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by Gerald Millerson
Effective TV Production, 3rd Edition
Cover
Half Title
Title Page
Copyright Page
Table of Contents
Introduction to the Third Edition
Television Today
The scale of operations
Live or taped
Television Production
Opportunities and limitations
Style
The Production Team
The Director’s Role
The director’s task
The director’s approach
TV Camera Units
Single camera units
Multi-camera units
A Studio Tour
Studio features
TV cameras
Support areas
Production Control
Typical features
Control room layout
The TV/Video Camera
The camera head
Main features
The zoom lens system
Types of viewfinder
Camera Controls
Camera adjustments
Camera movements
Camera Facilities
The camera lens
The viewfinder
Indicators
Audio
Supporting the Camera
Hand-held cameras
The pan head/panning head
The tripod
The pedestal
Crane arms
What Are ‘Lens Angles’?
Zoom ratio
Image size
Lens angle and perspective
Wide-Angle Lens
Advantages
Disadvantages
Narrow-Angle Lens
Advantages
Disadvantages
Camera handling
Depth of field
Using The Zoom Lens
Zoom lens controls
Take care!
Why Zoom?
The effect of zooming
How the zoom lens can help
Dramatic zooms
Defining The Shot
Getting the shot
Changing the shot size
Terms
Camera height
Choosing the Shot
Why change the shot?
Viewing conditions
The picture’s purpose
Pictorial variations
Close Shots
Cameraman’s problems
Production problems
Long Shots
Using long shots
Operational problems in continuous production
Cameras in shot
Moving The Camera
Camera moves
Focusing
Motivated Camera Movement
Motivation
Panning
Changing the viewpoint
Composing the Picture
General approaches
Arranging people
Framing
Camera height
Clarifying the Shot
Improving clarity
Clarify detail
The Production Switcher – Vision Mixer
Switcher operation
Additional features
Choosing Picture Transitions
Selecting the right transition
The cut
The fade
The mix (dissolve)
Wipes
Intercut Shots
Guiding the audience
Typical treatment
Shooting people
Choosing Microphones
Microphone design
Positioning the microphone
Audio Control
The purpose of audio control
Audio control techniques
Methods of Sound Pickup
Local sound
Following action
Practical Sound Pickup
Local sound pickup
Using the sound boom
Practical Sound Problems
Ideal sound
Relative volumes
Distracting sound
Sound and the picture
Scenery
The function of scenery
Devising scenic treatment
Typical design considerations
The Aims of Lighting
Technically speaking
Artistically speaking
Basic lighting approaches
Lighting Problems
Lighting and sound
Shadows
Subject position
Overbright surfaces
Precision lighting
The Aims of Makeup
The value of makeup
The magic of makeup
General practice
Clothes on TV
Problem clothing
The Need for Production Techniques
Why have techniques?
Production Treatment
Back to basics
Formality and informality
The right approach
Styles and Formats
Presentational emphasis
Basic Productional Methods
‘Live’ production
‘Live on tape’
Basic retakes
Discontinuous recording
Isolated (ISO) camera
Dedicated VTRs
Single camera recording
Single-Camera Production
Intermittent shooting
Continuous shooting
Shooting static subjects
Multi-Camera Production
Why have a second camera?
Are there disadvantages?
Changing Shot – Moving Performer
Performer movement
Group shots
Changing Shot – Camera and Switching
Changes by camerawork
Changes by switching
Visual changes
Shooting the Moving Subject
Framing restrictions
Camera movements
Viewpoint changes
Production Formats
Regular formats
The different approach
Basic Production Styles
The ‘stylized routine’ approach
The ‘exploratory’ approach
The ‘pizazz’ approach
Developing a TV Production
Planning Visual Treatment
Planned viewpoints
Storyboard approach
Shot Development
Setting up the shot
Changing the viewpoint
Developing shots
Pictorial Variety
Introducing variety
What Facilities Are Needed?
A matter of degree
Alternative methods
Tempting facilities
What does the viewer see?
Coping without facilities
Is Planning Really Necessary?
Unplanned production
No need to plan
Plan to make it happen
Planning principles
Production Approaches
Unplanned production
Outline planning
Working to a script
Organizing Production Mechanics
Production resources
Will it work?
Typical considerations in technical planning
Plans And Elevations
The studio plan
How the studio plan is used
Elevations
Developing the Staging Plan
Organizing the studio layout
Will it work?
Planning Shots
Working it out
Shot proportions
Scripting for Television
Script formats
When is it written?
Script style
Getting the ideas across
Script mechanics
Production Paperwork
Scripts
Running order/show format
Camera cards/shot sheets/crib cards/shot list
Pre-Studio Rehearsal
Preliminaries
Pre-rehearsal/outside rehearsal
Pre-studio rehearsal hints – initial blocking
Studio Rehearsals
Rehearsal begins – blocking
Final stages
Effective studio rehearsal
Rehearse/record
The Floor Manager
Rehearsal preparations
Rehearsals begin
Videotaping
Guiding the Crew
Attitude to the crew
General points
Typical shot calls by the director’s assistant
Production Timing
Live productions
Hints on timing
Methods of timing
Visual Padding
The problem
Solutions
How to Direct Audience Attention
Methods of directing
Attention
Look out for distractions
Varying concentration
Creating and Controlling Interest
Interesting pictures
Progressive build-up
Elaborate presentation
Influencing Audience Attitude
Program openings
Staging complexity
Background associations
Prevailing key
Subject importance
Further factors
Confusing or Frustrating Techniques
The frustrated audience
Promises, promises!
Annoying attitudes
Unseen happenings
Wrong camera
Puzzling shots
Stretching the Facilities
Useful devices
Economy Thinking
Economical staging
Economy through camera treatment
Graphics and titling
Sound Ideas
The roles of sound
Interrelating picture and sound
Using audio recordings
Unorthodox Treatment
Camera treatment
Switcher treatment
Electronic treatment
Sound treatment
Lighting treatment
Continuity
Regular continuity problems
Deliberate discontinuity
Using Titling
Titling methods
Titling design and presentation
Electronic enhancement
Using Graphics
Forms of graphics
Simple graphics
Care with camera graphics
Computer graphics
Using Film
Directing techniques
Televising film
Library shots
The basics of film making
Using Videotape
Principles
Editing the videotape
The editing process
Electronic Insertion
Keyed insertion
Chromakey (CSO)
Take care
Typical applications
Guiding the Talent
Inexperienced talent
Experienced talent
General points
Cuing
Forms of cuing
Film cuing
Prompting
Approaches to presentation
Forms of prompting
The Commentary
The commentator’s role
Scripted commentary
Unscripted commentary
Cuing
The Single Performer
Relationship with the audience
Action
Shots
Interviews
In the studio
Location interviews
Talk Shows
Controlling the program
Layout
Typical shots
Newscasts
General setup
Basic organization
The Illustrated Talk
Gathering material
Typical staging formats
Presentation hints
Demonstrations
Organizing demonstrations
Demonstrations in closeup
Music and Dance
Approaches
The soloist
Pop music
Quiz and Game Shows
Game shows
Quiz shows
Organization
TV Drama
Film and TV drama.
TV drama techniques
The Studio Audience
Controlling the audience
Effect on performers
Accommodating the audience
Reminders on Effective Directing
Rehearse/record
A Check List of Common Errors
Shooting on Location
Types of location unit
Preparations
Organization
Color
Color is subjective
Color is different on the screen
Comments on color
Appendix–Calculating Shots
Further Reading
Glossary
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Effective TV Production
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Copyright Page
MANUAL
media
third edition
effective tv
production
gerald millerson
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