VIDEO CHAIN IN A TYPICAL

DOORDARS HAN S TUDIO

STUDIO CENTRE

A Studio centre of Doordarshan has the following objectives:

1) To originate programmes from studios either for live telecast or for recording on a
video tape.
2) To knit various other sources of programs available at the production desk i.e.,
camera output from studios, feed from other kendras, outdoor, playback from pre
recorded tape, film based programs slides, video graphics and characters generator
etc. This knitting or live editing includes generation of special effects and desired
transitions between various sources.
3) Processing/distribution of different sources to various destinations in technical areas.
4) Routing of mixed programme for recording/transmission via master switching room
and Micro Wave to the transmitter or any other desired destinations.

Activities in a television studio can be divided into three major areas such as :

1) Action area,
2) Production control room, and
3) Central apparatus room,

Action area

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. Hardware required for these activities in a studio (typical
size 20 x20x8.5 cubic meters) are:

1. Very efficient air conditioning because of lot of heat dissipation by studio light and
presence of large number of persons including invited audience performing artists
and operational crew.

2. Uniform and even flooring for smooth operation of camera dollies and boom
microphone etc.

3. Acoustic treatment Keeping in mind that a television studio is a multi purpose studio
with lot of moving person and equipment during a production.
Induction Course (TV)

4. Supporting facilities like properties, wardrobe, and makeup etc.

5. Effective communication facilities for the floor crew with the production control area.

6. Studio cameras (three to four) with one of the cameras fitted with teleprompter
system and pressure dolly.

7. Luminaires and suspension system having grids or battens (hand/motorised

operation).

8. Pick up wall sockets for audio operations.

9. Tie lines box for video and audio lines from control room

10. Cyclorama and curtain tracks for blue and black curtain for chroma keying and
limbo lighting respectively.

11. Audio and video monitoring facilities.

12. Studio warning light and safety devices like fire alarm system and fire fighting
equipments etc.

13. Digital clock display.

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.

Production control area

Activities in this area are:-

1. Direction to the production crew by the producer of the programme.

2. Timing a production/telecast.
3. Editing of different sources available at the production desk.
4. Monitoring of output/off air signal.

Hardware provided in this area include:

1. Monitoring facilities for all the input and output sources(audio/video).

2. Remote control for video mixer, telecine and library store and special effect
(ADO) etc.
3. Communication facilities with technical areas and studio floor.

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 Video Chain in a Typical Doordarshan Studio

Vision mixing and switching

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 producer. 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.

For most of the Video Switcher Mixing between the sources is possible only if the
sources are having timing accuracy between 50 ns to 200 ns and Burst phase for SC
with an accuracy of 1.5 to 5 deg.

Vision Mixer (or Video Switcher)

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 6 or 20 x 10 cross bar switcher
selecting anyone of the 10 or 20 input sources to 6 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.

The vision mixer provides for the following operational facilities for editing of TV
programs:-

(i) Take: Selection of any input source

or
Cut: switching clearly from one source to another.

(ii) DISSOLVE: Fading out of one source of video and fading in another source of
video.

(iii) SUPERPOSITION OF TWO SOURCES: Keyed caption when selected inlay is

superimposed on the background picture.

(iv) SPECIAL EFFECTS: A choice of a number of wipe patterns for split screen or
wipe effects.

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.

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Present day PCR s have:

24 input video special effects switchers

(CD 680 or CD 682-SP)
Digital video effects- type ADO-2000/ADO-1000/ADO-100(Ampex)
Character generators
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.

Character Generator(CG)

Character Generator provides titles and credit captions during production in Roman
script. It provides high resolution characters, different colours for colorizing 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 addresses 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 stabilised 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.
5. Electronics for camera chain, video switchers, special effect generator, and test
signal and pattern generator.
6. Monitoring facilities
7. Patch panel for video and audio lines
8. Electronics for micro wave links

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Sync Pulse-Generator(SPG)

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. This
requirement is ensured by the sync pulse generator (SPG). SPG consists of highly
stable crystal oscillator. Various pulses of standard width and frequency are derived
from this crystal electronically which form clock for the generation of video signal. These
pulses are fed to all the video generating equipment to achieve this objective of
synchronism. Because of its importance, SPG is normally duplicated for change over in
case of failure.

It provide the following outputs:

Line drive
Field drive
Mixed blanking
Mixed sync
colour subcarrier
A burst insertion pulse
PAL phase Indent pulses

Genlock (slaving)

Often in a production it is necessary to mix between two sources whose waveforms are
not synchronised. This is not possible until the local SPG has been synchronised with
the external source so that the locally produced signals arrive at the mixer in
synchronisation with the external source. When this occurs mixing is possible, captions,
and credits produced locally can be superimposed on external sources. For non
Synchronous sources mixing and super imposition is not possible and the signal can
only be cut to with a resulting disturbance in outgoing sync pulses which may cause
frame rolls on monitors and certainly disturbance to VTR machine which is recording.

To overcome this problem, SPG is fitted with a GENLOCK facility, which allows the
master oscillator to lock to the incoming waveform from the remote source, which then
synchronises both waveforms.

A more modern method of synchronization is with a digital synchronizer called Frame

synchronizers.

Other technical areas associated with central apparatus room (CAR) are

1. Camera control unit (CCU)

2. Light control unit(LCU) and a dimmer room
3. Audio control room (ACR)
4. Video tape recording room(VTR)
5. Telecine(TK) and film section
6. Digital library store(DLS)
7. Video graphic or paint box(PB)
8. Post production and editing suites for outdoor works by the ENG/EFP section
(Electronics News gathering/Electronic field production).

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Camera Control Unit (CCU)

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 pre-amplified in the head and then connected to the camera control unit
(CCU) through long multi-core cable (35 to 40 cores), or triax cable.

All the camera control voltages are fed from the CCU to the camera head over the multi-
core 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 over
modulation 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.

Light Control

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 key , fill , and back lights etc. Lights are classified
as spot and soft lights. These are suspended from motorized hoists and telescopes.
The up and down movement is remotely 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
are inside the studios.

Modern TV studios have a computer-controlled lighting system. The intensities of

various lights can be adjusted independently and memorised 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 computerised light control system
can also be performed manually with the back up matrix and fader controls.

Sound mixing and control

As a rule, in 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.

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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 synchronisation 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.

Audio facilities

An audio mixing console, with a number of inputs, say about 32 inputs is provided in
major studio. This includes special facilities such as equalisation, PFL, phase reversal,
echo send/receive and digital reverberation units at some places Meltron console tape
recorders and EMI 938 disc reproducers are provided for playing back/creating audio
effects as independent sources (Unmarried) to the switcher.

Video Tape recorders

VTR room is provided at each studio center. It houses a few Broadcast standard
Videocassette recorders (VCRs). In these recorders, sound and video signals are
recorded simultaneously on the same tape.

EQUIPMENTS IN VIDEO TAPE RECORDER (VTR) ROOM

Most of the TV centers have professional quality B-Format BCN-51 One inch VTRs. For
broadcast quality playback it is equipped with correction electronics i.e. a processor
which comprises velocity error compensation, drop-out compensation and time base
correction. It also comprises a digital variable motion unit enabling still reproduction,
slow motion and visible search operation.

New centers are being supplied with Sony U-matic high band VCRs along with ½ Sony
Betacam SP VCRs, DVC Pro. High bands VCRs are to be provided with digital time
base correctors where as Betacam has got built in DTBC with studio machines.

Equipment In Telecine Room

Telecine is an equipment to convert film based programme material to a video tape.

Optical image produced by the film projectors is converted into electrical signal either by
using a camera or by CCD line scanner. A typical telecine room will have two numbers
of CCD telecine chains type FDL-60, two numbers of sepmag sound followers, slide
projectors comprising a camera, multiplexer, assignment switchers, and monitors etc. in
a studio set up besides slide scanners film editing tables and projectors. FDL-60 can
handle 35 mm, 16mm, Normal/Cinemascope with any type of sound e.g. sepmag,
optical and com-mag.

Digital Library System

A digital library system can grab and store pictures electronically from live video, telecine
or video tape recorder in the form of stills. Thus it is an electronic store for still TV
pictures. A picture is frozen and recorded in memory. It can be numbered in stacks or

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individually. Any picture can be sized, cropped and can be provided with a border of any
colour. The memory can be expanded by using multiple disk drives.

Access To Electronic Still Storage System

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 panel after recomposing if desired.

Paint-Box

The paint-box is a professional tool for graphic designers. With Paint Box an artist can
create any graphics by using an electronics curser or pen and a Electronic Board instead
of using paper, pen or brush. This machine has got lot of potential. An artist can
capture live video frame, retouch it and subsequently process, cut or paste it on another
picture and prepare a stencil out of the grabbed picture. He can also paint with an
electronic pen or brush in any of the 16 million colours available in the paint box.
Animation work is also possible on this machine.

The system consists of:

Main frame electronics

A Graphic Tablet
A key-board
A floppy disk drive and
385 MByte winchester disc drive

The hard disc can store upto 300 finished picture frames in addition to the management
directory.

Post Production Suites

Modern videotape editing has revolutionised the production of television programs over
the years. The latest trend all over the world is to have more of fully equipped post
production suites than number of studios. 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.

b. While doing editing with multiple sources, it should be possible to have any kind
of transition.
c. Adding/Mixing sound tracks.
d. Voice over facilities.
e. Creating special effects.

The concept of live editing on vision mixer is being replaced by to do it at leisure in post
production suites.

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 Video Chain in a Typical Doordarshan Studio

A well equipped post production suite will have:-

1. Five VTRs/VCRs, may be of different format remotely controlled by the editor.

2. Vision mixing with special effect and wipes etc. with control from a remote editor
panel.
3. Ampex Digital Optics (ADO) for special effects.
4. Audio mixer with remote control from the editor remote panel.
5. Multi-track audio recorder with time code facilities and remote operation.
6. Character generator for titles.
7. Adequate monitoring facilities.
8. Supported by Offline editing systems to save time in post production suites.
9. One man operation.

Coverage of Outside events

Outside broadcasts(or OBs) provide an important part of the television programs. Major
events like sports, important functions and performances are covered with an O.B. van
which contains all the essential production facilities.

Video Chain

The block diagram on facing page connects all these sections and it can be observed
that the CAR is the nodal area. Now let us follow a CAM-I signal. CAM-I first goes to a
Camera electronics in CAR via a multi-core cable, the signal is then matched/adjusted
for quality in CCU and then like any other sources it goes to video switcher via PP
(Patch Panel) and respective VDAs(Video Distribution Amplifiers) and optional Hum
compensator/Cable equilizers.

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.

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