![]() During broadcasts in the game, there are many moments that you or I would share as memes, but instead, the audience in the game will turn off the show resulting in viewing figures plummeting.ĭespite the entire procedure being gamified as expected, Not For Broadcast still keeps the core mindset of a director at the forefront. The audience is also less meme-aware than today’s audience is. Thank goodness we have digital signals now is all I can say. The desk requires maintenance the further you progress and is also prone to frequent signal interference due to its analogue nature. The difference is that the desk and audience are rather dated. The concept of the studio is generally the same, giving you the ability to switch between live footage as you create pace, providing the audience with the viewing experience that they’ve tuned in for. Of course, a TV production room in the 2010s is an entirely different environment to one in the 1980s, no less an alternative universe in which Not For Broadcast is set. Playing Not For Broadcast, sent me right back to a familiar environment, but how well does Not For Broadcast come off to someone who used to sit at such a setup daily? TV Time Travel Surrounding me were over 35 monitors for different inputs and outputs camera feeds, graphics, TV broadcast output, online stream output, a digital VT system, and more. ![]() In front of me would have been a desk with just over 100 buttons, tens of faders, knobs, and switches. The modern production room is a manic nightmare for those unfamiliar with a vision mixer. ![]() ![]() I was in charge of everything that went live for these broadcasts commanding my camera operator minions to pan left or throw their focus, telling presenters to act surprised, shouting out timestamps for an upcoming VT, and consulting with producers on advert breaks ready to be crossfaded to the live broadcast. It has been roughly five years since I was last sat down in front of a vision mixer as a director of a teleshopping channel. ![]()
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