This document provides a 3-sentence summary of the key equipment and operations at Manhattan Neighborhood Network's production studios: The document outlines the primary recording options of SD card recorders and XDCAM disks, and how to format, insert media, and operate these recorders. It also describes the intercom system, on-air telephones, teleprompter, cameras, audio board, and other production equipment. Proper use of the equipment like cameras, audio board, switcher, and timer are explained to help producers successfully record and create their shows within the designated time lengths.

1. MNN
Studio
Equipment
ManualEdition: January 2018
Manhattan Neighborhood Network

2. Table of Contents
Recording & Timing……..…………………………………..…………………………….….1
Intercom System…..…………………………………………………..……………………….7
On-Air Telephone….……………………………………..…..……………………………….8
Teleprompter………………………………………………………..…………………………….9
Manual Camera Operation…….………………………………………..…………..….11
Robotic Camera Operation……..…………………………………….……………….14
Switcher Operation………………………………………………………………………….18
Audio Board Operation………….………………………………………….………….22
Express Robotic Camera………………………………….…..……………………….25
Express Audio Board………………..………………………………………..………….28
Express Production Switcher……..……………………………………..………….29

3. Disclaimer
This equipment guide was developed and designed
for use in the production studios at Manhattan
Neighborhood Network. Elements of this book refer
to equipment and system settings that are specific
only to Manhattan Neighborhood Network’s
production studios and cannot be applied to other
situations.
Copying, duplicating and the use of this guide
requires the permission of Manhattan
Neighborhood Network. To request the use of this
handbook, in whole or in part, please contact
education@mnn.org.
Version: January 2018

4. RECORDING & TIMING
SD CARD RECORDER
The primary recording option in all of MNN’s production studios is the
HyperDeck SD Card Recorder. Producers who plan to record at MNN’s
production facilities must obtain their own SD cards. This recorder has been
tested to work with specific SD cards. Please see the recommended list in this
chapter before obtaining an SD card for your studio production. The secondary
and/or backup recording option is Sony XDCam, a re-writable recording disk.
Note: Producers should not change the recording format on any of MNN’s
recording devices. Please notify a facilitator if you need assistance with
recording.
SELECTING AN SD CARD
The SD cards listed below have been tested to ensure compatibility with the
HyperDeck SD card recorder. Other SD cards may work but compatibility is not
guaranteed.
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5. INSERTING AN SD CARD
To insert an SD card into the slot, hold the SD card with the gold connectors
facing your HyperDeck’s LCD display and align it with the media slot. Gently
push the card into the slot until you feel it lock into place.
To remove an SD card, gently push the card in until it pops out. Then pull the SD
card out of the slot.
FORMATTING AN SD CARD
The first time you utilize the HyperDeck SD card recorder, we recommend you
format the SD card. Formatting an SD card will delete all contents on the card.
To format an SD card, do the following:
• Insert the SD card.
• Press the MENU button.
• Turn the jog/shuttle wheel to navigate to the “Record” menu and press
the SET button to access its options.
• Scroll down until you see FORMAT CARD and press SET.
Select the card slot you want to format. You will then see two options: exFAT and
OS X Extended. Choose exFAT if the media files will be reviewed using a PC
computer. Choose OS X Extended if the media files will be reviewed on a Mac
computer.
• Use the jog/shuttle wheel to select your formatting option and choose
SET.
• You will then get a warning screen alerting you that
all existing media will be erased. Use the jog/shuttle
wheel to choose FORMAT. Press the SET button.
• Once formatting is complete, press SET to select
OK. Then press the MENU button twice to return to
the preview screen.
2

6. OPERATING THE SD CARD RECORDER
The HyperDeck SD Card recorder has two card slots. When two SD cards are
inserted, the recording will automatically switch over once the current SD card is
full. The HyperDeck SD card recorder can record uncompressed high definition
footage. To begin recording:
• Insert the SD card into either slot. The slot will illuminate green to
indicate it is ready for recording.
• Press the “record” button (circle icon) to begin recording. The record
button and the indicator above the slot will turn red once recording
begins. Note: The numbers in the top right corner of the screen will
indicate how much time is remaining on the card.
• Press the “stop” button (square icon) to stop recording.
Each time you record and stop, it will generate separate clips. To view recorded
clips do the following:
• Press the PLAY button once to play back the most recent clip. Press the
“forward” or “reverse” buttons (icons look like a sideways triangle
pointing at a line) to jump between various clips.
• To jog through a specific clip, press the JOG button and use the jog/
shuttle wheel to move forward or backward on a clip.
3

7. XDCAM RECORDER
The secondary recording option in all of MNN’s production studios is XDCAM.
Producers who plan to record at MNN’s production facilities must obtain their
own XDCAM disk. Producers should not change the recording format on the
XDCAM decks. Please notify a facilitator is you need to adjust the record setting.
XDCAM disk are reusable and the two most common disc sizes are 23GB or
50GB.
• The 23GB can hold approximately 60 minutes of HD recordings.
• The 50GB can hold approximately 145 minutes of HD recordings.
4

8. FORMATTING THE DISK
A brand new XDCAM disk is already formatted. After the initial use of the disk, it
can be reused for future recordings. Formatting the disk erases all stored
information so be sure you have backed up all previously recorded material. To
format:
• Press the SHIFT and DISC menu buttons simultaneously.
• Format disk will appear highlighted in the menu.
• Use the PUSH SET knob to select the highlighted choice.
• A warning appears alerting you that if you press FORMAT DISC again,
your data will be lost.
• Press the PUSH SET knob to format the disc.
RECORDING ON THE XDCAM
To begin recording to XDCAM:
• Press PLAY and RECORD on the deck simultaneously.
To stop recording:
• Press the STOP button. Each time you stop recording, the XDCAM disk
creates a new file.
To continue recording:
• Press the PLAY and RECORD buttons simultaneously again.
To review recording:
• Press the THUMBNAIL button. Use the PUSH SET knob to scroll through
clips. Press the knob in to select the clip you would like to playback.
5

9. TIMER OPERATION
Shows airing for cablecast on MNN must be in one of two recording lengths: 28
minutes or 58 minutes. One of the best ways to manage timing between
segments is to use the Harris timer.
These are the modes on the Harris Timer:
• Clock: This mode displays a
24-hour clock. This clock is visible on the
timer and linked to clocks in the control
room and on the clock mounted onto the
studio cameras. In the Express Studios,
the clocks are mounted onto the camera.
• Up/Down: In the control room,
you can set the timer to count up to a
certain time or down from a specified
time. For instance, if you have a 28-
minute show and you want to make sure it ends on time, you can set the
timer to count DOWN from 28 minutes. The timer allows the producer the
ability to manage production time.
To set and activate the Harris timer:
• Press the DOWN/UP button under MODE.
• Press the HOUR, MINUTE, and/or SECOND buttons under SET to select
the time you want it to count up to or down from.
• When you are ready to begin the timer, press
the START button. Usually this happens after
the director gives a 5, 4, 3, 2, 1 countdown. The
person closest to the timer presses START when
the director says “1.” You can also pause or
stop the timer by pressing PAUSE or STOP.
6

10. INTERCOM SYSTEM
Each manual camera has a headset attached that gives camera operators the
ability to hear commands from the director. The floor manager must request a
wireless headset from a facilitator to use for communicating with the director.
To make an announcement over the studio speakers, hold DOWN the Studio
Announce toggle switch in the control room. The abbreviation [S1SA] for Studio
1 Studio Announce will let you make announcements in Studio 1. To announce in
Studio 2, hold DOWN the switch labeled [S2SA]. If you want to communicate to
the Floor Manager’s headset, select either WL1 or WL2.
For communication between the studio and the control room, lift the toggle
switch UP to “open” the line for the selected crew person to communicate with
you. Push the switch DOWN to talk. To keep the channel open the channel so
you may speak to the crew person and they can speak to the control room,
quickly lift the lever up once and down once so that both green lights are lit.
7

11. ON-AIR TELEPHONES
The on-air telephones are used during live shows that integrate audience
interaction. Each of the studios has the ability to accept telephone calls. The
system has up to six lines. Each line has a row of three buttons. To utilize the on-
air telephones:
‣ When a call comes in, the top clear button will light green. Place the caller on
hold by pressing the second clear button and put the phone on the cradle.
When pressed it will become red.
‣ Inform the host, via the teleprompter or dry erase board, the name of the
caller and any other pertinent information.
‣ Take the caller to air. Make sure the phone input level is raised on the audio
board. Press the middle clear button to take the caller off hold.
‣ Once the call is complete, press the DROP button. You may also use this
function if the caller is deemed inappropriate.
The phone numbers for each on-air telephone are posted on the telephone.
Give the number(s) out to the viewers using either a graphic and/or mention from
the host.
8

12. Teleprompter
A teleprompter is a visual prompting device for speakers and television
performers that reproduces the current portion of a script in enlarged letters.
Teleprompters are attached to studio cameras so the talent read portions of their
script during the show.
ACCESSING COPY FOR TELEPROMPTER
To access the teleprompter computer, press CTRL-CTRL on one of the keyboards
in the Control Room. Select the option labeled “TP PC.”
There are a few ways to get your script information on the teleprompter.
You can paste the information into the body of an email and send it to yourself.
Open a web browser (Chrome or Internet Explorer) to retrieve the text copy.
You may type the text directly into the teleprompter application.
You may bring in the copy on a portable or flash drive and plug directly into the
USB drive on the computer labeled “teleprompter.” It is best to save your
document as a RTF or TXT file. Some Microsoft Word documents cannot be read
properly on the teleprompter PC.
ADDING COPY TO
TELEPROMPTER APPLICATION
Copy the text information from the source by
pressing CTRL+C on the keyboard.Double-click
to open the teleprompter application WinPlusX
ULTRA located on the PC’s desktop.
Paste the copy into the application by pressing
CTRL+V. You can also select FILE > OPEN
from the dropdown menu to open copy directly
from a flash drive.
9

13. After bringing in your text, you can make an array of adjustments including the
size, font and the ability to make the copy all uppercase. This makes the copy
more readable for the talent.
To make copy all uppercase, highlight the text you want to make uppercase,
select EDIT > FORCE UPPERCASE.
PROMPT COPY TO TELEPROMPTER
Once all of the copy is placed in the text area of WinPlusX Ultra, you are ready to
send the copy to the teleprompter located on the camera in the studio.
• Press the ACTIVATE
PROMPTING button on the
toolbar. You will now see the text
on the teleprompter’s monitor in
the control room & on the
monitor in the studio.
The teleprompter operator can now use
the wheel to operate the copy. Twisting
the wheel left and right will rewind or
fast-forward the copy. “Run Order Top”
will jump to the beginning.
10

14. Manual Camera Operation
Camera Operation: Pedestal
The studio camera is mounted to a pedestal system which is supported on a
dolly. The dolly has wheels which give you the ability to move the camera around
the studio. All cameras, including the robotic cameras (discussed in the next
section) are mobile and can be moved to various positions.
LOCKING/UNLOCKING DOLLY WHEELS
• To lock the dolly, gently step on the black level located right above the
wheel.
• To unlock the dolly, lift up the black lever on the dolly with your foot or
hands.
Unlocking the dolly wheels
lets you relocate the studio
camera and perform basic
camera movements.
11

15. MOVING THE CAMERA AND PEDESTAL
• To move the camera
around the studio, first
make sure the wheels
are unlocked.
• Grab the pedestal
ring with both hands
and move to your
desired location.
UNLOCKING/LOCKING THE PAN AND TILT CONTROLS
There are two levers on the back side of the pedestal, one is labeled with an up
arrow (tilt) and the other with a right arrow (pan). When the levers are in the
DOWN position, they are unlocked and you are able to pan and/or tilt. When the
levers are in the UP position, they are locked.
Here are a few key rules to remember when using the pan/tilt locks:
• Never try to pan or tilt when the levers are locked.
• Never walk away from the pedestal leaving the pan/tilt locks unlocked.
• Never force a camera to pan or tilt. Doing so may strip the head and
damage the unit. Notify a Facilitator if you are having issues with the pan/
tilt levers.
12

16. ZOOM
• The right arm attached
to the camera pedestal
has a black rocker that
will allow you to zoom in
and out. Zooming
magnifies the image so
the subject appears
closer or farther away.
FOCUS
• The left arm attached to the
camera pedestal has a black
knob that you twist to the left or
right to adjust the focus of your
shot. Focus refers to adjusting
the lens to improve the
sharpness of your image.
Critical Focus
Performing a critical focus calibrates the camera’s lens to ensure that your
subject remains in focus regardless what shot you frame. To conduct a
critical focus:
• Zoom into your subject’s eyes (or nose if the subject wears glasses)
until you can’t zoom in anymore.
• Roll the focus so that the eyes are completely in focus.
• Zoom out and frame your shot.
If your subject or the camera moves to a new position, you will need to
conduct another critical focus. If your subject will continuously move about
the set, you may have to adjust the focus on the spot.
13

17. Robotic Camera Operation
BASIC OPERATION
Pan: Push the joystick left and right
Tilt: Push the joystick up and down
Zoom: Rotate the dial at the top of the
joystick
Focus: Twist the focus knob on the left
side of the control panel.
Televator: Push up/down to raise and
lower the height of camera.
ADVANCED OPERATION: HOW TO SAVE AND RECALL
PROGRAMMED SHOTS
Shots can be saved and recalled using the Telemetrics software and compatible
touch screen.
• Position your shot using the
joystick.
• Touch one of the blank
squares on the screen.
14

18. • A thumbnail image of the shot you composed will appear in that square,
followed by a pop-up menu asking you to select the “speed” of the shot.
You have the option to select a speed between 1 and 30. The speed
represents how long it takes to transition from one programmed shot to
another.
You can continue this process to save additional shots. To save shots on a
different camera, select the alternate camera on the robotic controller and begin
the steps again. You can save up to 160 shots.
• To recall the shot, simply touch the square on the screen of the shot you
would like to recall.
15

19. ROBOTIC CAMERA TRANSITIONS
On the lower right side of the Telemetrics computer touchscreen, you will see the
option to select CUT/FADE. Touching/Clicking it will toggle you between the two
available transition modes. Transition modes dictate how the camera will move
from one shot to the next.
• CUT: Tells the camera to move as directly and
quickly as possible to the indicated shot. This
means the movements will be abrupt and
somewhat clunky. They will happen very fast and
allowing your next shot to be ready quickly. Unless
it is for creative purposes, it is not recommended
to use this transition when the camera is live and
on-the-air.
• FADE: Moves the camera more fluidly and at the
speed you set upon creating the shot.
HOW TO REMOVE A SHOT
To remove a shot, simply select the shot you want to
remove and press the REMOVE tab on the right side of
the touchscreen computer or simply overwrite it with a
new shot. Adjust your shot to its new position and press the square of the shot
you would like to overwrite.
16

20. TITLING A SHOT
If you created a shot list and plan to use several shots, it may be helpful to add a
title to the shots on the touchscreen. This will give the operator the ability to
recall the shots based on the script and/or shot list.
• Touch or click the border area beneath the thumbnail of the shot you
want to title.
• A flashing cursor appears and you can now type in a title for that shot (ex.
CU, MS, Two-shot).
17

21. Switcher Operation
The Ross Carbonite switcher is a powerful tool that will let you to compile and
switch between a variety of sources, including video feeds, prerecorded video,
still images, 3D graphics and text and more.
The switcher also lets you incorporate transitions and special effects. Learning
how to master the switcher takes patience and practice. In this section we will
discuss the basic functions of the switcher, switcher operation and how to use the
keying function adding graphics.
The production switcher performs three primary functions: selecting video
sources, mixing the two sources and creating effects.
A row of buttons on a switcher is called a “bus” and there are three bus rows on
the switcher. Let’s look at the function of each row.
SWITCHER OVERVIEW
• Preview/Preset Bus: This row of
buttons is located on the bottom of
the switcher and is labeled “preset.”
When a source is selected on this
row, you will be able to see it in the
top left monitor labeled “Studio#
PVW.” Selecting a source in preview lets you see the image before it goes
on air.
• Program Bus: The program bus is the row above the preset bus. The
green labels indicate the name of the source. The primary sources used at
MNN are BK (black), CAM1, CAM2, CAM3, CAM 4, CG, MAC. There are
other sources you can use for bringing in pre-recorded video footage.
When one of the buttons on this bus is selected, the source is live and can
be seen on the top right monitor labeled “Studio# PGM.”
18

22. • Key Bus: The key bus is the top row of buttons and simply duplicates the
video inputs of the preview and program buses. Its purpose is to select
the source you want to appear OVER another source. For example, you
would press the [CG] button on the key row to prepare a graphic to appear
over one of your camera sources.
• Fader Bar: The fader bar towards the right side of the switcher has a
black handle that lets the
user manually control the
speed of transitions. The
faster you push the bar, the
faster the transition and vice
versa. If you stop the
transition in the middle, it
creates a superimposition
effect when using a dissolve
or split screen effect when
using a wipe.
Auto-Transition: If you prefer not to manually control the speed of your
transitions, you can select the [AUTO TRANS] button to the left of the
fader bar and it will automatically perform the transition at a
predetermined speed.
Delegation Controls Section: This section on the switcher delegates what effects
are being used. For example, if you want to perform a basic dissolve
between two cameras you would do the following:
• Select [CAM1] on the preview bus. Select [CAM 2] on the
program bus.
• Press [BKGD] on the delegation section. Press [DISS] right
below it.
• Press [AUTO TRANS].
19

23. Now you will see a basic dissolve between camera 1 and camera 2. If you press
the [WIPE] button, it will perform whichever wipe is selected (there are various
wipe options on the top right of the switcher).
Explore and practice switching between shots using the dissolve and wipe
transitions.
SWITCHER OPERATION
Now let’s look at the four types of transitions available on the switcher and how
they should be used.
• Cut/Take: This is the most commonly used transition. It simply cuts from
one shot to another. This is the safe and recommended option if you feel
you may need to edit out potential switching errors or video content in
post production. To cut from camera to camera, press the camera buttons
on the PROGRAM bus. Or you can use the [CUT] button in the delegation
controls section (Note: You must select the camera you want to cut to in
the preview/preset bus).
• The cut is a simple and effective transition. It is a sudden and
abrupt change between two shots. Using this transition helps
keep the viewer’s attention.
• Dissolve: This is the second most common transition and is a gradual
change from one source to another.
In dramatics, dissolves tend to represent a change in place or time. Dissolves are
also commonly used during performance segments.
• In dramatics, dissolves tend to represent a change in place or
time. Dissolves are also commonly used during performance
segments.
• Wipe: A wipe uses a geometric pattern to transition between two
sources. There are an array of wipe options located on the top left of the
switcher.
20

24. • This type of transition should be used sparingly. Instead, try
creating a split screen by leaving the fader bar in the middle
position.
• Fade: This transition consists of the source fading up from black or out to
black. Fades are usually at the beginning or end of a program or segment.
To perform a fade out to black, do the following:
• Select the [BK] button on the preview/preset bus.
• Make sure you have [BKDG] + [DISS] selected.
• Press the [AUTO TRANS] button.
To perform a fade up from black, do the following:
• Begin your first shot with the [BK] button selected on the
program bus.
• Select your opening source (whether it’s CG1 or Cam1) in the
PREVIEW/PRESET bus.
• Press the [AUTO TRANS] button.
• Key: This is a special effect that gives you the ability to insert an image or
graphics into the background or foreground of a source (usually a camera).
Let’s look at the two types of keys used in MNN’s control rooms: Chroma
Key & CG Key.
CHROMA KEYING
Chroma keying is a special effect applied using the switcher. It replaces an existing background with a
background image or video. If you are interested in using Chroma Keying for your production, you must
remember the following:
•Determine the background image or video you would like to replace the green chroma background
curtain.
•Make sure the video or image you have chosen as your background has an aspect ratio of at least
1920x1080.
•Make sure your host(s), guest(s) or set pieces do not include the color green.
Production and Facilitation will support the setup for Chroma Keying. Please notify the Production and
Facilitation department in advance if you plan on Chroma Keying during your production.
21

25. Audio Board Operation
WIRELESS/WIRED INPUTS
The audio board in the larger studios (Open/Closed/George Stoney) has 8 total
wireless microphone inputs (#1-#8) and 8 total wired microphone inputs (#17-
#24). Each separate audio input is called a pot and has four primary functions.
See image on the right to locate the functions.
• SEL (Select): When you activate the SEL button, it turns green. You are now
able to see the levels of your input and make any additional adjustments to
your audio in the Centralogic area.
• CUE: When you put an audio input in CUE mode, you can only hear the audio
coming from that input. This is so you can individually test the audio coming
from your inputs (guest, host, CD, etc.).
• ON: This button turns the input ON or OFF. If you intend to use the input,
always make sure it is on. You may choose to turn this off during PSA breaks or
any time you do not want someone’s mic or an input to be on.
• Fader Lever: This is the white bar (see right) that you can raise up and down.
This is where you raise or lower the audio level of your inputs (e.g. guest mic,
host mic, etc.).
SOURCE INPUTS
Source inputs include other sources going into the audio board. Those sources
include audio coming from the character generator program Xpression (#11 &
#12), a CD player (#13 & #14), the call-in telephone (#15 & #16). There is also the
ability to plug in any audio source with an auxiliary input. For example, an iPod,
MP3 player, tablet, iPad, laptop, cell phone, etc. The auxiliary input is located on
pot #29 & #30. **Input numbers may vary based on studio
STEREO INPUTS
Additionally, there are Stereo inputs for the DVD player and Mac computer.
Audio coming from those sources can be found in the Stereo inputs section
listed as ST1-ST4.
22

26. CENTRALOGIC AREA
This area, located below the touch screen, lets you recall and simultaneously
control a set of up to 8 input or output channels. This is where you also go to
make any additional audio adjustments to individual inputs.
MASTER AUDIO
This is the primary and most important audio output. The RED stereo output is a
combination of all the audio inputs mixed down to a two channel stereo output.
This is the final mixed audio for your production.
HOW TO PREPARE AUDIO INPUTS
Let’s go step-by-step on how to set up microphones and other audio sources for
your production.
STEP 1: Retrieve the needed microphones from a MNN facilitator. If you are using
wireless microphones, they will supply them to you will fully charged batteries and
establish the best channel frequency to avoid interference. If you are using wired
microphones, plug the XLR cables into the wall box and place the microphones into
position for talent use.
STEP 2: Set Tone. The purpose of setting tone is to calibrate the master audio and
recording device. Once calibrated, you can begin to test all audio inputs. Make sure the
monitor level knob is turned up.
• To the right of the Centralogic Area, press the TONE button.
• Raise the RED stereo Master Audio level to the fader’s 0db marker. The VU
meter should read a steady -20dB.
• Next, check the XDCam record deck’s levels. On the XDCam record decks
there are two pots labeled Ch. 1 and Ch. 2. Adjust the two pots until the
Ch. 1 and Ch. 2 VU meters located on the deck’s monitor reads -20db. You
are now ready to begin adjusting the levels for all other inputs. Avoid
adjusting your stereo master audio levels.
*Note: If you do not see any activity from your VU meters, consult a facilitator. You run
the risk of recording your show with no audio.
23

27. STEP 3: Select your source group. On the right side of the audio board, select the
group of audio inputs for which you are setting levels.
STEP 4: Set levels for each individual input. For instance, you may need to setup
wireless microphone 1 and 2 for your guest and host, audio from a video you will play
on the Mac computer, and the call-in level for a phone interview.
• Make sure the ON button is illuminated.
• Press CUE button of the input you want to test. This will isolate the input from
any other active inputs. When listening to audio in CUE mode, the audio will
not go out over the air.
• Ask the person whose mic you are testing to read from the teleprompter or tell
you about their day. Do not let them blow into the mic, count or say their ABCs.
Your goal is to get a level of their natural speaking voice.
• If you are testing the Mac or Phone input, play the video or have someone call
the phone number to test.
• Adjust the trim/gain knob when using mic inputs (#1-#8 or #17-#24) to ensure
the levels are at least between -12dB and -24dB.
• Deselect the CUE button and repeat the process for all other inputs.
24

28. Express Robotic Camera
Framing shots and operating the basic mechanisms of the robotic camera in the
Express Studios is similar to the robotic camera in the Open/Closed/George
Stoney studios. The joystick on the right gives you the ability to zoom in/out, pan
left/right and tilt up/down.
The bottom row of the camera control unit, numbered 1-7 represents the
cameras in the Express Studios. There are two cameras in the Express Studios so
we only use #1 and #2 of the 7 possible camera inputs.. When you want to make
adjustments to one of the cameras, select the button and it will turn blue. You
can now frame your shot and make adjustments specific to that camera.
ADJUSTING IMAGE QUALITY
Before you begin making any adjustment settings, make sure the LOCK button is
unlocked. If the LOCK button is lit then it is locked. To unlock, hold the LOCK button for
about a second until it is no longer lit.
Adjusting the image involves adjusting three things:
• Iris: Controls the brightness of the image
• Focus: Controls the sharpness of the image
• White Balance: Controls the color of the image (ask a facilitator for assistance)
25

29. Adjusting the Iris
• Select the camera.
• Press the MODE button towards the top left of the
control unit. Mode toggles between adjusting the Iris/
brightness and the white balance. When adjusting the
brightness, make sure it is in the Brightness Adjustment
mode. When it is selected, the VALUE and BRIGHT
indicators will be lit.
• Turn the BRIGHT knob clockwise to open the iris and
brighten the image.
• Turn the BRIGHT knob counterclockwise, to close the iris
or darken the image.
Adjusting the Manual Focus
• Select the camera.
• Locate the focus controls on the bottom right of the
unit.
• Press the AUTO/MANUAL button until the FOCUS
light is lit.
• Have a crewperson or the talent sit in front of the
camera. Zoom into that person’s eyes.
• Twist the focus knob left or right to adjust the focus
until the shot is clear.
• Using the joystick, zoom out and frame your shot.
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30. HOW TO PROGRAM SHOTS
Framing and storing shots into the robotic camera unit is beneficial for
productions with small crews. It is recommended you determine the shot types
you would like to store before arriving to the studio. You can store a total of 16
shots using the position buttons on the control unit. Shots are stored using the
position buttons labeled 1 - 16. To store shots into positions 1-8:
• Select the camera (1 or 2) on the remote control unit.
• Frame the shot.
• Store the shot by holding down BOTH the PRESET & POSITION
buttons at the same time.
If you need to store more shots, use position numbers 9-16.
To store more shots:
• Select the camera (1 or 2) on the remote control unit.
• Frame the shot.
• Store the shot by holding down SHIFT, PRESET, and the POSITION
buttons at the same time.
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31. Express Audio Board
STEREO FADER
Each channel is sent to a master mix which is controlled by the Stereo fader on
the right side of the audio board. Raise this fader to around 0db (the very top)
before you begin adjusting the individual audio inputs. This fader will affect the
sound of your production as a whole.
AUDIO INPUT FADERS
The primary inputs are 1-16 (*depending on the studio, input location number
may vary) and labeled on the audio board. Each input has it’s own fader to adjust
the volume of that individual input. Here are the steps to adjusting input levels:
• Make sure the ON button is selected. When selected the indicator lights up.
• Raise the fader to around 0dB. Play the audio and adjust as necessary. If further
adjustments are needed for microphone inputs, use the gain knob on the top
of the input channel.
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32. Express Production Switcher
The switcher in the Express Studios is similar to the one in the Open, Closed & George
Stoney Studios. Each row of buttons is called a bus. It features three bus rows: key,
program and preset.
PRESET BUS: The bottom row is the preset or PREVIEW bus. This allows the director to
preview the video source and make any necessary adjustments before the source goes
on air.
PROGRAM BUS: The middle row of buttons is the PROGRAM bus.
KEY/AUX BUS: The top row of buttons is used for effects and keying in graphics. Each
button on this bus corresponds to the labeled video source.
Listed below are the source options of the Express Studio Switcher.
For detailed information about basic switcher operation, see page 18 in this equipment
guide.
Switcher Source Inputs
• BK (Black)
• Cam 1
• Cam 2
• XDCam
• CG (Xpression)
• DVD
• Mac
• Bars (color bars)
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