Book Description The recent demise of the independent television companies and the expansion of satellite and cable networks has led to an explosion in small, independent production facilities. In parallel with this development has been a steady increase in media training and a major expansion in corporate video facilities. The Video Studio is written for everyone contemplating setting-up a professional installation, whether studio or location based. The Video Studio shows how to estimate the scale of investment required and, depending on the nature and frequency of use of the facility, the layout of technical areas and the function of the main items of equipment is described in easy to understand language. In short this is a nuts and bolts approach to planning and operating a studio of 150 square metres or less. Completely updated to take account of all the recent technological advances which have taken place, the book now covers: DAT, timecode, digital compression, non-linear editing and all current digital video formats. Show and hide more
Table of Contents
Cover Half Title Title Page Copyright Page Table of Contents INTRODUCTION STUDIO: INITIAL PLANNING The studio’s function Remote productions Constructional considerations STUDIO FACILITIES Technical facilities Production requirements Post-production requirements LAYOUT OF CONTROL AREAS Location near the studio Observation windows Communal control area Separate control areas STUDIO CONSTRUCTION Area, shape and height Floor, walls and ceiling STUDIO GENERAL SERVICES Access Power and lighting Studio markings and floor plan STUDIO SOUND INSULATION External noise Sound leakage Noise from ventilation STUDIO ACOUSTICS Acoustical treatment Reverberation time Required reverberation times STUDIO VENTILATION Preventing heat build-up General problems Auxiliary requirements STUDIO SCENERY Classifying colour Surface treatment Scenic storage and repair STUDIO CYCLORAMA The mobile cyc Cyc colour Rear-lit cyc Care and storage TECHNICAL EQUIPMENT STORE Lighting equipment Camera cables General storage MAKE-UP Typical facilities Monitoring and communication COSTUME Typical facilities Costume suitability Monitoring and communication EQUIPMENT MAINTENANCE AREA Storage Test equipment Lighting SAFETY IN THE STUDIO Fire Electrical Safety bonds Tripping accidents Lifting Unstable items THE VISION SYSTEM Scanning Interlace Coding Bandwidth CHOICE OF CAMERA SYSTEM Composite/component Remote control Camera sensitivity PICTURE GENERATION Sensor system: tube/CCD Camera configuration Resolution CAMERA LENSES Focal length and angle of view (horizontal) Lens aperture Zoom lens CHOICE OF LENS Minimum object distance Macro Maximum lens aperture Range extenders Servos CAMERA MOUNTINGS Tripod Pedestal Pan and tilt head Sophisticated mountings CAMERA CABLES AND CABLING POINTS Cable care Cabling points VISION AND LIGHTING CONTROL AREA Control room position Cabling Operational considerations SIGNAL PROCESSING (CAMERA CONTROL UNIT) Control features LINE-UP OF CAMERA CHANNELS Starting the day Zoom tracking Line-up charts VISION CONTROL Lightweight cameras Full-facility vision control MONITORING THE VISION SIGNAL The TV waveform Signal levels PICTURE MONITORS: MONOCHROME Monitor adjustment Monitor termination Monitor suitability PICTURE MONITORS: COLOUR Monitor grades Colour monitor line-up Monitor line-up test signals SYNCHRONISATION Picture timing External picture sources VISION SIGNAL DISTRIBUTION Distribution amplifier Termination panel Cable distribution Radio frequency distribution Microwave links Fibre optic links PRODUCTION CONTROL ROOM Picture monitors Environment Layout VISION MIXER OR SWITCHER: FUNCTION Vision mixer design What to look for VISION MIXER: GENERAL FACILITIES The cut The mix or dissolve The fade-up/fade-out The superimposition Preview facilities VISION MIXER: SPECIAL EFFECTS The wipe The split screen Chroma key Caption key Black edger or borderline generator Colour synthesiser OTHER ANALOGUE VISION FACILITIES Floor monitors Projection systems Slide scanners Caption projection unit DIGITAL VIDEO TECHNOLOGY Digital video effects Pictures stores Standards conversion TELEVISION PROMPTERS Prompt card Hearing aid Electronic prompter GRAPHICS Correct aspect ratio Character generators Artwork LIGHTING: OVERALL SYSTEM Camera sensitivity Size of acting area Height of studio grid Turnround time SIMPLE LIGHTING SUPPORTS Floor stands Luminaires on flats Telescopic tubes Lightweight track LIGHTING SUSPENSION SYSTEMS Pipe grid Heavy track suspension LIGHTING: OUTLETS AND DIMMERS Dimmers Number of outlets Phase Extensions LIGHTING: GENERAL-PURPOSE LUMINAIRES Soft-edged spotlights Soft sources LIGHTING: SPECIAL LUMINAIRES Cyclorama lighting Special effects lighting LIGHTING: FLUORESCENT LIGHTS Why fluorescent lighting? Comfortable artistes High-frequency operation Colour temperature and colour rendition LIGHTING CONTROL DIMMERS (ANALOGUE) Thyristor or SCR dimmers Interference Digital-multiplex control LIGHTING CONTROL: DIMMERS (DIGITAL) Advantages of digital dimmers Rack mounting/Portable dimmers LIGHTING CONSOLE Console design Manual consoles Computer consoles Load meter MICROPHONE ASSESSMENT Technical characteristics Mechanical characteristics Powering arrangements Makers and cost MICROPHONE CATEGORIES Omni-directional Cardioid Figure-of-eight Hypercardioid Gun microphones Variable directivity SOUND PICK-UP Boom Fishpole Stand microphones Personal microphones Slung microphones Microphone positioning RADIO MICROPHONE Battery life Interference Hiring SOUND MIXING CONSOLES Basic design Operational facilities SOUND MIXING CONSOLE: OUTPUTS Foldback Public address Cleanfeed (mix-minus) MONITORING SOUND LEVELS VU meter Peak programme meter AUTOMATIC LEVEL CONTROL Compression Applications Noise gates FREQUENCY CORRECTION Types of correction Care in use ARTIFICAL REVERBERATION Why use it? Artificial reverberation devices Features of digital units LOUDSPEAKERS Monitoring Studio loudspeakers PA systems Loudness AUDIO TAPE RECORDERS (ANALOGUE) Types of recorder Desirable operational features AUDIO NOISE REDUCTION SYSTEMS Dolby A Other systems DIGITAL AUDIO Digital processing Error detection and correction DIGITAL TAPE RECORDING Basic methods Editing COMPACT DISCS Error correction SOUND PERSPECTIVE Matching sound and picture SOUND AND AUDIENCE PARTICIPATION Selected speakers Spontaneous contributions SOUND EFFECTS SOURCES Compact discs (CDs) Cassettes Cartridge machines TALKBACK IN THE STUDIO Production talkback Talkback variations Private-wire intercom COMMUNICATION IN THE STUDIO COMPLEX Signalling Intercom Lighting intercom TELECINE Film gauge Film leader Colour correction The future THE VIDEOTAPE FACILITY Studio-based On location Tape storage VIDEOTAPE RECORDERS Cassette VTRs BASIC OPERATIONAL REQUIREMENTS OF VTR Idents Pre-roll Timebase correctors VIDEOTAPE EDITING Three-machine dub editing VT EDIT SYSTEMS Control track editing Time-code editing NON-LINEAR EDITING SYSTEMS POST-PRODUCTION SUITES Equipment and layout SOUND DUBBING Sound tracks on various formats PROGRAMME AND PRODUCTION PLANNING Resource management Production planning Floor plan STUDIO DISCIPLINE Avoiding disturbance Avoiding extraneous noise General precautions Equipment care STAFFING AND RESPONSIBILITIES Staff members ON LOCATION: MAIN REQUIREMENTS Camera and recorder Sound Lighting Batteries Transit cases ON LOCATION: LIGHTING AND ACCESSORIES Monitor Clapper board and stopwatch Time-code generator Waterproof covers ON LOCATION: USING MICROPHONES Microphone in shot Microphone out of shot Monitoring out of doors ON LOCATION: CAMERA MOUNTINGS Heavy cameras Lightweight cameras Sophisticated mountings Further Reading Glossary