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Studio

Last Update: 2/27/2007 9:27 am

The set arrived on a semi-truck and took workers more than a week to put the pieces together.

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The green screen behind Larry Handley is used to electronically "insert" weather maps for his forecasts. The same "green screen" technology is used in many Hollywood movies to create special effects, such the sinking "Titanic."

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There is a constant flow of commands given by yours truly to the technical director, to the audio engineer, to the tape and camera operators, to the floor director and occasionally to the anchors on the set. The talk is strictly business; no time for useless chatter.

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Technical Director Roger Fletcher switches between different video sources. If you wonder how he is able to control 1,100 buttons of his newest Grass Valley Kalypso video switcher, he may tell you that it comes with practice.

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I like to tell him that he never makes mistakes. He warns me that he only does what I, the director, tell him.

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Glenn Brockman at the helm of the audio board. He hears more sounds than anybody else in the building -- and also during commercial breaks, so be careful what you say! He sits in a sound-proof room. Around him are speakers, TV monitors and more audio switches than you can count.

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The control room during a newscast can be a tense place to be. Everybody concentrates on the show, with only a few seconds to make crucial decisions.

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Prompter Operator Chris Grote controls the ETC Express lighting board in the studio and keeps the script "moving." In front of each camera, a small LCD monitor is mounted horizontally. Its image (the electronic version of the script) is reflected onto a two-way mirror, which is placed at a 45-degree angle in front of the camera lens.

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So the secret is out! The prompter allows the anchors and reporters to read the script without memorizing it. In effect, the anchors see the "moving" script as they look directly into the lens. They never lose eye contact with the viewer at home. Here, JD Phillips operates one of the studio cameras.

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Cyndee O'Quinn in the Forecasters Center. You can catch her on weekends on Channel 9.

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Marilyn Huffman in the Control Room. She is one of seven directors/producers who bring all the WCPO newscasts to life. They not only put newscasts together but they produce commercials, infomercials, documentaries, public service programs, community outreach videos and other independent projects.

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For "Good Morning Tri-State," engineer Leon Jones is mixing multiple audio signals. He has his hands full during each show. Adding music and sound effects and keeping the correct levels on all microphones is a real talent.

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Here is our Green Room. Frankly, there is nothing green about it. The name dates back to 1695-1705 and comes from theater tradition of a back-stage lounge that was probably painted green. For us, it's simply a gathering place before you step into the studio.

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Even though we have not been in this new building for very long, we have already hosted a number of celebrities and VIPs. So when you come here, prepare to rub shoulders with some important people and don't forget to bring a pen and a paper for an autograph.

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But wait, before you step into the magical world of TV, a last check of your hair and make-up. Don't worry if you forget your mascara, the "soft" filter on the camera can hide any imperfections. Just let the video engineer know ahead of time.

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The studio has a high ceiling, reaching the second floor. It provides adequate space for the sets and lights. The studio lighting fixtures are attached and suspended from the lighting grid, floating 18 feet above the floor. In the past, heavy fixtures were needed to produce enough light for the camera to "see." Those old lights were huge and bright and generated a lot of heat.

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Today, due to the advancements in video technology, only a fraction of light is needed. Most of the lights in our studio use special fluorescent lamps and are cool to touch. Gone are the days of heavy make-up, harsh shadows and large electric bills for studio lighting.

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