Index
Page numbers in italic indicate a figure.
action areas, lighting 35
additive primary colors 46
Advanced Television System Committee (ATSC) standards 50, 52
aesthetic and technical considerations 116–18
aesthetic elements of production 5, 136–46, 146
Amazon 213
ambient sound 94
analog and digital audio levels 87
analog video signals 50
aperture control 65; depth of field and 66–7, 68
arc movement 69
A-roll 192
aspect ratio 202
associate directors (AD) 14
associate producers 109
audio: background 138; digital 88–93; versus sound 72, 73; for the web 218–19
audio boards 12
audiovisual semantics 118, 119
audiovisual syntax 118
augmenting existing light in the field 37
automatic focus 64
background shadows 35
back lights 34
balance, white and black 22, 56
balanced and unbalanced lines 82–3
bandwidth 217
barn doors 30
base illumination 33
baselights 19
bayonet connectors 71
beauty shots 198
bit rate 90
black balance 56
blocking 148
blue gels 37
body packs 78
booms, microphone 82
brainstorming 113
brightness editing 195
B-roll video 192
budgets, production 118, 124, 125–6
built sets 208
cablecast 8
camcorders 17; cameras versus 41–2; one-piece 43
camera control units (CCU) 12, 47, 47
camera heads 44
camera mounts 28
camera operators 15; single-camera field production 17
cameras, video: camera control units (CCU) 12, 47, 47; configurations of 41–4; consumer 41; convertible studio/field cameras 43–4, 43; equipment quality and target markets for 41; fixed focal length lenses 48–50; lenses of 48; movement of 67–9; operational controls on 54–8; operation of 69–70; parts of 44–50, 47; professional/broadcast 41; studio configuration 42–3; supports and mounts for 58–61; zoom lenses 48, 61–6
camera setup 16
camera shading 16
camera shot sheets 152
caps, lens 66
capturing of audio files 92
cardioid pickup patterns 75
cast and crew 149; selection 125; working with 136
cathode ray tubes (CRT) 49
center of interest 202
character generators (CG) 12, 204
characters 199
charge coupled devices (CCD) 45, 45
chroma key backgrounds, lighting for 35–6
chrominance 54
cinema verité 167
clarity 201
clipper control 104
clips and bins 176
clustering 113
codecs 88
color: and brightness 204; editing 195
color bars/camera switches 54, 55
color correction filters 54–6, 56
colorizers 100
color temperature 21–2; taking control of 37
color video signal monitoring 54
complementary angles 188
completely metal oxide semiconductor (CMOS) chips 45–6, 45
composited images 35
composition, visual 143–5, 146
compression, digital file 88, 170
computer-generated graphics 204–6
computer tablets 43; audio recording capabilities 93
conceptualization of ideas 114
conflict and change in storytelling 199
connectors: sound 82–3; video 70
consumer equipment 41
container format in streaming video 221, 221
content delivery network (CDN) 216
continuity 114–15, 137; of action 139; and dynamic editing 187–90, 191; lighting 138; performance 139; sound 138; visual 137
control in single-camera field production 17, 18
convertible studio/field cameras 43, 43
copyright 128
counters, tape 173
covering the action 161
creative problem solving 6
crossfades 194
cube effect 107
cuts 100
cycles per second (CPS) in frequency 74
cycloramas 9
decibels 73
depth, illusion of 139
design: principles of 201–2; sound 93–5
desk stands, microphone 81
dial-up modems 217
dichroic filters 37
digital audio 88–93; file formats for 90; recorders for 93; workstations for 91–3
digital audio tape (DAT) recorders 93
digital multiplex (DMX) 32
digital nonlinear editing 18, 174–82
digital recording technologies 169–70
digital still store (DSS) 108
digital video effects (DVE) 106–8, 106–7
digital video recording systems 170–4
digital zoom 62
digitizing 182
direct cinema 167
directional continuity 137
directors 14; aesthetics of production and 136–46, 146; calls 153; commands 154; as creative leader 133–4; directing multiple cameras 148–59; directing single-camera productions 160–8; factors that influence role of 133; knowledge of production technology 134; in multi-camera production versus single-camera production 133; as production managers 134; responsibilities during the preproduction process 134–6; role during production 147; role in postproduction 168; role of 132–4
distribution switchers 96
download and play approach 214–15
downstream keys 106
drop-frame code 181
DSL (digital subscriber line) 217
DVD (digital versatile discs) 172
dynamic editing and continuity 187–90, 191
dynamic range 90
edit decision list (EDL) 179
editing: continuity and dynamic 187–90, 191; definition of 183; dynamic 187–90, 191; postproduction 186–7; problems in multicamera 185–6; techniques 183–7; video clip 162; voice driven pieces 191–6
editing VCR 174
editing window 176
editors 110
electric condenser microphones 76–7
electronic field production (EFP) 16, 48, 48
electronic news gathering (ENG) 16
ellipsoidal spotlights 25, 26, 26
encoding 220
equalization (EQ) controls 85
essential areas 203
essential details, shooting 161
establishing shots 161, 187, 187
ethernet connections 71
evaluation, production 118, 130–1
extreme close-up (XCU) 143, 144
extreme long shot (XLS) 143, 144
eyepiece viewfinders 49
facilities and equipment selection 136
fader bars 100
feasibility of ideas 115
field cameras 43; operation of 69–70
field lighting principles 37–9
field production 4; aperture control for 67; environment 16–18, 18; light mounts 28; open-faced portable instruments for 27–8
fields 51
file formats, digital 90
fill lights 34
filters 31
filter wheels 55
firewires 71
fit-to-fill edits 176
fixed beam versus variable beam instruments 24–5
fixed focal length lenses 48–50
flags 30
flash memory 171
floodlights 24, 25; fluorescent and/or LED 27; parabolic 26, 31
floor directors 15
floor plans 15
floor stands, microphone 81
fluid heads 68
fluorescent floodlights 27
focal length and zoom ratio 62
focus, camera 15; zoom lens 63–4
focus groups 114
focus ring 63
foot-candles 19
formative evaluation 131
frame rates 220
frame store 108
frame synchronizers 97
framing 143, 152; correction of errors in 196
frequency response 77
friction heads 68
gain (loudness) 84
gain boost/sensitivity 56
graphics 194, 200; basic factors in design of 202–4; guiding principles of design and 201–2; integrated into video productions 206–7; production processes and sources of 204–6; set design 207–11
graphics, animation, and special effects 18
green rooms 13
hand-held cameras: movement of 69; supports for 29, 29
hand-held microphones 78
handles 178
hanging microphones 81
HDMI cables 71
headphones 85
headroom 145
height in plane 141
hertz (Hz) 74
high definition television (HDTV) 50–4
high dynamic range (HDR) 21
high key lighting 35
hook, story 197
hot spots 20
HTTP protocols 215
hue 54
hydragyrum medium arc-length iodide (HMI) 24
hyperlinks 215
image expansion 108
impedance, microphone 77
incandescent lamps 21
indoor interviews, lighting for 38
interactive television (ITV) 110
interlaced scanning 51, 52, 53
Internet television 213
interposition 140
interruptible feedback (IFB) devices 13
interviewees, identification of 192
interview floor plans 152
inverse square rule 33
layering, sound 194
lead, story 197
leader sequences 180
LED see light emitting diodes (LED)
legal matters in preproduction 128, 129–30
lenses, camera 48; caps 66; flares 66; hoods 66; macro 66; wide-angle 162; zoom 48, 61–6
letterboxes 202
light battens 30
light emitting diodes (LED) 23; color temperature and 37; displays 49; floodlights 27
lighting: baselight 19–20; basic concepts of 19–22; color temperature 21–2; common instruments for 24–8; continuity of 138; contrast range 20–1; modification and control of 21, 30–3; mood and effect 35; mounts for 28–30; planning for 40; principles of field 37–9; principles of studio 33–6; quality of light 22; safety with 39–40; types of lamps for 22–4
lighting action areas 35
lighting boards 12
lighting directors 15; single-camera field production 17
lighting plots 40
light mounts 28
light source control 21–2, 30–3
linear editing 182
linear videotape editing 174
line producers 109
liquid crystal displays (LCD) 49
live automated newscasts 156, 159–60, 159–60
live streaming 215
lossless compression 88
lossy compression 88
lower-third keyed titles 192, 204
low key lighting 35
lumens 19
luminance 54
luminance keys 104
macro lenses 66
macro levers 66
magnetic stripes on films 192
makeup and dressing rooms 13
manual versus programmable switchers 97–8
master control operators 16
master gain controls 84
master shots 184
measurement of light intensity 19
media transport controls 172–3
medium close-up (MCU) 143, 144
memory sticks 171
meters 173
microphone proximity effect 79
microphones 74–5; hand-held 79; hanging 81; impedance 77; lavaliere 79–80; pickup patterns 75; shotgun 75, 80, 80; stands and mounting devices 81–2; type of construction of 75–7; wireless 77–8
mini-plug connectors 82
mirrorless cameras 43
mix/effects buses 100
mixing, sound 12
modeling 33
monaural sound sources 85
monopods, camera 60
montages 198
mood and effect lighting 35
mounts: camera 58–61; light 28; microphone 81–2
multicamera production 4, 10; director role in 133, 148–59; editing problems 185–6; shooting and editing techniques 183–4; typical formats 156–9
multicamera video field production 17–18
multifunction switchers 100
multi-image squeeze 107
multimedia presentations 5
music 94; continuity of 138; editing 193–4
music videos 165
narration 94; continuity of 138
National Television System Committee (NTSC) standards 50
natural sound 94–5; editing 193–4
newscasts, live automated 156, 159–60, 159–60
noise 72
non-drop-frame time code 181
nonlinear editing (NLE) 18, 174–82
noseroom 145
notes sessions 148
Nyquist Sampling Theorem 89
occlusion 140
ohms 77
omnidirectional microphones 75
one-piece camcorders 43
open-faced portable instruments 27–8
operating light level 19
operational controls on video cameras 54–8
operation of video cameras 69–70
optical video transducers 45
organic light emitting diodes (OLED) 50
outdoor lighting problems 39
page peel 107
page pull 108
page push 108
page turn 108
panel discussion program formats 156, 159
pan pot controls 85
patching 70
P2 cards 171
peak program meters (PPM) 87
perceptual coding 88
performance continuity 139
phantom power microphones 76
phone connectors 82
photographic principle 33
pickup patterns 75
pistol grips, microphone 80
planning: interpersonal communication, and teamwork in video production 5–6; lighting 40
plasma display panels (PDP) 49–50
postproduction 7; director’s role in 168; editing in 186–7; environment 18; streaming video 219
potentiometers 85
power requirements for field locations 37–8
power switches 54
preinterviews 199
preproduction 7; director’s responsibilities during 134–6; producers and technical aspects of 118–28, 129–30; streaming video 216–17
preview monitors 11
preview/preset bus 100
prime lenses 48
principal action axis 139, 139, 164
principal vector line 185
private line (PL) communication 13
producers 5–6, 14; creative 109–10; preproduction responsibilities of 118–28, 129–30; single-camera field production 16
production: aesthetic elements of 5, 136–46, 146; defined 7; design stage 110–18; director’s role during 147; multicamera 4, 10; processes and sources of graphics 204–6; producer’s work in 128; remote 16; schedules for 118; streaming video 217–20; three stages of 7–8; see also video production
production assistants (PA) 17
production budgets 118, 124–5, 125–6
production control rooms 1–2, 11–13
production crew communication systems 13
production managers, directors as 134
production process model 110
production support areas 13
professional/broadcast equipment 41
program buses 100
program monitors 11
program titles 116
progressive download 215
progressive scanning 53
properties (props) 13
proposals 116
proximity effect 75
radio frequency (RF) transmission 77
reaction shot 143
receivers, microphone 77
recorders, digital audio 93
record-run mode 181
reflected light 20
reframing 196
relative height 141
rendering 180
replace edits 176
research on ideas 114
reverse angle shooting 188
reverse over-the-shoulder shot (RO/S) 143, 144
RGB signal 47
ribbon microphones 77
room tone 95
rough cuts 168
run-throughs 148
safe title areas 203
safety: and health of team members, director’s responsibility for 136; of lighting 39–40
saturation, color 54
scheduling, production 124
screen size 203
scrims 30
scripts/storyboards 118–24; breakdown by directors 134–5; marking 149, 150–1; reading 147
SD (secure digital) cards 171
segues 194
semantics, audiovisual 118, 119
sets 13
shock mounts, microphone 80
shooting to edit 161
shotgun microphones 75, 80, 80
should mounts 58
silks 31
single-camera field production personnel 16
single-camera production 4; director role in 133, 160–8
situation comedies 148
slide faders 84
smartphones 3–4, 3, 43; audio recording capabilities 93; image with sidepanels 107
software 4
Sony XDCAM 172
sound: audio mixers 83–5; connectors and cables 82–3; continuity of 138–9; control 84–5; digital audio 88–93; sequencing and layering of 194; technical aspects of 72–82; working with audio levels in 85–7
sound effects (SFX) 94
sound engineers 14
sound on tape (SOT) 94
sound perspective 139
sound recordists 17
sound sweetening 18
source VCR 174
sphere effect 107
spotlights 24, 24; ellipsoidal 26, 26; Fresnel 25, 30–1
SSD (solid state drives) 171
standard definition television 50–4, 169
standby switches 54
standups 183
stereo sound sources 85
storyboards/scripts 118–24; breakdown 134–5
story outline script 197
streaming media 213–14; process of preparing 216–21
studio viewfinders 49
subject and needs assessments 116
subtractive color 46
summative evaluation 131
supercardioid pickup patterns 75
superimposition 16
S-video connectors 71
SxS cards 171
sync generators 97
sync pulses 97
synopses 116
syntax, audiovisual 118
table readings 147
talent 13
talkback systems 13
tape counters 173
target audiences and delivery time 116
technical directors (TD) 14
technical elements of production 5
telecine 193
telephoto lenses 48
television: difference between video and 4–5; Internet 213; as producer’s medium 6; sampling rates 169–70; video standards for standard definition and high definition 50–4
theme music 94
three-dimensional (3-D) graphics 205, 206
three stages of production 7–8
thunderbolt cables 71
tight close-up (TCU) 164
time code readers 174
timeline, program 176
tone generators 84
tracking shots 69
tracks, digital audio 92
transitions: switcher 100–2; video 176, 194
transition shots 162
treatment and synopsis 116
truck left or right movement 69
umbrellas, lighting 30
unbalanced and balanced lines 82–3
unidirectional microphones 75
unity 201
USB flash drives 171
vectorscope 54
video and television, difference between 4–5
video black 100
videocassettes 169
video editing technologies 174–82
video field production environment 16–18, 18
videographers 17
video on the web: methods of delivering 214–15; types of 212–14
video production: creative problem solving in 6; development, production, and distribution 6–8; example 1–4; expanding universe of 4; planning, interpersonal communication, and teamwork 5–6; principal elements in 5–6; see also production
video recorder (VR) 12; operator 17
video recording technologies 169–74
video servers 171
video shading 12
video signals 16
video standards for standard and high definition television 50–4
video studio environment: low light in 66–7; operating the camera in 69; postproduction 18; principles of lighting in 33–6; production control room in 1–2, 11–13; production personnel roles and responsibilities 14–16; production support areas 13; video studio in 9–10
video switchers 12; digital video effects 106–8, 106–7; keying 104–6; operational characteristics of 99–100; transitions 100–2; types of 96–9
videotape 162, 169; formats 171
viewfinders 49
visual continuity 137
voice 94
voice driven pieces, editing of 191–6
voice-over (VO) 94
volume 83
webcasting 212
wide-angle lenses 162
window-dub 182
window size in streaming video 220–1, 220
windscreens, microphone 80, 80
wired microphones 78