through the green-tinted infrared picture. He knew he would have to move it.
“And this one here—Number Twelve—what the hell do you have that aimed at?”
“That’s the first floor ballroom,” Paul answered.
“We’re getting too much of a fisheye effect. The camera is covering far too much space. Either place another one, or only take a partial view with the camera you have. As is, we won’t be able to see anything unless someone walks right up to the lens. In addition, the infrared camera on the second floor landing is cocked at an angle and we can only see the first five or six rooms. I suggest you don’t point it at any of them, but just center it on the hallway. Forget the rooms.”
Kelly wrote the instructions on her notes and shot Greg a look that said he should have known better. Dalton was the best at getting the most out of every piece of equipment.
“All right...We have ten digital sound recorders going and seven still photog stations. We’ll need sound tests. Is our direct link to the recorders operating?”
One of the five techs turned a knob. “Yeah, we have our mics placed next to the recorders. We should hear what it does, unless it’s an EVP.”
They had a stock footage shot of Greg and Paul explaining what an EVP was, for the television audience. Electronic Voice Phenomena were sounds or voices that could only be heard by the digital recorder and not by the human ear.
Dalton checked the strength of the signal that emanated from the telescopic tower on the back of the production trailer. “Okay, we’re getting a good signal from the tower,” he said. The tower, in turn, sent the signal to a satellite. “Send out an audio test to New York, please. This is where you will learn how to do a live feed. Obviously you have yet to work with a qualified director, so pay attention.”
Kelly hated being spoken to like an amateur, but Harris Dalton was the best in the business and had the Emmys to prove it. She bit down on her reply and resigned herself to putting up with his arrogance.
The lead audio technician, a woman Dalton had worked with before, pushed a large red button and sent a signal out—just five beeps and three dashes in electronic language.
“Bright River, this is New York. We have a 100% audio signal from the satellite. It is bouncing well to New York and LA Thank you—we show audio test complete and A-okay.”
“Thank you, New York. We are on schedule for nine o’clock sharp,” Dalton said, looking at the digital readout on the large monitor in front of him.
“Okay. If our hosts will get to their places, we can start,” Kelly said, stepping in to give her team direction before Dalton could have a chance to do so.
Dalton shot Kelly a harsh look. “Take note that all camera angles are subject to change. Handheld number one, are you ready?” he said. It was a not-so-subtle barb, and Kelly caught it. He was reminding her that her placement sucked.
“Mobile camera one, up and ready,” a voice answered over his headphones. The camera man stood in front of the small theater. “It’s really dark in here, and that pure white screen is going to give off one hell of a bright reflection. I think—”
“They pay me to think, they pay you to listen. Just don’t point anything directly at the damned movie screen. Now, number two—infrared handheld—Billy, are you ready?” Dalton asked, again shooting Kelly a look. She supposed he wanted her to have covered the silver screen in the theater with a blanket or something.
“Camera two, on the second floor. Ready,” came the late reply.
“Then say so, goddamn it. Third floor, John, camera three?”
“Handheld three, ready for the fun.”
Satisfied that all of his handheld cameras and their accompanying sound techs were ready, Dalton nodded. “Soundboard, how are you reading your soundmen?”
“Loud and clear, strong signal,” the audio technician answered three chairs down.
“Okay, boys and girls, we queue
“And this one here—Number Twelve—what the hell do you have that aimed at?”
“That’s the first floor ballroom,” Paul answered.
“We’re getting too much of a fisheye effect. The camera is covering far too much space. Either place another one, or only take a partial view with the camera you have. As is, we won’t be able to see anything unless someone walks right up to the lens. In addition, the infrared camera on the second floor landing is cocked at an angle and we can only see the first five or six rooms. I suggest you don’t point it at any of them, but just center it on the hallway. Forget the rooms.”
Kelly wrote the instructions on her notes and shot Greg a look that said he should have known better. Dalton was the best at getting the most out of every piece of equipment.
“All right...We have ten digital sound recorders going and seven still photog stations. We’ll need sound tests. Is our direct link to the recorders operating?”
One of the five techs turned a knob. “Yeah, we have our mics placed next to the recorders. We should hear what it does, unless it’s an EVP.”
They had a stock footage shot of Greg and Paul explaining what an EVP was, for the television audience. Electronic Voice Phenomena were sounds or voices that could only be heard by the digital recorder and not by the human ear.
Dalton checked the strength of the signal that emanated from the telescopic tower on the back of the production trailer. “Okay, we’re getting a good signal from the tower,” he said. The tower, in turn, sent the signal to a satellite. “Send out an audio test to New York, please. This is where you will learn how to do a live feed. Obviously you have yet to work with a qualified director, so pay attention.”
Kelly hated being spoken to like an amateur, but Harris Dalton was the best in the business and had the Emmys to prove it. She bit down on her reply and resigned herself to putting up with his arrogance.
The lead audio technician, a woman Dalton had worked with before, pushed a large red button and sent a signal out—just five beeps and three dashes in electronic language.
“Bright River, this is New York. We have a 100% audio signal from the satellite. It is bouncing well to New York and LA Thank you—we show audio test complete and A-okay.”
“Thank you, New York. We are on schedule for nine o’clock sharp,” Dalton said, looking at the digital readout on the large monitor in front of him.
“Okay. If our hosts will get to their places, we can start,” Kelly said, stepping in to give her team direction before Dalton could have a chance to do so.
Dalton shot Kelly a harsh look. “Take note that all camera angles are subject to change. Handheld number one, are you ready?” he said. It was a not-so-subtle barb, and Kelly caught it. He was reminding her that her placement sucked.
“Mobile camera one, up and ready,” a voice answered over his headphones. The camera man stood in front of the small theater. “It’s really dark in here, and that pure white screen is going to give off one hell of a bright reflection. I think—”
“They pay me to think, they pay you to listen. Just don’t point anything directly at the damned movie screen. Now, number two—infrared handheld—Billy, are you ready?” Dalton asked, again shooting Kelly a look. She supposed he wanted her to have covered the silver screen in the theater with a blanket or something.
“Camera two, on the second floor. Ready,” came the late reply.
“Then say so, goddamn it. Third floor, John, camera three?”
“Handheld three, ready for the fun.”
Satisfied that all of his handheld cameras and their accompanying sound techs were ready, Dalton nodded. “Soundboard, how are you reading your soundmen?”
“Loud and clear, strong signal,” the audio technician answered three chairs down.
“Okay, boys and girls, we queue
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