Index

 

 

 

Above-eye-level camera position, 192

A/B roll editing, 367

AC (alternating current), 99

AC adapters, 104

Accelerated-motion effects, 321

Action

breaking into component parts, 186

repeating, if possible, 186–187

sequence direction, maintaining continuity of, 309–311

Active mixers, 279–280

Actors/actresses, professional, 48

Additive primary color, 73, 205–206

Address track, 126, 336

Advanced Television System Committee. See ATSC

Aesthetic factors, 19, 43, 232–236

AFTRA (American Federation of Television and Radio Actors), 48

AGC (automatic gain control), 109–110

Alternating current (AC), 99

Alternating current adapters, 104

Alternating-current power formula, 227

Aluminum foil, 230

Ambient noise, 288

Ambient sound, 281, 297

American Federation of Television and Radio Actors (AFTRA), 48

America’s Funniest Home Videos, 80

Amplitude, 252–253

Analog audio

peak-level settings, 257

vs. digital audio, 257

Analog recording, 130

Analog signals, 64, 130, 378

Analog VCRs, 121

Animation, 401

Aperture, 160–162

Aperture control, 165–167

Aperture fade, 161

Aperture ring, 160–162

Aperture size, f-stop and, 161

Apple Soundtrack and Garage Band, 52

Arc, 183–184

A-roll, 328

Aspect ratio

aesthetics and, 172–173

ATSC standards, 68–69

graphics and, 393

NTSC standard, 65

Aspect ratio converter, 163

Assemble editing, 358

on linear editing systems, 372

in insert mode, 364

method for, 359

overlapping edits for, 361–362

problems with, 362

vs. insert editing, 364–365

Asymmetrical balance, 181

At-eye-level camera position, 191

ATSC (Advanced Television System Committee)

standards, 64, 68–70

sync and blanking pulses in, 70

video, 68–70

Attachable microphones, 263–264

Audience, 17, 18, 23

Audio

analog vs. digital, 254–255

connectors, 277–278

monitoring, during editing, 375–376

multiple sources, for cuts-only editing system, 373–378

recording, standardized procedures for, 281–283

Audio connectors, 107–108

Audio dub, 290

Audio dub button, 98

Audio editing, 290

Audio filters, 289–290

Audio in, 99

Audio input selector, 101

Audio-level meters, 109–110, 256–257

Audio line out, 111

Audio manipulation, linear editing systems, 373–375

Audio meters, 109–110

Audio mixer, 278–281

Audio mode selector, 101

Audio monitor control, 101, 367, 370

Audio out, 99

Audio patch bay, 373

Audio portion of program, construction of, 300–302

Audio tone, recording, 281

Audio track chart, 302–303

Audio tracks, 126

Auto-edit control, 355

Automatic aperture, 165

Automatic aperture lock, 167

Automatic backspace editing, 103

Automatic focus (auto-focus), 159

Automatic gain control (AGC), 110, 276

Automatic transition rate control, 355

 

Background

brightness of, 204–205

coincident lines, 179–180

Background light, 239–240

Background shadows, 240

Backlight, 239

Backspacing (backtiming; cueing), 353

Backup copies, 389

Balance, framing and, 180–181

Balanced line, 273

Barn door, 222

Base illumination, 202–203, 233–234

Baselight, 202–204

Batch capture, 344, 386

Batteries, camcorder, 103–104

Battery meter, 100

Bayonet connector (BNC), 108

Bayonet mount, 157

Beauty shot, 331

Below-eye-level camera position, 192

Betacam SP, 137

Betacam SX, 136

Bidirectional microphones, 258

Bin, 383

Bit, 254

Black balance, 95

Blanking pulse, 70

Blast filter, 288

Blimp-type windscreen, 288

Blocking diagram, 248

Blue-screen technique, 246–247

BNC connector (bayonet), 108

Body pack, 272

Boom, 270

Both edit, 322

Bounce light, 239

Brightness, 71, 320, 396

Broadband distribution technologies, 13

Broadcast, 110

Broadcast market, 13–14

Broadcast quality, 79–80

Broadcast television, video usage in, 11–12

B-roll, 187, 328–329

Budget, in formal program proposal, 29–33

Built-in camera microphones, 263

Bulk eraser, 143

Cablecast, 110

Cable News Network (CNN), 11

Cable television, video usage, 11–12

Camcorder

auxiliary components, 92–93

baselight requirements, 203

components of, 91–96

dockable, 85

image stabilizers, 96

motion, minimizing during recording, 117

noise, 288

one-piece, 84–85

power, 103

recording, monitoring of, 109–112

RF output, 111

section controls, 93–96

sound recording on, 274–278

special effects, 96

system setup, 106–107

tape movement inside, 105

types of, 84–87

viewfinders, 87–89

Camera

hand-held vs. tripod-mounted, 185

smoothness of, 184

support unit for, 184

lighting and, 235–236

for on-site interview, 194–197

angles

lighting and, 235–236

for on-site interview, 194–197

configurations, 84–87

movement, 182–185

hand-held vs. tripod-mounted, 185

smoothness of, 184

support unit for, 184

performance characteristics of, 80–83

position, 191–192, 196–197, 235–236

tilting, 405

Camera cards, 397

Camera control unit (CCU), 71–72

Camera head, movement of, 182–184

Camera image sensor, 62–63

Camera microphones, 263–265

Camera-mounted lights, 226

Camera-mounting equipment, 112–116

Camera operator (shooter; videographer), 15, 54

Camera viewfinder systems, 87–89

Capstan, 122

Capstan servo, 123

Cardioid pickup pattern, 258

Carrying case with strap, 117

Carts, for carrying equipment, 117

Cassette, 142

Cast

food for, 46

talent releases for, 46–49

Cathode ray tube (CRT), 17, 77–78

CCDs. See Charge-coupled devices

CCU (camera control unit), 71–72

CD-ROM, 12, 147

CDs (compact disks), 291

Center of interest, 166, 318

Character generators (CGs), 398–399

Charge-coupled devices (CCDs)

image problems, 83

one vs. three, 80

principles, 62–63

size of, 81

Chroma key, 246, 403–404

Chrominance, 73

Clarity, of graphics, 392

Cleaning, video heads, 145

Client-based production, 22

Client consultation, in postproduction planning, 348

Clips, 383

Close-up (CU), 17, 126, 177

Clothespins, 230

Coda, 331

CMOS (complementary metal oxide semiconductor), 62

Color

additive, 205–206

in editing, 320

graphic materials and, 396

subtractive, 206

white balance and, 208–210

Color bars, 76, 95, 364

Color burst, 75

Color correction filters, 94–95

Color encoder, 75

Color reproduction, 82–83

Color signal, 73–80

Color television display (picture tube system), 77

Color temperature, 206–208

Communication media, video as, 14–18

Communication process, feedback in, 18

Compact disks (CDs), 291

Compatibility, 138–139

Complementary angles, 312

Complementary metal oxide semiconductor (CMOS), 62

Component recording, 129–130

Composite recording, 129

Composite signal, 71

Composition

rule of thirds, 181–182

through framing, 178–180

Compression, 132, 385

Compression ratio, 132

Computer-based nonlinear editing systems, problems with, 387–389

Computer-based video graphics systems, 397–400

animation, 401

character generation, 398

chroma key, 403–404

compositing, 402

effects from, 401

three-dimensional graphics, 400

two-dimensional graphics, 400

Computer crashes, 387

Computer hard disks, 145–146

Computer programs, for storyboards, 33, 37

Condensor microphone, 260–261

Connectors, 107–109, 277–278

Consumer equipment, 13

Contact microphone, 269

Continuity, consideration during editing, 317–318

Continuity editing, 308–316

establishing

direction of view, 311–313

position of target object, 311–313

screen position, 309–311

lighting and, 315

maintaining

continuity in direction of action, 313–314

screen position, 309–311

sound and, 315

subject’s appearance and, 316

using shot content to motivate cuts, 314–315

Contrast range, 166

Contrast ratio, 166

Control, 20

Control track, 122–124, 126

Control track editing, 355

Control track pulses, 357

Convertible studio/field cameras, 85–86

Copyright, 58

Copyrighted material, use of, 49

Corporate video, 10

Counter, for cuts-only editing systems, 369–370

CPS (cycles per second), 254

Creative editor, 306

Creative problem solving, 19

Crew

assignments for, 55–56

size of, 55

Crossfade, 322

Cross-keying, 245

Crowds

controlling, at remote location, 46

video appearances in, 46, 48

CU (close-up), 17, 176, 177

Cueing (backspacing; backtiming), 353, 356

Cue track, 126

Cut, 318

Cutaway, 187

Cut-in, 187, 309

Cut-out, 309

Cuts-only editing systems

assemble edit for, 372

audio manipulation, 373–375

audio monitor, 367, 369

counter, 369–370

editing leader, 370

editing strategy, 371–372

editing VCR setup, 369–370

insert editing, 362–365

pause mode overuse, prevention of, 372

record levels, 370

remote control, 367, 369

source VCR setup for, 367–368

sync switch for, 368–369

tracking, 369–370

video input signal selector for, 368, 369

videotapes for, 367

Cycles per second (CPS), 254

Cyclorama (Cyc), 247

 

D-3, 137

D-5, 137

Data tracks, 126

DAT recorders (digital audiotape recorders), 291

DAW (digital audio workstations), 292–295

Daylight outdoors, depth of field for, 167–171

Decibel (dB), 252–253

Degrees Kelvin (°K), 207–208

Depth

focus and, 175

shooting for, 198–199

Depth of field, 167–171

Desk stands, 269

Destructive editing, 379

Dew lamp, 100

Dialogue, 296

Dichroic filters, 211

Diffusers, 225, 229

Digital audio

file format, 255–256

peak-level settings, 257

vs. analog audio, 254–255

Digital audiotape recorders (DAT recorders), 291

Digital audio workstations (DAW), 292–295

Digital Betacam format, 136

Digital 8 format, 136

Digital image stabilizer, 96

Digital nonlinear video editing. See Nonlinear editing

Digital recording, sampling rate, 130–131, 254–255

Digital recording process, 130

Digital S format, 136

Digital signal, 68, 130

for digital nonlinear video editing, 378

recording, advantages of, 133

Digital subscriber line (DSL), 13

Digital television broadcasters, public-interest obligations of, 411

Digital VCRs, 121

Digital videocassette (DV), 134–135

Digital video effects (DVE), 319

Digital videotape formats, 133–137

Digital zoom, 96, 156

Digitize list, 345

Digitizing

footage selection for, 385

shot by shot, 385–386

Dimmers, 228–229

Direct current (DC), 99

Directional continuity, 313–314

Directional light, 234–235

Direction of view, establishing, 311–313

Director, responsibilities of, 55–56

Dissolve, 318–319

Distribution, 59–60

DOC (dropout compensators), 151

Documentary approach, 24

Dolly (in or out), 183–184

Downward compatibility, 138

Drawing systems, two-dimensional, 400

Drop-frame time code, 338

Dropout, 144

Dropout compensator (DOC), 144, 151

DSL (digital subscriber line), 13

Dub, 138

audio, 290

window, 342–344

Dubbing, 138–139

DVCAM camcorders, 133–135

DV camcorders, 133–135

DV camcorders, time code for, 340

DVCAM tape format, 134

DVCPRO 50, 134

DVCPRO camcorders, 133–135

DVCPRO-HD, 134

DVCPRO tape format, 128, 134

DVDCAM format, 147

DVD, 12, 147

D-VHS, 137

DV tape format, 126, 128

DV VCRs, 121

Dynamic editing, 316–318

Dynamic microphone, 260

 

Earphone, 284

Ear shot, 197

Earspeaker, 109

ECU (extreme close-up), 176, 177

Edit decision list (EDL), 345–346

Edit entry points, 356, 371

Edit exit points, 356, 372

Editing, 305–306

audio, 290

captured material, 386–387

electronic, 351–352

interformat, 366

nondestructive vs. destructive, 379

rhythm, 317

sound in, 373–376

systems (See specific editing systems)

time, budgeting of, 389

types of

continuity (See Continuity editing)

dynamic, 316–318

voice tracks, 326–327

Editing control units, 353–355

Editing leader, 371–372

Editing master tape, 359

Editing systems, electronic, components, 352. See also specific electronic editing systems

Editing to music, 317

Editing VCR, 140, 352

Editing voice-driven pieces, 326–329

Editing window, 383

Edit master tape, 367

Edit mode controls, 354

Editor. See Video editor

Edit point controls, 354–355

EDL (edit decision list), 345–346

Education, video usage for, 9

EFP (electronic field production), 11

8mm format, 137

Eject button, 96–97

Electret condensers, 261

Electrical circuits

and outlets, 227–228

overloading, 232

Electrical interference, radio frequency and, 288

Electronic editing, 351–352

Electronic field production (EFP), 11

Electronic news gathering (ENG), 11, 30

Electronic shutter, 62–63

Electronic viewfinders, 87

Ellipsoidal spotlight, 222

Emotion, consideration during editing, 318

Encoded color signal, 75

ENG (electronic news gathering), 11, 30

EP (extended play), 121

Equalizers, 289

Equipment

carrying, 116–118

checklist for remote production, 54

lighting, 212–222

needs, in production planning, 53

Erase head, 143

Essential area, 394

Establishing shots, 185, 309

Ethics, code of, 409–410

Evaluation, formative and summative, 26, 28

Evaluation of program effectiveness, in formal program proposal, 29

Evening Magazine, 1–5

Event, breaking into component parts, 186

Exposure, for zoom lens, 164–165

Extended play (EP), 121

External camera control unit, 71–72

External microphones, 265–271

External sync, 71

Extreme close-up (ECU), 176, 177

Extreme long shot (XLS), 176, 177

Extro, 55

Eyelines, 311–313

Eyepiece viewfinder, 87–88

Eyeroom, 179

 

Fade, 318

Fast forward button, 98

FC (foot-candle), 202

FCC (Federal Communications Commission), 64, 68

F-connector, 109

Federal Communications Commission (FCC), 64, 68

Feedback, 18, 112

Field, 66

Field checks, 284–285

Field monitors, 110–112

Field of view, 175–179

Field production, 1–5

Field production crew. See Crew

File format, 255

Fill light, 238–239

Film

copyrighted, use of, 49

usage for remote production, 7

Film-style lighting, 235

Filters, in editing, 319

Filters, gel, 210

Filter wheel, 94, 209, 210

Final edit, 348

FireWire (IEEE 1394), 109

First-generation tape, 138

Fish-eye lens, 157

Fishpoles, 270

Fixed-beam spotlights, 215–216

Fixed-focal-length lens, 156

Fixing problems in postproduction

changing a pan, zoom or tilt, 325–326

color and brightness, 324

eyeline problems, 324

reframing a shot, 324

Flags, 223

Flash memory, 148, 292

Flashback, 317

Flashforward, 317

Flatbed scanner, 405

Floodlights, 214–217

Floor stands, 225, 270

Fluid heads, 114

Fluorescent lamps (lights), 213–214, 218–219

Flying erase heads, 365

Focal length, 154

Focus, 174

depth and, 175

zoom lens, 163

Focus ring, 158–159

Fog filters, 163

Foil, 230

Fonts, for character generators, 398, 399

FOOTAGE.net, 51, 52

Footage selection, for digitization, 385

Foot-candle (FC), 202

Foreground

coincident lines, 179–180

Format. See Tape format

Forward frame by frame button, 98

Forward search button, 98

Frame, 66

Frame accuracy, 357

Frame rate, for NTSC video, 66

Frame synchronizers, 151

Framing

balance and, 180–181

composition and, 178–180

Free-run mode, of time code generator, 339

Frequency of sound, 254

Frequency response, 261

Fresnel spotlight, 221–222

Friction heads, 113–114

F-stops, 161

Full scripts, 35, 37–39

 

Gaffer’s tape, 230

Gain, 72

Gain boost, 94

Gain control, 109–110, 276

Gamma, 204

Gap, 120

Gels, 210

Generation, 138

Gen-lock, 71

Go-to control, 355

Government, video usage, 10

Grand Alliance, 68

Graphic materials, 391

aspect ratio, 393

brightness and, 396–397

clarity and, 392

color and, 396

screen size and, 393

sources of, 397–405

style and, 392

unity and, 392

Graphics

adding, in nonlinear editing, 405

essential area of screen and, 394–395

intelligibility of, 395–396

nonelectronic, 397

three-dimensional, computer-generated, 400

two-dimensional, computer-generated, 400

Gray scale, 397

Gyroscopic camera support systems, 115–116

 

Hand-held external microphones, 265–266

Hand-held microphones, 265–266

Handheld camera, 116

Handheld supports, for lights, 226

Handles, 385–386

Hard disk, 145–146

Hard light, 212

HD-D5, 137

HD-DVD (high definition or high density DVD), 147–148

HDTV (high-definition television), 68

HDV (high definition video), 135–136

Head, 120, 140

Head clog, 144

Head drum, 105, 120

Head drum servo, 123

Headphones, 284

Headroom, 178–179

Heads, 140

cleaning, 145

Helical scan, 121

Hertz (Hz), 254

Hi8 format, 137

High definition or high density DVD (HD-DVD), 147–148

High-definition television (HDTV), 68–70

High definition video (HDV), 135–136

High-impedance (high-Z), 262

HMI (hydragyrum medium arc-length iodide lights), 214, 219–221

Hook, 330

Horizontal resolution, 81–82

Horizontal sync, 70

Hot spots, 164

House sync, 369

Hue, 73

 

IEEE 1394 (FireWire), 109

iLink, 109

Illumination, 233–234

Image compositing, 246–247

Image compression, 319

Image expansion, 319

Image stabilizer, 96

Impedance, 262

Incandescent lamps, 212

Incident light, 202

Independent video production, 8–9, 22

Indoor/outdoor filter, 94

Input, 274

from camera microphone, 276

Input level, 274

Input overload distortion, 267

Insert and track information (ITI), 125

Insert editing

on linear editing systems, 372

method for, 362

overlay edits and, 379–380

vs. assemble editing, 364–365

Insert mode, for assemble editing, 364

Interformat editing, 366

Interlaced scanning, 66–67

Internal camera control unit, 71–72

Internal sync, 71

Interview, on-site

principle action axis for, 196–197

setup for, 194–198

Interviewee, identifying, 327–328

Interviewer position, for on-site interview, 195–196

Intro, 55

Inverse square rule, 229

Iris, 160

ITI (insert and track information), 125

 

Jog, 354

JPEG ( Joint Photographic Expert Group) compression, 132

Jump cuts, 309–311

°K (degrees Kelvin), 207–208

Kelvinometers, 208

Keyframe, 401

Keying, 398–399

Key light, 235, 236–238

Kinescopes, 119

 

Labeling, of field tapes, 56–57

Lamps, 212–214

Lamp-to-subject distance, 229

Lavalier microphones, 266–267

Layers, in editing, 320–321

LCDs (liquid crystal displays), 78

LCD viewfinder, 88

Lead, 330

Leader sequence, 370

Legal factors, 43

Legal issues, 46–50

Legal video, 10

Lens cap, 162

Lens care, 163

Lenses, 153–157

Lens extenders, 157

Lens filters, 163

Lens flare, 162

Lens hood, 162

Lens mounts, 157

Light

color and, 205–212

color temperature of, 206–208

contrast range, 204–205

directional, 234–235

incident, 202–203

intensity

definition of, 202

quality, 212

reflected, 202–203

visible, frequencies of, 205

white balance, 208–209

Lightboxes, 218

Lighting

base illumination, 202

continuity of, 315

equipment, 212–222

fluorescent, 213–214, 218–219

instruments, portable, 214–222

intensity, controlling, 228–229

motivated, 240–241

physical factors of, 201

power requirements, 226–227

problems, 243–246, 249

image compositing, 246–247

multiple subjects, 243–246

prevention/planning and, 247–248

remote survey and, 43

safety, 231–232

supports for, 225–226

for texture, 241–242

three-point, 236–243

unmotivated, 240–241

Lighting plots, 248

Lighting umbrellas, 223

Light meter, 164, 202

Light sensitivity, 83

Li-Ion (lithium ion batteries), 103

Limiters, 276

Linear editing, 358–366

Linear time code (LTC), 128, 336–337

Linear videotape editing, 351, 358–366

Line-level audio signal, 274

Lines, 66

Liquid crystal displays (LCDs), 78

Lithium ion batteries (Li-Ion), 103

Location

access, 44

acoustics of, 287

conditions similar to shoot, surveying, 44

in formal program proposal, 26

releases, 49

remote surveys, 42–44

safety, 49

Location sound, 297

Logging

analog or digital field footage, 384–385

tapes, 341–345

from window dub, 342

Long shot (LS), 176,177

Low-cut filters, 287

Low-impedance (low-Z), 262

Low light indoors, depth of field for, 171

Lower third titles, 394

LS (long shot), 176–177

LTC (linear time code), 128, 336–337

Luminance, 73. See also Brightness

Lux, 202

 

Macro lens, 157

Macro lever, 157

Magnetic recording process, 120

Magnetic stripe, 328

Master gain control, 279

MCU (medium close-up), 176, 177

ME (metal evaporated tape), 140

Medical video, 9

Medium close-up (MCU), 176, 177

Medium shots (MS), 176, 177

Memory cards, 148–150

Message design, 16–17

Metal evaporated tape (ME), 140

Metal particle tape (MP), 140

Microphone in (mic in), 99

Microphone-level signal, 274

Microphone proximity effect, 285–286

Microphones, 258

balanced vs. unbalanced line, 273

bidirectional, 258

camera-mounted, 263–265

characteristics, 258–262

external, 265–271

frequency response, 261–262

impedance, 262

obtrusive vs. unobtrusive, 303

omnidirectional, 258

pickup patterns, 258–259

placement, 285–286

selection, 285

types of, 259–261, 304

visual impact of, 303–304

wired, 271

wireless or radio, 271–273

Microphone stands, 269–271

Minidisc (MD), 292

MiniDV, 134, 141

Mini-plugs, 108, 277–278

Mix, in sound layering, 323

Modeling, 232–233

Moiré, 83

Monitoring the recording, 109–112

Monitor-receiver, 111

Monitors, 111

Monopod, 114

Montage, 331

Mood, indicating, using background light for, 242

Motion effects, in editing, 321

Motivated lights, 240–241

Mounting devices, for microphones, 269–271

MP (metal particle tape), 140

MPEG-1 (Motion Picture Experts Group) compression, 132

MPEG-2 (Motion Picture Experts Group) compression, 132

MPEG-3 (Motion Picture Experts Group) compression, 132

MPEG-4 (Motion Picture Experts Group) compression, 132

MS (medium shots), 176, 177

Multimedia programs, 12–13

Multispeed VCRs, 121

Music

adding, in nonlinear editing, 386

copyrighted, use of, 49

original, obtaining, 51

stock, sources of, 51

usage of, 297–298, 301–302

 

NAB (Natsional Association of Broadcasters), 6, 410

Narration, 296

Narrator, vs. no narrator, 300

National Archives, Washington, D.C., 51

National Association of Broadcasters (NAB), 6, 410

National Geographic Society, Washington, D.C., 51

National Television System Committee (NTSC), 64, 79

Natural sound, 296–297, 301

Neutral-density filter, 210

Neutral-density gels, 211

Nickel cadmium batteries (NiCad), 103

NLE. See Nonlinear editing

Noise, 72

ambient, 288

camcorder, 288

vs. sound, 252

wind, 287

Noncomposite signal, 71

Nondestructive editing, 379

Non-drop-frame time code, 337

Nonlinear editing (NLE)

digital vs. analog signals, 378

insert edits and, 379–380

models for, 382–384

overlay edits and, 379–380

process of, 377–380, 384–389

random access, 379

system components, 380–382

titling in, 405–407

transitions, 384

user interfaces, 382–384

vs. linear editing, 379

Noseroom, 179

Notch filters, 289

NTSC (National Television System Committee), 64, 79

 

Objective camera, 192

Occupational Safety and Health Act (OSHA), 49

Off-camera questions, 300–301

Off-line editing, in postproduction planning, 348–349

Ohms, 262

Omnidirectional microphones, 258

On-camera questions, 300–301

On-camera talent, 55

180-degree rule, 193

1-shot, 177

On-line editing, 348–349

On-site interview setup, 194–198

Open-reel tape, 142

Operating light level, 83

Optical discs, 147–148

Optical-video transducer, 62

Optical zoom, 156

OSHA (Occupational Safety and Health Act), 49

Outboard patch panel, 373

Outlets, electrical, 227–228

Overlapping edits, 187, 361–362

Overlay edit, 380

Over-the-shoulder shots, 190–191, 246

 

PA (production assistant), 15, 55

Page pull, 319

Page push, 319

Page turn, 319

Paint, 400

Painting systems, two-dimensional, 400

PAL (Phase Alternation by Line), 79

Pan, 182–183

Panning handles, 85

Parabolic microphones, 286

Parallel cutting, 317

Parking arrangements, at remote location, 45

Passive mixers, 279

Pause button, 98

Pause mode, for linear editing systems, 372

PDP (plasma display panel), 78

Peak limiter, 276

Peak program meter (PPM), 257

Peak white, 73

Pedestal, 72

Perform edit or edit start, 355, 373

Periscope lens, 157

Personal video, 7–8

Phantom power, 261

Phone plugs, 277–278

Pickup pattern, microphone, 258

Picture icon (picon), 383

Pistol grips, 268

Pitch, 254

Pixels, 62

Planning, preproduction, 22–52

Plasma display panel (PDP), 78

Playback devices, sound, 291–292

Play button, of VCR, 97

Point of view (POV), 192

Pop filters, 288

Portable VCR, 6–7

Portable video equipment

history of, 5–8

production uses of, 7–13

Postproduction, 21

Postproduction planning

client consultation, 348

final program, 348

on-line and off-line editing, 348–349

preliminary editing decisions, 345–346

rough cut, 346–347

tape logging, 341–342

Poststriping, 337

Potentiometer (Pot), 110

Power

camcorder, 103

remote survey and, 43

requirements, for lighting, 226–227

Power inputs, 99

Power switch, for camcorder, 93

PPM (peak program meter), 257

Preinterview, 39–40, 42

Preliminary edit decision list, 345–346

Preproduction, 21

Preproduction planning, 22

feasibility and, 25

formal program proposal, 25–30

legal issues, 46–50

preinterview, 39–40

program idea for, 22–23

remote survey, 42–46

scripts, 30–39

subject, visual potential of, 24–25

Prerolling (backspacing), 356

Preroll time, 357

Pressure zone microphone (PZM), 268

Preview control, 355

Primary colors, additive, 73, 205–206

Principal voice, recording on channel 1, 281

Principle action axis, 193–194

Principle vector line, 193–194

Print to tape, 387

Prism block camera systems, 74–75

Pro Tools workstation, 293–295

Processing amplifiers (proc amp), 151

Producer

responsibilities of, 55

role of, 15, 411

unexpected problems for, 22

Production

independent vs. client-based, 22

planning, 52–58

stages, 21–22

Production assistant (PA), 15, 55

Production organization, 15–16

Production planning, 52–58

crew assignments and, 54–56

equipment needs and, 53–54

labeling tapes in field, 56–57

Production resources, 25

Production slate, formal, 56

Production stage, 21

Professional/broadcast equipment, 13–14

Program

audio portion, construction of, 300–302

conceptualization, 23

design, 23

elements, in formal program proposal, 25–30

feasibility, 25

formal proposal for, 25–30

format/treatment of subject, 24

idea, getting/developing, 22–23

subject, 23–24

Program window, 384

Progressive scanning, 69

Proposal, program, 25–30

budget in, 29, 30

example of, 27, 28

Prosumer equipment, 13

PSAs (public service announcements), 24

Public access videos, 10

Public interest obligations, of digital television broadcasters, 411

Public service announcements (PSAs), 24

PZM (pressure zone microphone), 268

 

Quantizing (sampling), 132, 154

Quartz light, 213

Question re-ask, 190

Quick-record button, 94

Quick-release plate, 114

 

Radio frequency (RF), 288

Radio microphones, 271–273

Radio Television News Directors Association (RTNDA), 409–410

Rain diffusers, 288

Range extenders, 157

RCA/phono connector, 108, 277–278

Reaction shots, 17, 187

Receiver, 110

Record button, of VCR, 98

Recording devices, sound, 291–295

Record-run mode, of time code generator, 339

Record safety, 143

Record safety devices, 143

Record VCR, 138

Reference white, 73

Reflected light, 202

Reflectors, 223–225

Releases

location, 49–50

talent, 46–49

Remote control

for cuts-only editing systems, 367, 369

of VCR, 102

Remote production, 5–7

Remote survey, 42–46

aesthetic factors, 43

conducting, guidelines for, 44–46

equipment/supplies for, 44–45

form, 44–45

legal factors, 43

safety factors, 43

technical factors in, 42–43

Rendering, 387

Resolution, 81–82

Resolution chart, 81–82

Reverse frame by frame button, 98

Reverse search button, 98

Reverse shots (reversals), 190–191

Review control, 355

Rewind button, of VCR, 98

RF (radio frequency), 288

RF interference, 288

RGB signal, 74

Rhythm, consideration during editing, 318

Ribbon microphone, 261

Rifa light, 218

Room tone, 281, 288

Rough cut, 347

RTNDA, (Radio Television News Directors Association), 409–410

Rule of complementary angles, 312

Rule of six, 317–318

Rule of thirds, 181

 

Safe-title area, 394–395

Safety factors, 43

lighting, 231–232

location, 49

SAG (Screen Actors’ Guild), 49

Sampling (quantizing), 130

Sampling rate, 130–131

Satellite television, 11–12

Saturation, 73

Scanned images, 405

Scene impact, maximizing through editing, 317

Screen

essential area, 394

lower third titles, 394–395

size

aspect ratio and, 173

graphic materials and, 393–394

space, consideration during editing, 318

Screen Actors’ Guild (SAG), 48

Scrim (diffuser), 225, 229

Script

breakdown of, 39

in formal program proposal, 26–28

full, 35, 37–39

storyboard, 33, 35

story outline, 30, 33

SDTV (standard definition television), 69

SECAM (Système Électronique pour Couleur avec Mémoire), 79

Segue, 322

Selective focus, 175

Sensitivity to light, 83

Servo-lock indicator, 123

Servomechanism (servo), 123

Setups, in formal program proposal, 26

SFX. See Sound effects

Shadows, background, 242

Shock mount, 268

Shooter (camera operator; videographer), 15, 54

Shooting

for depth, 198–199

essential details, 187–188

interviews, suggestions for, 189–190

segments long enough for editing, 188–189

utilizing matched camera movements, 189

Shooting material, for transitions, 188

Shooting schedule, 25–26

Shooting to edit, 185–190

Shotgun microphones, 259, 267–268

Shot list, 39, 40

Shoulder mount, 112–113

Shutter speeds, 63

Shuttle, 354

Signal processing, 150–151

Signal recording, 286

Signal-to-noise ratio (S/N), 83

Silhouetting, caused by bright background, 166

Silk, 225

Single-camera field production, 16

Single-camera lighting, 235–236

Slant-track recording (helical scan), 121

Slate, 57, 283

Slow-motion effects, 321

Slow-speed playback button, of VCR, 98

SLP/EP (standard long play/extended play), 121

Smear, 83

SMPTE time code, 336–341

advantages of, 336

counter, 101

editing, 356

S/N (signal-to-noise ratio), 83

Snorkel lens, 157

Snow, 72

Society of Professional Journalists (SPJ), 409–410

Softbanks, 218

Soft light, 215–218

Sony, first small-format recording system, 6

SOT (sound on tape), 327

Sound

adding to prerecorded videotape, 290

amplitude, 252–253

analog vs. digital audio, 254–255

continuity of, 315

in editing, 290, 321–323

frequency or pitch, 254

intensity, 252–253

layering, 323

microphone characteristics and, 258–262

mixers, 278–281

monitoring, 283–284

natural, 296

playback devices, 291–292

processing, 323–324

quality, improving, equalizing and filtering for, 289–290

recording

on camcorder, 274–278

suggestions for, 285–286

recording devices, 291–295

remote survey and, 42

selection, for editing, 322

sequencing, 322–323

technical factors, 252–257

types of, 296–298

in video field production, 251

volume, 252–253

vs. noise, 252

Sound and visual image libraries, 51

Sound bites, 301

Sound effects (SFX)

adding, in nonlinear editing, 386

need for, 298

sources of, 51

use of, 298

Sound on tape (SOT), 296

Sound perspective, 298–299

Sound presence, 299–300

Sound recording

signal for, 286

special problems, 287–289

Source VCR, 138

SP (standard play), 121

Special effects, camcorder, 96

SPJ, Society of Professional Journalists, 409–410

Split edit, 322

Spotlights, 214–217

Spreader, 114

Standard controls, for edit control units, 353–355

Standard definition television (SDTV), 69

Standard long play/extended play (SLP/EP), 121

Standard play (SP), 121

Stand-up, 282–283

Star filters, 163

Steadicam®, 115–116, 184

Sticks (tripod), 113–114

Still picture effect, 96

Stock footage, sources of, 50

Stop button, 98

Story

characters, 332

conflict and change, 332–333

structure, 329–331

Story, consideration during editing, 318

Storyboards, 33, 35–36

Story outline script, 30, 33, 34

Stripe filters, 74, 75

Strobe effect, 96

Studio cameras, 86–87

Studio production, multi-camera, 16

Studio viewfinder, 87

Style, of graphics, 392

Subject/subjects

multiple, lighting problems with, 243–246

physical appearance of, continuity of, 316

position, for on-site interview, 195

of program, research on, 23–24

treatment, in formal program proposal, 25–26

visual potential of, 24–25

Subject-camera relationships

above-eye-level camera position, 192

at-eye-level camera position, 191

below-eye-level camera position, 192

on-site interview setup, 194–198

principle action axis, 185–186, 193–194

subjective vs. objective camera and, 192

Subjective camera, 192

Subtractive color, 206

Supercardioid pickup pattern, 258

Surface-mounted microphones, 268

S-VHS, 137

S-Video, 129

S-video connectors, 99, 109

Symmetrical balance, 181

Sync, 70, 71, 368, 369

 

Talent releases, 46–49

Tally light, 100

Tape. See Video tape

Tape counters, VCR, 100

Tape end warning, 100

Tape format, 124–137. See also specific tape formats

Tape log, 341–345

Tape measure, for remote survey, 44–45

Tapeless video recording devices, 145–149

Tapes, slating, 57

Tape speed, controlling, 122

Tape-to-tape editing, on DV format, 134

Target object, 311–313

TBC (time base corrector), 150

Teamwork, 19

Technical editor, 307

Technical factors, 18–19, 43

Technical feasibility, in formal program proposal, 26

Technical standards, for television and video, 64–70

Telecine, 328

Telephoto lens, 154

Television

development of, 6

magazine feature programs, 12

Television programs, close-up detail in, 17

Television scanning, 66–67, 69–70

Television standards

ATSC video, 64, 68–70

NTSC video, 64, 79

worldwide, 67

Test recordings, 284–285

Texture, lighting for, 241–242

Three-point lighting, 236–243

background light for, 239–240

backlight for, 239

fill light for, 238–239

ideal vs. real, 240

key light for, 236–238

3-shot, 177

Three-to-two prong AC adapter, 230–231

Tight close-up (TCU), 176, 177

Tilt, 182–183

Time, using background light as indication of, 239–240

Time base, 150

Time base corrector (TBC), 6, 8, 150

Time code, 282

displaying, 341

drop-frame, 337–338

non-drop-frame, 337–378

problems, working around, 340–341

recording, 338–339

SMPTE (See SMPTE time code)

types of, 336–337

Time code character generator-inserter, 341

Time code reader, 338, 341

Time code generator, 338–340

Timed cut, 317

Time-lapse recording effect, 96

Time line, 383

Time-of-day time code, 339

Titles, lower third, 394–395

Titling

in nonlinear editing system, 405–407

in the camera, 405

Tone generator, 280

Track chart, audio, 302–303

Tracking control, 102, 123–124

Tracking meter, 124

Tracking shots, 184

Transitions, 318–319

in nonlinear editing, 386

shooting material for, 188

Treatment, 25–26

Trim controls, 355

Tripod, camera, 113–114

Tripod dolly, 114

Truck (left or right), 183–184

Tungsten-halogen lamps, 213

Turnkey systems, 281

Two-column split-page format, for full scripts, 35, 37–39

2-shot, 177

 

U-matic, ¾″, 6

Umbrellas, 223

Unbalanced line, 273

Unity, 392

Unmotivated lights, 240–241

Upward compatibility, 138

U.S. Copyright Office

copyrighted material and, 49

short form PA, 58

User interfaces, for digital nonlinear editing, 382–384

 

Variable-beam spotlights, 215–216, 218

Varied beam width, 229

VCRs. See Videocassette recorders

Vectorscope, 75, 76, 231

Velocity microphone, 261

Vertical interview time code (VITC), 128, 336–337

Vertical sync, 70

VHS, 126–127, 137

Video, as communication medium, 14–18

Video art, 9

Video black, 363

Video cameras

CCD, 62–63

component parts of, 61

Videocassette recorders (VCRs)

audio inputs and outputs, 99

audio input selector, 101

audio mode selector, 101–102

audio monitor control, 102

automatic backspace editing, 103

heads, cleaning, 145

inserting videocassette, 105

meters, 100

multispeed, 121

power inputs, 99–100

remote control, 102

tape counters, 100

tape transport controls, 96–98, 353

tracking control, 102, 123–124

trigger, 93

types of, 139–140

video input selector, 101

video insert, 103

warning lights, 100

Video compression rate, 132, 385

Video connectors, 108–109

Video display, 64

Video editor, 15

creative, 306

as graphic artist, 307–308

role of, 306–308

as sound designer, 307–308

technical, 307

Video field production, 11–12

Videographer (shooter; camera operator), 15, 52, 54

Video heads, number of, 121–122

Video inputs, 99

Video input signal selector, 101, 368, 369

Video insert (video dub; video add), 103. See also Insert editing

Video line out, 111

Video medium, 17

Video monitors

cathode ray tube (CRT), 77–78

EDTV (enhanced definition television), 79

HDTV (high definition television), 78–79

plasma display panel (PDP), 78

SDTV (standard definition television), 78–79

Video outputs, 99

Video player-recorders, 139

Video players, 139

Video production, changing nature of, 5–7

Video recording, 119

Video resolution chart, 82

Video servers, 145

Video signal control, 70–73

Videotape, 120, 140–145

care of, 143–144

configuration, 125, 142–143

copyrighted, use of, 49

for cuts-only editing systems, 367

location of signals on, 125–128

prerecorded, adding sound to, 290

recording, 120–124

recording formats, 124–137

size, 141

storage of, 143–144

Videotape formats

analog, 137

Betacam SP, 137

Hi8, 137

VHS/S-VHS, 137

digital, 133–137

Digital Betacam/BetacamSX, 136

D-3, D-5, HD-D5, 137

Digital 8, 136

Digital S, 136

DV (digital videocassette), 134–135

Videotape recorder

2″-wide tape format, 6

1″-wide tape format, 6

Videotape recorders (VTRs), 143

Video technology, history of, 5–8

Video track, 126

Video waveform, 71

Viewer, for remote survey, 44

Viewfinder, 68, 85–89, 110

Virtual sets, 247

Visual composition, aesthetics of, 172–181

VITC (vertical interview time code), 128, 336–337

Voice, 296

Voice-over (VO), 282–283, 296, 326

Volume, 252

Volume unit meter (VU), 100, 254, 283–284

VTR. See Videocassette recorders; Videotape recorder

 

Warm balance, 210

WarmCards® system, 210, 211

Warning lights, 100

Waveform, 73

Waveform monitor, 73, 231

Waveform/picture monitor, 231

White balance, 95

adjustment of, 208–209

automatic, 88, 208

cooler, 210–211

manipulation of, 210

manual, 209–210

preset, 208–209

Wide-angle lens, 154

Wind noise, 287

Window dub, 342–344

Windscreen, 268, 287

Wipe, 319

Wired microphones, 271

Wireless microphones, 271–273

World color television standards, 79

World Wide Web (WWW), 12–13

WWW (World Wide Web), 12–13

 

XDCAM Camcorder, 147

XLR connector (Cannon connector), 108, 277–278

XLS (extreme long shot), 176–177

 

Y/C signal processing, 129

 

Z-axis, 245

Zebra-stripe exposure indicator, 164

Zoom, 183

Zoom lens, 154–155

components, 158–163

correct exposure for, 164–165

how it works, 158

movement of, 184

operation, 163–165

Zoom ratio (range), 155

Zoom ring, 159–160