Dear, ...........,
Hello. Doordarshan then was a typical government department during the
days, it started in Srinagar. Best engineering staff available in various AIR stations
were trained and posted at the TV Stations. Same for the administration and
accounting staff. The Programme staff was mostly locally recruited. The minimum
qualification for a Programme Producer was a Graduate in Arts, Science or Commerce
plus teaching experience for two years. Since Graduates were available in
plenty that time, and teaching certificates could be bought, it was money and
recommendation that got people jobs in TV Programme wing. I have seen and
worked with programme staff who could not write even two simple lines without a
mistake. I could never understand how and why the Government recruited Muslim
candidates from other parts in India and posted them to Doordarshan Kendra
Srinagar. Directors posted were Muslims too. The most incompetent staff one
could imagine were posted here. Their only qualification appeared to be that
they would be Muslims. This was a policy of appeasement and “secular” policy of
the Central Government which was mostly formed by the Congress Party. I do not
want to make a political statement but this was the reality. The first lot of
Producers and other programme staff were from outside the state. The next lot
was a locally recruited one. Money and recommendations were the only criteria
for selection. Among the candidates for selection were also two Kashmiri Pandit
boys who had trained at Film and Television Institute of India at Pune. They
were the only two really qualified candidates. The interview was conducted
under the chairmanship of the Director who was a poet and a Muslim. (I have
worked and confronted this person a number of times and found him most
incompetent) The selection was done and these two qualified boys were not
selected. Among the selected was a lady who was not a graduate on the day when
the applications were invited for selection. The qualified boys went to court
and got a stay in appointments. During the court process, the results signed by
the Director were asked for. To the shock of everyone, the two boys had been
given zero marks. When asked to explain, the Director said that the two were
not competent and therefore not suitable and deserved only zero marks. After
the judge stayed the appointments, others who had been selected (on the basis
of money and political recommendations), approached these two boys and offered
them money to withdraw the case. They also offered to pay the selectors and get
them the job. But both these boys did not co-operate. They said that they would
like to open the eyes of the system and the Government and show them what was
happening. It was rumored that these selected paid the judge who lifted the
stay on the next hearing date. The lot was selected (the un-qualified lady
included – she produced a fake certificate at the court) and I had to work with
them most of my days in the TV Station in Srinagar.
What I mentioned in the above para was known to everyone. This brought down
the production capability of the TV Station Programme Production. It was sickening
to work with such people. There would be lot of conflicts. I remember one
producer, Mr. Zaffar Ahmed who was from Bihar. Most of us Engineers had
problems with him. He would always accuse us for one reason or other. During a
Programme Production, the Producer would plan a programme and then discuss the
plan with the Engineering counterpart, Technical Director, Lighting Director,
Sound Director and so on. All these persons would make comments on the feasibility
vis a vis the capability of the system available and installed at the studio
centre. For example, if the producer says that he wants to show someone switch
on a powerful light directly facing the camera, this would not be allowed
because the camera tube inside the electronic camera would get permanently
damaged. When other producers would come with this suggestion, and one hearing
us, would change the plan. But this producer would insist that he would like
the light to be shot as it was essential to be shown. This would start a
confrontation. The producer would tell the cameraman to start shooting the
light and we would switch off the camera immediately. Such incidents would
happen almost every day. But we would always put our foot down and not allow
improper things done during a production. He would even try to do it during
live programmes but we would switch off and instead put a caption “INTERRUPTION”
or “RUKAWAT KEY LIYE KHEDH HAI” on the screen. Normally at the end of a
programme, the credit captions would be displayed. The Producer / Director /
Technical Director names be displayed. This person changed Technical Director
to Technical Co-operation. But the moment it was time for the captions to be
displayed, the Engineer on the Control Panel would not allow any names to be
displayed unless the Technical Director name was restored.
There would be frequent confrontation on the control panel with almost all programme
staff. But most would understand and the situation would get resolved. Here I
will give you an example. The producer wants a two-person interview to be done.
He will select the two persons, discuss the topic of the discussion with them.
He will suggest the fees for the two persons. He will select the set inside the
studio in consultation with the set designer. He could do all this within his
own Wing plus the accounts & administration section. We engineers would not
be involved. Then he will call the two persons to the studio in a time block pre
allotted to the production staff by the technical wing in advance. The two
persons would be seated on the chairs on the set. The engineering staff would provide
the technical lighting and microphone / sound control facility. The studio cameras
fixed on movable tripods and pedestals and properly aligned / adjusted would be
made available by the engineering wing too. The camera men would operate the
cameras and provide shots as dictated by the producer (through head phone
communication) sitting in the control room. The Technical Director would be
sitting by the side of the producer. He would give commands to the Technical
Director to switch the camera on air. Now here we go into a grey area. On one
side, the producer is the final authority on what picture has to go on air at a
particular moment. On the other side, the Technical Director has to ensure that
the picture to be switched on air is properly focussed and adjusted. This is
where we would have serious confrontation. The Producer would shout repeatedly
and we Engineers would not cut to the picture on air.
All my life in TV Studio operations, when I used to be the Technical
Director or a senior supervisor over the Technical Director, such problems
would get repeated too often. I will narrate some more stories tomorrow. Bye
for now.