I can't remember where I read it, but isn't it true that he's informed about especially close Showcase bids, so he'll know to put some drama into reading out the ARP?
Ah, you have found the exception to the rule. The announcer keeps the audience's attention and enthusiasm on his own during the final commercial break, just before the showcase actual prices are revealed. During that break Bob meets with Roger and Phil to decide in which order to reveal the prices for maximum drama. \"In the course of that discussion the actual identity of the winners and/or losers may be discerned\" ;-)
The director is informed as to which contestant Bob will talk with first, and whether or not it's a double showcase win or double overbid. Again he passes that info along on PL for all who need to know... cameras, sfx, stage hands (which doors), lighting, etc.. A lot depends on that information, including the producers' and PAs' prep of the winner's \"posse\" so they can join him on stage. No, the friends are NOT told, but the staff must have them ready.
I listen to know if it's a double overbid. Then I know whether or not Bob will be entering \"the pit\" and shaking hands with the audience. In which case I remember NOT to shake hands with him later! ;-p
[quote name=\'clemon79\' date=\'Sep 17 2003, 08:06 PM\']Randy, do you keep your PL headset on while you're making announcements or reading copy, or do you have some sort of mute switch, or something? I've had pieces in my ear when I was announcing sports, but they were never chattering at me when I was actually speaking, they were for me to hear the air feed and for communications during breaks. I would think it would be terribly distracting to hear director chatter while you were reading off a Showcase...[/quote]
Oh Chris, you have identified the hardest part of the job! It is wildly distracting until you develop the knack. But the announcer MUST listen because some of the chatter is directed at him... cues to start reading at the top of each prize description, and after each of those reaction shots:
(\"Announce\") \"A lovely dinette set!\" [reaction]
\"Standby announce... and... announce\") \"From Broyhill it's....\"
(\"go ahead\") \"Or would you rather have.....\"
(\"Announce\") \"A new car!\" [reaction]
(\"Wait for it.... and... announce\") \"It's Ford F150....\"
And the announcer must listen, especially during the showcases, for the \"faster\" and \"slower\" cues shouted at him (nobody in a control room has ever whispered during a show!) in order to keep the show timed. It's especially critical in those last two long spiels of the hour. There's a lot of copy there that lasts several minutes. It's the last big chance to stretch or to make up for a long show The showcases have to end with enough time (but not too much time) for the rather brief reveal, goodbye and credits. As such it's not unusual to be prodded along or told to stretch during those reads
And the announcer has to listen in order to be corrected during those crazy moments... like when the grocery items are being shot in a different order than the script (watching the monitor is critical) or like when the announcer starts reading the wrong page, or other lapses of sanity. Otherwise you'd be merrily reading the wrong copy on-and-on without a clue while everyone in the studio is screaming that you're a jerk!
\"music, push 1, ready 2, announce, and take 2, push 2, ready 1, announce, take 1, chyron, push 1, ready 2, lights, take 2, open the doors, music, announce, pan 2, ready 1, take 1, roll (vtr) A, take A, and chyron in, who wants that crappy trip, ready 3, chyron out, take 3, follow her, ready Bob, take 3, cue Bob....\"
You have to \"listen\" to it all, but only \"hear\" the stuff relevant to you. The rest you sort of filter out of your consciousness.
Randy
tvrandywest.com
