The document provides guidelines for television performers regarding techniques for effective performance. It discusses speaking directly to the camera while being aware of the television audience at home. Performers should adopt their techniques to the characteristics of the performance and production elements. They should look directly into the camera lens to establish eye contact with viewers and switch eye contact smoothly between cameras. The document also provides direction on close-up techniques, working with microphones, following cues from the floor manager, and using prompting devices.

1. Television
Performance
Techniques
{ Ronie M. Protacio
Executive Director
Center for the Arts & Sciences

2. Performing
Techniques
{ 

Speak directly to the camera, with other
performers or the studio audience
Be aware of the television audience watching
at home ( a small intimate group)
 There is no reason to scream at the “millions of
people out there…”
 Talk quietly and intimately to the family who
were gracious enough to let you come into
their home

3. Performing
Techniques
{ 

The camera is your audience
Adopt your performance techniques to the
characteristics of the performance and other
production elements, such as audio and timing

4. Camera Lens
{
 Look directly into the lens whenever you intend
to establish eye contact with your viewer
 Stare into the lens and keep eye contact much
more than you would with an actual person.
 Glancing away from the camera would break the
intensity of communication between you and the
audience – thus breaking the “magic”
 Look at the lens casually and in a relaxed
manner

5. Camera Switching
{ 

Know which camera is “hot” by following the floor
director’s cue or by looking at the tally lights
Switch eye contact with the camera quickly but
smoothly
 Do not jerk your head from one camera to the other
 If you suddenly discover that you have been talking
to the wrong camera, look down as if to collect your
thoughts and then casually glance into the “hot”
camera and continue talking in that direction until
you are cued to the other camera.

6. Camera Switching
{  Ask the director or the floor manager if there
will be camera changes during the
program, and approximately when the changes
will happen.
 Mark all camera changes in your script
 When demonstrating something, keep looking
at the medium shot (MS) during the whole
demonstration not the camera on CU of the
object you are demonstrating.

7. Close-up Techniques
{ 

The tighter the shot, the harder it is for the camera to
follow fast movement.
Restrict your motions severely and move with care.
 As director if he/she plans to do close-up’s and
approximately when
 Stand as still as possible; do not wiggle your head.
 Hold objects being demonstrated steadily.
 Don’t pick-up objects arranged on a table
 Take a quick look at the studio monitor will tell you
how you should hold the object

8. Performer & Camera
{ 

The camera sees everything you do and do not
do
It faithfully records your behavior in all
pleasant and unpleasant details.
 Control your actions without ever letting the
audience know that you are conscious of doing
so.

9. Warning Cues
{ 

During on-the-air performance, give the director and studio
crew visual and audible warning of your unrehearsed actions.
When you want to get up, shift your weight first, and get your
legs and arms into the right position, focusing on the middle
part of your body, and your head may hit the boom mic.
 Use audio cues like: “Let’s go over to the children and ask
them… “ or “If you will follow me over the lab area, you can
actually see…”
 Be specific when you cue unrehearsed visual materials. Ex.
“we now go to the next slide…”
 Don’t try to convey the obvious. The director, not the talent
runs the show.
 Avoid walking toward the camera to demonstrate the object.

10. Performer & Audio
{ 

Speak clearly & effectively besides looking
natural & relaxed.
A super bass voice and affected pronunciation
are NOT the only requisites for a good
performance
 What you have to say must be important
 You need to say it with conviction and sincerity
 Get needed training

11. Microphone
Techniques
{ Lavaliere Microphone
 Once it is properly fastened, you don’t have to
worry about it anymore.
 If you have to move from one set area to
another on cam, make sure that the mic doesn’t
get tangled up in the set or set props.
 Gently pull the cable behind you to keep the
tension off the mic itself.

12. Microphone
Techniques
{ Hand held Microphone
 Make sure that you have enough cable for your
planned actions
 Treat it gently
 Speak across it, not into it.
 Hold the microphone near you when you are
talking.
 Point it toward the person as he/she responds to
your questions.

13. Microphone
Techniques
{ Boom Microphone
 Be aware of the boom movements without letting
the audience know
 Give the boom operator enough warning so that
he/she can anticipate movements.
 Move slowly enough that the boom can follow.
Don’t make fast turns because they will involve a
great amount of boom movement.
 If you have to turn fast, try not to speak.
 Don’t walk close to the boom.

14. Microphone
Techniques
{ Desk Mic
 Try not to move the desk mic once it has been
placed by the audio engineer.
 Sometimes the mic may be pointing away from
you toward another performer, but this may
have been done purposely to achieve better
audio balance.

15. Audio Level
{ A good audio engineer will take your audio level
before you go on air. Many performers have the
bad habit of mumbling or speaking softly while
the level is being taken, and then, when thry go on
air, blasting their opening remarks. If the level is
taken, speak as loudly as you will actually do in
your opening remarks. Thus the audio engineer
will know where to turn the pot for an optimun
level.

16. Opening Cue
{ At the beginning of a show, all microphones are
dead until the director gives the cue for the audio.
You must therefore, wait until you receive the
opening cue from the floor manager or through the
IFB (interrupted feedback system). If you speak
beforehand, you will not be heard. Do not take
your opening cue from the red tally lights on the
cameras unless instructed.

17. Performer & Timing
{ Television operates on a split-second timing. Although
the director is directly responsible for getting the show
on and off on time, the performer has a great deal to do
with such timing.
 Careful pacing throughout the show is important
 Learn how much program material you can cover
after you have received a time cue.
 Look comfortable and relaxed although you have to
cram a lot of important program material into the last
minute.
 Be prepared to fill an extra 30-second without
appearing to be grasping for words and things to do.
 Practice is needed.

18. Performer &
Post-production
{  Make sure that you look exactly the same in all
videotaping sessions.
 Maintain the same energy level throughout the
taping sessions.
 On repeat takes, try to maintain identical
energy levels.

19. Floor Manager’s Cue
{ The floor manager, who is the link between the
director and you, the performer, can communicate
with you nonverbally while you are on the air. He
or she can tell you whether you are too slow or too
fast in your delivery, how much time you have
left, and whether you speak loudly enough or
hold an object correctly for camera close-up.

20. 3 Types of Visual
Cues
{ 1.
2.
Time cues
Directional cues
3. Audio cues

21. CUE MEANING HANDSIGNAL
Extends arm above head
Show about to start & points with the other
hand to camera that will
go on air.
Show goes on the air Points to performer or
live camera
Time Cues

22. CUE MEANING HANDSIGNAL
Go ahead as planned Touches nose with
forefinger
Speed Up Rotates hand clockwise
Accelerate what you are with extended forefinger.
doing. You are going so Urgency of speeding up is
slow. indicated by fast and slow
rotation.
Time Cues

23. CUE MEANING HANDSIGNAL
Stretch. Stretches imaginary
Slow down. Too much rubber band between
time left. Fill until hands.
emergency is over.
Wind up. Similar motion to speed up,
Finish up what you are but with extended arm above
doing. Come to an end. the head. Sometimes
expressed with raised fist, or
with a good-bye wave, by
hands rolling over each other
as if wrapping an imaginary
package.
Time Cues

24. CUE MEANING HANDSIGNAL
Cut. Pulls index finger in
Stop speech or action knifelike motion across
immediately. the throat.
Holds up five (four, three,
5 (4,3,2,1) minute(s) left two, one) finger(s) or
until the end of the show. small card with number
painted on it.
Time Cues

25. CUE MEANING HANDSIGNAL
½ minute Forms a cross with two
30 seconds left in show index fingers or extended
hands. Or holds card with
a number.
15 seconds left in show Shows fist (which can
also mean wind up). Or
holds card with number.
Time Cues

26. CUE MEANING HANDSIGNAL
Roll VTR Holds extended left hand
(and countdown) in front of face, moves
Projector is rolling. Film right hand in cranking
is coming up. motion.
Extends five, four, three,
Leader numbers as they two one finger(s), or
flash by on the preview simply clenches fist or
monitor, or VTR beeper gives cut signal.
countdown.
Time Cues

27. CUE MEANING HANDSIGNAL
Closer Moves both hands
Performer must come towards self, palms in.
closer or bring object
closer to camera.
Back. Uses both hands in
Performer must step back pushing motion, palms
or move object away from out.
camera.
Directional Cues

28. CUE MEANING HANDSIGNAL
Walk. Makes walking motion
The performer must move with index and middle
to next performing area. fingers in direction of
movement.
Stop right here. Do not Extends both hands in
move anymore. front of body, palms out.
Directional Cues

29. CUE MEANING HANDSIGNAL
Ok. Forms an “O” with
Very well done. Stay thumb and fore fingers
right there. Do what you extended, motioning
are doing. towards talent.
Directional Cues

30. CUE MEANING HANDSIGNAL
Speak Up. Cups both hands behind
Performer is talking too ears, or moves right hand
softly for present upwards, palms up.
conditions.
Moves both hands toward
Tone Down. studio floor, palms down,
Performer is too loud or or puts extended
too enthusiastic for the forefinger over mouth in
occasion. shhhh-like motion.
Audio Cues

31. CUE MEANING HANDSIGNAL
Closer to mic. Moves right hand
Performer is too far away towards face.
from mic.
Extends thumb and fore
Keep on talking until finger horizontally,
further cues. moving them like the
beak of a bird.
Audio Cues

32. Understanding the
Floor Manager’s Cue
{  Ask the floor manager to go over the cues before
you go on air
 React to all cues immediately, even if you think
one of them is not appropriate at that particular
time.
 React quickly and smoothly.
 Do not look nervously for the floor manager if
you think you should have received a cue
 Do not acknowledge a cue in any way

33. Prompting Devices
{
 Prompting device must be totally reliable
 Performer must be able to read the prompting
copy without appearing to loose eye contact
with the viewer.

34. Cue Cards
{ 

The size of the cards and the lettering depends on how
well the performer can see and how far the camera is.
Hold the cards as close to the lens as possible
 The hands should not cover any part of the copyand
he/she follows the performer’s lines.
 Learn to glance at the cards without loosing eye contact
with the lens for more than one moment.
 Make sure that the copy is in correct order.
 Snap fingers in case the person holding forgets to turn
page.
 In case of emergency, you can do adlibs
 Know the topic long before the show begins

35. Studio Teleprompter
{  Make sure that the text doesn’t appear as a
mirror image onto the glass plate.
 The newscaster can control the speed with
which the copy appears
 Practice reading while off the air

36. Television
Production
Handbook
{ Fourth Edition
Herbert Zettl