Courtesy of CCI TV Channel Facebook
Last week, I got the chance to take on the role of Vision Mixer for the CCI TV show, CCI TV: 10 Years. This involved the use of a NewTek TriCaster, a video production system that compiles live camera and audio feeds with VTs and graphics. I had little knowledge of how to operate the mixing desk and, for anyone stepping into the role for the first time, it can seem a little overwhelming. However, I came away from the experience with a much better understanding of the TriCaster as well as how to be a more effiecient vision mixer.
According to the National Film and Television School (NFTS), vision mixing is essentially live video editing. With the set brief of a director, vision mixers "build and realise complex live visual effects." This is achieved through cutting, mixing or wiping live between the various inputs including "cameras, pre-edited clips and other video sources." A lot of training is required for a vision mixer since they will need to operate "high end production tools" similar to that of the TriCaster.
Courtesy of Southwest Audio-Visual
The NewTek TriCaster is a vision mixing console and video production system used at the University of Portsmouth. It assmebles the live video and audio feed from the Eldon Broadcast Hub, cameras and radio microphones used in the CCI Studio, VT packages, graphics and mixed effects to create a complete programme which can be streamed live to various sources including the CCI TV YouTube channel. To better illustrate this workflow, below is a screenshot of the TriCaster display during the connect Graduate Show 2018.
Courtesy of @ccitv on Twitter
But what are the essential skills that make a good vision mixer? This will obviously depend on the nature of the programme being mixed. For example, mixing live sports coverage may require a greater level of initiative in comparison to mixing a magazine show with more scripted sections. However, here are a few tips I picked up on during my time behind the desk:
1. Similar to touch typing or learning to play the piano, it can be beneficial to allocate certain fingers to certain cameras. As a result, you are able to keep your eyes on the programme and avoid just focusing on pressing the right button.
2. On a similar note, I found at times that I was obessing over what was coming up in the running order. It is far more important that you are aware of what is being broadcast in case there is an issue with the quality of the picture or feed. Therefore, as obvious as it may sound, keep an eye on the video feeds and the TX output as you are in control of what the viewers see.
3. Do not panic if you make a mistake. Everyone makes mistakes, especially when you're presented with a vast array of controls and you have a definitive timeframe to execute the correct cut or effect. If a mistake is made, simply make the appropirate amendment and continue with the programme. One mistake doesn't need to compromise the rest of the show.
4. Finally, this may once again depend on the situation since, in some cases, the director will double up as the vision mixer. However, if you are in a broadcast environment with a director sitting next to you, be sure to listen and communicate effectively with them. They will be informing you of upcoming content in the running order and may suggest an alteration to the intial plan.
Courtesy of CCI TV Channel Facebook
To conclude, vision mixing is a vital part of television broadcasting and after getting a chance to cut a live show, I would definitely consider taking on this role again if the opportunity presented itself.
For more tips on vision mixing, check out Training for TV. They have a series of useful recommendations, some of which focus on the more creative side of live mixing.