Articles from prior issues of The Advocate

September/October, 2000

OT Reveals Inner Workings of IVT Production
by Bob Edwards, Texas DDS

EVER WONDER WHAT IT IS like to broadcast an IVT from the beginning of the concept to the end of the show? During the National Trainers’ Conference held
March 20 - 23, 2000, SSA offered participants a revealing view of the world of IVT. Peggy Calnan from the Office of Training led a group of trainers into one of the agency’s two newest viewing rooms and studios. Seated in a comfortable theatre-like ambiance, we were treated to a video postcard from Associate Commissioner of Disability Ken Nibali. I say video postcard because Mr. Nibali spoke with a backdrop of Italy. Well, maybe not from Italy, but Italian music and a back drop of a European canal set the stage as Mr. Nibali welcomed trainers from across the country. Mr. Nibali (who was actually on vacation in Italy) ended the video with a graphic representation of the leaning tower of Pisa bouncing and eventually falling to the ground ---just one of the many graphics works of magic now available at the new Office of Training studios.

Immediately following the video, Ms. Calnan explained the history of the IVT. Did you know that the first studio broadcast was in 1995? Process Unification training really ushered in the medium and by 1997 IVT had expanded to five studios across the country. The new studios in Baltimore, which officially opened in December 1999, will offer SSA IVT viewers enhanced productions. The actual control room seems like the space shuttle while the old control room was more the size of an Apollo spacecraft control module. Multiple monitors, microphones, video, CD and even DVD players are assembled along the walls.

Process Unification training really ushered in the medium....

There is also ample room for a score of directors and technicians to assist in any production. Inside the studio, spacious props including a very nice Subject Matter Expert panel podium are spread out under enhanced lighting. The feel is relaxing. One wall even boasts a beige and amber pattern backdrop. The old plants are still there as well as a couple of large screen TVs.

In the actual studio we viewed the command center or main podium where the presenters sit for broadcasts. There is a touch screen TV nicely recessed into the panel. The ELMO - a station wherein a presenter can place a document face up and have it reflected on a camera screen- sits on one side of the podium. The studio crew explained the logistics of using the call-in features on the touch screen TV. Did you know that once identified as an “expert” individuals calling in can be reflected as such on the screen to allow moderators to go to them if the questions dictate? The TelePrompTer controls were quite interesting to more than a few participants. Equipped with the scroll (a hand held device about the size of a cell phone) a presenter can scroll down the words of a script, moving fast or slow depending on cadence, even going back in the script if need be. The bold words on the TelePrompTer seem ‘100 point’ and sit a few yards in front of the camera. Off to the side is a large plate glass window that separates studio crew from presenters. The new window is four to five times larger than the size of the one that was in the old studios, allowing directors, studio crew and performers to keep in good eye contact with each other.

Other bells and whistles include a camera that can follow a presenter around the room automatically and a wall connecting the above mentioned viewing room that can be recessed, allowing a real time studio audience to participate in a broadcast. In this instance, the command center could be put on wheels to afford maximum viewing for both rooms. While these latter two features have not been utilized since the new studio opened, the capacity is there should they be necessary in future broadcasts.

Beyond the technical aspects of the IVT production, Ms. Calnan provided the trainers with a rather impressive list of items to be completed before an IVT can actually be aired. The Office of Disability must establish a Coordinator and a Policy Contact to work with the Office of Training. Next, a plan must be submitted with the topic, purpose and scope of the training, intended audience, designated policy experts and any other involved personnel, such as National Disability Training Cadre members. This is followed with a proposed outline and the approximate duration of the training. Following this, time frames desired and “drop dead” deadlines must be established. A date must be scheduled; a draft script and final script along with any handouts are also required. Then the project is reviewed by known regional experts and internal policy experts. This is followed by clearance from the expert, branch or division personnel. A list of appropriate policy statements and subject matter along with copies and dates of prior relevant training is reviewed along with any available case studies. Finally, special sensitivities and unresolved policy issues are reviewed. Then the IVT is ready for broadcast. For these reasons, Ms. Calnan and other producers literally have to reserve studio time at least two to three months in advance. What’s been brewing over the IVT airwaves? Well the Disability Hour is broadcast every other month, prototype training is fairly consistent and review and revisions to the listings have also recently aired.

The field offices receive basic claims representative training through the medium. SSA has plans to expand the number of studios throughout the country as more and more training is offered from the Office of Training. All in all, the tour was a rather impressive view of the rest of the story behind IVT. The technical capacity of SSA’s studios match those of professional studios in the private sector. With increased training heading out over the IVT airwaves, expect the technological expertise in SSA IVT studios to keep up with viewer expectations for innovative and professional future broadcasts.