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| the place where the director and crew operate |
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| making the cameras produce pictures that match each other in luminance, chrominance, and saturation levels |
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| responsible for the overall concept of the shoe as well as logistical and financial concerns |
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| sits in the control room and calls the shots for the live or live-to-tape show |
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| sits next to the DIR in the control room and provides general support |
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| start cues to begin speaking or to start action |
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| wears a headset to hear the director's instruction for framing, panning, tilting, trucking, dollying, and breaking to different shots |
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| enables the operator to quickly prepare a change of framing from wide angle to telephoto by simply pushing a motor control button on the lens |
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| a physical move of the camera toward the subject or away from the subject |
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| the distance in front of and behind the focal point that is also sharp focus |
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| controls the recording volume of all microphones and tape machines with the Mixer |
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| assistant to the audio engineer |
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| technical director (switcher) |
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| responsible for the technical operation in the studio and control room |
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| immediate transition between shots |
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| cross-fade between scenes that involves more than one frame of transistion time |
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| transition between shots that employs the use of a geometric psttern moving on the screen to reveal the new source |
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| an electronic cut-out of part of one image imposed over part of another |
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| the key is set up using two rows of buttons together |
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| another way for a switcher to generate a kay |
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| character generator operator |
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| types a name ID to be keyed over the camera shot |
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| may deliver a "live" announce or may prerecord an announcement |
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| offers general help in the studio |
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| designs the lighting plot for the studio |
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| plans and constructs the set |
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| anyone who is seen or heard in the production |
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| responsible for recording and playing back videotapes during the show |
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