programming or operate master controls for both AM and FM services. If  you  decide  to  counter  program  your  AM/FM services,  first  consider  two  points: l l Do not abandon the beautiful music format. It is an available source that satisfies a significant audience  segment. Do  not  turn  your  FM  facility  into  an  album oriented rock (AOR) station. It is too valuable a medium to limit its appeal to only one audience segment. PRODUCTION Learning  Objective: Understand   the   principles, activities  and  personnel  requirements  of  broadcast production. When people talk about broadcasting, they most often  mean  news  programs  or  documentaries.  These  two formats of broadcast communication are in fact what we,  as  Navy  broadcast  journalists,  primarily  use  to convey  our  messages.  This  section  of  the  chapter  details the procedures and techniques a supervisor must be skillful in to lead a broadcast production team. BASICS  OF  BROADCAST  LIGHTING Just as in still photography, videography is the art of  controlling  light.  Most  of  the  basics  of  photography, such as composition, exposure and lighting, transfer to videography  and  should  be  followed  where  applicable. However, there are specifics of video production that must be addressed. Currently, broadcast quality video cameras are set up  to  reproduce  colors  accurately  at  3200  degrees Kelvin  (3200°K).  Color  temperature  is  also  measured  in degrees Kelvin and 3200°K is the color temperature produced  by  tungsten  halogen  lights.  (Tungsten  halogen lights are the most widely used source of artificial light in the broadcast industry.) If the light entering the camera lens is less than 3200°K, then the video product will have a reddish hue, such as when you are shooting indoors  under  incandescent  lighting  (about  2800°K).  If the light is more than 3200°K, such as when you are shooting outside in bright sunlight (about 5500°K), the video  product  will  look  green  to  blue  in  hue.  Your understanding  these  changes  in  color  temperatures  from various  light  sources  is  of  paramount  importance because you cannot get a true “white balance” with your video camera unless your camera is “seeing” light at 3200°K. The white balance is defined as the absence of color at white, and in a sense, is used by the camera to set  the  standard  of  its  color  reproduction  to  match  what the human eye perceives as color. To get this absence of color for white at different light levels, there must be some sort of color temperature compensation when you are not shooting at 3200°K. That compensation is done by the use of filters. Filters The  filters  on  most  video  cameras  currently  being used by Navy journalists are placed just behind the lens of  the  camera  and  are  there  to  control  the  color temperature of light entering the camera. These filters are held in place by a falter wheel and are usually numbered one through four. Sometimes a fifth position is  used  to  totally  eliminate  light  from  entering  the camera and is used the same as a lens cap would be used. The positions and numbering of the filters will vary from camera  to  camera;  therefore,  close  scrutiny  of  the operator’s manual is advised to enable the correct choice of filter for a given lighting situation. The following list shows the filters most commonly found on broadcast quality  cameras: l l l Fluorescent  light  filters.   Light  source  is approximately  4500°K.  Shooting  without  the proper  filter  produces  a  greenish  to  bluish  hue. (Many  cameras  have  two  fluorescent  light  filters. One for the 4500°K color temperature and one for  daylight  fluorescent  tubes  with  a  color temperature  of  approximately  6500°K) Neutral-density filters.  This filter has no effect on the color temperature of the light entering the camera, but it does reduce the amount of light reaching the imaging sensors of the camera. This reduction in exposure maybe used to reduce the depth of field of your shot or to simply reduce the amount of light while you are shooting under very bright conditions. Direct sunlight and dusk/dawn filters.  A direct sunlight  source  is  approximately  5400°K. Shooting  without  the  proper  filter  in  such  a situation  produces  a  bluish  hue.  As  a  rule  of thumb, use this filter an hour or so after sunrise and an hour or so before sunset. During the time periods just before sunset and just after sunrise, the natural light color temperature is usually very close to the camera’s optimum color setting of 3200°K and taping can proceed with a colorless 8-25