As has been noted elsewhere, there is a tendency for broadcasters to shut themselves away in studios, being enormously busy making programmes which do not originate from a direct contact with the audience. The outside broadcast (OB), or ‘remote’, represents more than a desire to include in the schedule coverage of outside events in which there is public interest. It is a positive duty for the broadcasters to escape from the confines of their buildings into the world that is both the source and the target for all their enterprise. The concert, festival, civic ceremony, church service, exhibition, school fête, sporting event, public meeting, conference or demonstration – these demand the broadcaster’s attention. It is not only good for radio to reflect what is going on, it is necessary for the station’s credibility to be involved in its own community, to debate the issues that matter. Radio must not only go to where people are, it must come from the interests and activities of many people. If its sources are too few, it is in danger of appearing detached, sectional, elitist or out of touch. Thus the OB is essential to broadcasting’s health.
The producer in charge, together with the appropriate engineering staff, must first decide how much coverage is required of a specific event. The programme requirement must be established and the technical means of achieving it costed. Is it to be ‘live’ or recorded on-site? What duration is expected? Once there is a definite plan, the resources can be allocated – people, facilities, money and time.
It is also at this first stage that discussions must take place with the event organiser to establish the right to broadcast. It may be necessary to negotiate any fees payable, or conditions or limitations which the promoter or sponsor may wish to impose.
A reconnaissance, or ‘recce’, is essential, but it may take considerable imagination to anticipate what the actual conditions will be like ‘on the day’. Where possible include an engineer, who will assess the venue in a very different way from the producer or presenter. There are a number of questions that must be answered:
1 Where and of what type are the mains electricity supply points? Is the supply correctly earthed, safe and reliable? Do I need my own battery or power generator? What is the procedure if a fuse blows or a breaker trips out? Much modern digital equipment is very sensitive to mains fluctuations. A portable uninterruptible power supply or mains conditioner can avoid many a nasty splat or click being broadcast.
2 Where is the best vantage point to see the most action? Will there have to be more than one?
3 Will the sound mixing be done in a building, or in a radio OB vehicle outside?
4 What on-site communications are required, e.g. reverse talkback needing headsets?
5 How many microphones and what type will be needed?
6 If radio mics, is anyone else using the same or adjacent frequencies? Will a special events licence be needed for extra radio mic or radio talkback channels?
7 How long are the cable runs?
8 Will a public address system be in use? If so, where are the speakers? How is the volume controlled and by whom?
9 What else will be present on the day? For example, flags which obscure the view, vehicles or generators which might cause electrical interference, background music, other broadcasters.
10 What are the potential hazards and safety requirements?
11 What is the earliest the engineering staff can gain access to the venue for rigging?
If the programme is ‘live’, how is the signal to be sent to the controlling studio? What radio links are required? Is the site within available radio car range? Are ISDN landlines available? They may be expensive but will additional programme or control circuits need to be ordered from the telecommunications department? If so, will the quality be good enough for music – or will the programme circuit have to be ‘equalised’? Will WiFi work? Is a satellite dish the best solution? These questions need to be discussed at an early stage because, among other things, the answers will have a direct bearing on the cost of the programme.
Sooner or later an OB will be required from a hall, or from the middle of a field, where no lines exist. Such conditions are best realised well in advance so that either the telephone authority can be asked to make the appropriate connections, and if necessary build a suitable route, or the broadcaster must supply the necessary connections. A decision has to be made as to whether only a one-way programme circuit is required – the broadcaster at the site must then be able to obtain the cue to go ahead by listening off-air – or whether a second two-way telephone or control line is also needed. This additional facility is obviously preferred and perhaps a cell phone will suffice. Certainly for an OB of any length, or where a number of broadcasts are made from the same site, an ordinary communications link becomes essential. The same applies if radio links are used – is there to be a bi-directional control channel in addition to the programme circuit from OB to base? The specialist producer will certainly know about the mobile phone and ISDN options (described earlier on p. 106).
Figure 18.2 A radio car with a satellite dish will provide a signal to base in areas where other methods may be difficult or impossible (Courtesy of G. Jackson, BBC)
The advantage of a satellite dish over a car with a radio mast is its much greater range, reliability and freedom from interference. Remember though, the further south or north of the equator, the lower the dish will be pointing. In the UK, for example, the beam from the dish is only around 28 degrees above the horizontal. In a built-up area, relatively low buildings can soon block the signal. The satellite is very rarely overhead – as often imagined. In such locations great care must be exercised to ensure a workable parking place for the satellite uplink.
By this stage it should be clear how many people will be involved at the OB site. Anything more than a simple radio car or mobile phone job might require a number of skills – producer, engineer, floor manager, commentator, technical operator, secretary, driver, caterer, etc. A large event with the public present, such as an exhibition, might require the services of security staff or a publicity specialist. The list grows with the complexity of the programme, as does the cost.
The exact number of people is an important piece of anticipation – getting it right depends on being able to visualise whether, for example, there is a script writing and typing requirement on-site. It will also depend on whether the working day is to be so long as to warrant the employment of duplicate staff working in shifts.
Away from the familiarity of the home studio, OBs are full of uncertainties. During the reconnaissance visit there must be a careful assessment of the potential hazards and, for the safety of staff, performers and members of the public, plans made to minimise them. This applies not only to the broadcast but also to the rigging and derigging before and afterwards.
What measures are needed for crowd control – especially children? Are there any dangers from water, fire, heights, vehicles, traffic, animals, aircraft, etc.? Are hard hats, high visibility jackets, or any protective clothing needed? What contingency plans exist for dealing with an emergency? Should the police or other authorities be informed? No activity of this nature is entirely without risk, but responsible steps must be taken to anticipate and avoid possible accidents. See the model Hazard Assessment Form at: www.focalpress.com/cw/mcleish.
This is best organised on a category basis by the individuals most closely involved:
1 Engineering: microphones including radio mics, cables, leads and connectors, audio mixers, computer kit and software, smartphone, tablet, TV video link, CD decks, recorders with windshields and spare cards, amplifiers, loudspeakers, headphones, editing facilities, digital Fx unit, radio, spare batteries of all kinds, power cables and distribution boards, isolating transformers/‘direct inject’ (DI) boxes, circuit breakers, spare fuses, heavy-duty sticky tape, tool kit, fire extinguisher.
2 Programme: CDs, scripts, stopwatches, research notes.
3 Administrative: tables, chairs, paper, laptop, printer and ink cartridges, sticky labels, pens and pencils, marker pens, torches, clipboards, money, string, publicity and sign-writing materials, sticky tape, badges, cell phone, accurate large-faced clock.
4 Personal: food and drink, hi-vis jackets, hard hats, special clothing, first aid kit, sleeping bags, umbrellas, etc.
5 Transport: vehicles, fuel can, sat nav, maps, mallet, posts, rope, shovel.
There are always things that get forgotten, but if they are really important, this only happens once.
In a situation where crowds of people are present and their attention is inevitably drawn to the spectacle they have come to see, broadcasters have a special responsibility to ensure that their own operation does not present any hazards. They are, of course, affected by, and must observe, any by-laws or other regulations that apply to the OB site. Equipment must not obstruct gangways or obscure fire exit notices or the fire equipment itself. Everyone working on the site should have a fire drill briefing and know the location of the fire assembly point.
Cables across pavements or passageways must either be covered by a ramp, or should be lifted clear of any possibility of causing an obstruction.
Microphones suspended over an audience must be securely fixed, not just with sticky tape which can become loosened with a temperature change, but secured in such a way as to prevent any possibility of their being untied by inquisitive or malicious fingers. Safety chains should doubly secure any equipment rigged overhead.
Members of the public are generally curious of the broadcasting operation and all equipment must be completely stable, for instance microphone stands or loudspeakers should not be able to fall over. Nor, of course, must straying hands be able to touch mains electricity connections. Some fencing off might be necessary.
Figure 18.3 Microphones and cables must be safely rigged. 1. Cable taped to mic stand. 2. Stand weighted. 3. Mat covers at walkway. 4. Cable laid without loops or knots. 5. Cable slung over doorways. 6. Cable taped to floor. 7. Cable made fast at mixer end
This will almost certainly be the case where a ground-level public address system is in use. For a DJ show where the broadcaster is providing an on-site loudspeaker output, the sound intensity close to the speakers may be sufficient to cause temporary, and in some cases permanent, damage to ears. To prevent this, some form of barrier three metres or so from the speaker is generally needed. A better alternative is to raise the speakers, fixing them securely well above head height.
Rainfall can cause disaster. Ensure that power cables in particular are sheltered from rain – even a waste-bin liner will suffice. Where there is a danger of water ‘pooling’ in dips, make sure such cabling is raised well above the ground. Finally, test and retest any overcurrent, or earth-leakage protection devices. A break in the programme may be undesirable, but serious injury or even death must, of course, be avoided.
In further discussion with the event organiser there has to be agreement on the exact location of the broadcasting personnel and equipment. There may be special regulations governing car parking or access to the site, in which case the appropriate passes and security badges need to be obtained.
In order to rig equipment it will be necessary to gain access well before the event – are any keys required? Who will be there – and what security exists to safeguard equipment once it is rigged? At this stage the producer must also be clear as to the whereabouts of lavatories, fire exits, catering facilities, lifts and any special features of the site, e.g. steps, small doorways, awkward passages, non-opening windows, or unusual acoustics.
When a public building is being used, the audio mixer frequently remains outside in the OB vehicle or is in a room from which the action cannot be seen. Under these conditions it is extremely useful to have a TV camera feeding a monitor close to the mixing desk so that the event can be followed – and anticipated – by the producer and engineer. The security and siting of cameras should be agreed with the event organiser in advance.
Further discussion with the event organiser will establish the detailed timetable and list of participants. With an open-air event such as a parade or sports meeting, it is important to discover any alternative arrangements in case of rain. As much information as possible about who is taking part, the history of the event, how many people have attended on previous occasions, the order of what’s happening and so on, is useful preparatory material for the broadcast itself. Additional research using libraries, press cuttings, the Internet, etc. may be necessary at this stage for the commentators (see Chapter 19).
The producer is then in a position to draw up a running order and to tell everyone his or her precise role both on and off the air. The running order should give as much relevant information as possible, including who is doing what, when, together with details of cues and timings, where these are known.
Figure 18.4 Omega 52 fader digital desk inside an OB vehicle. The operator follows the event on the TV monitors (Courtesy of Cloudbass Ltd)
Particularly in the case of a ‘live’ OB, staff at the base studio need to be kept informed of what is planned and what alternatives exist. They should have copies of the running order and be involved in a discussion of any special fill-up material or other instructions in case of a technical failure. Arrangements should be made for a ‘live’ OB to be recorded at the base studio so that a possible feature can be made for a highlight or follow-up programme.
Figure 18.5 A live OB working with the base studio. Covering musicians and an audience, providing PA and playing in CDs, the OB provides programme via an ISDN line to the base studio for transmission. The base studio provides a clean feed back to the OB consisting only of material originating at base
The producer should ensure that everything has been done to secure the appropriate advance publicity. This may be in the form of programme billing, printed posters, a press release, or simply on-air trails and announcements. It is a matter of common experience that broadcasters go to immense pains to cover an important public event, but overlook the necessity of telling people about it in advance. It is true that some promoters claim that broadcast coverage keeps people away from attending the event itself but, on the other hand, it is frequently the case that advance publicity will stimulate public interest and swell the crowds, many of whom will then follow the action via radio.
Engineers are essential to the broadcasting process and programme people ought to know that they wouldn’t get far without them – especially at an OB. While producers might well be criticised for taking too little interest in technical matters, it also has to be said that some engineers have a tendency to over-complicate things. They can use far too many mics, or have an undue liking for technical gimmicks, and they do not always fully explain to the producer the problems and possibilities of the situation. Furthermore, the mixing desk is often operated by a technician or specialist OB engineer and so the final mix – the programme sound – is not under the producer’s direct control. So while an engineer at an OB may be aiming at studio speech quality and acoustically perfect sound, the producer might want much more the event – a sense of the occasion. Because of such differences of approach it is not surprising that arguments arise between producers and engineers. The problem is generally compounded by the stressful pressure of time.
A common difficulty with the broadcasting of live events involving music is the frequent lack of any proper rehearsal. It is often not possible to listen to the mix, discuss it, make adjustments and do it again. It is therefore essential that the producer discusses his or her objectives with the balance engineer well in advance and maintains close contact to resolve problems as they arise. Confronted by an engineer of many years’ experience the young producer is likely to feel daunted by the older person and unable to question anything said or done. By all means use that experience, depend on that competence and learn from it – but also develop the personal skills to challenge precedent and make changes if you feel it right. After all, in most broadcasting organisations it is the producer who is in charge – and responsible for the end result.
The broadcaster is working in a public place and, both in terms of appearance and general behaviour, will contribute to the station’s image. This is recognised by the more senior staff but might not always be appreciated by freelance contributors. A small but important aspect of public relations is the matter of leaving the OB site in a sensibly tidy state. It is clearly undesirable to leave any equipment behind but this should also apply to the accumulated rubbish of a working visit – scripts, notes, food tins, plastic bags, empty boxes, etc. To be practical, a good OB site will be required again and it is not in the broadcaster’s interests to be remembered for the wrong reasons.
It is common sense to recognise that the broadcaster’s presence at an OB site is likely to cause extra effort for those who normally work there. It will not be necessary to consider this point in every case, but a facility fee should be paid – certainly offered – where local assistance is provided beyond the normal level, and to any outsiders who supplied some special service, for example the use of a telephone, electricity or water, or the parking of vehicles. The amounts should obviously be related to the service provided – too much and one is open to a charge of profligate wastage, too little and one does more harm than good. It may, on the other hand, be sufficient to send a letter of thanks. These are the niceties of a well-judged operation.
Think the unthinkable. Nowhere on earth is immune from huge disaster, either natural or man-made. We have seen overwhelming floods destroy cities, communications put out of action by tsunami, fire, hurricane, earthquake, volcano, nuclear accident or terrorist bomb. What then is an appropriate response for the radio programme maker? Here is a practical course of action – set up an entirely new temporary station as an OB, based on the ‘studio in a suitcase’.
Fitted into a standard suitcase, the studio comprises everything needed to get on the air – mic inputs to a mixer, MP3 digital player, on-air and production laptops, local and off-air monitoring, editing facility, USB, cell phone and Skype interfaces, recorders, headphones with built-in mics, cue lights and a spare guest mic. Connected to an FM transmitter it can broadcast up to 20 km.
This was used for 24/7 live broadcasting 72 hours after typhoon ‘Haiyan’ devastated huge areas of the Philippine Islands when all communications were down, affecting some 14 million people, with 26,000 injured, and a million homes damaged.
First Response Radio (FRR) arrived with all its equipment stowed in four standard flight cases – this studio, the dipole antenna and coaxial cables in a padded bag, the 600 watt FM transmitter, and a Honda generator (empty tank). Frequencies had already been allocated for emergency use, and local people, who knew the territory, did the broadcasting. ‘Where can I get food, clean water, or fuel?’ ‘What roads are open?’ ‘How can I trace relatives?’ ‘How can I build some shelter for the family?’ ‘How can I get medical help?’ ‘When will the power come back on?’ Catchy songs, replies to texts, interviews and information helped to instil a sense of hope and bring some ‘normality’ back to daily life.
Figure 18.7 The First Response Radio team operating in Tacloban City, and the wind-up FM set distributed (Photo: Mike Adams)
Setting up the radio isn’t much use unless people can hear, so FRR gave out over 2,000 wind-up or solar powered radios to the villages around. Mobile loudspeaker trucks tuned to the station were placed at evacuation centres. The purpose was obviously to get expert information to as many people as possible as quickly as possible – to save lives. The radio helpers were faced with dealing with up to 2,000 messages a day. Radio in these circumstances is certainly not a one-way communication, it’s a dialogue – people could express their needs, concerns and frustrations.
This is radio in the extreme. But, of course, the suitcase studio is very useful for ordinary OBs; it is used for staff training, or as a station start-up before the actual station is ready, and in one African country it had to replace a whole station after all the studio equipment had been stolen.
This is the best possible example of an OB demonstrating real involvement in its own community, reflecting the interests, aspirations and pursuits of its own target audience.