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Live Television Treatment  “Fake News!”  Concept:  The live show will be a mock news program called ‘Fake News’. There will be two presenters, one main and another secondary presenter, who discuss current news stories (some of which would be, quite literally, fake) and events from the sporting world, and have discussions with ‘experts’ about their chosen fields. By reporting a wide variety of comedic ‘fake news’ the show will be a satire on the idea of what makes a story attractive news. This format should, by the presenters moving on from stories and topics quickly, provide a decent pace for the show. A three-point camera setup will be used. One camera on a tripod will be filming the main desk from head on. A second camera will be set up on a dolly at a 45-degree angle to said main desk. A third camera will be filming the second presenter at the sports table.  Presenters and guests: Two presenters will be on set for the entirety of the production. The main presenter will be sat at a large desk, with the secondary presenter stood at a separate table. Both will have lapel mics. With 2 presenters, this opens up the possibility of having up to 2 guests at any one time, both of whom could have lapel mics. This would allow the presenters to have discussions with ‘experts’ and or ‘special guests’ in order to open up new topics of discussion, bringing with it new jokes and thus keeping the show interesting for an audience. Inspirational references: Several television series and productions were drawn upon to create the idea of this show. The first of which is a comedy series called The Day Today. This was a six-part series that aired in 1994, and is a spoof of the way that news was reported in the BBC at the time.  Soccer AM is another show from which inspiration was drawn. This show airs on SKY Sports and YouTube. Whilst still having a serious overtone to the show, in that it discusses genuine sports games and players, it has many VTs in which interviewers take to the streets to ask “passerby’s” opinions on matters relating to mainstream sports (every said passerby is an actor).  Stylistic intentions: The show will very much reflect the style found in nearly all live news shows. This will be reflected in the shots, lighting, and use of VTs. The shots will be a mix of: a wide angled long shot, which will allow the audience to see the main desk and any guests present; close ups, so that the viewer’s full attention is on the current presenter; and medium close ups in the on-location VTs and in-studio interviews. The lighting will be used to create a very natural light by using three-point lighting on all presenters with soft, cold light. This will replicate the news studio setting whilst acting as a contrast between the scripted news stories and the mock-serious feel of the show. By using pre-recorded VTs the feeling of having a news team ‘on-the-ground’ will be replicated – but with scripted comedy present in them. Proposed strategy to maintain sustainability: In an attempt to reduce any environmental impact several precautions will be taken. First, LED lights will be used to make up the majority of lighting in-studio as opposed to using tungsten lights. As LED lights use less power than Tungsten lights and emit far less heat, they are more environmentally friendly than their Tungsten light counterparts. Also, all actors will be locally sourced so as to reduce the travel distances. By reducing this distance, the carbon emissions will be reduced, helping to maintain sustainability. None of these measures will negatively affect the production quality of the show and will not, as a result, reduce audience enjoyment.  By taking these measures, we hope to adhere to Albert’s objectives:  ‘To reduce the environmental impact of the production process’ ‘To enable industry organisations to realise the environmental aspect of their stated vision and its implication for audience engagement’1 Potential risks in the studio include: Tungsten lighting presents several dangers as a result of them running at a very high temperature. The first danger this presents is the possibility of burns inflicted on those who touch them or the metal frame. The solution to this comes from having a designated lighting operator who will wear thick, heatproof gloves for the duration of the time in which said lights are being moved or adjusted. Another issue these lights represent is how bright they can be which could cause temporary sight loss and vision damage when someone looks directly at them. This risk is avoided by the lighting operator loudly stating that the light will be turned on, therefore signaling that others should avoid looking directly at the light. Trip hazards presented by loose cables are a potential risk to crew. This is made more of a risk by the lack of behind-the-scenes lighting whilst filming live – if the cables cannot be seen properly they are inherently a greater risk. To reduce this risk, all cables shall be covered by roll-mats so that even in the darkened studio they cannot be tripped over. Production management strategy that details proposed production management documents and how these will help facilitate the management of the production: Planning for the show, including finishing the script to a live production standard and sourcing actors, will take place constantly through online correspondence and live documents. From the 20/11/2017 onwards, pitch meetings will be help weekly in which we pitch new and developing ideas, which may be carried forward into the weekly studio setup practicality meetings, starting in the same week. During these pitch meetings, VTs will be planned, in regards to location, actors, and script writing, so that they match the outlined VTs planned already and are both feasible and practical. The recording of said VTs will take place during the studio meetings. This will be possible as the management team will remain in studio and team members not currently needed that week will be available to shoot the VTs on location. Proposed production and shooting schedule: Weekly meetings, commencing the 20/11/2017, in the studio will be conducted in which the practical feasibility of the aforementioned studio layout will be assessed and altered accordingly until the most natural looking lighting can be achieved for the multiple camera angles and the presenter placement. Once the lighting is optimal and basic rehearsals have been done, full rehearsals (which are treated as if they were the live broadcast) will be started. These will run weekly, and then with three weeks until the broadcast due date the frequency will increase to twice-weekly. Shooting of VTs will take place around the city of Nottingham. A team will meet weekly from the 20/11/2017 to shoot them and, once all needed footage has been obtained, to edit them until fit for live broadcasting. Technical proposal for the production that outlines resources: This production will require three Black Magic studio cameras. Two of these cameras will be attached to tripods and the third will be attached to a dolly. A total of four lapel mics will be used for both presenters and all guests which will be present throughout the show – with the guests having their mics muted and removed after they have left the broadcast. A shotgun mic attached to a boom will also be set up, and muted until needed (if lapel mics fail). Roll mats will be used to cover up the extension power cables and the camera feeds. A total of five lights will be used alongside the ‘house lights’ – all of which will be LED studio lights.  One desk and a small plinth, both decorated so that they match the same colour scheme, will be needed alongside two chairs – both to be placed behind the desk. A television screen, through which graphics and short film clips can be played via laptop, will be needed and powered. An array of small props, including mugs and newspapers, will be used to dress the set to make it more fitting of a functioning newsroom. Detailed skills profile for all crew roles in the production: Producer: Benjamin Raven. Having a college degree in television and experience working in the gallery, coupled with punctuality and 100% attendance and his calm manner of speaking whilst using the headsets, shows that Ben is an adequate choice of producer. Director: Oscar Scrase. A-level experience writing scripts creatively, both individually and collaboratively, makes this a good choice for director as they will be capable of putting across ideas and creative vision for the production. Floor Manager: Zeke. Previous experience being a floor manager from college means he has sound knowledge of all equipment being used on the studio floor. As a result, he is an apt choice of floor manager as he can improvise and solve live technical issues quickly. Vision Mixer:  Molly McNevin. Having the most experience using the vision mixer to date, placing Molly in this role is the logical choice as she has proved that she can use it effectively. Camera operators: Alastair Oxby. Experience taking a BTEC qualification taught him how to handle a camera effectively in a professional environment. Also, having taken a part in the creative development of the show, he is aware of the shot types desired. Romeo. He is capable of using his intuition to set up a camera and alter the settings to suit the situation whilst broadcasting. This, and a high attendance, will provide a reliable camera operator who can, if needs be, set up the other cameras and perform quick diagnostics and fixes if any fail during a broadcast. Patrick Matthews. After several studio sessions, Patrick is confident in using discussing his ideas, any issues he faces, and is intuitive enough to correct the settings on a camera without explicit instruction. This intuition in all aspects and the ability to convey new ideas makes him an ideal choice for a camera operator. Sound (up & down): Stella (up). Stella is apt at conversing using the headsets in a clear, calm manner. She can also use and troubleshoot lapel mics quickly. This means that she will be comfortable working in the gallery whilst discussing any issues and working to fix them, either in terms of levelling or physical problems, with the studio floor. Blessing (down). As she has past experience with studio work and live broadcasting as part of the course, putting Blessing into this role works as it brings with it a level of stress that she will be used to. This comes from there being several guests which will need mic changes as they enter and exit the broadcast. Lighting:  Bethany J. Cresswell. Working on lighting for the majority of the studio sessions has shown that Bethany is clear on how to set up and angle lighting correctly for a shot.