An Informational Battle Assembly Newsletter for the

222nd Broadcast Operations Detachment

December 2014

Battle Assembly Dates

Opening Formation

Training Highlights

6-7 Dec

Saturday, Dec 6 - 0700

Sunday, Dec 7 - 0900

Saturday

SoCal Report Filming

Sunday

Family Day

COMMANDER’S CORNER

Soldiers of the Mighty 222,

For some, The Holiday Season kicks off after a bag full of candy on Halloween, after the Thanksgiving Turkey, with the lighting of the first candle on the menorah, the dressing of the Christmas Tree, or the beginning of the Hallmark Channel’s countdown to Christmas (hey, your secret is safe with me). Whatever your unique situation may be, winter is the season of holiday merriment. There is a lot of pageantry during the holidays and there is an expectation to gather with family and friends we cherish to share food, gifts and sto-ries. Some of the pageantry is heart-warming stuff, but for the most part, there is a lot of work involved in reuniting with loved ones. Congested airports, snowy highways, cutthroat shoppers and a crock pot full of your first attempt at grandma’s world famous collard greens may be on your agenda. Here are a few things to remember through the ups, downs, lefts and rights of this Holiday Season. Plan for problems. One of the best ways to mitigate disaster is to give yourself more time to accomplish tasks. When traveling, map out your journey the night before and remain pessimistic on your options. GPS telling you it will take five hours to drive home? Give yourself seven hours for breaks, traffic, weather, spontaneous displays of Christmas cheer, etc. Heading for snow? Pack a coat, some cones and snacks in case your vehi-cle catches a cold. Will you be indulging in a little extra egg nog when out with loved ones? Have a safe method of returning home or plan to crash with the host. Trying a new recipe? Clear your kitchen of potential hazards and minimize distractions. Cook the night before if you can. Plan to make two batches (not necessarily for safety, but you’ll probably want to add more sugar after a taste test). For every person spending this time with loved ones, there are plenty more that are alone or feel they are. If you have plans, be inclusive towards those who have nowhere to go. Feeling alone and need to talk to someone? call me (785-320-3116) or any one of your battle buddies; we are all brothers and sisters both during our battle assemblies and beyond. Winter is a beautiful time of year which should be enjoyed as well as taken with appropri-ate caution. Enjoyed friends, family, food and give back to those less fortunate. Oh, and sneak in few push-ups amidst the sweets and treats. That’s an order!

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CPT Brian Andries

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Did you know? 7 December 1941 - SPC Judge

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The bombing of Pearl Harbor happened 73 years ago. Here are some interest facts about this

day that you might not know.

Eight battleships were damaged, but only the USS Arizona and USS Oklahoma were NOT re-

paired and return to service.

Congress declared war on Japan on 8 December 1941. All but one representative voted yea to

go into World War II. The one representative that voted nay was Jeannette Rankin from Mon-

tana. She also voted against the U.S. entry into World War I.

On a side note, she was the first woman elected to Congress. Service years were

from 1917-1919 and 1941-1943. Republican in 65th and 77

th district

The Japanese led the U.S. to believe the false statements and interest in continuing peace.

Main reason behind the attack was economic issues.

Admiral Husband Kimmel and General Walter Short were relieved of duty, due to the U.S.

not being at ready.

When the USS Arizona sank it took more than 1,100 men with it.

Some of the survivors requested when they died that they be buried with their fellow

Sailors and Marines. These requests have been granted

The first wave arrived about 0745 and the raid ended at 0945

Eighteen U.S. ships were hit

The prime targets were the U.S. Pacific Fleet aircraft carriers.

The Lexington, Enterprise, and Saratoga, were thankfully not hit due to the fact they

were not in port.

Oil is STILL leaking from the USS Arizona

The first allies to help in Pearl Harbor were the Dutch.

The crew of the Jagerstontein proceeded firing at the Japanese at 0900.

Junior enlisted eligible for West Point nominations

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The Army has provided guidance to commanders who want to nominate outstanding junior enlisted sol-diers for possible admission to the U.S. Military Academy as cadets, and subsequent commissioning as Army officers.

Eligibility requirements for the Secretary of the Army West Point Nomination Process apply to active and reserve soldiers who commanders believe have demonstrated the ideals and values of the Corps of Ca-dets – duty, honor and country.

The academy admissions office establishes criteria for all nominees, but academic potential for this pe-nultimate military scholarship is based on competitive Scholastic Aptitude Test or American College Test scores, and high school and/or college transcripts with an emphasis on mathematics.

Soldiers without test scores can test at no cost at Army education centers and receive free test prepara-tion information at www.match2success.com.

An assessment of leadership potential is based on high school performance and/or military service rec-ord, while a physical fitness evaluation is based on a nominee's performance on the academy candidate fitness assessment.

Basic eligibility criteria requires that nominees be at least 17, but not older than 23, years of age by the proposed year of admission. Waivers are available that extend the age limit to 25 years for soldiers who could not attend the academy by age 23 because they were deployed to Afghanistan or Iraq.

Additionally, nominees must:

• Have a high school diploma or GED.

• Have completed basic training and are eligible to attend advanced individual training.

• Be eligible to re-enlist.

• Be in compliance with Army medical standards as defined in Army Regulation 40-501 (Standards of Medical Fitness), and the various grooming and appearance standards defined in AR 670-1 (Wear and Appearance of Army Uniforms and Insignia).

Under the SA nomination process announced by the Army Nov. 19, all general officer commands of the active and reserve components are encouraged to submit at least one nomination packet.

Commands should make sure their candidates have completed the online West Point application at http://www.usma.edu/applynow.

Application packets must include several documents, including a commander endorsement letter, an updated Enlisted Record Brief, high school transcript or GED equivalent, SAT or ACT test scores and results of the physical fitness assessment.

Application packets for soldiers who are the principal nominees of a general officer command must in-clude a memorandum of endorsement from the general officer commander. The memo should indicate that the nominee is in compliance with Army weight and physical fitness standards.

The application deadline is Feb. 28.

Nominees who are approved for admission will be offered a cadet slot at either the academy or the U.S. Military Academy Preparatory School based on availability in the class.

*Article by - Jim Trace, Army Times -

http://www.armytimes.com/story/military/careers/army/enlisted/2014/11/22/usma-nomination-requirements/19324267/

Studio Floor Signals - SSG Widerberg

Floor Signals are an important part of communication in a studio environment. They al-low visual allow those behind the scenes to communicate with talent without interrupting a production as well as let everyone else on set know what is going on without verbal communication. Below are a few of the basics to keep your professional production pro-fessional while keeping the show moving smoothly.

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Studio Floor Signals - SSG Widerberg

Stand by: This signals to the talent that production will begin shortly. Cue: Communicates that the talent is on Cut: End of scene/take Stretch: slow your pace, stretch out what you are saying Speed up: pick up the pace Ok: You are all right now, on pace 30 seconds to go: talent has 30 seconds to wrap up 15 seconds: talent has 15 seconds to wrap up Speak more softly: Lower your tone Speak up: Raise your voice/ speak into the microphone more Speak or look towards camera: A hand gesture that directs the talents eye-line with the “taking” camera Following these simple hand gestures makes a world of difference with a stu-dio production workflow and closes the gap in communication with the talent while shooting.

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Holiday Safety - SPC Judge

We are in the holiday season, so that means the local and highway police will be on the prowl. So be smart and obey the laws!!! Check your front and rear lights, making sure they work. High and low beams, brake lights, hazard lights, and your turn signals. Make sure you are good to go. No using your running lights at night time. Lights on half a hour before sunset. Cracks in your wind shield, not a good idea. Get it fix as soon as you can. Your wipers need to be in good working order. If you are towing a hitch, make sure the lights work properly. No chains dragging, secure them. It is too dry out here in California for that. Any items in a truck bed need to se-cured so no items will fall or fly out while driving. Texting and driving is a NO NO!! Talking with a cell phone to your ear is also another NO NO. You can use your ear buds in, but only in one ear while driving. NOT IN BOTH EARS!! No drinking and driving, no drunk driv-ing either. Get a designated driver, call a cab, or just stay at the house. Your life and the life of others are too valuable to lose. A new law went into effect in California, you have to be three feet from a cyclist. So be kind, stay three feet behind! Obey the speed limit and when an emergency vehicle is coming from behind MOVE to the right to make way. Lastly, WEAR YOUR SEATBELTS!!! It is the law, so CLICK IT OR GET A TICKET. Remember just because you are not in uniform, you are still a Soldier, LEAD BY EXAMPLE. From the 222nd BOD Have a happy and safe holidays.

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Emotional Justification of Shot Choices - SGT Hale

Article can be found on Videomaker - http://www.videomaker.com/article/17192-emotional-justification-of-shot-choices

Every shot in your video should help convey the overall emotion of your pro-ject. Camera placement and movement can add greatly to the emotional im-pact of your work. Be sure to consider the reason behind every shot. Narrative filmmaking is one of the greatest and most powerful forms of art ev-er invented, and it's still relatively new. And while it grew up quickly, many of the elements that make up a successful narrative film were existent in the very beginning. One need look no further than Fritz Lang's 1927 masterpiece, Me-tropolis to see how advanced filmmaking was just twenty or so years after Edi-son's first shorts experimented with moving pictures. This is because filmmak-ing was a natural extension of other arts which had existed for thousands of years and it was able to quickly digest and utilize the work done by novelists and playwrights and painters and to take from this existing knowledge and turn it in a slightly different direction.

Emotional Justification of Shot Choices - SGT Hale

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What factors should you consider when choosing a shot? Motion pictures are really just a series of still pictures shown one after the other and the rules of good composition which apply to all other visual media apply to film and video production too. A shot that looks good on a screen will also look good in a frame on the wall of your living room — completely apart from any other aspect of the movie — you could be shooting the greatest sound in the world with ten high-end Shure microphones, or you could be shooting a silent mov-ie, the camera placement counts all by itself and adds a sense of feeling. Narrative filmmaking is one of the greatest and most powerful forms of art ever invented. Narra-tive filmmaking is one of the greatest and most powerful forms of art ever invented. One of the most visually compelling series to hit television screens recently is the Netflix original show “House of Cards (link is external) starring Kevin Spacey as a high ranking, loyal and hard-working Congressman who is treated poorly by a president he helped elect, and spends two de-lightful seasons exacting an intricate revenge. It is shot on RED digital cameras. House of Cards is shot with an almost obsessive attention to symmetry. In a world governed by the Rule of Thirds, series creator and director David Fincher wasn't afraid to put his characters smack in the middle of the shot again and again and the results are beautiful. Emotionally and subcon-sciously they tell us the world is balanced. What better place to do that in a show about a gov-ernment constructed to balance itself? But Fincher is also able to juxtapose these scenes of calm balance with others that are weighted to one side or the other, and the audience becomes subconsciously aware that things are not as stable as we'd thought.

Why use a tight shot feel or a wide shot? Is there an emotional difference? How close the talent is in the frame gives us a feeling about how close they are to us, or to oth-er things. This was used spectacularly in Robert Benton's 1979 drama about a family falling apart, Kramer vs Kramer. Actor Dustin Hoffman pushes his son Billy

(played by Justin Henry) on a bicycle, as Bil-

ly figures out how to ride the camera pulls

back as Billy rides toward the audience,

Hoffman gets smaller in the background,

presaging Billy's leaving his father and the

distance that will come between them. Here

what seems like a simple shot — a father

teaching his son to ride a bicycle — is

wrapped with layers of metaphor.

Emotional Justification of Shot Choices - SGT Hale

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How does the space you shoot in contribute to the feelings an audience has about the subject? Once you learn three point lighting you may find yourself overcome with the desire to shoot people in front of a grey backdrop with some really nice, soft studio lighting with a set of Arri vid-eo banks. Opening up your background and filling it with information about your subject can help set the mood for your interview. Shooting a scientist in their drab, fluorescent-lit office might seem like a dismal mistake when you first walk in the room, as lighting that's functional — like overhead florescent — isn't necessarily attractive. But just because the lights are there, doesn't mean you have to use them. Turn the lights off and light the scene yourself. Try using small narrow lights to accent parts of the background. Don't be afraid to use gels to throw some color up on the walls. Make your background interesting, but also make it help tell your story. Are you shooting a paleontologist? Can you fit a dinosaur skeleton in the background? Are you shooting a violinist? Can you do it on the stage at the concert hall? All these backgrounds have an emotional impact that your viewer will feel, even if they may not realize it; the subtle cues will fill in as the story is being told. Even empty spaces in your frame can carry worlds of meaning. How do you decide between a low angle, eye level and high angle shot? How does this affect the audience? Where we see people from has a big impact on how we view them. This is partly because many of us are used to looking down at children and up at adults, but also because of a natural intimi-dation we feel from things bigger than us – churches, giant ships, Godzilla, etc

Shooting a subject from a low angle makes them look powerful and in-timidating, shooting a subject from a high angle makes them look small and weak.

Looking at someone at eye level shows them as an equal. In “Return of the Jedi” when Luke meets the tiny Jedi master, Yoda, who is all of two feet tall, you'll notice that Luke is sitting on the ground when they meet, so that the shots are all done at eye level. In fact, Yoda, despite being small, is very consciously mostly filmed at eye level — be-cause though he is small, as he says “Size matters not.”

Emotional Justification of Shot Choices - SGT Hale

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Why use a handheld or static shot? Sometimes shots move; sometimes they stay still. Sometimes you pick up the camera and walk with it. They all mean different things and sometimes the thing is expediency. Moving shots are almost always more engaging, though you might not even notice that the camera is moving. Di-rectors and cinematographers with lots of time and large budgets will very often use a dolly shot if they can rather than a series of static shots. Sometimes however, the amount of moving and the speed at which you have to do is is too great and you need to put the camera on a person and Steadicam it. The most obvious example of this is The West Wing, whose signature walk-ing-and-talking shots move through an enormous recreation of the White House at breakneck speed, with people coming and going and a knot of conversation going from room to room with a speed that would be impossible to do if you had to lay out a complex series of dolly tracks. Handheld shots often lend a documentary style feel to footage. They give the audience the feel-ing that the footage is real rather than a fictional story. It's an intrusion of the production process that very subtly reminds the viewer that film crews make movies about real situations, and what you're watching might be one of those. Use handheld shots in situations where the audience might reasonably think in the back of their heads that a camera crew might be there: stories about politicians, musicians, or athletes on the field. Intimate moments between characters with no reasonable expectation of a film crew being there would do better with fixed cameras. When (if ever) should you zoom in or out? Your lens may have a zoom. It's very convenient for changing focal lengths, but when you zoom in or out it very often looks like an amateur home movie. Todays moviemakers use zooms sparingly. On the rare occasions when you see a fast zoom on a camera, it's often mimicking a TV cameraperson: crowd scene, there's a bang, someone falls down! The camera zooms to a rooftop where a shadowy figure with a gun stands up and starts to run! This throws us into the action, but in most instances when you want to change fo-cal lengths you're better off cutting away, zooming in, and then cutting back. One notable exception to this is the slow zoom. This is used often and with great effect usually during monologues where one character is talking and the camera moves almost imperceptibly into them, drawing the viewer closer. Every day of your life is a day learning more about your craft. Use your time wisely, study the masters and continually improve

Emotional Justification of Shot Choices - SGT Hale

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Conclusion The shots that you choose for your video should all serve to further the effectiveness of its sto-rytelling. Individual shots can create, enhance and keep a mood. Good directors and directors of photography have an emotional rationale for every camera placement. Your mission, should you choose to accept it, is to keep an eye out for the following while watching TV or movies: Slow zooms — When one character is talking, pick a point on the wall, a potted plant, a light switch, and watch to see if the camera is moving slowly in or out. Dialogue lighting — Pay special attention to the background. Camera movement — Is the camera static? Moving? Is it handheld? Why? Unravel your gut — Examine how you feel about shots you see on the screen. Don't be afraid to hit pause & rewind. What is the justification behind the shots? How do they add to the overall appeal of what you're watching?

Expand your knowledge by checking out

http://www.videomaker.com/

222nd Soldiers in Action

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Soldiers from the 222nd spent their

November Battle Assembly working on

many products for the upcoming

SoCal Report in December, (Photos by

- Sgt. 1st Class Alyn-Michael Macleod)

222nd BOD Repatching Ceremony

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Soldiers from the

222nd conducted a

special repatching

during their November

Battle Assembly. Dur-

ing the ceremony Sol-

diers had the oppor-

tunity to meet Maj.

Gen. Nickolas Toolia-

tos, Commanding

General, 63rd Regional

Support Command -

Photos by - Sgt. 1st

Class Alyn-Michael

Macleod)

222nd BOD Repatching Ceremony

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222nd BOD Cake Cutting Ceremony

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Maj. Gen. Nickolas Tooliatos, Commanding General, 63rd Regional

Support Command (L), Pvt. Clarice Sykes, Human Resources (M)

Specialist, Capt. Brian Andries, Commander, 222nd Broadcast Op-

erations Detachment ( R) cuts a slice of cake during a cake cutting

ceremony after a repatching ceremony at the 222nd BOD Studio in

Bell Calif. (Photo by - Sgt 1st Class Alyn-Michael Macleod)

A Day in the Studio

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Maj. Gen. Nickolas

Tooliatos, Commanding

General, 63rd Regional

Support Command had

a chance to spend

some time in front of

the camera during his

visit to the 222nd

BOD.

(Photo by - Sgt 1st

Class Alyn-Michael

Military Deals

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Binary Numbers — SSG Healy

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Army Song - SGT Quiros

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"The Army Goes Rolling Along" - The Official Song of The United States Army

The song was originally written by field artillery First Lieutenant [later Brigadier General] Edmund L.

Gruber, while stationed in the Philippines in 1908 as the "Caisson Song." The original lyrics reflect rou-

tine activities in a horse-drawn field artillery battery. The song was transformed into a march by John

Philip Sousa in 1917 and renamed "The Field Artillery Song."

It was adopted in 1956 as the official song of the Army and retitled, "The Army Goes Rolling

Along." The current lyrics tell the story of our past, our present, and our future. The "Army Goes Rolling

Along" is played at the conclusion of every U.S. Army ceremony and all Soldiers are expected to stand

and sing.

“The Army Goes Rolling Along” INTRO: March along, sing our song, with the Army of the free Count the brave, count the true, who have fought to victory We’re the Army and proud of our name We’re the Army and proudly proclaim VERSE: First to fight for the right, And to build the Nation’s might, And The Army Goes Rolling Along Proud of all we have done, Fighting till the battle’s won, And the Army Goes Rolling Along. REFRAIN: Then it’s Hi! Hi! Hey! The Army’s on its way. Count off the cadence loud and strong (TWO! THREE!) For where e’er we go, You will always know That The Army Goes Rolling Along. VERSE: Valley Forge, Custer’s ranks, San Juan Hill and Patton’s tanks, And the Army went rolling along Minute men, from the start, Always fighting from the heart, And the Army keeps rolling along. (refrain)

VERSE: Men in rags, men who froze,

Still that Army met its foes,

And the Army went rolling along.

Faith in God, then we’re right,

And we’ll fight with all our might,

As the Army keeps rolling along.

(refrain)

222nd Broadcast Operations Detachment Social Media Links

https://www.facebook.com/222BOD

http://www.flickr.com/photos/222bod/

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