- Cover
- Half Title
- Title Page
- Copyright Page
- Table of Contents
- Acknowledgments
- Introduction
- Chapter 1 Overview of Video Production
- 1.1 What Is Video Production?
- 1.2 Defining the New Media
- 1.3 Understanding the Field of Video Production
- 1.4 Remember the Purpose
- 1.5 Is There a Right Way?
- 1.6 The Production Approach
- 1.7 Equipment
- 1.8 It’s Designed for You
- 1.9 Learning Basics
- 1.10 What Equipment Is Needed?
- 1.11 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 Boom Operator or Audio Assistant
- 2.16 Engineer
- 2.17 Writer
- 2.18 Editor
- 2.19 Set Designer
- Professional Crew
- 2.20 Freelance Crew
- 2.21 Below-the-Line/Above-the-Line
- 2.22 The Structure of a Video Production Crew
- 2.23 What Do You Wear?
- 2.24 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 Issue of Quality
- 3.5 “Bigger and Better”
- The Production Process
- 3.6 It All Starts with an Idea (Concept)
- 3.7 Goals and Objectives
- 3.8 Determining Your Audience
- 3.9 Research
- 3.10 Covering the Subject
- 3.11 Production Methods
- 3.12 The Empirical Approach
- 3.13 The Planned Approach
- 3.14 Storyboards
- 3.15 Why Plan?
- 3.16 The Three Stages of Production
- 3.17 Coverage
- 3.18 Building a Production Outline
- 3.19 Broad Treatment
- 3.20 Production Research
- 3.21 Remote Surveys (Recce)
- 3.22 Freedom to Plan
- 3.23 Single-Camera Shooting
- 3.24 Multicamera Shooting
- 3.25 Budgeting
- 3.26 Copyrights
- 3.27 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 How Do You Visualize Something That Does Not Exist? .
- Interview: Scott Rogers, Sports Producer
- Chapter 5 Writing for Video
- Chapter 6 Directing
- 6.1 The Director
- 6.2 Selective Techniques
- 6.3 Communication
- 6.4 Guiding the Viewer Through the Scene
- 6.5 Organizing the Angles
- 6.6 Visual Variety
- 6.7 Focusing Audience Attention
- 6.8 Shooting Controlled Action
- 6.9 Segmented Shooting with a Single Camera
- 6.10 Multicamera Techniques
- 6.11 Directing Talent
- Interview: Doug Smart, Director
- Chapter 7 The Camera
- 7.1 A Variety of Cameras
- 7.2 Cameracraft
- Camera Features
- 7.3 Main Camera Features
- 7.4 Lenses
- 7.5 Focal Length and Lens Angle
- 7.6 The Prime lens or Fixed Lens
- 7.7 The Zoom Lens
- 7.8 The Aperture of the Lens
- 7.9 Lens Accessories
- 7.10 The Image Sensor
- 7.11 Gain: Sensor Sensitivity
- 7.12 The Viewfinder
- 7.13 Audio
- Controlling the Camera
- 7.14 Handling the Camera
- 7.15 Supporting the Camera
- 7.16 Handheld Cameras
- 7.17 The Pan Head (Panning Head or Tripod Head)...
- 7.18 Using a Tripod
- 7.19 The Monopod
- 7.20 Jib Arms
- 7.21 Camera Slider
- 7.22 Specialty Camera Mounts
- 7.23 Camera Care
- Interview: Keith Brown, Videographer
- Chapter 8 Using the Camera
- 8.1 Just Point and Shoot
- 8.2 Shooting For the Screen
- 8.3 What Is the Best Shot?
- 8.4 Why Move the Camera?
- 8.5 Focusing
- 8.6 Depth of Field
- 8.7 Using Focus to Communicate
- 8.8 Focus Issues?
- Exposure
- 8.9 What Is “Exposure”?
- 8.10 Underexposure and Overexposure
- 8.11 Automatic Exposure
- 8.12 Exposure: Graduated Filters
- 8.13 Crossing the Line
- The Moving Camera
- 8.14 Following Moving Subjects
- 8.15 Framing Movement .
- Camera Moves
- 8.16 Moving Camera Mounts
- 8.17 Walking
- 8.18 Shooting from Vehicles
- The Basics of Shooting
- 8.19 Selecting the Right Shots
- 8.20 Persuasive Shots
- Composing Pictures
- 8.21 Composition Rules and Guidelines
- 8.22 Shots That Are Different
- 8.23 Watch the Background
- 8.24 The Rule of Thirds
- 8.25 Shooting from Different Angles
- 8.26 Showing Scale
- 8.27 Framing the Subject
- 8.28 Leading Lines
- 8.29 Headroom
- 8.30 Changing the Perspective
- 8.31 Distortions
- Lens Filters
- 8.32 What Does a Filter Do?
- Anticipating Editing
- 8.33 Continuity
- 8.34 Shooting to Improve Editing
- Interview: Nathan White: Videographer
- Chapter 9 Shooting People and Objects
- Shooting People
- 9.1 The Single Person
- 9.2 Arranging People Shots
- 9.3 Effective Shots
- 9.4 Selecting the Right Shot
- 9.5 Single-Camera Interviews
- 9.6 Editing Continuous Interviews
- 9.7 Shooting Groups
- 9.8 Car Interviews
- 9.9 Walking Interviews
- Shooting Instructional Productions
- 9.10 Typical Instructional Productions
- 9.11 Approaches to Instruction
- 9.12 Advance Planning
- 9.13 Creating the Instructional Program
- 9.14 Shooting Objects
- Interview: Sarah Hogencamp, Director/Videographer.
- Chapter 10 Working with the Talent
- 10.1 Talent
- 10.2 Talent and Production Styles
- 10.3 The Interview: Go Beyond the Obvious
- 10.4 Selecting Talent
- 10.5 Inexperienced Talent
- The Actor’s Craft
- 10.6 The Host
- 10.7 The Off-Camera Host
- 10.8 Presenting the Information
- 10.9 Importance of People in the Scene
- 10.10 Safety
- Interview: Kristin Ross Lauterbach, Director
- Chapter 11 Audio for Video
- 11.1 The Essential Component
- 11.2 The Nature of Sound
- 11.3 Acoustics
- 11.4 Mono Sound
- 11.5 Stereo Sound
- 11.6 Surround Sound
- Microphones
- 11.7 It Begins with the Microphone
- 11.8 Directional Features
- 11.9 Dynamic and Condenser Microphones
- Types Of Microphones
- 11.10 Camera Microphones
- 11.11 The Handheld Microphone
- 11.12 The Shotgun Microphone
- 11.13 Lavalier (Lapel or Clip-on Mic) Microphones
- 11.14 Boundary or PZM Microphone
- 11.15 Hanging Microphone
- 11.16 Surround Sound Microphone
- 11.17 Wireless Microphone
- 11.18 Hidden Mics
- 11.19 Microphone Stands and Mounts
- Controlling Audio
- 11.20 Automatic Gain Control (AGC) for Audio
- 11.21 Manual Control
- 11.22 Monitoring the Audio
- 11.23 The Audio Mixer
- 11.24 Using the Audio Mixer
- 11.25 Preparing for Audio
- Production Sounds
- 11.26 Natural Sound
- 11.27 Program Music
- 11.28 Sound Effects
- Interview: Noel Dannemiller, Sound Mixer
- Chapter 12 Lighting for Video
- 12.1 Lighting the Scene
- 12.2 Lighting Options
- 12.3 Existing Light
- 12.4 The Camera Does Not Compensate
- 12.5 The Key Factors
- 12.6 If There Is Not Enough Light
- 12.7 If There Is Too Much Light
- 12.8 The LED Light
- 12.9 The Spotlight (Hard Light)
- 12.10 The Floodlight (Soft Light)
- 12.11 Lighting Contrast
- 12.12 Three-Point Lighting
- 12.13 Color Temperature Compensation
- 12.14 Shooting in Daylight
- 12.15 Using Reflectors
- 12.16 Bounce Light
- Lightweight Light Supports
- 12.17 Grip Clamps
- 12.18 Light Stands
- Lighting Instruments
- 12.19 Camera Light
- 12.20 Soft Light Panel
- 12.21 Cyc Lights
- 12.22 Fresnel Spotlights
- 12.23 Small Portable Spotlights
- 12.24 Flexible Mat Lighting
- Interview: Tommy Brown, Lighting
- Chapter 13 The Background
- 13.1 The Importance of the Background
- 13.2 Real and Unreal Backgrounds
- 13.3 Set Components
- 13.4 The Neutral Background
- 13.5 Economical Sets
- 13.6 Semipermanent Sets
- 13.7 Chroma-Key Sets
- 13.8 Virtual Sets
- 13.9 Outside/Back-Lot Sets
- 13.10 The Location
- 13.11 Watch the Background
- 13.12 Foreground Pieces
- 13.13 Versions of “Reality”
- 13.14 What Can We Do About the Background?
- 13.15 Rearranging the Background
- 13.16 Partial Settings
- 13.17 Typical Examples of Partial Settings
- 13.18 Facing Reality
- Interview: John DeCuir, Jr., Production Designer.
- Chapter 14 Television Graphics
- Chapter 15 Recording the Video
- The Video Image
- 15.1 High-Definition Television (HDTV or HD)
- 15.2 4K Television
- 15.3 8K Television
- Video Recording Media
- 15.4 Videotape
- 15.5 Flash Memory
- 15.6 Hard Disk Drive (HDD) (Internal Hard Drive)
- 15.7 External Camera Hard Drives
- 15.8 Hard Drive Server Recorders
- 15.9 XDCAM Disk
- 15.10 Recording Media Care
- 15.11 Video Recording Suggestions
- Interview: Ryan Hammer, Atlas Digital
- Chapter 16 Editing
- 16.1 Editing Goals
- 16.2 Shooting Order versus Running Order
- 16.3 Editing Video and Audio
- 16.4 Logging
- 16.5 An Overview of the Nonlinear Process
- 16.6 Editing Equipment
- 16.7 Organization
- Editing the Project
- 16.8 Editing Begins
- 16.9 Selecting the Shots
- 16.10 The Order of Shots
- 16.11 Where Should the Edits Be Made?
- 16.12 Transitions
- 16.13 Continuity
- 16.14 Good Editing Techniques
- 16.15 Anticipating Editing
- Interview: Brock Smith, Editor
- Chapter 17 Distributing Your Production
- Glossary
- Index
Video Production Handbook
Sixth Edition
Jim Owens
Asbury University
-
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