Live broadcast glossary: terms used in multicam production

Technical meetings for live production are full of jargon. This list explains the terms you will hear most often, grouped by part of the system, so briefs and technical reviews move faster.

Cameras and lenses

• System camera: a broadcast camera linked to its CCU by a single SMPTE fiber cable that carries picture, power, intercom and tally. See cameras and lenses.
• CCU (camera control unit): the control-room unit that powers a system camera and processes its video, for example the Sony HDCU-4300.
• RCP (remote control panel): the panel used to set iris, colour and exposure for one camera from the control room.
• Box lens: a large zoom lens for distant positions such as FOH or a stadium stand, mounted on the camera through a large lens adaptor.
• Large lens adaptor: a cradle that turns a portable camera into a studio/OB build for box lenses and large viewfinders.
• Portable lens (ENG/EFP): a compact zoom lens for cameras near the stage or on the shoulder.
• Zoom demand and focus demand: zoom and focus controls on the tripod pan bars, so the operator controls the lens from behind the camera.
• Viewfinder: the camera operator’s screen for framing and focus.
• PTZ: a remotely controlled pan-tilt-zoom camera for positions no operator can take.
• Fluid head: a tripod head that keeps pans and tilts smooth.

Signal

• SMPTE hybrid fiber: a camera cable combining optical fibre and copper. The full explanation is in the SMPTE hybrid fiber article.
• SDI and 12G-SDI: the broadcast video cable standard. 12G-SDI carries a 4K signal on one cable.
• Video router: a device that sends any video source to any destination, for example a camera to a recorder or monitor.
• Genlock and sync: a timing reference that keeps all video devices in step, supplied by a sync generator.
• Converter: a device that changes a signal format, for example HDMI from a presentation laptop to SDI.

Control room

• Switcher (vision mixer): the device used to cut between cameras and other sources to make the program. See control room.
• PGM and PVW: PGM (program) is the picture on air. PVW (preview) is the next source being set up.
• Multiviewer: one screen showing many sources at once, with labels and tally.
• Shading: matching exposure and colour across cameras, done by the vision engineer.
• Director and technical director (TD): the director chooses the shots, the TD operates the switcher. On small productions one person may do both.
• Tally: the light on the camera and multiviewer that shows a camera is live.
• Return video: the program or another source sent back to the camera operator’s viewfinder.
• Replay and graphics: systems for replaying moments and adding graphics such as names, scores or logos over the program.

Output and recording

• Program feed: the live cut from the switcher. How it differs from ISO recording is explained in the program feed and ISO article.
• ISO recording: each camera recorded on its own, without cuts, for editing after the event.
• Clean feed: the program without graphics or text, for partners who add their own graphics.
• Handover: the point where the feed is handed to the broadcaster, OB van or streaming partner. See TV and streaming feeds.

Communication

• Intercom: the voice communication system for the crew during production.
• Partyline: one intercom channel that everyone in the group hears and talks on.
• Beltpack: an intercom unit worn on the belt, wired or wireless.
• Key panel: an intercom panel with keys to talk to specific people or groups.

Production

• Rundown: the minute-by-minute running order, the basis for every cue in the control room.
• Rehearsal: a run-through with the whole crew and system before the event.
• FOH (front of house): the area in front of the stage, usually where the long-lens cameras and audio desk sit.
• OB van: a vehicle with a control room for productions away from a studio.
• Full Service, Setup & Assist, dry hire: the three ways to work with NBS, explained in Full Service or Setup & Assist.