Video Production Handbook, Fourth Edition

VIDEO PRODUCTION HANDBOOK......Page 4
COPYRIGHT PAGE......Page 5
CONTENTS......Page 6
ACKNOWLEDGMENTS......Page 16
INTRODUCTION......Page 18
1.1 What is video production?......Page 22
1.4 Learning basics......Page 24
1.6 Equipment......Page 25
1.7 What equipment is needed?......Page 27
1.8 Is there a right way?......Page 28
1.9 The production approach......Page 29
1.10 Equipment performance......Page 30
VIDEO PRODUCTION CREW JOB DESCRIPTIONS......Page 32
2.4 Director......Page 33
2.6 Floor manager (FM) or stage manager (SM)......Page 34
2.10 Graphic designer/operator......Page 35
2.12 Camera operator......Page 36
2.13 Camera assistant......Page 37
2.15 Boom operator or audio assistant......Page 38
2.19 Set designer......Page 39
2.22 The structure of a video production crew......Page 40
CHAPTER 3 Organizing the production......Page 42
3.2 Shot selection......Page 43
3.3 The problem of familiarity......Page 44
3.6 Communication can be elusive......Page 47
3.8 Goals and objectives......Page 48
3.9 Target audience......Page 49
3.10 Research......Page 51
3.11 Covering the subject......Page 52
3.14 The planned approach......Page 53
3.15 Storyboards......Page 55
3.17 The three stages of production......Page 58
3.20 Broad treatment......Page 59
3.21 Production research......Page 60
3.22 Remote surveys (recce)......Page 62
3.23 Freedom to plan......Page 64
3.24 Single camera shooting......Page 66
3.25 Multicamera shooting......Page 67
3.27 Contracts......Page 68
CHAPTER 4 Production techniques......Page 70
4.1 Single- and multicamera production......Page 71
4.3 Multicamera production without a switcher......Page 77
4.4 The illusion of reality......Page 78
4.6 The camera as an observer......Page 81
4.7 The persuasive camera......Page 82
4.10 How do you visualize something that does not exist?......Page 83
CHAPTER 5 Writing for video......Page 86
5.2 Is a script needed?......Page 87
5.3 Basic script formats......Page 88
5.4 The full script......Page 89
5.7 Be visual......Page 92
5.9 Relative pace......Page 93
5.10 Style......Page 94
CHAPTER 6 The camera......Page 100
6.1 A range of models......Page 101
6.2 Cameracraft......Page 102
6.3 Main features......Page 105
6.5 Focal length and lens angle......Page 108
6.6 The prime lens......Page 109
6.7 The zoom lens......Page 110
6.9 The aperture of the camera......Page 112
6.10 Lens accessories......Page 114
6.11 The image sensor......Page 115
6.13 The viewfinder......Page 116
6.14 Indicators......Page 117
6.15 Audio......Page 118
6.17 Handling the camera......Page 120
6.19 Handheld cameras......Page 122
6.21 The pan head (panning head or tripod head)......Page 123
6.22 Using a tripod......Page 124
6.24 The pedestal......Page 126
6.25 Jib arms......Page 127
6.26 Specialty camera mounts......Page 128
6.27 Handling care......Page 129
CHAPTER 7 Using the camera......Page 132
7.2 What gets on the screen?......Page 133
7.3 How close should you get?......Page 134
7.4 How much can we see?......Page 136
7.5 Lens angles......Page 137
7.6 So why move around?......Page 139
CONTROLLING THE ZOOM......Page 142
7.8 Focusing......Page 144
7.9 Auto-focus......Page 145
7.10 Depth of field......Page 146
7.12 Difficult to focus?......Page 148
7.13 Prefocusing the zoom lens......Page 149
7.14 What is "exposure"?......Page 150
7.16 Automatic exposure......Page 153
7.17 Camera adjustments......Page 155
7.18 Practical solutions......Page 156
7.19 Panning and tilting......Page 158
7.20 Following moving subjects......Page 159
7.22 Walking......Page 160
7.24 Practical conditions......Page 162
7.26 Persuasive shots......Page 163
7.27 Guiding the viewer through the scene......Page 164
7.28 Clutter......Page 165
7.30 Composition rules and guidelines......Page 166
7.32 "Dull" is in the mind......Page 167
7.34 Fitting the frame......Page 168
7.35 Dividing the image into thirds......Page 170
7.37 Showing scale......Page 171
7.38 Framing the subject......Page 172
7.40 Headroom......Page 173
7.41 Good balance......Page 174
7.44 Camera viewpoint......Page 175
7.46 Continuity......Page 176
7.47 Improving editing flexibility......Page 177
7.48 What does a filter do?......Page 178
7.49 Crossing the line......Page 179
8.1 The single person......Page 182
8.3 Effective shots......Page 184
8.4 Selecting the right shot......Page 187
8.5 Single-camera interviews......Page 188
8.6 Editing continuous interviews......Page 190
8.7 Shooting groups......Page 191
8.8 Car interviews......Page 193
8.9 Walking interviews......Page 194
8.11 Approaches to instruction......Page 197
8.12 Advance planning......Page 198
8.13 Creating the instructional program......Page 199
8.14 Shooting objects......Page 200
9.1 Talent......Page 202
9.2 Talent and production styles......Page 204
9.4 Selecting talent......Page 207
9.5 Inexperienced talent......Page 208
9.7 When there are problems......Page 209
9.8 Presenting the information......Page 210
9.9 Importance of people in the scene......Page 211
CHAPTER 10 Audio for video......Page 214
10.1 The essential component......Page 215
10.2 The nature of sound......Page 216
10.3 Acoustics......Page 217
10.4 Mono sound......Page 219
10.6 Surround sound......Page 220
10.8 Directional features......Page 221
10.9 Popular types of microphone......Page 222
10.10 Camera microphones......Page 223
10.11 The handheld microphone......Page 224
10.12 The shotgun microphone......Page 225
10.13 Using the shotgun microphone......Page 226
10.15 Lavalier (lapel or clip-on mic) microphones......Page 228
10.18 Surround sound microphone......Page 231
10.20 Wireless microphone......Page 233
10.23 Automatic control for audio......Page 235
10.24 Manual control......Page 236
10.25 Monitoring the audio......Page 237
10.26 The audio mixer......Page 238
10.27 Using the audio mixer......Page 239
10.28 Natural sound......Page 240
10.29 Anticipation......Page 241
10.31 Filtered sound......Page 242
10.32 Reverberation......Page 243
10.34 Sound effects......Page 244
CHAPTER 11 Lighting for video......Page 246
11.1 Lighting for everyone......Page 247
11.3 The key factors......Page 248
11.6 If there is too much light......Page 249
11.7 Hard light quality......Page 250
11.8 Soft light quality......Page 252
11.9 Lighting contrast......Page 253
11.10 Three-point lighting......Page 254
11.12 Using colored light......Page 256
11.13 Shooting in daylight......Page 257
11.14 Using reflectors......Page 259
11.16 Do we really need to light it?......Page 260
11.18 Existing light......Page 261
11.20 Light stands......Page 262
11.21 Camera light......Page 264
11.22 Scoop......Page 265
11.24 The portable soft light......Page 266
11.25 Multilamp sources......Page 267
11.27 Fresnel spotlights......Page 268
11.28 The general approach to lighting......Page 269
11.29 Using one light......Page 270
11.30 Using multiple lights......Page 271
CHAPTER 12 The background......Page 274
12.2 The impact of the background......Page 275
12.3 Real and unreal backgrounds......Page 276
12.5 The neutral background......Page 277
12.6 Economical sets......Page 279
12.7 Semipermanent sets......Page 280
12.8 Chroma-key/matting......Page 281
12.9 Virtual sets......Page 283
12.10 Outside/back-lot sets......Page 284
12.12 Watch the background......Page 285
12.14 Foreground pieces......Page 287
12.16 Versions of "reality"......Page 288
12.17 What can we do about the background?......Page 289
12.18 Rearranging the background......Page 290
12.20 Partial settings......Page 291
12.21 Typical examples of partial settings......Page 292
12.22 Facing reality......Page 293
CHAPTER 13 Television graphics......Page 296
13.3 Designing graphics......Page 297
13.5 Graphics equipment......Page 299
RECORDING THE VIDEO......Page 302
14.1 High-definition television (HDTV or HD)......Page 303
14.2 Videotape......Page 304
14.3 Analog and digital......Page 305
14.4 Tape formats......Page 306
14.5 Flash memory......Page 308
14.7 External camera hard drives......Page 309
14.9 Recordable DVD......Page 310
14.11 Recording media care......Page 311
VIEWING THE VIDEO......Page 312
14.14 How the camera sees color......Page 313
14.15 Monitors and receivers......Page 314
CHAPTER 15 Editing......Page 316
15.1 Editing goals......Page 317
15.3 Editing video and audio......Page 318
15.4 Logging......Page 319
15.5 An overview of the nonlinear process......Page 322
15.6 Editing equipment......Page 323
15.9 Selecting required sections......Page 325
15.11 Where should the edits be made?......Page 326
15.12 Transitions......Page 327
15.13 Good continuity......Page 328
15.15 Good editing techniques......Page 329
15.16 Anticipating editing......Page 331
B......Page 334
C......Page 335
D......Page 336
F......Page 337
G......Page 338
L......Page 339
N......Page 340
P......Page 341
R......Page 342
S......Page 343
U......Page 344
Z......Page 345
C......Page 346
H......Page 347
P......Page 348
V......Page 349
Z......Page 350