rtvf eq quiz 1

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kelc0104
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200066
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rtvf eq quiz 1
Updated:
2013-02-13 14:37:08
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rtvf
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rtvf
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  1. first major element of camera 
    lens/glass
  2. RTS intercom system
    2-way, 2 channel intercom. hofstra only uses channel 1. studio a uses system 1 studio b uses system 2. 
  3. Where the "system" delegation panel is located
    right-most equipment rack in Studio Control. Studio A RTS positions are blue and usually to the left, B RTS positions are yellow and usually to the right. positions used by either studio are white.
  4. RTS #1 speaker producer
    activate mic by quickly tapping the MIC ON and PANEL MIC buttons (they latch), select channel 1 by pressing TALK 1 and LISTEN 1 or hold down TALK 1 for push-to-talk, turn speaker on by SPKR ON and use PGM 1 to turn volume
  5. RTS #2 speaker director
    4 pin XLR into jack at user station, keep mic on
  6. RTS 3 
    no speaker AD TD VT CG
  7. RTS 4 speaker crew member
    Video Control, Audio, push to talk, SPKR ON
  8. what stage managers and other studio personnel such as audio assistants use 
    belt packs, 3 pin XLR mic cable to 3 pin jack, 2 RTS jacks on each panel, all four jacks can be used. 
  9. headsets attached to cameras
    Ikegami HK-388W, use left side PROD monitor/mic system instead of right side ENG system (channel 2). flip white switch on zoom stalk to bottom to push to talk
  10. SA
    studio address system is 2 channel system that allows the producer/director to communicate with the entire studio
  11. Interruptible Feedback system
    one way, 8 channel voice communication system for use in television broadcast allowing a person in the control room to interrupt audio (program) being fed to talent. At Hof: 2 director control room stations (A & B), 4 portable user stations with interconnecting cables, and talent ear speakers
  12. IFB in Control Station
    buttons 1-4 are for A and buttons 5-8 are for B, IFB all is to access all channels at once
  13. the portable user station for IFB
    small belt pack package used by newscasters, gets audio signals from control room by way of the studio bulkhead connections, has the electronics to provide a binaural audio signal to the user, allowing them to hear uninterrupted program and interrupted signals.
  14. how to use IFB portable user station
    3 pin XLR mic cable into belt pack jack INPUT and then into one of the IFB jacks on the main studio panel. put earpiece speaker jack into belt pack HEADPHONES labeled STEREO. 
  15. 1st four steps in pre-pro for cameras
    1. put on headset, turn up PROD volume and deal with mic 2. adjust ped 3. unlock pan and tilt 4. adjust pan, tilt and ped frictions
  16. last four steps in pre-pro for cameras
    5. uncoil triax camera cable from green hangers and steer camera into position 6. stand by until camera is electronically uncapped by Video Engineer, TD, Production Manager or TA 7. flip VF POWER switch in access panel to turn on 8. adjust monitor controls; activate and adjust the CURSOR Box if presetting a graphic
  17. 1st four steps in post for cameras
    1. remove RTS headset and place it on handle of camera, turn left PROD volume down to 0 and make sure mic is OFF 2. move camera to wall, wheels pointing to the sides 3. lock pan and tilt 4. raise ped 
  18. last three steps in post for cameras
    5. coil the camera cables in figure 8 around hangers with slack 6. stand by camera until it is electronically capped by VE, TD, PM, or TA 7. flip VF POWER switch in access panel to turn it off
  19. only white buttons you can touch on back of camera 
    RET-1 (return) for previewing special effects or RET-2 (program), though 2 buttons on bottom of zoom stalk work better 
  20. input
    individual channels that receive signals from various sources, process them and send to output
  21. peak light (red)
    when illuminated, an excessively loud signal is entering channel and needs to be lowered using gain/trim pot
  22. +48V
    phantom power switch to activate external power supply for phantom power capable condenser microphones
  23. phase
    reverses phase of input signal by 180, only when you have mis-wired buildings, positive to negative
  24. gain/trim potentiometer
    input level must be controlled with a pre-amplifier before it goes through the reest of the board, boosts or cuts input levels to prevent overload or under modulation, regulates input level to allow the operator to create a balance in the slide faders, regardless of original signal strength 
  25. where gain/trim pots should be
    for mics-to the right, for line-to the left. taking levels is to have every mic on -10
  26. EQualiser section (red)
    allows operators to alter the channel's frequency response by boosting or cutting the volume of specific signal frequencies (tone/pitch), contains pots for 4 tonal ranges: treble/high frequencies, high mid, lo mid, and bass/low frequencies. 
  27. the left pots on EQ board
    boost/cut the volume of the frequencies in the range, the middle frequency selects pots select specific frequencies in each range, Q allows width adjustments of the specific frequencies selected by mid pots
  28. high pass (bass roll-off) filter
    cuts off the volume of frequencies below a certain frequency, we use 63 Hz
  29. MONO switch
    if a signal source should be sent to the studio for monitoring 
  30. when you send everything to studio except mics
    mix minus
  31. panoramic potentiometer
    shifts balance of sound between the two master output channels, L and R. for mics keep it center. for line level it depends
  32. on/off switch (green)
    to activate/deactivate the input channel
  33. slide fader
    to vary strength of signal leaving channel, should always be set at the reference line (-10) for 100% modulation when used in conjunction with the gain/trim pot
  34. solo (orange)
    sometimes called cue, prefader line or prefader lister (PFL), allows speaker in audio control monitoring channels without affecting program, don't bring faders up!
  35. output/master
    gets signals sent from input channels, combines and routes them through master output channels to line out for recording or broadcast
  36. L&R Fader
    to collect the LR output signals sent from all the input channels in one place, before moving from the board to air and/or a recording device, set to 0
  37. MONO/SEL fader
    collects the MONO output signals sent from all the input channels in one place, before moving from the board to the studio, -25
  38. slide faders
    vary the strength of the signals leaving the channels, should always be set at the reference line (-10)
  39. monitor
    neither metering nor monitoring will affect the signal being broadcast or recorded
  40. meters
    visually measure the signal flow through a console or audio device. Soundcraft board Peak Program Meters (PPMs): MONO and L&R. Dorrough loudness meter combines PPM and VU meter to measure both peak and average sound intensity (amplitude)
  41. speakers 
    MON LEVEL pot adjusts speaker volume in the audio control room, Video Control Rooms have own monitoring speakers
  42. VU meters measure...
    average sound intensity (amplitude) in dBs (from -20 to 3) and % of modulation, have slow response of 300 milliseconds, 0 dB=100% modulation
  43. Program Peak Meters
    responds very quickly to program peak levels
  44. slate/talkback
    mic mounted on or inside board, used to verbally identify takes on a recorded tape, talkback allows communication with studio
  45. oscillator
    pure tone at specific frequency (1 kHz) to calibrate recording levels on tape machines, slating takes or for alignment. 
  46. patch bays
    allow easy access to audio source outputs and audio board inputs, top row are outputs, bottom are inputs, top and bottom without a line indicate the normal connection, the # of ins and outs determines flexibility, reassigns inputs so they are grouped more efficiently
  47. hit
    faders at proper, full level
  48. fade up
    keep fade up time to a minimum 
  49. cross-fade
    fade one source out as another is faded in, mix for about 2 seconds
  50. segue
    one source immediately followed by another source (with as little gap as possible), used with a video cut
  51. 1-8 
    jacks 1-8 from bulkhead access panels in B
  52. 9/10
    DigiCart
  53. 11/12
    Tascam Solid State Recorder
  54. 13/14
    Tascam CD Player
  55. 15/16
    XClyps 1
  56. 17/18
    XClyps 2
  57. 19/20
    VT 14 Profile Channel A
  58. 21/22
    VT 18 Profile Channel B
  59. 23/24
    B aud in A
  60. 25/26
    BAUD INB
  61. 27/28
    BAUD INC
  62. 29/30
    BAUD IN D tone
  63. 31/32
    Denon cassette deck
  64. 33
    ipod interface cable
  65. 34 
    DAW
  66. 35/36
    lexicon effects
  67. to configure the console
    load student configuration using password Hofstra and normalize the board by loading the Cue List "RTVF Normal"
  68. Cueing a DigiCart
    stopped Digicart is cued, use only pause to cue a file in a different spot than beginning
  69. Operations of DigiCart
    Select drives by pressing left POSITION arrow the select drive number (1 for hard drive), select directories by pressing right POSITION arrow from drive layer or left POSITION arrow for files layer (were in 2), next is cut within directory
  70. Looping on DigiCart
    press LOOP to activate continuous playback from head to tail, press loop again to end continuous playback 
  71. assigning presets
    use find process or POSITION and SELECT to locate a file, press ASSIGN PRESENT, desired white "hot" key, repeat as needed, exit assign presents, pressing the preset will make them start to play

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