Lynne S. Gross,
California State University - Fullerton James C. Foust,
Bowling Green State University - Bowling Green Thomas D. Burrows,
California State University - Northridge
ISBN: 0072935480 Copyright year: 2005
Table of Contents
CHAPTER 1: INTRODUCTION TO VIDEO PRODUCTION
1.1 PERSONAL DISCIPLINES IN SUPPORT OF TECHNIQUE
Development of a Professional Attitude
Attitudes and Self-image
1.2 TYPES OF PRODUCTIONS
Studio Production
The Studio
The Control Room
Other Studio Related Spaces
Field Production
Remote Production
1.3 THE PRODUCTION PATH
Transducing
Channeling
Selecting and Altering
Monitoring
Recording and Playing Back
1.4 CONVERGENCE AND THE DIGITAL AGE
Differences Between Analog and Digital
High-Definition Television
Convergence
1.5 A SHORT HISTORY OF VIDEO PRODUCTION
Early Television
Uses of Film and Live Camera
The Impact of Recorded and Edited Video
Color
Portable Video Equipment
Computer-based Technologies
1.6 ASPECTS OF EMPLOYMENT IN THE VIDEO INDUSTRY
Work Patterns
Types of Jobs
Employment Preparation CHAPTER 2: CAST AND CREW
2.1 PRODUCERS
Before Production Begins
During Rehearsal and Recording
After the Production
2.2 DIRECTORS
Before Production Begins
During Rehearsal and Recording
After the Production
2.3 ASSOCIATE DIRECTORS
Before Production Begins
During Rehearsal and Recording
After the Production
2.4 STAGE MANAGERS
Before Production Begins
During Rehearsal and Recording
After the Production
2.5 CAMERA OPERATORS
Before Production Begins
During Rehearsal and Recording
After the Production
2.6 PROMPTER OPERATORS
Before Production Begins
During Rehearsal and Recording
After the Production
2.7 LIGHTING DIRECTORS
Before Production Begins
During Rehearsal and Recording
After the Production
2.8 AUDIO OPERATORS
Before Production Begins
During Rehearsal and Recording
After the Production
2.9 GRAPHICS OPERATORS
Before Production Begins
During Rehearsal and Recording
After the Production
2.10 TECHNICAL DIRECTORS
Before Production Begins
During Rehearsal and Recording
After the Production
2.11 VIDEOTAPE OPERATORS
Before Production Begins
During Rehearsal and Recording
After the Production
2.12 EDITORS
Before Production Begins
During Rehearsal and Recording
After the Production
2.13 OTHER POSITIONS
2.14 CAST
Television Performers
Voice and Eyes
Mannerisms
Handling the Script
Other Performing Tips
Clothing
Makeup
Hairstyling
Television Actors
Precision
Quick Study CHAPTER 3: PRODUCING
3.1 TYPES OF PRODUCERS
Executive Producers
Associate Producers
Line Producers
Hyphenates
3.2 IDEA GENERATION
Treatments and Proposals
Varying Script Forms
Film-Style Scripts
Two-Column Scripts
Rundowns
Outlines
Storyboards
3.3 BUDGETS
Costs of Productions
Pay Rates
Facilities and Equipment
Constructing and Adhering to the Budget
Budget Overruns
3.4 PERSONNEL
Casting
Crew Selection
3.5 SCHEDULES
3.6 LEGAL CONSIDERATIONS
Copyright Clearance
Other Legal Issues
3.7 RECORD KEEPING
3.8 PROMOTION AND EVALUATION CHAPTER 4: DIRECTING
4.1 THE “MANAGER” ROLE
Blocking
Marking the Script
Preparing Other Paperwork
Conducting Rehearsals
Pre-studio Rehearsals
Studio Floor Rehearsals
Control Room Rehearsals
Using Communication Devices
Timing
Timing Sheets
Talent Timing Cues
Program Time and Body Time
Calling Commands
Crew Commands
Command Principles
4.2 THE “ARTIST” ROLE
Shot Juxtaposition
LS, MS, CU Pattern
HDTV Possibilities
Camera Selection
Thought Process
Crossing Camera Angles
Shot Relationships
Cutting Ratio
Shot Similarity
Position Jumps
Axis of Action/Conversation
Transitions
Cuts
Dissolves
Fades
Defocus
Wipes
Digital Effects
Timing of the Transition
4.3 THE “PSYCHOLOGIST” ROLE
Familiarity
New Relationships
Directorial Style
Working with Talent
Working with Crew CHAPTER 5: CAMERAS
5.1 TELEVISION FORMATS
The Video Scanning Process
NTSC Format
ATSC Formats
Signal Types¿Analog and Digital
5.2 PRINCIPLES OF VIDEO COLOR
Hue
Saturation
Luminance
5.3 LENS CHARACTERISTICS
Focal Length
Focus
F-stop Aperture
Depth of Field
5.4 PRODUCTION USE OF THE ZOOM
Lens Ratio
Movement Control
Macro Lens
5.5 CAMERA CONTROLS
Viewfinder Visual Indicators and Controls
Filters
White Balance
Other Controls
Camera Control Unit
Prompter
5.6 CAMERA MOUNTING AND MOVEMENT
Camera Head Movement
Camera Mounts
Camera Mount Movements
Handheld Cameras
Robotic Camera Control
5.7 FIELD OF VIEW
The Long Shot (LS)
The Medium Shot (MS)
The Close-up (CU)
5.8 PICTURE COMPOSITION
Framing
Headroom
Lead Room
Depth Composition
Angle of Elevation
Balance
Special Considerations for the 16:9 Aspect Ratio
Shooting for Multiple Aspect Ratios
Other Composition Problems
5.9 PRODUCTION TECHNIQUES CHAPTER 6: LIGHTING
6.1 TYPES OF LIGHT: INCIDENT AND REFLECTED
6.2 TECHNICAL LIGHTING OBJECTIVES
Intensity and Consistency
Contrast Ratio
Color Temperature
6.3 CREATIVE LIGHTING OBJECTIVES
Shape, Texture, and Perspective
Reality
Mood
Focus of Attention
6.4 LIGHTING INSTRUMENTS
Lamps
Spotlights
Floodlights
6.5 FUNDAMENTAL LIGHTING CONCEPTS
Three-Point Lighting
Key Light
Fill Light
Backlight
Ratios
Additional Light Sources
Multiple-Camera Lighting
Lighting for Shadows
Cameo, Silhouette, and Chroma Key Lighting
High Definition TV Lighting
6.6 MOUNTING LIGHTS
Hanging Mounts
Floor Stands
6.7 LIGHTING CONTROL FACTORS
Intensity
Diffusion
Shape
Color
6.8 SETTING UP LIGHTS
6.9 SAFETY PRECAUTIONS AND DISCIPLINES CHAPTER 7: AUDIO
7.1 MICROPHONES
Frequency and Amplitude
Pickup Patterns
Microphone Construction
Positioning Possibilities
7.2 OUTBOARD EQUIPMENT
Digital Equipment
CD Players
DAT Recorders
MiniDisc Recorders
Digital Carts
Other Digital Equipment
Analog Equipment
7.3 CABLES AND CONNECTORS
Types of Cables
Types of Connectors
Patch Bays
Care of Cables and Connectors
7.4 AUDIO CONSOLES
Types of Consoles
The Basic Console
Board Functions
Providing Power
Inputting
Shaping
Mixing
Isolating
Outputting
Monitoring
7.5 SPEAKERS
7.6 TIPS FOR RECORDING GOOD SOUND CHAPTER 8: GRAPHICS AND SETS
8.1 PICTORIAL FUNCTIONS
8.2 GRAPHICS EQUIPMENT
Creating Graphics with Computers
Working with Text
Working with Graphics
Storing and Recalling Graphics
8.3 GRAPHIC AESTHETICS
Graphic Design
Structure
Contrast
Readability
Aspect Ratios
8.4 OTHER GRAPHICS
Using Out-of-Aspect Graphics
Keystoning and Essential Area
8.5 BASICS OF SETS
8.6 VIRTUAL SETS
8.7 PHYSICAL SETS
Permanent Sets
Removable Sets
Cloth Backgrounds
8.8 FURNITURE, SET DRESSINGS, AND PROPS
8.9 SETS AND OTHER PRODUCTION ELEMENTS
Camera Movement
Microphone Placement
Lighting Instruments
Talent Movement CHAPTER 9: VIDEO SWITCHERS
9.1 BASIC TYPES OF SWITCHERS
Monitoring Multiple Signals
Portable and Computer-Based Switchers
Master Control and Routing Switchers
9.2 BASIC SWITCHER DESIGN
Buses
Using the Preset Bus
Wipes
Keys
Mix and Preview Buses
9.3 OPERATIONAL TECHNIQUES OF VIDEO SWITCHERS
Switcher Overview
Performing Dissolves
Fader Movement
Automatic Transitions
Execution of the Wipe Transition
Keyed Special Effects with Two and Three Sources
9.4 ADVANCED SWITCHER FUNCTIONS
Digital Effects
DVE Transitions
Other DVE Effects
Advanced Control
9.5 VIDEO PRODUCTION COMMANDS CHAPTER 10: VIDEO RECORDING AND PLAYBACK
10.1 VIDEO SIGNAL BASICS
Special Attributes of the Video Signal
Time Code
Control and Diagnostic Components
Control Components
Diagnostic Components
Analog Video Control Components
10.2 DIGITAL VIDEO SIGNALS
Converting between Analog and Digital
Compression
Motion-JPEG
MPEG-1
MPEG-2
MPEG-4
DV
10.3 VIDEO SERVERS AND OTHER TAPELESS STORAGE SYSTEMS
Putting Video On Servers
Using Servers
Other Tapeless Storage Systems
10.4 PRINCIPLES OF VIDEOTAPE RECORDING
Helical-Scan Videotape Recording
Videotape Track Functions
Generational Losses in Analog Videotape
10.5 VIDEO RECORDER OPERATION AND CONTROLS
Connections
Signal Flow
Signal Levels
Connecting Hardware
Controls
Tracking and Skew
Selector Switches
Recording Tabs
Visual Indicators and Meters
Automatic Gain Control
Warning Indicators
Counters and Location Indicators
10.6 VIDEO RECORDER PERFORMANCE AND MAINTENANCE CHAPTER 11: EDITING
11.1 EDITING BASICS
Editing Situations
Off-line and On-line Editing
Edit Decision Lists
Compression
11.2 EDITING PREPARATION
Shooting
Review
Decision Making
11.3 NONLINEAR EDITING
File Management
Raw Material¿Capturing and Digitizing
Capturing Analog Signals
Capturing Digital Signals
File Transfers
Editing¿Clips and Timelines
Output
11.4 LINEAR EDITING
Linear Editing Configurations
Types of Tape Edits
Linear Editing Techniques
11.6 EDITING AESTHETICS
When to Edit¿Information and Action
Jump Cuts
Axis of Conversation/Axis of Action
Transitions
Ethics of Editing CHAPTER 12: FIELD PRODUCTION
12.1 INTRODUCTION
Techniques
Discipline
12.2 CAST AND CREW
Crew Size
Cleanup
Cast Considerations
Nonsequential Shooting
12.3 PRODUCING
Scripting
Location Logistics
Selecting a Location
Surveying a Location
Substituting for a Location
Budgeting
Conceptualization and Preproduction Planning
Breakdown Sheets
Shooting Schedule
Stripboards
12.4 DIRECTING
Rehearsals
Production Processes
Laying Bars
Slating
Recording
Logging
Continuity
Shot Variety
Handling Talent
Handling Crew
Editing Aesthetics
12.5 CAMERAS
White Balancing
Filters
Gain
Power
Camera Mounts and Movement
Camera Care
12.6 LIGHTING
Indoor Location Lighting
Lighting Control
Power
Safety
Available Light
Outdoor Location Lighting
Additional Lights
Reflectors
12.7 AUDIO
Microphones
Control Equipment
Wildtrack
Extraneous Noise
12.8 GRAPHICS AND SETS
Graphics
Sets
12.9 VIDEO RECORDING
Setup and Connections
Recording Procedures
12.10 EDITING
The Editing Process
Audio Editing
12.11 REMOTE TRUCK PRODUCTIONS CHAPTER 13: VIDEO ON THE INTERNET AND OPTICAL DISCS
13.1 INTERACTIVITY AND DYNAMIC CONTENT
Links, Screens and Menus
Challenges of Interactive Media
13.2 USING VIDEO ON THE INTERNET
How the Internet Works
Internet Video¿Downloading and Streaming
Downloading Formats
Streaming Formats
Creating Video for the Internet
Setting Video Options for Downloading
Setting Video Options for Streaming
Putting Files on the Internet
Creating a Web Page
13.3 USING COMPUTER-BASED OPTICAL DISCS
Types of Optical Discs
Video CDs
Super Video CDs
DVDs
Video Data Discs
Creating Optical Discs
Using Menus
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2005 McGraw-Hill Higher Education