use other visual aids that are helpful and appropriate.

The Television Camera

When a person performs on television, much of his action is governed by the television camera. Your first experiences before the cameras will be more effective and pleasant if you are aware of several things.

First, you will be flooded with a number of abnormally bright lights. This is necessary to obtain a clear picture. Second, two or more cameras will be aimed at you, but only one will be transmitting a picture at a time. When you are speaking, you should be looking towards the "live" camera. Cameras have red signal lights that you can see when a particular camera's picture is being transmitted. You as a speaker or actor simply look into the lens of the camera on which the red lights are burning. Looking into the camera gives the viewer the impression that you are looking directly at him. The camera is in essence the eye of the viewer.

Third, the cameras will "dolly" or "truck" about the studio, changing subjects, changing the camera angle, or varying the distance between you and the camera. The television speaker should be conscious of only the camera on which the red lights are burning.

BRIGHT LIGHTS ARE NECESSARY IN A TELEVISION STUDIO SO THAT THE CAMERAS CAN OBTAIN A CLEAR PICTURE

The Clock

In radio and television speaking, the time factor has become highly important. Almost without exception, programs are scheduled in predetermined blocks of time ranging from approximately fifteen minutes to about an hour and a half. Thus, whenever you take part in any radio or television program, you will need to consider the time factor. In most radio studios, the clock is placed conspicuously to help the speaker gauge his time. If you are preparing a radio talk, you should practice it before a clock to gain the skill of cutting or adding to your speech to fit the available time. It is a good idea to note the time it takes to present various parts of your speech and record these on the margin of the manuscript. In this way, you can tell whether you are ahead or behind schedule and make the necessary adjustments in the actual broadcast of the speech.

The clock is not used in a television studio in the same way. Since speakers usually must look into the camera, the floor director provides the necessary time signals.

Director's Signals

Because the director cannot talk to his cast during the actual broadcast, a system of signals has been devised to enable him to communicate from the control room to the studio. You should memorize these signals so that you will automatically understand them when used by your director.

2.Producing a Radio Program

To develop skill in radio broadcasting, you will need to produce an actual radio program. Let us consider the equipment, the talent, and the script necessary for such a program.

Equipment for a Radio Show

A typical radio station consists of a central room (or control room) which houses the necessary equipment for broadcasting, and one or more sound treated rooms (or studios) in which the actual programs originate.

The control room contains the control board that mixes sounds from various sources, the turntables upon which records are played, a clock, amplifiers, loud speakers, and other electronic equipment. The studios contain microphones, a clock, furniture, and other facilities.

Although some high schools have radio studios and others have access to commercial radio stations, these schools are not typical of most high schools throughout the nation. Because the majority of high schools lack radio equipment, let us consider how your class may improvise in order to gain practice in radio speaking and broadcasting.

A simulated radio broadcast may be produced with as little as two rooms and a public address system. The microphone and the talent may be placed in one fairly sound-proof room; the audience may gather around a loud speaker in another room to hear approximately what one would hear if the program were being broadcast.

The next most desirable piece of equipment for practice in producing a radio program is a tape recorder. Each recorder has a microphone that can be placed on a stand. The radio program can be planned, rehearsed, and recorded on tape. The tape can then be played back, or monitored, with almost the same effect as if it were being broadcast. If your class is able to record good programs on tape, it is frequently possible to get those tapes played on an actual station broadcast. With the proper facilities, taping a radio show for broadcast is much simpler than producing it in the studio.

The next most important pieces of equipment are a pair of turntables (or record players), and a "mixing board" of some kind. Sound effects can be added to the spoken material with ease by using this equipment. Given a tape recorder, turntables, a mixing board, and access to a radio broadcasting station, what you can learn in high school about radio broadcasting is unlimited.

The Personnel

A number of people are needed to produce a good radio show. Each person needed and the service each renders are as follows:

	The Personnel	Duties
1.	Engineer	To handle all mechanical problems of broadcasting
2.	Producer?	To co-ordinate the work of all who participate in putting on the show
3.	Director?	To cast the show and help the cast present the show effectively
4.	Announcer	To make the necessary introductory and concluding remarks, read commercials, and make any required explanations
5.	Talent	To actually present the show
6.	Writers	To provide the script

1.The Engineer:: The student serving as an engineer should have a special interest and ability in the use of electrical and mechanical devices. He must see to it that all equipment to be used is set up in proper working order. He is responsible for its proper functioning throughout the production of the show. If facilities are limited to a public address system, the engineer's duties are few. He needs only to set up the system, to adjust the tone and volume and, if nothing goes wrong, to wait until the show is over. If, on the other hand, there is a full allotment of radio equipment, the engineer will have a full time job that requires much knowledge and skill.

2.The Producer:The producer of a radio show is the person who is responsible for the entire production. He must arrange for the time on the air, secure the necessary people to help put on the show, and work with the director in planning the content of the show. The producer coordinates the efforts of all the people who work with the show, and should have special skills and abilities in the field of personnel relations and administration.

3.The Director:The task of helping the talent present the best possible show is the function of the director. He works with the talent individually and collectively to help them do their best. He is responsible for the over-all effectiveness of the show. He supervises all rehearsals and the actual production on the air. He must also see to it that the show runs neither too long nor too short. The director should have special skills in dramatic arts, aesthetics, organization, balance, and pacing.

4.The Announcer:The announcer introduces the show, reads the commercials, narrates part of the show if necessary, and often concludes the program. He should have superior voice quality, good articulation, vocal variation, and a large vocabulary. Effective pronunciation is paramount for professional announcers.

5.The Talent:The talent includes all the people, other than the announcer, who speak over the microphone. If the pro gram is a radio speech, then the talent is just one person. If the show is a dramatization, then the talent includes all of the actors and actresses. All talent, however, must possess pleasing voices, must speak correctly and clearly, must be masters of vocal vari ation and, above all, must be skilled in oral interpretation.

6.The Writers:The materials that are spoken over the microphone are collectively called copy. When these materials are written down in the order presented, they take the form of a continuity. A script is a complete collection of written audio material and directions for producing the program. If a script isused on a show, it is the writer's responsibility to provide the script. Radio speeches, interviews, panel discussions and such programs are presented "ad-lib," or extemporaneously. If, on the other hand, the radio show includes a newscast, a skit, singing, or other entertainment, then it is the responsibility of the writers to provide the materials to be spoken. This job requires special skills in creativity, correct use of language, and the ability to write effective language for oral delivery.

The Content of the Radio Show

The plan of a radio show is called the format. When planning the show, you should be realistic in determining the content so that your show might actually be broadcast if the opportunity arises. The format of the show may look something like this:

SAMPLE RADIO FORMAT

Station:____________________________________

Date:_________________Time:_________________

"Campus Highlights"

THEME:(Up, 15 seconds, and under)

ANNOUNCER: Good evening ladies and gentlementhe High School Radio Workshop is on the air, bringing you 15 minutes of news, previews and attractions on campus.

THEME :(Up, establish, and out)

ANNOUNCER: Let's start off with a musical salute! What could be better than the number one tune on campus this week the tune chosen by our special poll to be the number one campus favorite? (Introduce hit tune)

MUSIC: (Number 1 hit tune)

ANNOUNCER: Now for the news of events on campus this week here's_________________reporting.

REPORTER:_____________ News

News__________

News__________

ANNOUNCER: Many of us of the present generation have a tendency to believe that the writers of today are tops in their profession! Musically speaking, this isn't always so! We of the cast of "Campus Highlights" take this opportunity to pay our respects to the top composers of yesteryear. Not too many years ago, college kids in

coon-skin coats were dancing to_________________

(Introduce hit of the past)

MUSIC :(Hit tune of the past)

ANNOUNCER:Now here's---------------to give you more details of newsworthy events taking place on campus at__________________High School.

THE SOUND EFFECTS AND BACKGROUND MUSIC IN A RADIO PROGRAM ARE REGULATED BY THE ENGINEER AT THE CONTROL PANEL

REPORTER:

News

News

ANNOUNCER : You've just heard the grams designed to keep you in touch with "Campus Highlights!"

THEME: (Up, 5 seconds, and under)

ANNOUNCER: 'Campus Highlights" came to you as a public service feature of Radio Station ___ '' ___ presented by the__ ---- .. High Radio Workshop. Be with us again at this same time next week! Till then this is __________________saying so long!

THEME: (Up till time)

The production of several such shows can help you gain many skills in radio performance, even if your class is not able to do any actual broadcasting.

When preparing the script for a radio show, attention should be given to the form in which it is written. The following script is in standard radio form. It may be used as a model.

"A Rural Revolution"

by Jay Sanders

THEME: (Up, establish, and out)

NARRATOR: Out in the country, down on the farm. Man down there thinks o'nuthin' but city livin'city ways of doin' things. That's cause he don't know nuthin' 'bout the city. Now take this here family for instance. Here's Ma!

MA: I do declare, mighty pleasant of yuh to come a callin.

Right neighborly of yuh, even iffin I do say so. We folks down around these parts don't offin . . . (voice fades) get the chanct to see people . . .

NARRATOR: That was Mai Now there's Pa down by the barnyard.

SOUND: (Barnyard effects, up and under)

NARRATOR: Ilcy Pa!

PA: Howdy stranger! (Voice fades on) What brings you around here? Ain't done nuthing, have I? (Short laugh) Ha-ha-ha-ha! That's the truth iffin I ever heard it. All ain't done no plowin this springthe land's too dry . . . It's like 1 always say: you folks down in the city, (voice fades) you don't ever hafta do any worrying about anything.

SOUND: (Barnyard effects out)

NABRATOR: That was Pa! Yup, Pa too, don't know nuthing about city living. I couldn't help thinking, this was the perfect set upjust what I was lookin' for! Now Ma and Pa had a couple of kids . . .

MATTIE BEIXK: (Singing, "She'll be coming "round the mountain" . . . fades onto mike)

NARRATOR: Hello childand what might yore name be?

MATTIE BELLE: (giggling) They always call me Mattie Belle!

NARRATOR: Mattie Belle, eh! Now that's a right purty name!

MATTIE BELLE : What brings you down in these parts anyway, stranger?

NARRATOR: Before I could get the chance to tell her, I seen a tall lanky boy coming across the yard with a hound dog barking at his heels.

SOUND: (Dog balking up and under)

MATTIE BELLE: Hullo Zekc! Did ya git a rabbit or a coon maybe? This here's mah brother Zekc. Zeke don't talk much, but he shore is a good shot with a gun.

ZEKE: Shut up Lula! (that's my dowg's name!)

SOUND: (Barking up and out)

NARRATOR: That's the family. You've met 'em all. Ma, Pa, Zeke and Mattie Belle. Yes sir, I shore had come to the right spot!

SOUND: ( Music bridge, in and under)

NARRATOR: Well, Ma and Pain fact the whole family being neighborlyasked me to stay for dinner, and being neighborly I accepted! Yup, it shore did fit my plans. (Voice change) I guess I can drop this country talk now and talk to you straight. You see, it's this way. I'm a salesmannot the proverbial traveling salesman, I know what you had in mind! No, I'm a salesman who is smart enough to know when to put on an act if the occasion requires it. Maybe that hayseed act is something I learned from a politician, but anyway it worked. Yes, this was the perfect setupI made my pitchI sold 'em my product.

SOUND: ( Music, up and out)

SOUND: (Car starting up, establish and under)

NARRATOR: When I drove off, I had the feeling of satisfaction

The satisfaction that comes from realizing you've done a good thing. I couldn't help thinking of the enlightenment, the entertainment, the educational value I had brought these people, people with no knowledge of city ways, simply by selling them my product.

SOUND: (Motor fades out slowly)

SOUND: (Music bridge up, bridge to running motor)

NARRATOR: It had been a little over a month since my trip down in the country. I thought I'd drive down and visit with Ma, Pa, Zeke, and, oh yes, Mattie Belle! Besides, I was anxious to see the change that the enlightenment, the entertainment and the educational value of my product had brought to these simple unaffected people with no knowledge of city ways!

SOUND: (Gar motor stops, door closes, footsteps, up and stop)

NARRATOR: Everything seemed quiet. As far as I could see, there wasn't a sign of human life anywhere. All I could hear were the sounds drifting up from the barnyard.

SOUND: (Barnyard effects up and under)

NARRATOR: (Calling) Hey Ma! Pa! Zeke! Mattie Belle? Anybody home? I took a couple of steps closer when all of a sudden:

SOUND: (Shotgun shots)

NARRATOR: Those shots had come from around the corner of the house! This 1 couldn't figure. One thing 1 knew, though, it couldn't have been Zeke that fired those shots. Mattie Belle said that Zeke was a good shot with a gun. Those shots had missed me by a mile. What kind of a welcome was this? This, from those simple people so unaffected by city ways? Why, I had expected to see changes, sure; changes brought about by exposure to enlightenment, entertainment, and education. Not this!

PA: Stand where ya are, son. Don't you take another step or I'll let ya have it 'tween the eyes.

NARRATOR: Why, Pa! What's this all about?

PA: Don't go playing ignerant. That won't do ya no good. Just sit back in that automobile and leave an old man in peace.

NARRATOR: Just a minute, Pa. I don't understand.

PA: Just git, I tell ya, git! You and that consarned contraption ya sold me done enough trouble around here. Now git!

NARRATOR: What are you talkin' about?

PA: You know what I'm a gitten at! First it wuz Mattie Belle. Them city ways looked mighty good to her. Made her so dissatisfied round here she just up and left. Then, the next thing I knowed it wuz Zeke! Ma (God rest her soul), Ma wuz last. She kinda took a hankerin' to see if all them city things, like turnip greens in a froze pack, wuz true. That just left me. I lived with it. Can't take the place of Ma, Zeke, or Mattie Belle, but leastwise it kept me company. Last night, real late, hit in I come to the parting of the ways. Why, that infernal thing started tellin' me it wuz time to git out and start spring plowin'. I knew then the pore thing wuz as crazy as a crow! Took mah shot gun, I did, 'n put it outa its misery. Hit done enuf damage 'round here. So git goin', son. You hain't gonna sell me anotherwhatcha call it? Tele . . . visions?

THEME: ( Up, establish, and out)

3.Producing a Television Show

Television is, to a large degree, the expansion of radio to include the visual as well as the audible symbols of communication. Much of what we have said about producing a radio show applies to producing a television show. Some differences, however, do exist.

Equipment

To produce a television show requires much more equipment and studio space than does presenting a radio show. Few high schools have the necessary cameras and circuits to produce a TV show in the school. However, television station managers are often willing to produce shows as a public service if time is available. If this can be arranged, a show may be planned, rehearsed, and broadcast from a nearby television station.

ALTHOUGH SEVERAL CAMERAS MAY BE FOCUSED ON AN ACTOR, ONLY ONE AT A TIME IS "LIVE" AND TELECASTING

If it is not possible to secure the benefits of working in an actual television studio, a simulated broadcasting situation may be arranged. A public address system or a tape recorder will, of course, be a valuable aid in practice. Mock cameras may be constructed on legs and rollers to permit the cameramen to plan movements and picture angles. The mock cameras will also make the practice broadcast seem to be much more realistic for the talent.

The Personnel

The personnel necessary to produce a television show is the same as for a radio show, except for the addition of two or more cameramen and a floor director. The people required are:

1. Engineer	5. Writers
2. Producer	6. Talent
3. Director	7. Cameramen
4. Announcer	8. Floor director

The duties of each person in television are generally the same as for the corresponding person in radio, with the exception of the director. The television director has the additional responsibility of determining the camera shots. He talks to the cameramen through a closed-communication system, giving them the necessary camera directions to obtain the desired shots as the show is in progress.

The cameramen are, of course, responsible for shooting the actual picture that is broadcast. They must focus, dolly, raise and lower the camera, and change the lenses as directed.

The floor director must co-ordinate the talent with the cameras, give them cues, and regulate the playing time of the show. He is the liaison between the director and the talent.

The Content of the Television Show

The content of the television show is essentially the same as the radio show and has the same general format with the addition, of course, of "video directions."

SAMPLE TV FORMAT

"Progress of Auto Design"

Date:

Time: 9:00-9:14 : 30

AUDIO	TIME	VIDEO
Aimer: (standard opening, introduces show"Progress of Automotive Design").	.30	Close Up Announcer
Anncr: Remember this? You probably don't. (Introduces Master of Ceremonies)	.30	C.U. Flipcard #1(First automobile)
M.C. (Introduces musical selection, "Bicycle Built for Two" as theme for the show)	4.00	Girl, period costume-pantomime song.
M.C. (Introduces collector and Guest authority on cars)	.30	M.S. On M.C. &
Guest: (Discusses his hobby and how it began.)	2.00 M.S	Guest
Guest: Narrates highlights on car )	2.00	C.U. Flipcard #2 (1912 Pierce Arrow)
Guest: (Introduces 1915 Model Ford by running narration)	2.30	M.S. Guest
	.30	C.U. Flipcard #3 (1915 Model Ford)
M.C. (Thanks guest, returns show to anncr.)	.30	M.S. (M.C. and Guest)
	.15
Music: (Up and under)	1.00	M.S. (Anncr)
Anncr: (Standard close)	.15
Music: (Theme background till time)
TOTAL TIME	14:30	FADE TO BLACK

The panel show has always been one of the most popular and successful of all types of television programs. The quiz panel show seems to be the specific favorite. A sample script for this type of show, one that your class can expand and produce, follows. Notice how the script is designed and written, and make suggestions for other possible shows of this type. See below for definitions of terms.

AnncrAnnouncer C.U.Close Up

M.CMaster of Ceremonies M.S.Medium Shot

"Highlights of History"

by Jay Sanders

CAST

Announcer...__________________________

Master of Ceremonies..._________________

Panelist #1...__________________________

Panelist #2...__________________________

Panelist #3..._______________________----

Date ________________________________

Time -------------------------------------------

AUDIO VIDEO

MUSIC: (establish, carry B.G.) TITLE CARD: "HIGHLIGHTS OF HISTORY"

ANNCR: (L.S. (Announcer)) Here's a game of questions and answers with the fascinating idea of traveling back into the past. Now here's your Quiz Master for "Highlights of History": (name)

MUSIC: (up and out)

M.c: Thank you (name), M.S. (Master of ceremonies) and on with the show, but first let me introduce tonight's panel.

Members of the panel are all from (school) (Introduces panel members 3 shot or panel members
1. (name) 2. (name) 3. (name) )

Now that you've met our panel, let me explain the idea of the game.

AUDIO VIDEO

In the days when you hated to bring your report card home, history meant dates, battles, or kings. Now it means horseless carriages, poke bonnets, or the words of an old song. HISTORY has become human, as you'll see tonight. First I'll ask the questionone of many sent in by our viewers. You, the audience, will see it in illustrated form. Our panel members will have paper and pencils to jot down their answers. Then the fun begins! Are you ready, panel?

originally coming from the West. I get tired of hearing that the East is the oldest part of the United States. Weren't there settlers living in Santa Fe before the Pilgrims landed?" Panel: here's your first question. Which was founded first: Plymouth, Massachusetts, or Santa Fe, New Mexico?

M.C: Here's another letter that is the basis for question number two. "I recently heard a congressman make this statement, 'We've heard a lot about the ride of Paul Revere, but how do we know the story of Paul Revere's ride may not be a myth?'" Question No. 2: how do we know that Paul Revere's ride really occurred?

M.C.: This viewer wants to know how our panel stands on political slogans. He writes, "William Henry Harrison rode to victory on the slogan, Tippecanoe and Tyler too!' William Jennings Bryan campaigned for the presidency on the slogan 'Sixteen to One' even though he didn't win. Maybe the panel could tell us what President used as his slogan, 'The Full Dinner Pail?'" Question No. 3: which President made his fight for election on the slogan, "The Full Dinner Pail?"

M.C: Here's another question sent in by a viewer. He says, "In this day of radio and TV, we sometimes forget that the mechanical age is still in its infancy. In 1911, the first airplane crossed the United States." Panel, here's your next question, how long did the first transcontinental flight take and who made this historic trip?

M.C: Did the first transcontinental flight take 3 days, 40 days, or 84 days, and what was the name of the man who made the historic flight?

3 shot (Panel members)

C.U. (Master of ceremonies )

C.U. FLIPCARD #1: (Maps of Mass, and New Mexico) 3 shot (Panel members writing answers) C.U. (Master of ceremonies )

C.U. FLIPCARD #2: (Paul Revere) 3 shot (Panel members writing answers)

C.U. (Master of ceremonies )

C.U. FLIPCARD #3: (Dinner pail) 3 shot (Panel members writing answers)

C.U. (Master of ceremonies )

C.U. FLIPCARD #4: (Old plane) 3 days. 40 days . . 84 days? 3 shot (Panel members writing answers)

C.U. (Master of ceremonies )

M.C. : Here's a letter that states, "Thomas Jefferson was the third President of the United States. Most people remember him as such, but, according to this letter, Jefferson wanted to be remembered in his epitaph for just three achievements. One was founding the University of Virginia, another was authoring the Statute for Religious Liberty. The third is your question, panel!" What was the third achievement of Jefferson which the world remembers?

M.C: Now that the panel has heard our questions, are there any that you would like to have repeated? If not, let's go back and see how our panel did tonight. M.C: Repeats question #1 PANEL: (Answer and Discussion) M.C: Repeats question #:2 PANEL: (Answer and Discussion) M.C: Repeats question #3 PANEL: (Answer and Discussion) M.C: Our panel of experts did very well tonight. Their score against our viewers was (reads) Experts

____________,viewers____________

Here are the right answers! (Tells the answers.) MUSIC : (Up and Under)

M.C: That's it, for tonight on "Highlights of History!" I want to thank our panel members for being with us. Till next time, this is (name)______________________________ saying a good, good night!

ANNCR: This program comes to you as a public service feature of (station)___________________ Join us next week at this same time for "Highlights of History." MUSIC: (Up, Establish)up till time

C.U. FLIPCARD #5: (Book, college bldg., and ?) 3 shot (Panel members writing answers)

M.S. (Master of ceremonies )

C.U. (Flipcard #1) 3 shot or C.U. (Panel) C.U. (Flipcard #2) 3 shot or C.U. (Panel) C.U. (Flipcard #3) 3 shot or C.U. (Panel) M.S. (Master of ceremonies )

C.U. (Scoreboard) C.U. (Answers)

M.S. (Master of ceremonies )

3 shot or pan members of panel

MS. (Master of ceremonies ) L. S. (Announcer)

C.U. (Flipcards or crawl) FADE TO BLACK

Exercises

1. Choose a product in which you are interested and write a one-minute commercial about it, to be broadcast over either radio or television. Make it commercially appealing and attention-get ting. Be prepared to give your commercial to the class.
2. Choose five recordings that are among your favorites. You may select five popular recordings, five classical recordings, or five semi-classical recordings. Plan an introduction for each recording. Give your introductions to the class and then "spin" the record, letting it play for a few bars and then going on to your next introduction.
3. Use a tape recorder to interview someone in the school.Follow the directions given early in this book for interviewing. Play your tape-recorded interview back to the class.
4. Choose four other students from your class and produce for the class one of the following types of television shows:
   1. The quiz program (see the sample script in this chapter).
   2. The drama (see the scripts given in the chapter on drama).
5. A panel discussion on a school problem (see the directions in the chapter on the conference).
6. Since each of you will have to be a part of the cast, as well as one of the executives of the program, you will need to plan carefully. Put on your classroom blackboard the position that each student has assumed, such as director, producer, and so on.
7. Visit your local radio station or your local television station. Be prepared to tell the class the three most interesting items of information that you noted in your visit.
8. As a class project, produce a radio show. If possible, make a tape recording of your show and have the tape played back to the class so everyone can join in an evaluation of the program.
9. Choose a half-hour radio show or a half-hour television show. Write a criticism of the show, dividing your criticism into the following parts:
   1. Were the voices on the show stimulating and interesting?
   2. Did the music on the show seem appropriate, or were you too conscious of it?
   3. Did the show move fast, or did it drag?

Glossary of Terms for Radio and T.V.

Ad Lib	To depart from the prepared script with impromptu remarks.
Angle Shot	A camera shot from an unusual angle, such as one from a high roof looking down.
Animation	The imparting of action or movement to inanimate objects, or the process of making drawings, and so on, appear to move.
Aspect Ratio	The relationship between the width and the height of the video picture. The ratio is standardized in the United States at 4:3.
Audio	The sound transmitted in either radio or television.
Backdrop	A painted canvas or similar material which hangs behind the actors and forms a background for the rest of the scenery.
Back Timing	Timing the close of the show to determine when the closing remarks must begin to end the program on time.
BG (Background)	Music and sound effects played behind, or more softly than, the vocal center of interest.
Base Light	The lighting, originating from different levels in front of the set, which provides general set illumination.
Beam	The area around a microphone in which sounds will be transmitted.
Blast	A sudden burst of volume resulting in distortion.
Bloom	A glare caused by light being reflected into the camera lens or by a large white area in the scene.
Board	The control room console, the panel, or the mixer.
Boom	A microphone stand that allows extension of a microphone.
Canned Clean	Recorded or transcribed material.
It Up	Order for additional rehearsal to smooth out rough spots.
Close Shot	A picture which includes only a small portion of the background and accentuates the detail.
Close Up (orCU)	A head shot of only one person or thing.
Copy	Material to be read. Continuity.
Cowcatcher	Action prior to titles to serve as an audience-holder.
Credits	Listings of "dramatis personae," singers, dancers, et al., participating in the program or contributing to it.
Cue	The signal for an actor or action to begin.
Cue Sheet-Timing	The script of the program indicating times at which different actions take place and time allowed for them.
Cut	An order meaning to cut off the action. Stop! Halt everything!
Dead	That which will not transmit or which absorbs sound.
Dissolve	The gradual overlapping of one image by another, followed by a slow disappearance of the first. Used to bridge two separate sequences without changing pace.
Dolly	Noun: meaning a truck on which the camera is mounted. Verb: meaning the physical movement of the camera slowly toward (dolly-in) or away from (dolly-out or-back) the set.
Down Stage	Toward the camera.
Drop	Any unframed canvas, scenery, or curtain, that is suspended from a set of lines; it may normally be "flown" for storage or "let in" for actual usage.
Dry Run	Rehearsal without live cameras.
Establishing Shot	A very important shot in any television film or program. It shows all the important parts of the set in one shot, just as though the viewer were standing there, and orients him to the scene as quickly as possible.
Fades	In a "fade-out," the picture grows gradually darker. In a "fade-in," the picture gradually appears out of the darkness.
Fade to Black	The picture is gradually faded down until the screen is black.
Feedback	The humming or whistling sound produced when amplified audio is picked up by microphone.
Filler	Materials prepared to stretch program time.
Flat Lighting	An over-all lighting which does not provide any highlights or contrast.
Flats	Framed scenic elements used in theatrical or television production. Usually in TV these are 4 feet wide by 8 feet or 10 feet high. One such unit is properly called a "wing".
Floor Manager	The director's link with the actors during a television program (same as floor director).
Floor Plan	A scale diagram of the floor space showing the positions of the scenery and actors for various sets. This may include basic camera positions and mike placement. This is essential in the proper planning of a shot.
Focus	The point where rays of light passing through a lens meet and form a clear image on the face of the camera pickup tube.
Frame	One complete picture on motion picture film. Also, a director's command to a cameraman for better picture composition.
Gain	The degree of amplification in an audio circuit.
Halation	The diffusion of light, particularly in small areas which causes a blurred appearance.
Hot Hot light	Too much light, or too bright. A concentrated light used to emphasize features and bring out certain contours.
Kill	To eliminate or cut.
Level	Volume of transmitted sound.
Live	An open microphone or operating camera. Also, simultaneous performance and transmission for reception (as opposed to a telecast of a movie film).
Long Shot (L.S.)	A shot from a distance great enough to provide a complete view of the whole scene. Frequently used as an establishing shot.
MC	The Master of Ceremonies.
Medium Close-Up (MCU)	A shot showing the performers from the waist up in action scenes where faces are to be shown clearly.
Medium Shot (MS)	A camera shot taken from a middle distance so as to show characters from the knees to above the head.
Narration	Story told by actors usually not shown on the screen.
Off Mike	The location of a performer back from the microphone.
On Mike On The Nose Pan and Tilt Head	Directly before the microphone. Program begins, proceeds and ends on time. A special tripod head used for mounting a camera with provision for smooth panning and vertical tilting.
Panning	A shot in which the camera is moved very slowly and smoothly around the field, in a horizontal plane, to be photographed.
Remotes Ride	Programs originating from outside the studio or studio building.
Gain	To regulate volume while a show is in progress.
Scene Dock	The place where scenery is stored when not in use.
Set	The complete arrangement of scenery and props ready for the show.
Shooting Script	The script used to shoot the final production. It contains all cues and shots to be used. The theme music.
Signature Sound-Over	The provision of sound accompaniment by non-synchronized means, such as from records or live sources.
Spotlight	A light projector which concentrates its light into a beam or spot of light, used to highlight certain areas.
Spread	The time available to absorb laughter, ad libs, and other actions not planned in script.
Stage Left	The side of the stage on the actor's left.
Stage Right	The side of the stage on the actor's right.
Stand By	To be ready to go on the air. Also, a substitute member of a cast.
Stock Shots	Shots on film of more or less ordinary subjects for use when needed.
Stretch Stylized	To slow down a performance.
Superimposition	Generally, "slanted" or distorted with some special intent. A word frequently applied to TV art. Two images simultaneously picked up by two different cameras and electronically mixed in such a manner that both images are visible on one screen.
Tally Light	A light on a TV Camera showing that the camera is live.
Three Shot	A camera shot containing three people.
Trucking Shot	A shot made from a moving camera on a dolly to the left or right.
Two Shot Up	A camera shot containing only two people. Increased volume.
Upstage	Away from the cameras.
Variety Set	A non-representational, decorative setting. Also, drapes or abstract set-pieces suitable for backgrounds. The picture.
Video Walk-Through	A rehearsal, without live camera and with little dialogue, to practice movement.
Wow	A distortion of pitch caused by the variation in speed of a turntable.

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