Index
Note: Page numbers in italics indicate figures and tables.
3D printing 199
3D production see three-dimensional (3D) production
60 Minutes 240
180-degree rule 91
action 253
actors 19; and contracts 51; and flat lighting 145; organizations for 40; precision of 39–40; quick-study 40; voice 39
adaptors 171
Adobe Media Encoder 235–6, 236, 251
Advanced Authoring Format (AAF) 241
Allen, Fred 19
altering see selecting and altering
American Federation of Television and Radio Artists (AFTRA) 40
American Society of Cinematographers (ASC) 130
Ampex 14
amplification 175
analog cartridges (carts) 169
analog sound boards 173
analog-to-digital (A/D) converter 167
analog VU meter 178
anchors: blocking 76; and communication devices 81; defined 36; editing 240; and floor managers 25; and graphics 185–7; and lighting 145, 149; and scripts 61–2; and sets 194
animal handlers 35
animations 187
apertures 106
Apple Compressor 235
arm move 119
art directors 34
aspect ratios 11, 101–2, 125, 125–6, 192
asset management 233
assistant directors (AD) 23
assistant producers 44
associate directors: commands for 83; and continuity 24; and directors 24; duties of 23–4, 35; and script changes 24
associate producers 44
ATSC formats 11, 100–2, 226, 229
audio: amplitude 159; analog equipment 168–9; cables and connectors 169–72; control equipment 276–7; digital equipment 166–8; editing 279–80; editing programs for 167, 167–8; extraneous noise 277; for field production 275–7, 279–80; frequency 158; and microphones 157–67, 179–82, 275–6; outboard equipment 166–9; recording quality sound 179–82; server storage 169; and speakers 179; troubleshooting 181
audio consoles: analog 173; analog sound board 173; and audio engineers 29; basic 173–4; board functions 174–7, 179; control room 5; digital 173, 173; generic 174; inputting 175; isolating 177; middle-range boards 173; mixing 176; monitoring 177–9; outputting 177; powering 174–5; shaping 175–6; types of 172–3
audio description 68
auto cues 28
automatic dialogue replacement 280
automatic gain control (AGC) 107, 276
automatic white balance 113
auxiliary send 177
AV (audiovisual) script 61
AVCCAM 231
AVCHD 231
AVCHD Pro 231
background light 144
backplates 162
backtime 24
balanced cables 170
balanced wiring 170
banks 208
base lighting 129
bass sounds 158
battens 29
beam splitter 102
Berle, Milton 12
bidirectional frames 242
bidirectional microphones 159
bin 244
binary numbering system 11
bits 11
bitstream 11
booming 119
boom microphone 146–7, 147, 164–5
boundary microphone 165–6, 166
broad floodlight 139, 141, 273
budgets: constructing 46; facilities and equipment 46; for field production 262; overruns 49; production costs 45; worksheets 50
business rehearsals 78
bytes 11
cables and connectors: care of 172; channeling 9, 169; patch bays 171–2; routers 171; types of 170–1
call sheets 51
camcorders 7–8, 14, 260, 278–9
camera arcing 118
camera controls: filters 112–13; prompters 113–14; shutter 111–12; viewfinders 111–12, 112; white balance 113
camera control units (CCUs) 5, 27, 113
camera dollying 118
camera operators: commands for 83; and composition 27; duties of 27–8, 35; in field production 260; and framing 27; production techniques for 126–7
camera pedestaling 118
cameras: care of 272; components of 116; digital SLR (DSLR) 99; drones 119–20; field of view 120–1; in field production 271–2; functions of 99; handheld 119; image stabilization 272; isolated 240; lens characteristics 104–11; mounting of 115–19, 271–2; movement of 115–19, 200, 271–2; panning 116; picture composition 121–6; production techniques 126; robotic 119; scanning process 100–2; studio 106; three-dimensional (3D) production 109; tilting 116; types of 100; video color in 102–4; video formats for 100–2; virtual reality 109–10, 110; zoom lens 104, 106, 110–11; see also video cameras
camera trucking 118
canvas 244
capacitor 162
capturing footage 244
cardioid microphones 159
carpenters 34
casting agencies 51
cast positions: actors 19, 36, 39–40; performers 36–9; talent 36
catwalks 147
CD (compact disc) players 168
CDs (compact discs) 232
channeling 169; cables 9; connectors 9; digital signals in 9
character generators 15, 31, 186
charge-coupled device (CCD) 102
choreographers 35
coaxial cables 226
codes 229
collective shots 88
color bar generator 227
color temperature 132
color wheel 191
commands of execution 86–7, 221
commands of preparation 86, 221
communication devices: directing with 80–1; private line 81; during the production 81; during setup 81
complementary metal oxide semiconductor (CMOS) 102–3
component signals 228
composite signals 228
compositors 35
compression 228–31, 235–6, 241–2
compressors 176
computer-based switchers 207
condenser microphones 162, 162, 276
constant bit rate (CBR) 237
containers 231
continuity 24, 87, 90, 92, 251–2, 269
continuous image compression 219
contrast 191
control components 227
control functions: channeling 9; models of 9; monitoring 10; recording and playback 10; selecting and altering 9–10; transducing 8–9
control room rehearsals 78
control rooms 2; components of 5; design of 4–5, 5; for field production 8
convergence: and digital technology 10–11; Internet 11; of multimedia companies 12
cookie 139
copyright-free music 55
costs of productions see production costs
costume designers 35
countdown 86
coverage 68
crab dolly 117
crane mounts 117
craning 119
creative control 44
creative lighting: defined 129; focus of attention in 134–5; mood in 133–4; nonreality in 133; objectives of 132–4; reality in 133; shape, texture and perspective in 133
crew: animal handlers 35; art directors 34; associate directors 23; associate directors (AD) 24, 35; audio engineers 29–31, 36; audio operators 19; camera operators 27–8, 35; carpenters 34; choreographers 35; commands for 81, 83–7; communication with 75–6; compositors 35; costume designers 35; craft services 35; decision making by 95; and directors 94–7; directors 21–3, 35; editors 34, 36; electricians 34; familiarity of 94; for field production 270; floor managers 24; gaffers 34; graphics operators 31–2, 36; greenspersons 35; grips 34; injuries to 57; lighting directors 29, 36; makeup artists 34; matchmove artist 35; painters 34; pay rates 45–6; producers 20–1, 35; production assistants 34; production designers 34; prompter operators 28, 36; propmasters 34; recordists 33, 36; rehearsals 78, 80; scheduling 51, 54; selecting 43–4, 49, 51, 94; set designers 34; sound designers 35; special effects 35; stage managers 24–5, 27, 35; technical directors 19, 32, 36; unit production managers 34; visual effects supervisor 35
crew commands 83
critical area 194
critique notes 23
crossfades 176
crossing the line 255
cross-keying 145
cross-pair microphones 160
cross-shoot camera angles 89
cucalorus 139
cue cards 37
cutting for information 253
cutting on action 253
cutting ratio 90
daily hire workers 16
DAT see digital audio tape (DAT)
decibels (dBs) 159
defocus 93
demographics 59
diagnostic components 227
diffused light 140
diffusion 149
digital audio recorders (DAR) 168–9, 169
digital audio tape (DAT) 168–9, 169, 277
digital audio workstation (DAW) 167
digital cameras 15
digital carts 169
digital delays 176
digital NTSC 226
digital SLR (DSLR) cameras 99, 114–15
digital sound boards 173
digital technology: and convergence 10–11; digital cameras 15; for graphics 15; linear editing 15; nonlinear editing 15; for television 14–15; in video production 1–2
digital video effects (DVE) 187, 205
digital video technology 11
digital VU meter 178
digital zoom technology 104
dimmer circuits 149
directing: and aesthetics 87; blocking 76; calling commands 83–7; camera selection 88–9; conducting rehearsals 78, 80; crossing camera angles 89–90; familiarity 94; for field production 268; marking the script 76, 78–9; new relationships 94; preparations 77; psychology of 94–6; shot juxtaposition 87–8; shot relationships 90–2; starting the program 83, 86; style of 95; thought process 89; and timing 81–3; transitions 92–4; using communication devices 80–1; working with crew 95–6; working with talent 95
directional microphones 181
director of photography (DP) 130
directors 4; as artists 87–94; and associate directors 24; calling shots 22–3; and casting 22; duties of 21–3, 35, 75–6; as managers 76–87; and producers 21; as psychologists 94–6; and shooting scripts 22
Directors Guild of America (DGA) 46, 75
distortion 178
DMX 148
downloading video 235
downstream keyer 214
drapes 198
dress rehearsals 80
dual-purpose lighting 145
dual redundancy 181
dull saturation 38
DVDs 232
DVE effects 219
dynamic range 159
economy of lighting 145
edit decision list (EDL) 241
editing: for action 253–4, 254; aesthetics of 251–7, 270–1; audio 279–80; axis of action 255; axis of conversation 255; and compression 241–2; continuity 251–2; cutaway shots 254–5; decision making 243; defined 239; ethics of 257; for field production 279; for information 253; jump cuts 254–5; on-line 241; linear 239; nondestructive 245; nonlinear 239, 243–51; off-line 241; pacing cuts 254; preparation for 242–3; process of 240–1; and producers 21; project interchange files 241; reviewing footage 242–3; special transitions in 255–7
electricians 34
electronic field production (EFP) 259
electronic news gathering (ENG) 259, 279–81
electronic still store (ESS) features 189
elevation see angle of elevation
ellipsoidal spotlights 138–9, 139, 273
Energy Independence and Security Act (EISA) of 2007 136
ENG see electronic news gathering (ENG)
Entertainment Partners 49
Entertainment Tonight 240
episodic dramas 195
equalization 176
equalizers 176
essential area 194
establishing shots (ES) 88, 120
ethics 257
evaluation 58
external key 210
extreme close-up shots 121
extreme long shot (ELS) 120
eye contact 37
facilities request form 54
fader bars 149, 208, 214, 214–15
faders 176
Federal Communications Commission (FCC) 12
fiber channel 234
fiber optics 281
fictional talent 36
field production 2; audio for 275–7, 279–80; breakdown sheets 265–6; budgets 262, 264; camcorders 7–8; camera care 272; camera mounts and movement 271–2; cameras for 271–2; cast and crew for 260; cleanup 260; conceptualization 264; defined 3; directing 268; editing aesthetics for 270–1; editing for 279–80; filters 271; graphics for 277–8; lighting for 272–5; location logistics 261–2; nonsequential shooting 260–1; power source 271, 274; preproduction planning 265–7; producing 261; production processes 269–70; rehearsals 268–9; remote truck productions 280–2; sets for 278; shooting schedules 267; stripboards 267–8, 268; techniques of 259–60; and video recording 278–9; white balance 271
fields 101
file manager 33
film cameras 13
film-style scripts 64–5, 65, 68, 261
film-style shooting 259
Final Cut Pro XML Interchange Format 241
First Amendment 57
fixed-focal-length lens 104
fixed width fonts 191
flat frequency response 158
flatscreen monitors 207
floor directors 24
fluorescent lamps 135
focus of attention 134
focus of attention lighting 134–5
follow shots 118
follow spots 134
fonts 187
foot-candles (fc) 130
frame size 237
frames per second (fps) 101
frame synchronizer 227
freedom of the press 57
free run mode 227
frequency 158
frequency response charts 158
Fresnel spotlight 137–8, 138, 273
front focus 106
full scrim 150
fundamental 158
furniture 199
game shows: casting 51; directing 89; editing 34, 251; lighting 130, 133–5, 141, 148; medium shots (MS) in 120; performers 36; producing 44, 57; prompters for 28; proposals for 59; rundowns 62; scripts for 61; sets 194–5, 199; switchers 222
gigabytes 11
Google 109
GoPro Odyssey 109
graphic “crawl” 186
graphic design: aligning elements in 190; aspect ratios 192; contrast 191; font effects 191–2, 192; grid design 190; of maps 190; “ransom note” effect 192; readability 191–2; rule of thirds 190; structure 189–90
graphics 15; aesthetic goals of 189–92; computerized 186–8; defined 185; for field production 277–8; full screen 188; functions of 186; and information 186; keystoning 193–4; layers in 188; out-of-aspect 193; over-the-shoulder 189; shooting angle for 193, 193–4; storing and recalling 188–9; and text 188; working with 187
graphics generators 5, 186–7, 187
graphics operators 186, 188; commands for 83; duties of 31–2, 36; and text 187
greenlight 58
green rooms 6
greenspersons 35
grid design 190
grips 34
group assign switch 177
guide pins 170
H.264 231
H.265 231
half scrim 150
Handbrake 235
handheld cameras 119
handles 245
hand microphones 164
hand/stand microphone 163
harmonics 158
HDMI (High Definition Multimedia Interface) 228, 278
headroom 122
headsets 4
HEVC (High Efficiency Video Encoding) 231
high-definition (HD) 102
High Definition Multimedia Interface see HDMI (High Definition Multimedia Interface)
high-definition television (HDTV) 11
high-frequency fluorescent lamps 135–6, 136
high-intensity discharge (HID) lamps 137
high-key lighting 133
high-speed fluorescent lamps 135
horizontal sync pulse 226
housings: floodlights 139–40; spotlights 137–9
hue 103
hydrargyrum medium-arc iodide lights see HMI light
hypercardioid microphones 159
hyphenates 44
IFB (interruptible foldback) system 4
I Love Lucy 14
image expansion 219
image sensors 102
image stabilization 272
image stretching 219
importing footage 244
importing graphics 187
incandescent lights 136
indecency laws 57
ingesting 234
in point locators 245
inserting 249
interactive video 16
interframe compression 230, 241
interlace scanning 101
internal key 210
International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, Its Territories and Canada (IATSE) 46
International Brotherhood of Electrical Workers (IBEW) 46
Internet: bandwidth 101, 235; and convergence 11; downloading audio 168; downloading video 235; and interactive video 16; promotion on 58; streaming video 2, 235
interruptible foldback (IFB) system 27, 81
intraframe compression 230, 241
invasion of privacy 57
iso camera 240
isolating 177
lamps: fluorescent 135; light-emitting diodes (LED) 135–6; quartz 136–7
lavaliere (lav) microphone 163, 163–4
layering 219
LCD screens 173
LED lights see light-emitting diodes (LED)
leko 138
lens characteristics: adjustments on 106; depth of field 107–9; focal length 104–5, 105; focus 105–6; f-stop aperture 106–7
libel laws 57
light-emitting diodes (LED) 30, 135–6
lighting: and base light 129; cameo 134; color temperature 132; consistency of 131; contrast ratio 131–2; creative 129, 132–5; for field production 272–5; focus of attention 134–5; high-key 133–4; housings for 137–9, 140; indoor 272–4; intensity 130–1; lamps 135–7; low-angle 134; low-key 133–4; mood in 133–4; mounting 147; non-reality 133; objectives of 130–2; outdoor 275; portable 273; power source 274; reality 133; safety precautions for 153–4, 274; setting up 152–3; shape, texture and perspective in 133; silhouette 134; triangular 140; trimming 153
lighting consoles 148
lighting control factors 147; color 151–2; diffusion 149; intensity 148–9; shape 150–1
lighting directors: commands for 83; duties of 29, 36; objectives of 130
lighting plots 152
lighting styles: flat lighting 145–6, 153; and movement 144–6; multi-camera 144–5; ratios 143; and shadows 146–7; specialized 146–7; three-point 140–4
light plot 152
limbo lighting 134
limiters 176
line feeds 175
line producers 44
lines 100
live slow motion (LSM) servers 234, 240–1
locations: checklist 263; legal considerations 262; preparing 261–2; release form 264, 264–5; selecting 261; substituting 262
logging 269
long lens 104
lossless compression 229
lossy compression 229
loudness 179
low-angle lighting 134
lower third text 187
low-frequency sound 158
LSM see live slow motion (LSM) servers
luminance key 210
macro flange 111
makeshift studios 7
makeup artists 34
mannerisms 37
manual white balance 113
masks 194
master control 6
master control area 207
master fader 177
master shots 68
matchmove artist 35
Material eXchange format (MXF) 241
megabytes 11
Memory Stick 232
metadata 231
mic feeds 175
microphone boom 146
microphones: adjusting 182; amplitude 158–9; analog 166; balance 182; checking 180; condenser 276; constructing 161–3; cross-pair 160; diaphragm 9, 161; digital 166; directional sensitivity of 159; dynamic 162, 276; for field production 275–6; frequency 158; hand/stand 163, 163–4; output 166–8; pickup patterns 159–60; positioning 163–4, 180–1, 181, 200; selecting 179–80; shotgun 276; and sound perspective 180–1; and sound presence 180; split-pair 160–1, 161; three-to-one rule 181; transducing 157, 161; types of 160–6; wired/wireless 162–3, 163
microwave transmitters 279
mix/effects (M/E) buses 211–14
mixing 176
mix-minus module 177
M-JPEG 230
moiré effect 39
monaural programs 160
monitoring 207; audio 177–9; preview monitors 10; program monitors 10; VU (volume unit) meter 10; waveform monitor 10
monitors 4
monopods 272
Motion-JPEG (M-JPEG) see M-JPEG
movement control 111
Movie Magic Budgeting 49
movies of the week (MOWs) 58, 64
moving coil microphones 162
MPEG-1 230
MPEG-4 AVC technology 231
music licensing 55
mute 177
National Association of Broadcast Employees and Technicians (NABET) 32
National Television Systems Committee (NTSC) format see NTSC format
neutral density (ND) filters 109
news anchors: editing 240; and floor managers 25; and graphics 185–7
newscasts 60
news programs 2; cameras for 123; editing 251; graphics 186; lighting 153; producing 44; scripts for 21, 62; sets 194
NewTek 207
nondestructive editing 245
nonfictional talent 36
nonlinear editing techniques: capturing and importing raw material 244; digital 15, 239; file management 243–4; individual clips 245, 247; inserting 249; output 250–1; overwriting 249; postproduction 240; sequences 247–8; synchronizing and unsynchronizing clips 248–9; systems for 243; timeline editing 249–50; tools 251; transitions 250; workspace 244–9
nonrealistic lighting 133
normalled connections 171
novelty fonts 192
NTSC format 11, 100, 102, 226, 229, 235
NXCAM 231
obscenity laws 57
Oculus 109
off-line editing 241
off-mic sound 180
omnidirectional microphones 159
on-line editing 241
open-face spotlights 138
Open Media Framework Interchange (OMFI) 241
optical discs 232
optical zoom technology 104
outdoor lighting 275
out-of-aspect graphics 193
out point locators 245
over-the-shoulder graphics 189
over-the-shoulder shots 122, 124
overwriting 249
P2 (Professional Plug-in) cards 232–3
pacing cuts 254
packages 240
pads 269
paintbox 186
painters 34
pan knobs 176
particularized shots 88
patch boards 148
patch cords 171
pattern controls 216
peak 178
peak program meter (PPM) 178
pedestal command 118
perambulator booms 164
performance releases 51–3, 265
performers 4; clothing 38–9; hair and makeup 39; mannerisms 37; organizations for 40; script handling 37; sincerity 37; and stage managers 38; tips for 38; types of 36; visual directness 37; voice 36–7
persistence of vision 101
personnel: actors 19, 36, 39–40; casting 51; crew 19–36; freelance workers 16, 46; performers 36–9; and producers 49, 51; selecting 43–4, 49, 51, 94
phase cancellation 160
phone connectors 170
physical sets 195
pickup shots 240
picture composition: angle of elevation 123–4, 124; balance 123, 125; depth 122–4; framing 121–2; headroom 122; horizon lines 126–7, 127; lead room 122–4; rule of thirds 125–6
pilots 58
pixels 100
playout server 234
plosives 180
plugs 170
pop filter 180
portable audio mixers 277
portable camcorders 14, 16, 106
portable lighting 273
portable mixers 277
portable switchers 207
ports 159
position jumps 90
posterization 219
postproduction editing 239
potentiometer (pot) 149, 175–6
precarious perch 199
presence 180
preset bus 208
preset white balance 113
pressure zone microphone (PZM) 165–6, 166
pre-studio rehearsals 78
preview lines 206
producers: assistant 44; associate 44; and directors 21; duties of 20–1, 35, 44; and editing 21; executive 43–4; line 44; pay rates 48; and postproduction 21; and preproduction 20–1; in production 21; segment 44; supervising 44; types of 43–4
Producers Guild of America (PGA) 43, 46
producing: budgets 45–50; legal considerations 55–7; pay rates 47–8; personnel 49, 51; and producers 43–4; promotion and evaluation 58; record keeping 57; schedules 51, 54; and scriptwriting 58–62, 64, 68, 71
production assistants 34
production costs: above-the-line 45, 262; below-the-line 45, 262; pay rates 45–8
production designers 34
production houses 16
production logs 270
program lines 206
progressive scanning 101–2, 102
promotion 58
prompter operators: commands for 83; duties of 28, 36
propmasters 34
proposals: demographics 59; example of 60; psychographics 59
props 199
proximity effect 180
psychographics 59
public address (PA) system 81
public domain 55
public service announcements (PSAs) 61
push-off transition 218
rack focus 109
Radio Corporation of America (RCA) 12–13, 13
RAID (redundant array of independent disks) 234
ratings 58
RCA connectors 171
readability 191
reality, imitation of 133
recording 10
recording engineer 33
recordists: commands for 83; duties of 33, 36
record run mode 227
reference white 271
reflected light 129, 131, 139–40, 140
rehearsal and recording: associate directors (AD) 23–4; audio engineers 30; camera operators 27–8; directors 22; editors 34; graphics operators 31; lighting directors 29; producers 21; prompter operators 28; recordists 33; stage managers 25; technical directors 32
rehearsals: business in 78; control room 78; directing 78; dress 80; dry-run sessions 78; for field production 268–9; pre-studio 78; start-and-stop 78; studio floor 78; technical 78; uninterrupted 80; walk-through 78
remote production 2; control rooms 8; defined 3
remote truck productions 280–2
rendering 247
reporters 36
residuals 43
reverberation 176
ripple 249
rolling text 187
rough cuts 241
routing switchers 207
royalty-free music 55
safe area 194
safe title area 194
safety chains 147
sampling rate 167
sandbags 197
san serif lettering 191
satellite transmitters 279
saturation 103
scanning area 194
scoop floodlight 139–40, 140, 273
Screen Actors Guild (SAG) 40
Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) 40, 46
screen direction 91, 255–6, 256
script changes 24
script forms: film-style 64–5, 65, 68; outlines 62, 64; rundowns 62–3, 63; screenplays 66–7; storyboards 68–9, 69, 71; two-column scripts 61–2
scripts: ad-libbing 37; in field production 261; marking 76, 78–9; memorization 37
script supervisor 260
scriptwriting: proposals 59–60; script forms 61–71; treatments 58–9
SDI cables 228
Secure Digital (SD) memory cards 232
segment producer 44
segue 176
selective attention principle 277
serial digital interface (SDI) 228
serif lettering 191
set designers 34
set dressings 199
set light 144
sets: and camera movement 200; cloth backdrops 198; defined 185; and depth 200–1; emotional and psychological functions of 186; for field production 278; furniture 199; and information 186; and lighting 200; and microphone placement 200; permanent 195–6, 196; physical 195; props 199; removable 196–8; set dressings 199; and talent movement 202; virtual 185, 194–5; and z-axis 201
shaders 27
shading 113
shooting scripts 22
shotgun microphone 165, 165, 165–6, 276
shot relationships: axis of action 91–2; axis of conversation 92; cutting ratio 90; position jumps 90; shot similarity 90
shot variety 269
sibilance 180
signal processing 175
signal-to-noise ratio (SNR) 166
situation comedies (sit-coms) 2, 40, 80, 145, 195, 200, 240
slander laws 57
sleeves 170
slug (story title) 61
smartphone cameras 115
snakes 169
snoot 151
soap operas 2–3, 40, 88, 94, 134, 145, 195, 199–200, 240
Society of Broadcast Engineers (SBE) 33
Society of Motion Picture and Television Engineers (SMPTE) 32, 226
soft light 139
solo buttons 177
sound designers 35
sound presence 180
sound pressure 180
source monitor/viewer 244
speakers 179
special effects generator (SEG) 205
speech bumps 158
split-page script 61
split-pair microphones 160–1, 161
split-screen effect 210, 213–14
spot server 234
staff positions 46
stage managers 260; and blocking 25; commands for 83; duties of 24–5, 27, 35; and hand signals 25–6, 26; and talent 25
staging 76
staging floor plans 197
standard-definition (SD) 102
start-and-stop rehearsals 78
stereo microphones 161
stereo programs 160
stock footage 55
stop down 107
storage technologies: hard drives 10, 231–2; optical discs 232; solid state media 232–3
storyboards: audio description 68; conventions for 68–9, 71; example of 69–70, 72; in field production 261; use of 71; video description 68
streaming 235
streaming video 2
studio address loudspeaker system 4, 81
studio cameras 106
studio floor rehearsals 78
studio production: camera control units (CCUs) 113; cast and crew for 19–25, 27–40; defined 2–3; and editing 240; studio design 3–7
studios: control rooms 4–5; design of 3–4; editing suites 6; floor plan 6; green rooms 6; makeshift 7; master control 6; production spaces 6
submastering 177
supercardioid microphones 159
supervising producers 44
surface microphone 165
surround sound 282
surround sound microphones 160, 162
sweetening 240
swinging swivel chairs 199
switcher operation: advanced controls for 219; automatic transitions in 215–16; digital effects 217–18; DVE effects 219; DVE transitions 218–19; fader movement 215; overview of 214–15; performing dissolves 215; special effects 216–17; wipe transition in 216
switchers: advanced 208; and air monitors 206; automated 219, 221; buses 208–9, 215; commands for 221–3; computer-based 207; control room 5; design of 205–12, 214; downstream effects 212, 214; functions of 205; importance of 205; keys 210–11; mix buses 211–12; pattern controls 216; portable 207; production 214; routing 207; and technical directors 32, 219, 221–3; wipes 209–10
swivel bolt 148
symmetrical balance 123
sync generator 227
talent 4; and associate directors 24; directing 95; fictional 36; for field production 270; movement of 202; nonfictional 36; and stage managers 25; unwanted 270
talent swallower 199
talent timing cues 82
talk shows: angle of elevation in 123; audio 163–5; blocking 76; casting 51, 57; directing 83–4, 84, 88–9, 93–5; editing 34, 251; lighting 133, 141, 144–5, 145, 148, 153; medium shots (MS) in 120; prompters for 28; scripts for 37, 61; sets 195–6, 196, 199–200
tally light 111
technical directors 19; commands for 83, 221–3; duties of 32, 36; and video switchers 32, 219, 221–3
technical rehearsals 78
telephoto lens 104
teleplays 64
TelePrompters 28
television: advertisements for 13; color 14; digital technology 14; early history of 12–14; film cameras 13; formats for 100; live camera 13–14; portable camcorders 14; recording 14
television control room 5
terabytes 11
test patterns 86
Texaco Star Theater 12
texture 133
three-dimensional (3D) production 109
three-point lighting 272–3; additional light sources for 144; backlight 140, 143; balanced 144; example of 142; fill light 140, 142–3, 143; key light 140–3; kicker 144; ratios 143
three-to-one cutting ratio 90
three-to-one rule 181
timbre 158
time code burn-in 242
time code generator 227
time code reader 227
timing: body time 82–3; program time 82–3; talent cues 82; and timing sheets 81–2
tips 170
Toland, Gregg 130
Toland ASC Digital Assistant app 130
tone 86
tone generators 178
transcoding 244
transitions: cuts 92, 208; defocus 93; digital effects 93; dissolves 92–3; fades 93; timing of 93–4; wipe 93
transparent signals 226
treble sounds 158
triangular lighting 140
TriCaster 460 207
trim 175
trimming 245
trimming lights 153
trucking 118
tungsten-halogen lamps 136
ultracardioid microphones 159
unbalanced cables 170
unidirectional microphones 159
uninterrupted rehearsals 80
unit production managers 34, 44
USB connectors 170
USB flash drives 232
U.S. Copyright Office 55
variable bit rate (VBR) 237
variable spotlights 138
vertical sync pulse 226
video cameras: controls for 111–14; drones 119–20; field of view 120–1; formats for 100–2; functions of 99; handheld 119; lens characteristics 104–11; mounting and movement 115–19; picture composition 121–6; production techniques 126; robotic 119; scanning process 100–2; three-dimensional (3D) production 109; video color in 102–4; virtual reality 109–10, 110; zoom lens 104, 106, 110–11; see also cameras
video description 68
video effects 35
video encoding and compression 228
video file viewing 235
video formats: aspect ratios 11, 101–2; ATSC 11, 100–2; HDTV 102; NTSC 11, 100, 102; standards for 101
video industry 16
video monitors 206
video production: changes in 1–2; control functions of 8–10; daily hire workers 16; digital technology in 1–2, 14–16; disciplines in 17, 19; and early television 12–14; employment in 17; freelance workers 16; history of 12; portable equipment 14; production houses 16; recorded and edited video 14; techniques in 17, 19; types of 2–3
video recording and playback: component signals 228; composite signals 228; containers 231; control components 227; diagnostic components 227; and digital technology 225; downloading video 235; encoding and compression 228–31, 235–7; encoding parameters 235; for field production 278–9; for multiple devices 235; procedures for 279; setup and connections 278; storage technologies 231–3; streaming video 235; time codes 226–7; video servers 233–5; and video signals 226; and video storage 226
video servers 5, 189, 211, 225, 233–5
video signals 226
video storage 226
video switchers see switchers
videotape operator 33
videotape recorders (VTR) 14–15, 15
videotape technology 14
visual directness 37
visual effects supervisor 35
visualization 71
vocal directness 37
walk-through 78
waveform monitor 10, 227–8, 228, 245
waveforms 9
wildtrack sound 277
wipe transition 216
wireless microphones 162–3, 163, 166
wranglers 35
writers 58
yoke bolt (Y-bolt) 148