- Cover
- Full Title
- Copyright
- Contents
- Acknowledgments
- Introduction
- Chapter 2 Production Crew
- 2.1 Production Crew Size
- 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
- 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?
- 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
- 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
- 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?
- Chapter 5 Writing for Video
- Chapter 6 The Camera
- 6.1 A Range of Models
- 6.2 Cameracraft
- 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
- 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
- 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
- 7.14 What Is “Exposure”?
- 7.15 Underexposure and Overexposure
- 7.16 Automatic Exposure
- 7.17 Camera Adjustments
- 7.18 Practical Solutions
- 7.19 Panning and Tilting
- 7.20 Following Moving Subjects
- 7.21 Framing Movement
- 7.22 Walking
- 7.23 Shooting from Vehicles
- 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
- 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
- 7.47 Continuity
- 7.48 Improving Editing Flexibility
- 7.49 What Does a Filter Do?
- 7.50 Crossing the Line
- 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
- 8.10 Typical Instructional Productions
- 8.11 Approaches to Instruction
- 8.12 Advance Planning
- 8.13 Creating the Instructional Program
- 8.14 Shooting Objects
- 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
- 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
- 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
Video Production Handbook
Fifth Edition
Jim Owens
Asbury University
Gerald Millerson
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