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The professor stood before his class of 30 senior
molecular biology students, about to pass out the
final exam.

'I have been privileged to be your instructor this


semester, and I know how hard you have all worked
to prepare for this test. I also know most of you are
off to medical school or grad school next fall,͚
he said to them.
‡ 'I am well aware of how much pressure you
are under to keep your GPAs up, and because I
know you are all capable of understanding this
material, I am prepared to offer an automatic
'B' to anyone who would prefer not to take the
final.'
‡ The relief was audible as a number of students
jumped up to thank the professor and
departed from class.
The professor looked at the handful of students
who remained, and offered again, 'Any other
takers? This is your last opportunity.' One
more student decided to go.
‡ Ôeven students remained. The professor
closed the door and took attendance. Then he
handed out the final exam. There were two
sentences typed on the paper
‡ 'Congratulations, you have just received an 'A'
in this class.
‡ Keep believing in yourself.'
‡ The same is true for students of real life.
Ôtudents who don't have confidence in what they've
learned are 'B' students at best.

The 'A' students are those who believe in what they're


doing because they've learned from both successes and
failures.
They've absorbed life's lessons, whether from formal
education or the school of hard knocks, and become
better people.

͞Be a Believer to be an Achiever ͟


The 99 Club
‡ Once upon a time, there lived a King who, despite his luxurious lifestyle,
was neither happy nor content.
‡ One day, the King came upon a servant who was singing happily while he
worked. This fascinated the King; why was he, the Ôupreme Ruler of the
Land, unhappy and gloomy, while a lowly servant had so much joy.
‡ The King asked the servant, "Why are you so happy?"
‡ The man replied, "Your Majesty, I am nothing but a servant, but my family
and I don't need too much - just a roof over our heads and warm food to fill
our tummies."
‡ The king was not satisfied with that reply. Later in the day, he sought the
advice of his most trusted advisor.
‡ After hearing the King's woes and the servant's story, the advisor said,
"Your Majesty, I believe that the servant has not been made part of The 99
Club."
‡ "The 99 Club? And what exactly is that?" the King inquired.
‡ The advisor replied, "Your Majesty, to truly know what The 99 Club is,
place 99 Gold coins in a bag and leave it at this servant's doorstep."
‡ When the servant saw the bag, he took it into his
house. When he opened the bag, he let out a great
shout of joy... so many gold coins!
‡ He began to count them. After several counts, he was
at last convinced that there were 99 coins. He
wondered, "What could've happened to that last gold
coin? Ôurely, no one would leave 99 coins!" He looked
everywhere he could, but that final coin was elusive.
‡ Finally, exhausted, he decided that he was going to
have to work harder than ever to earn that gold coin
and complete his collection.
‡ From that day, the servant's life was changed. He was
overworked, horribly grumpy, and castigated his family
for not helping him make that 100th gold coin. He
stopped singing while he worked.
‡ Witnessing this drastic transformation, the King was
puzzled. When he sought his advisor's help, the advisor
said, "Your Majesty, the servant has now officially
joined The 99 Club.
‡ He continued, "The 99 Club is a name given to those
people who have enough to be happy but are never
content, because they're always yearning and striving
for that extra 1 telling to themselves:
‡ "Let me get that one final thing and then I will
be happy for life."
‡ We can be happy, even with very little in our
lives, but the minute we're given something
bigger and better, we want even more! We
lose our sleep, our happiness, we hurt the
people around us; all these as a price for our
growing needs and desires.
‡ That's what joining The 99 Club is all about.
! |  

  

‡ 1) To originate programmes from studios

‡ 2) To knit various sources of programs i.e.,


camera output, OB out, M/W, VTR out, video
graphics and characters generator etc.

‡ 3) Processing / distribution of different sources.

‡ 4) Routing of programme for recording/


transmission via MSR and Micro Wave.
"# $"##%
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‡ 1) Action area (Studio)

‡ 2) Production control room (P.C.R.)



‡ This place requires large space and
ceiling as compared to any other
technical area.
‡ Action in this area includes staging,
lighting, performance by artists, and
arrangement to pick up picture and
sound.
‡ Typical size of TV Studio is 20 x20x8.5
cubic meters
   
  
‡ Very efficient air conditioning
‡ Uniform and even flooring for smooth
operation of cameras.
' Acoustic treatment
‡Effective communication facilities
‡Studio cameras (three to four) with
teleprompter
‡Tie lines for video and audio from C/R
‡Cyclorama and curtain
‡ Luminaires and suspension system
having grids.

‡ Audio and video monitoring facilities.

‡ Studio warning light and safety devices like


fire alarm system and fire fighting equipments.

‡ Digital clock display.


È$

‡ Activities in this area are:-


) to the production crew by the
producer.
*  a production/telecast.
+ of different sources available at the
production desk.
‡ , of output/off air signal
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) , facilities for all the input and output


sources(audio/video).
*
 control for " -. and #$
//  etc.

+  /$# with technical areas and


studio floor.

0 |# -  #&

5. Character Generator (CG)


*. Sync Pulse-Generator (SPG)
7. Camera Control Unit (CCU)
8. Light Control.
9. Audio mixing and control
10. Video Tape-Recorder
11. Electronic Still Storage System
12. Post Production Suites
m
E le c tr o n ic s P a tc h P a n e l M
CAM ERA &
1 CCU VDA

2 CCU VDA

3 CCU VDA

VCR ( P r e V ie w )
VDA V
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E P /V
O
VCR M SR
VDA

S
W
M W
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ADO T
C
H S T A B A M P L IF IE R
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CG

O BS FS

O THER
SPG 1 SO URCES

C /O

SPG 2
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, |  
‡ Operational requirement from the
technical crew may vary from
programme to programme. These
requirements for lighting, audio pick up
and special effects etc. depends upon
the programme requirement such as
establishing a period, time, formal or
informal situation.
|#-#&
Unlike films, television media allows switching between
different sources simultaneously at the video switcher in
Production control room operated by the Vision Mixer on the
direction of the program producer. The producer directs the
cameramen for proper shots on various cameras through
intercom and the vision mixer (also called VM engineer)
switches shots from the selected camera/cameras with split
second accuracy, in close cooperation with the produce. The
shots can be switched from one video source to another video
source, superimposed, cross faded, faded in or faded out
electronically with actual switching being done during the
vertical intervals between the picture frames. Electronics
special effects are also used now days as a transition
between the two sources.
| &,-###%$

‡ /  ##  "  



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‡ # # /  &   /


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‡ |  , 6
 |  7 

‡ Though the video switching is done by the VM at the


remote panel, the electronics is located in CAR. The
vision mixer is typically a 10 x * or 20 x 10 cross bar
switcher selecting anyone of the 10 or 20 input
sources to * or 10 different output lines. The input
sources include: Camera 1, camera 2, camera 3,
VTR1, VTR2, Telecine 1, Telecine 2, Test signal etc.
Some of the sources that have their sync coincident
with the station sync are called synchronous, while
others having their own independent sync are called
non-synchronous.
‡  "# - "# /  /$$&
$ /$# /  / | #(8
‡  9( $ /   #

‡ ( #& $$ /  # 

‡   1|(   /  # /
"  /   # / "
‡  È
È   7 
 (
2  & #$ $ #
##   %9 
‡ " È 1   (   / 
% / & # / #$ #  &
//#.
‡ The selected output can be monitored in
the corresponding pre-view monitor. All
the picture sources are available on the
monitors. The preview monitors can be
used for previewing the telecine, VTR;
test signals etc. with any desired special
effect, prior to its actual switching.
‡
‡ The switcher also provides cue facilities to
switch camera tally lights as an indication to
the cameraman whether his camera is on
output of the switcher.
‡ Present day PCR¶s have:
‡
‡ * 24 input video special effects switchers
Ë (CD *80 or CD *82-SP)
Ë Digital video effects- type ADO-
2000/ADO-1000/ADO-100(Ampex)
Ë Character generators
Ë Telecine/DLS remote controls
‡ Adequate monitoring equipment
‡ Ampex Digital Optics (ADO-2000)
‡
‡ ADO is a very useful aid to production. 30
preset effects can be recalled through the
keyboard. Various picture manipulations are
possible. The picture can be compressed,
size can be reduced and cropped into
another picture. The principle of operation is
that the input Video is converted in digital
form using A/D and then the digits are
manipulated to create the desired effects and
then it is converted back to analog form using
D/A.
‡
‡ Ampex Digital Optics (ADO-2000)
‡
‡ ADO is a very useful aid to production. 30
preset effects can be recalled through the
keyboard. Various picture manipulations are
possible. The picture can be compressed,
size can be reduced and cropped into
another picture. The principle of operation is
that the input Video is converted in digital
form using A/D and then the digits are
manipulated to create the desired effects and
then it is converted back to analog form using
D/A.
‡
‡ CHARACTER GENERATOR
‡ Characters Generators provide titles and
credit captions during production in Roman
script. It provides high resolution characters
different colors for colonizing characters,
background, edges etc. At present bilingual
and trilingual C.G are also being used by
Doordarshan.
‡
‡ Character Generator is a microcomputer with
Texts along instructions when typed in at the
keyboard is stored on a floppy or a Hard disk.
Many pages of scripts can be stored on the
disk and recalled when needed, by typing the
adresses for the stored pages, to appear as
one of the video sources.
‡
Central apparatus room (CAR)

‡ This is the nerve center for a television station.


Activities in this area include:
‡ 1 Distribution of stabilized power supply to different
technical areas with protection devices.
‡ 2. Sync pulse generation and distribution.
‡ 3 Distribution of sources to various destinations
‡ 4. Video processing and routing.
Electronics for camera chain, video switchers,
special effect generator, and test signal and pattern
generator.
‡ *. Monitoring facilities
‡ 7. Patch panel for video and audio lines
‡ 8. Electronics for micro wave links
‡
‡ Operational requirement from the
technical crew may vary from
programme to programme. These
requirements for lighting, audio pick up
and special effects etc. depends upon
the programme requirement such as
establishing a period, time, formal or
informal situation.
|#-#&
Unlike films, television media allows switching between
different sources simultaneously at the video switcher in
Production control room operated by the Vision Mixer on the
direction of the program producer. The producer directs the
cameramen for proper shots on various cameras through
intercom and the vision mixer (also called VM engineer)
switches shots from the selected camera/cameras with split
second accuracy, in close cooperation with the produce. The
shots can be switched from one video source to another video
source, superimposed, cross faded, faded in or faded out
electronically with actual switching being done during the
vertical intervals between the picture frames. Electronics
special effects are also used now days as a transition
between the two sources.
| &,-###%$

‡ /  ##  "  



%& 45 #  *55 #

‡ # # /  &   /


)4  4 
‡ |  , 6
 |  7 

‡ Though the video switching is done by the VM at the


remote panel, the electronics is located in CAR. The
vision mixer is typically a 10 x * or 20 x 10 cross bar
switcher selecting anyone of the 10 or 20 input
sources to * or 10 different output lines. The input
sources include: Camera 1, camera 2, camera 3,
VTR1, VTR2, Telecine 1, Telecine 2, Test signal etc.
Some of the sources that have their sync coincident
with the station sync are called synchronous, while
others having their own independent sync are called
non-synchronous.
‡  "# - "# /  /$$&
$ /$# /  / | #(8
‡  9( $ /   #

‡ ( #& $$ /  # 

‡   1|(   /  # /
"  /   # / "
‡  È
È   7 
 (
2  & #$ $ #
##   %9 
‡ " È 1   (   / 
% / & # / #$ #  &
//#.
‡ The selected output can be monitored in
the corresponding pre-view monitor. All
the picture sources are available on the
monitors. The preview monitors can be
used for previewing the telecine, VTR;
test signals etc. with any desired special
effect, prior to its actual switching.
‡
‡ The switcher also provides cue facilities to
switch camera tally lights as an indication to
the cameraman whether his camera is on
output of the switcher.
‡ Present day PCR¶s have:
‡
‡ * 24 input video special effects switchers
Ë (CD *80 or CD *82-SP)
Ë Digital video effects- type ADO-
2000/ADO-1000/ADO-100(Ampex)
Ë Character generators
Ë Telecine/DLS remote controls
‡ Adequate monitoring equipment
‡ Ampex Digital Optics (ADO-2000)
‡
‡ ADO is a very useful aid to production. 30
preset effects can be recalled through the
keyboard. Various picture manipulations are
possible. The picture can be compressed,
size can be reduced and cropped into
another picture. The principle of operation is
that the input Video is converted in digital
form using A/D and then the digits are
manipulated to create the desired effects and
then it is converted back to analog form using
D/A.
‡
Central apparatus room
‡ This is the nerve center for a television station.
Activities in this area include:
‡ 1 Distribution of stabilized power supply to different
technical areas with protection devices.
‡ 2. Sync pulse generation and distribution.
‡ 3 Distribution of sources to various destinations
‡ 4. Video processing and routing.
Electronics for camera chain, video switchers,
special effect generator, and test signal and pattern
generator.
‡ *. Monitoring facilities
‡ 7. Patch panel for video and audio lines
‡ 8. Electronics for micro wave links
‡
Sync Pulse-Generator
‡ It is essential that all the video sources as input to
the switcher are in synchronism i.e., start and end
of each line or all the frames of video sources is
concurrent.

‡ SPG is normally duplicated for change over in case


of failure.
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‡ -Line drive

‡ -Field drive

‡ -Mixed blanking

‡ -Mixed sync

‡ -colour subcarrier

‡ -A burst insertion pulse

‡ -PAL phase I-dent pulses


312#$"
‡ In production it is necessary to mix between
two sources which are not synchronized.

‡ This is possible when the local SPG has


been synchronized with the external source.

‡ To overcome this problem, SPG is fitted with


a GENLOCK facility.

‡ More than one sources can be synchronized


by digital Frame synchronizer.
Sync Pulse-Generator
‡ It is essential that all the video sources as input to
the switcher are in synchronism i.e., start and end
of each line or all the frames of video sources is
concurrent.

‡ SPG is normally duplicated for change over in case


of failure.
312#$"
‡ In production it is necessary to mix between
two sources which are not synchronized.

‡ This is possible when the local SPG has


been synchronized with the external source.

‡ To overcome this problem, SPG is fitted with


a GENLOCK facility.

‡ More than one sources can be synchronized


by digital Frame synchronizer.
‡ )  $  
‡ * 1 $ 1    
‡ +  $  

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‡ ; $ $% #1
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‡ = È#    ## /
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‡  $ 
‡ The television cameras which include camera
head with its optical focusing lens, pan and tilt
head, video signal pre-amplifier view finder
and other associated electronic circuitry are
mounted on cameras trolleys and operate
inside the studios. The output of cameras is
preamplifier in the head and then connected
to the camera control unit (CCU) through long
multicore cable (35 to 40 crores).
‡
‡ All the camera control voltages are fed from the CCU to the
camera head over the multicore camera cable. The view-finder
signal is also sent over the camera cable to the camera head
view-finder for helping the cameraman in proper focusing,
adjusting and composing the shots.
‡
‡ The video signal so obtained is amplified, H.F. corrected,
equalized for cable delays, D.C. clamped, horizontal, and
vertical blanking pulses are added to it. The peak white level is
also clipped to avoid overloading of the following stages and
avoiding overmodulation in the transmitter. The composite sync
signals are then added and these video signals are fed to a
distribution amplifier, which normally gives multiple outputs for
monitoring etc.
‡ 1 $
‡ The scene to be televised must be well illuminated to produce a
clear and noise free picture. The lighting should also give the
depth, the correct contrast and artistic display of various shades
without multiple shadows.
‡
‡ The lighting arrangements in a TV studio have to be very
elaborate. A large number of lights are used to meet the needs
of µkey¶, µfill¶, and µback¶ lights etc. Lights are classified as spot
and soft lights. These are suspended from motorized hoists and
telescopes. The up and down movement is remote controlled.
The switching on and off the lights at the required time and their
dimming is controlled from the light control panel inside a
lighting control room using SCR dimmer controls. These
remotely control various lights inside the studios
´ Modern TV studios have a computer-controlled lighting
system the intensities of various lights can be adjusted
independently and memorized for reproduction. The status
indication of lights regarding their location and intensity is
available on a monitor/MIMIC display. During reproduction
of a particular sequence, the information from the memory
operates the respective light dimmers. Hand held control
boxes are also available for controlling light intensities inside
the studios which communicate via a control panel. Most of
the operational controls of the computerized light control
system can also be performed manually with the back ´up
matrix and fadder controls.
‡  -  $
‡ As a rule, it television, sound accompanies the picture. Several
microphones are generally required for production of complex
television programs besides other audio sources also called
marred sound from telecine, VTR, and audio tape/disc replays.
All these audio sources are connected to the sound control
console.
‡ The sounds from different sources are controlled and mixed in
accordance with the requirement of the program. Split second
accuracy is required for providing the correct audio source in
synchronization with the picture thus requiring lot of skill from
the engineer. Even the level of sound sometimes is varied in
accordance with the shot composition called prospective.
‡
‡  /$#
‡ An audio mixing console, with a number of
inputs, say about 32 inputs is provided in
major studio. This includes special facilities
such as equalization, PFL, phase reversal,
echo send/receive and Digital reverberation
units at some places Meltron console tape
recorders and EMI 938 disc reproducers
provide for playing back/creating audio
effects as independent sources (Unmarried)
to the switcher.
‡
‡ |  #
‡ VTR room is provided at each studio center.
It houses at least two console type 1´
videotape recorders (VTRs) and a few
Broadcast standard Videocassette recorders
(VCRs). In these recorders, sound and video
signals are recorded simultaneously on the
same tape.
‡
‡   1
  11 
3
? ,
‡ Some PCRs have access to the electronic still
storage system. One replay remote control of the
digital library system is mounted on the video
production control table at the PCR. Still pictures
stored in the library system can be recalled and used
in production by selecting them by their addresses
either from the local or from the remote control
pannel after recomposing if desired.
‡
È m  m

‡ Most of the present day shootings are done on
locations using single camera. The actual production
is done in these suites. The job for a post production
suites is:-
‡ a. To knit program available on various sources.
‡ % While doing editing with multiple sources, it
should be possible to have any kind of transition.
‡  Adding/Mixing sound tracks.
‡  Voice over facilities.
‡  Creating special effects.
‡
"/#"#

‡ Outside broadcasts(or OBs) provide an


important part of the television programs.

‡ Major events like sports and important


functions are covered with an O.B. van
which contains all the essential production
facilities.
|
m 
‡ Output from the switcher goes to stabilizing amplifier
via PP and VDAs. Output from the stab. Is further
distributed to various destinations. It may be noted
that the use of VDAs helps to monitor the video
signal at different locations and the use of PP is very
helpful for emergency arrangements during
breakdowns and trouble shooting. A separate
monitoring bus is provided in CCU, LCU and END
CONTROL with sources as shown. END CONTROL
also has a remote for the adjustment of levels etc. in
the STAB AMP unit. Route for the other sources is
similar to this and can be understood from the block
schematic.
THANK YOU

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