Contents
ACKNOWLEDGMENTS
INTRODUCTION
CHAPTER 1 Overview of Video Production
1.1 What is Video Production?
1.2 Defining the New Media
1.3 Distribution
FIRST STEP IN VIDEO PRODUCTION
1.4 Understanding the Field of Video Production
1.5 It’s Designed for You
1.6 Learning Basics
1.7 Remember the Purpose
1.8 Equipment
1.9 What Equipment is Needed?
1.10 Is There a Right Way?
1.11 The Production Approach
TECHNICALITIES
1.12 Equipment Performance
Interview: Ben Brown, Media Executive
CHAPTER 2 Production Crew
2.1 Production Crew Size
VIDEO PRODUCTION CREW JOB DESCRIPTIONS
2.2 Producer
2.3 Assistant Producer or Associate Producer
2.4 Director
2.5 Assistant Director or Associate Director
2.6 Production Assistant
2.7 Floor Manager or Stage Manager
2.8 Technical Director or Vision Mixer
2.9 Makeup Artist
2.10 Graphic Designer/Operator
2.11 Lighting Director/Vision Supervisor
2.12 Videographer/Camera Operator/Photographer
2.13 Camera Assistant
2.14 Audio Mixer/Sound Mixer/Sound Supervisor
2.15 Stereographer
2.16 Boom Operator or Audio Assistant
2.17 Engineer
2.18 Writer
2.19 Editor
2.20 Set Designer
PROFESSIONAL CREW
2.21 Freelance Crew
2.22 Below-the-Line/Above-the-Line
2.23 The Structure of a Video Production Crew
2.24 What Do You Wear?
2.25 What Do You Bring with You?
Interview: Tommy Mitchell, Crewer
CHAPTER 3 Organizing the Production
3.1 Art Conceals Craft
3.2 Shot Selection
3.3 The Problem of Familiarity
3.4 The Problem of Quality
3.5 The Problem of “Bigger and Better”
3.6 Communication Can Be Elusive
3.7 Its All Starts with an Idea (concept)
3.8 Goals and Objectives
3.9 Target Audience
3.10 Research
3.11 Covering the Subject
3.12 Production Methods
3.13 The Empirical Approach
3.14 The Planned Approach
3.15 Storyboards
Analyzing Action
3.16 Why Plan?
3.17 The Three Stages of Production
3.18 Coverage
3.19 Building a Production Outline
3.20 Broad Treatment
3.21 Production Research
3.22 Remote Surveys (RECCE)
3.23 Freedom to Plan
3.24 Single-Camera Shooting
3.25 Multicamera Shooting
3.26 Budgeting
3.27 Copyrights
3.28 Contracts
Interview: DT Slouffman, Producer
CHAPTER 4 Production Techniques
4.1 Single- and Multicamera Production
4.2 Multicamera ISO
4.3 Multicamera Production Without a Switcher
4.4 The Illusion of Reality
4.5 The Camera’s Role
4.6 The Camera as an Observer
4.7 The Persuasive Camera
4.8 Beginning and Ending
4.9 Production Methods
4.10 How Do You Visualize Something that Does Not Exist?
Interview: Scott Rogers, Sports Producer
CHAPTER 5 Writing for Video
5.1 The Script’s Purpose
5.2 Is a Script Needed?
5.3 Basic Script Formats
5.4 The Full Script
TIPS: Tips for Writing Better Dialog: Keeping It Brief
5.5 The Drama Script
5.6 Suggestions on Scriptwriting
5.7 Be Visual
5.8 Assimilation
5.9 Relative Pace
5.10 Style
5.11 Tips on Developing the Script
Interview: Robyn Sjogren, Writer
CHAPTER 6 The Camera
6.1 A Range of Models
6.2 Cameracraft
CAMERA FEATURES
6.3 Main Features
6.4 The Lens System
6.5 Focal Length and Lens Angle
6.6 The Prime Lens
6.7 The Zoom Lens
6.8 Zoom Lens Remote Controls
6.9 The Aperture of the Camera
6.10 Lens Accessories
6.11 The Image Sensor
6.12 Sensitivity
6.13 The Viewfinder
6.14 Indicators
6.15 Audio
6.16 Power
CONTROLLING THE CAMERA
6.17 Handling the Camera
6.18 Supporting the Camera
6.19 Handheld Cameras
6.20 The Monopod
6.21 The Pan Head (Panning Head or Tripod Head)
6.22 Using a Tripod
6.23 The Rolling Tripod/Tripod Dolly
6.24 The Pedestal
6.25 Gorillapod
6.26 Beanbag
6.27 Jib Arms
6.28 Specialty Camera Mounts
6.29 Handling Care
Interview: Keith Brown, Videographer
CHAPTER 7 Using the Camera
7.1 Just Point and Shoot
7.2 What Gets on the Screen?
7.3 How Close Should You Get?
7.4 How Much Can We See?
7.5 Lens Angles
7.6 So Why Move Around?
7.7 The Zooming Process
7.8 Focusing
7.9 Auto-Focus
7.10 Depth of Field
7.11 Maximum Sharpness?
7.12 Difficult to Focus?
7.13 Prefocusing the Zoom Lens
EXPOSURE
7.14 What Is “Exposure”?
7.15 Underexposure and Overexposure
7.16 Automatic Exposure
7.17 Camera Adjustments
7.18 Practical Solutions
HANDLING THE CAMERA
7.19 Panning and Tilting
7.20 Following Moving Subjects
7.21 Framing Movement
7.22 Walking
7.23 Shooting from Vehicles
THE BASICS OF SHOOTING
7.24 Practical Conditions
7.25 Selecting the Right Shots
7.26 Persuasive Shots
7.27 Guiding the Viewer Through the Scene
7.28 Clutter
7.29 I Can’t See It Properly
COMPOSING PICTURES
7.30 Composition Rules and Guidelines
7.31 The Brief Shot
7.32 “Boring” Is in the Mind
7.33 Shots That Are Different
7.34 Fitting the Frame
7.35 Watch the Background
7.36 Dividing the Image into Thirds
7.37 Shooting from Different Angles
7.38 Showing Scale
7.39 Framing the Subject
7.40 Leading Lines
7.41 Headroom
7.42 Good Balance
7.43 Changing the Perspective
7.44 Grouping (Unity)
7.45 Camera Viewpoint
7.46 Distortions
ANTICIPATING EDITING
7.47 Continuity
7.48 Improving Editing Flexibility
MORE SHOOTING TIPS
7.49 What Does a Filter Do?
7.50 Crossing the Line
Interview: Nathan White: Videographer
CHAPTER 8 Shooting People and Objects
SHOOTING PEOPLE
8.1 The Single Person
8.2 Arranging People Shots
8.3 Effective Shots
8.4 Selecting the Right Shot
8.5 Single-Camera Interviews
8.6 Editing Continuous Interviews
8.7 Shooting Groups
8.8 Car Interviews
8.9 Walking Interviews
SHOOTING INSTRUCTIONAL PRODUCTIONS
8.10 Typical Instructional Productions
8.11 Approaches to Instruction
8.12 Advance Planning
8.13 Creating the Instructional Program
8.14 Shooting Objects
Interview: Sarah Leckie, Director/Videographer
CHAPTER 9 Working with the Talent
9.1 Talent
9.2 Talent and Production Styles
9.3 The Interview: Go Beyond the Obvious
9.4 Selecting Talent
9.5 Inexperienced Talent
9.6 The Host
9.7 The Off-Camera Host
9.8 Presenting the Information
9.9 Importance of People in the Scene
9.10 Safety
Interview: Kristin Ross Lauterbach, Director
CHAPTER 10 Audio for Video
10.1 The Essential Component
10.2 The Nature of Sound
10.3 Acoustics
10.4 Mono Sound
10.5 Stereo Sound
10.6 Surround Sound
10.7 Microphone Care
10.8 Directional Features
10.9 Popular Types of Microphones
SUPPORTING THE MICROPHONE
10.10 Camera Microphones
10.11 The Handheld Microphone
10.12 The Shotgun Microphone
10.13 Using the Shotgun Microphone
10.14 The Shotgun and the Boom Pole (Fishpole)
10.15 Lavalier (Lapel or Clip-on Mic) Microphones
10.16 Boundary or PZM Microphone
10.17 Hanging Microphone
10.18 Surround Sound Microphone
10.19 Microphone Stands and Mounts
10.20 Wireless Microphone
10.21 Hidden Mics
CONTROLLING DYNAMICS
10.22 Dynamic Range
10.23 Automatic Gain Control (AGC) for Audio
10.24 Manual Control
10.25 Monitoring the Audio
10.26 The Audio Mixer
10.27 Using the Audio Mixer
10.28 Natural Sound
10.29 Anticipation
10.30 Anticipating Sound Editing
10.31 Filtered Sound
10.32 Reverberation
10.33 Program Music
10.34 Sound Effects
Interview: Noel Dannemiller, Sound Mixer
CHAPTER 11 Lighting for Video
11.1 Lighting the Scene
11.2 The Camera Does Not Compensate
11.3 The Key Factors
11.4 The Light’s Intensity
11.5 If There Is Not Enough Light
11.6 If There Is TooMuch Light
11.7 Hard Light Quality (Spotlight)
11.8 Soft Light Quality (Floodlight)
11.9 Lighting Contrast
11.10 Three-Point Lighting
11.11 Color Temperature Compensation
11.12 Using Colored Light
11.13 Shooting in Daylight
11.14 Using Reflectors
11.15 Bounce Light
11.16 Do We Really Need to Light it?
11.17 Lighting Options
11.18 Existing Light
LIGHTWEIGHT LIGHT SUPPORTS
11.19 Grip Clamps
11.20 Light Stands
LIGHTING INSTRUMENTS
11.21 Camera Light
11.22 Scoop
11.23 Broad
11.24 The Portable Soft Light
11.25 Multilamp Sources
11.26 Open Face Adjustable Light
11.27 Fresnel Spotlights
PRACTICAL LIGHTING
11.28 The General Approach to Lighting
11.29 Using One Light
11.30 Using Multiple Lights
Interview: Tommy Brown, Lighting
CHAPTER 12 The Background
12.1 The Importance of the Background
12.2 The Impact of the Background
12.3 Real and Unreal Backgrounds
12.4 Set Components
12.5 Set Design for 16:9
12.6 The Neutral Background
12.7 Economical Sets
12.8 Semipermanent Sets
12.9 Chroma-Key
12.10 Virtual Sets
12.11 Outside/Back-Lot Sets
12.12 The Location
12.13 Watch the Background
12.14 Foreground Pieces
12.15 Versions of “Reality”
12.16 What Can We Do About the Background?
12.17 Rearranging the Background
12.18 Partial Settings
12.19 Typical Examples of Partial Settings
12.20 Facing Reality
Interview: John DeCuir, Designer
CHAPTER 13 Television Graphics
13.1 The Goals of Television Graphics
13.2 Types of Graphics
13.3 Designing Graphics
13.4 Animated Graphics
13.5 Backgrounds for Graphics
13.6 Graphics Equipment
Interview: Lou Moore, Graphic Operator
CHAPTER 14 Recording and Viewing the Video
THE VIDEO IMAGE
14.1 High-Definition Television (HDTV or HD)
14.2 Videotape
14.3 Analog and Digital
14.4 Tape Formats
14.5 Flash Memory
14.6 Hard Disk Drive (HDD) (Internal Hard Drive)
14.7 External Camera Hard Drives
14.8 Hard Drive Server Recorders
14.9 Recordable DVD
14.10 XDCAM Disk
14.11 Recording Media Care
14.12 Video Recording Suggestions
VIEWING THE VIDEO
14.13 How We See Color
14.14 How the Camera Sees Color
14.15 Monitors and Receivers
Interview: Ryan Hammer, Atlast Digital
CHAPTER 15 Editing
15.1 Editing Goals
15.2 Shooting Order Versus Running Order
15.3 Editing Video and Audio
15.4 Logging
15.5 An Overview of the Nonlinear Process
15.6 Editing Equipment
15.7 Organization
15.8 Editing Begins
15.9 Selecting Required Sections
15.10 The Order of Shots
15.11 Where Should the Edits Be Made?
SPECIAL EFFECTS
15.12 Transitions
15.13 Good Continuity
15.14 Editing Priorities
15.15 Good Editing Techniques
START HERE
15.16 Anticipating Editing
Interview: Brock Smith, Editor
CHAPTER 16 Distributing Your Production
16.1 Traditional Broadcast Distribution
16.2 Traditional Non-Broadcast Distribution (Usually Referred to as Video)
16.3 Distributing Hard Copies of the Production
16.4 Online Distribution
16.5 Live Online Distribution
16.6 IPTV
16.7 Festivals and Competitions
Interview: Chad Crouch: CEO, The Creative Group
GLOSSARY
INDEX
