INDEX

 

 

 

 

Action

continuity of, 183, 262–263

covering, 211–212

discontinuous, 263

Action areas, lighting, 49

Additive primary colors, 63

Aerial perspective, 185

Aesthetic elements (of production), 6–7, 180–192, 312–313

variables in, 155

Ambient sound, 126, 269, 300

Amplitude, 96, 97–98

Analog audio recording, 343–345

audio cassettes, 345

reel-to-reel format, 344

8-track cartridge, 344–345

Analog devices, 116

Analog recording, 226–229

vectorscope, 228–229

video waveform and waveform monitor, 226–228

Analog recording systems, 225

Analog signal, 69

Analog standard, 69–72

Analog videotape formats, 233–234

Animation, 26

Aperture, or iris, 86

Aperture control, 86, 88–90

Arc, 91

Aristotle, 273

A-roll editing, 268

Aspect ratio, 70, 73, 74, 280–281

Assemble editing, 245, 246

Associate director (AD), 18

Associate producer, 144

Asynchronous video sources, 129

ATSC (Advanced Television System Committee) Standard, 69, 72–74

Audience, target, 153

Audio, 96

background, 182

connectors and cables, 109–110

digital, 116–124, 345–348

in field production, 168

levels, 114–116

mixers, 110–113, 113

planning, 219

sound versus, 95–96

sources, 113

for the Web, 300

see also Digital audio; Sound

Audio board, 14

Audio cassettes, 345

Audio editing, 26

Audio engineer (sound engineer)

Audio-level meters, 114–115

Audio levels, 183

analog and digital, 116

Audio meters, 98, 236

Audio mixer, 14

Audio mixing decisions, 219

Audio recording

analog, 343–345

digital, 345–348

Audio recording technologies, brief history of, 343–348

Audiovisual semantics, 156

Audiovisual syntax, 156

Audio workstations

digital, 117

Audition, 123

Audition workstation, 117

Automatic focus (autofocus), 85

 

Back focus, 85

Background effects, 12–13

chroma key, 12–13

Background light, 48, 51

Background noise, 107

Background shadows, 48–49

Backlight, 47–48

Backtiming, 203–204

Balanced lines, 110

Bandwidth capacity, 298

Barn doors, 42

Barrel noise, 104, 107

Baselight, 27–29

Batch capture, 253

Battens, light, 40, 41

Battery power

convertible cameras and, 60

microphones and, 100, 101, 104, 106

Beam splitter, 63

Beauty shot, 275

Betacam SP format, 226, 230, 234

Betacam SX, 233

Bin, 250

Bit, or binary digit, 119

Bit depth, 119

Bit rate, 119

Bits, 72

Bits per seconds (bps), 298

Black balance, 77

Blocking, 18, 194

Blue gels, 51

Blue screen technique, 49

BNC bayonet connector, 93

Body pack, 103

Boom, 107, 108

Brainstorming, 149

Brightness, 282–283

B-roll video, 218, 266, 268–269

Budget, 155, 163–164

production, 165

Burns, Ken, editing style of, 217–218

Bus, 130, 131

 

Cables, balanced and unbalanced lines, 110

Cable television, 293

Camcorders

camera versus, 59

DVD, 239

in field production, 23, 92–93

with hard disk recorder, 238

one-piece, 237, 61

types of, 58, 232

Camera control unit (CCU), 14, 64

Camera head, 61–64

Camera lens. See Lenses

Camera operators, 19–20, 23

Camera placement, to avoid action reversal, 257

Cameras

analog and digital standards for, 68–74

versus camcorder, 59

in the field operation, 92–93

mounting systems, 39, 80, 81

movement, 90–91, 218

number of, 167–168

operational controls, 74–77

parts of, 61–68

studio configuration, 59–60

studio operation of, 92

supports, 77–82

types of equipment, 57–59

video connectors, 93–94

Camera shading, 14, 21

Camera shot sheets, 203

Cannon connectors, 109, 110

Capacitor mics, 100

Capturing, 253, 300–301

Cardiod, 99

Cast selection, 164–166

Cathode-ray tube (CRT), 67

CD audio technology, 346

CD burner, 346

CD optical technology, 346

CD-R (compact discrecordable), 346

CD-ROM (compact disc-read only memory), 346

CD-RW (compact discrewritable), 346

Character generator (CG), 14, 283

Characters, 275–276

Charge-coupled device (CCD), 62–63, 70–71, 98

Chroma key, 34, 49–51, 138, 291

Chrominance (C) signals, 226

Cinema verité, 217

Clarity, in graphics, 279

Clips, 250

Closer, 275

Close-up (CU), 187–188, 259

Clustering, 148

Codecs (compression/decompression), 117, 304

Color

additive primary, 63

contrasting, 282–283

fixing problems of, 270–271

Color bars/camera switch, 75

Color continuity, 264

Color correction filters, 75–76

Color difference process, 226

Color media, 44

Color temperature, 30–31, 51–52

Commercial television, 146, 215

Compact disc (CD), 345–346

Complementary metal oxide semiconductor (CMOS), 62–63

Component recording, 226

Composite recording, 225

Compositing, 285

digital, 285

Composition, 187–189

visual, 187–192

Compression, 117, 299

encoding and, 302–306

image, 141–142

lossy and lossless, 117, 229

methods of, 230

Compression ratio, 117

Computer crashes, 254

Computer-generated graphics, 277, 283–285

Concept mapping, 146–148

basic steps in, 148

Conceptualization, 150–151

Condenser microphones, 100–101

Consumer equipment, 57

Continuity, 180–183

of action, 262–263

of dialog, 182

directional, 181

editing for, 260–265

in lighting and color, 264

of narration, 182

in performance, 183

in sound, 265

Contracts, 168

Contrast range, 29–30

Control, 11–12

Control issue, 23–24

Control room, 1–2, 13–16, 327

remote truck, 24

Control track, 223

Control track editing, 243

Convertible cameras, 60

Copyright, 169

Costumes, 17

Creative problem solving, 8

Creative thinking, 146–150

Crew selection, 164–166

Crossfade, 270

Cut, 132

Cut-in/cut-out, 261

Cuts

matched, 258–259

motivated, 263–264

parallel, 265

rough, 247

timed, 266

Cycles per second (CPS), 98

Cycloramas (cyc), 12–13, 49

 

Daylight, 51, 89–90

Decibels (dB), 97

hearing threshold, 119

Degrees Kelvin (°K), 30

Deinterlace, 301–302

Depth, illusion of, 184–186

Depth cues, 184, 186

Depth of field, 88–90

Desk stands, 107, 108

Development phase, 8

Dialog, 125

continuity of, 182

Dial-up modem, 298

Dichroic filter, 51

Diffusers, 43–44

Digital audio, 116–124, 345–348

bit rate, 119

codecs, 117

compression, 117

dynamic range, 119–120

file formats, 120–121

sampling rate/bit depth and quantization, 118–119

workstations, 121–124, 348

Digital audio recording technologies, 345–348

compact discs (CDs), 345–346

digital audiotape (DAT), 124, 347–348

DVD (digital versatile disc), 346–347

hard disk recording, 348

history of, 345

minidisc, 348

Digital audiotape (DAT) recorders, 124, 347–348

Digital audio workstation (DAW), 121–124, 348

Digital Betacam format, 233

Digital compositing, 285

Digital 8 format, 233, 234

Digital nonlinear editing. See Nonlinear editing (NLE) systems

Digital recording, 229–230

advantages, 230

Digital-S (D-9) format, 233

Digital signal, 72–73

Digital standard, 72

Digital still store (DSS), 142

Digital videocassette (DV), 94, 230–232

Digital video effects (DVE), 140–142

Digital videotape formats, 230–233

Digitizing, 300–301

Dimmers, 44

Direct cinema, 217

Directing, 173–192, 193–220

documentaries, 217–219

multi-camera productions, 195–109

multiple cameras, studio and remotes, 195–209

music videos, 215

on-site interviews, 213–214

performers, 196

PSAs, 216

single-camera productions, 209–219

Directional continuity, 181

Directors, 18, 22

commands during the show, 202, 323

as creative leader, 175–176, 180

during postproduction process, 219–220

during preproduction process, 176–180

as production manager, 176

during rehearsals, 193–195

role during production phase, 193

role of, 173–176

safety and health concerns, 179–180

symbols and commands, 197–201

technical knowledge of, 176

working with cast and crew, 179

Director’s calls, 200–201

Dissolve, 133–135

Distribution, 153

Distribution phase, 10

Distribution switcher, 127

Documentaries

elements of, 217

planning and directing, 217–219

postproduction, 342

preproduction, 332–337

production model of, 329–342

setting of, 329

team members, 332

theme of, 330–331

Dolby noise reduction technology, 345

Dolly, 91

Dolly, tripod, 78, 79, 91

Downstream keyer, 139–140

Drag, 91

Dressing rooms, 17

Drop-frame time code, 243, 244

DSL (digital subscriber line), 298

D-3, D-5, and HD-D5 formats, 233–234

DVCAM format, 223, 224–225, 230, 232

DVCPRO 50 camcorder, 240

DVCPRO (D7), 232, 233

DVCPRO format, 223, 224–225, 230, 231–232, 240

DVCPRO 50 format, 232, 240

DVCPRO-HD camcorder, 240

DVCPRO-HD format, 232, 233

DVDCAM (digital camcorder), 239

DVD (digital versatile disc), 238

blu ray technology, 347

formats, 346

technologies, 346–347

DV (digital video), 222–223, 224–225, 230–232, 301

DVD-RAM (DVD random access memory), 239, 346

DVD-R (DVD minus recordable), 346

DVD+R (DVD plus recordable), 346–347

DVD-ROM (DVD read-only memory), 346

DVD-RW (DVD rewritable) discs, 347

Dynamic editing, 265–266

Dynamic microphones, 99–100

Dynamic range, digital audio, 119–120

 

Edit control units, 242–243

Edit decision list (EDL), 247

Editing, 255

assemble, 245

continuity, 260–265

control track, 243

digital nonlinear, 247–254

documentaries, 219

dynamic, 265–266

fixing color and brightness problems, 270–271

for graphics, 286

insert, 246

insert and overlay, 248

linear videotape, 241–247

for multi-camera

productions, 255, 256–259

music, 269

to music, 265–266

postproduction, 210–213, 219–220, 259–260, 270

rhythm, 265

for single-camera

productions, 255, 256

with SMPTE time code, 243–245

video for the Web, 301–302

voice tracks, 266–267

Editing software, 218, 253

Editing window, 251

8-track cartridge, 344–345

Electret condenser

microphones, 101

Electrical circuits, 55

Electrical outlets, 55

Electrical power, 75

on location, 52

Electronic field production (EFP), 22, 66

Electronic news gathering (ENG), 21–22, 66

Electronic shutter, 62, 77

Ellipsoidal spotlights, 37

Encoding, 302

Equalization (EQ) control, 113

Essential area, 281–282

Establishing shot, 210–211, 260

Evaluation

formative and summative, 155, 171–172, 313–314

Expanded image, 141–142

Extreme close-up (XCU), 188

Extreme long shot (XLS), 187, 188

Eyelines, 261–262, 271

Eyepeice viewfinders, 67

Eyeroom, 190

 

Fact-based programs, 175

Fade, 133

F-connector, 94

Feasibility study, 152

Federal Communications Commission (FCC), 69, 72, 215

Field lighting, 51–54

augmenting existing light, 51

control of color temperature, 51–52

electrical power

requirements, 52

indoor interviews on location, 53–54

outdoor problems, 54

Field lights, 39

Field of view, 187

Field production, 5, 21–24, 92–93

audio, 168

elements of, 167–168

lighting, 51–54, 168

location surveying, 177–178

number of cameras, 167–168

permits and access logistics, 167

Fields, 71–72

File format, 120–121

Fill light, 46–47

Filters, 51, 64, 75–76, 88

FireWire, 94, 301

Fishpoles, 107, 108

Fixed beam instruments, 35, 39

Fixed focal length lens, 65

Fixed pipe grid, 41

Flags, 42

Flash Communication Server, 304, 305

Flash memory recorders, 124

FlashPlayer, 304, 305

Flash Video Exporter, 304, 305

Flats, 289–290

Floodlights, 35–38, 43

Floor director, 20

Floor manager cues, 205–206

Floor plan, 19, 288

Floor stands, 39, 107, 108

Fluid head, 79

Fluorescent fixtures, 52

Fluorescent floodlights, 37–38

Fluorescent lamps, 32, 33–34

FLV files, 305

Focal length, 82–83

Focus control, 85

Focus groups, 149–150

Fog filters, 88

Foot-candle, 27–28

Formative evaluation, 171–172, 313

Frame rate, 70, 73, 303

Frames, 70

Frame synchronizer, 129

Framing, 189–191

Framing terms, 187, 188, 199

Frequencies, 113

Frequency, 98, 113, 118

Frequency response, 102

Fresnel spotlights, 36

F-stop number, 86, 88a, 88b

Full duplexing systems, 121

 

Gain boost, 77

Gain control, 112

Gels, 44, 48

Gigabyte (GB), 348

Graphics, 26, 270, 277–278

clarity in, 279

computer-generated, 277, 283–285

2-D and 3-D, 284–285

design stage of, 278–279

integration stage of, 286

mechanical, 283

software, 284

sources of, 283–285

style in, 279

unity in, 278–279

Graphics director, 20–21

Green room, 17

Gyroscopic camera support systems, 80

 

Half duplexing systems, 121

1/2-inch VHS and S-VHS, 233–234

Hydragyrum medium arc-length Iodide (HMI) lamps, 32, 34

Handheld camera movement, 91

Hand-held microphones, 103, 104–105

Handheld supports, 39

Handles, 252

Hanging microphones, 107

Hard cyc, 13

Hard disk, 237

Hard Disk recording, 348

HD-DVD (high-definition or high-density DVD), 347

HDV camcorder, 232

HDV format, 232–233

Head, recording, 221–222

Headroom, 116, 190

Helical scan, 221–222

Hertz (Hz), 98, 118

Hi8 format, 234

High-definition television (HDTV), 59, 73

High-impedance, or high-Z, 102

High key lighting, 48

Hi-MD format, 348

Hit their marks, 194

Home television, 6

Home video, 6

Hook, 273

Hot spots, 30

HTML (hypertext markup language), 297

HTTP (hypertext transfer protocol), 296, 305

HTTP Streaming Server, 306

H.264 standard, 306

 

iLink, 94

Image compression/expansion, 141–142

Imaging device, 61–63

Impedance (Z), 102

Incident light, 29

Input levels, 114

Input overload distortion, 106

Insert and track information (ITI), 225

Insert edit, 248

Insert editing, 246

Interactive television (ITV), 144

Interlaced scanning, 70–71, 74, 301–302

International

Telecommunications

Union (ITU), 306

Internet

programs distributed on, 172

see also Web-based video

Interruptable feedback (IFB), 16

Interviewee, identifying, 267–268

Interviews, 268

in the field 126

floor plan, 201–202

lighting, 53–54

on-site, 213–214

“talking head,” 217

Inverse square rule, 44

 

Jaggies, 302

Jib, 81

Joystick, 136

JPEG (Joint Photographic Experts Group), 230

 

Key, 137

Keyed title, 267

Keying, 136–140

Key light, 46

Kilobits per seconds (kbps), 298

 

Lamps, types of, 32–34

Lavaliere microphones, 103, 105–106

LCD viewfinder, 66, 67

Lead, 273

Legal matters, 168–170

Lens cap, 87–88

Lenses, 65–66, 82–88, 85–86

components, 86–88

EFP, 65–66

studio, 65–66

Lens flare, 86–87

Lens hood, 86–87

Letterbox format, 280

Light

quality of, 31–32

Light battens, 40, 41

Light diffusers, 43–44

Lighting, 51

action areas, 49

augmenting, 51–52

background, 49, 51

basic concepts, 27–32

daylight outdoors, 89–90

electrical power requirements, 52

equipment, 32–34

in field production, 51–54, 168

instruments, 35–38, 51

low-key, 48

modification and control, 42–45

for mood and effect, 48

mounts, 39–42, 55

outdoor problems, 54

planning, 55–56

portable, 38

safety, 54–55

in studio production, 45–51, 53, 89

typical setups, 53–54

Lighting board, 15

Lighting continuity, 182, 264

Lighting director (LD), 19, 23, 45

Lighting plot, 55–56

Light intensity, measurement of, 27–28

Light meters, 28–29

Light source, controlling, 31

Linear editing, 25–26

Linear perspective, 184, 186

Linear time code (LTC), 224

Linear videotape editing, 241–247

components, 241–242

modes, 245–247

process, 247

Line-level signal, 114

Line producer, 144

Line rates, 70, 73

Lines, 70

Liquid crystal display (LCD), 68

Live streaming (webcasting), 306, 307, 308

Location release, 170

Location sound, 126

Location survey, 166–168, 177–178

Logistics, access, 167

Long shot (LS), 187, 188

Lossless compression, 117, 229

Lossy compression, 117, 229

Lower-third keyed title, 267

Low-impedance, or low-Z, 102

Low key lighting, 48

Lumens, 28

Luminance keys, 137

Luminance (Y) signals, 226

Lux, 28

 

Macro lever, 88

Macromedia Flash Video, 304, 305

Magnetic stripe, 268

Magnetic tape era, 343

Manual switcher, 129

Master gain control, 112

Master shot, 256

Matte, 137–138

Medium close-up (MCU), 187, 188, 257, 259

Medium shot (MS), 187, 188

Memory cards, 239–240

Meters, audio, 98, 236

Microphone-level signal, 114

Microphones, 98–108

external, 300

frequency response, 102

hand-held, 103, 104–105

hanging, 107

impedance, 102

lavaliere, 103, 105–106

pickup patterns, 99

shotgun, 106–107

stands and mounting devices, 107–108

types of, 104–107

types of construction, 99–101

wireless, or radio, 102–104

Minidisc, 348

Mini DV cassettes, 230, 231, 232

Mini DV tape, 223, 224–225

Mini-plug connectors, 109

Minors, 169–170

Mix/effect bus, 131

Modeling, 45

Monaural sound, 113

Monitors, 14, 67–68, 71

Monopod, 79–80

Montage, 275

MPEG (Motion Picture Experts Group), 306

MPEG-1, 306

compression, 230

MPEG-2, 306

compression, 230

video, 239

MPEG-3 (MP3), 230, 306

MPEG-4 compression, 230

Part 10 standard (H.264), 306

MPEG open standard files, 301

Multicamera field production, 13, 23, 174–175, 195–209

Multicamera production, 13, 174–175, 195–209

shooting and editing, 255, 256–259

Multicamera studio production

case study, 309, 310–329

Music

continuity of, 182

editing, 269

editing to, 265–266

theme, 125

Musical groups, recording, 211

Music videos, directing, 215

 

Narration, 125, 266–267, 273

by characters, 276

continuity of, 182

in the middle, 274

Natural sound, 13, 126, 182, 269

Neutral density filters, 75–76

Newscasts, 157, 257, 268, 287

News media, 294

News producer, 143

Noise, versus sound, 95

Non-drop-frame time code, 243

Nonlinear editing (NLE) systems, 25, 247–254

components of, 248–249

computer crashes and, 254

file management in, 254

insert and overlay edits, 248

process, 251–254

random access, 247

transitions, 251

user interface and editing model, 249–251

Noseroom, 190

Notes session, 195

NTSC (National Television System Committee), 68–74

video standards, 69–72, 77

video system, 301–302, 303

Nyquist Sampling Theorem, 118

 

180-Degree Rule, 183, 257, 262

Occupational Safety and Health Administration (OSHA), 179

Omnidirectional microphones, 99

Open-faced lighting instruments, 38 55

Optical recording discs, 238–239

Outdoor lighting, 89–90

problems with, 54

Overlapping, 184, 212

Overlay edit, 248

Over-the-shoulder shot (O/S), 189

 

Page pull, 142

Page push, 142

Page turn, 142

Pan, direction and speed of, 272

Panel discussion, 207–208

Pan handles, 83–84

Panning, 90–91

Panning handle, 79

Pan pot controls, 113

Parabolic floodlights, 36–37

Parade coverage, 208–209

Peak program meters (PPM), 115

Peak white, 227

Pedestal, camera, 77–78, 277

Performance continuity, 183

Performers, directing, 196

Permits, 167

Personnel, production, 17–21

Perspective, 184–186

Phantom power, 100, 101

Phantom power microphones, 101

Phone connectors, 109

Pickup pattern, 99

Pistol grips, 107

Pitch, 98

Pixels, 62, 303

Planning, preproduction, 7–8

Plasma display panel (PDP), 68

Plug-in, 304, 305

Portable audio mixers, 111

Portable field mixers, 111

Postproduction, 5, 9–10, 25–26, 171, 210, 219, 241

editing, 270, 259–260

fixing performance problems, 259–260

fixing technical problems, 260

fixing time problems, 259

role of director in, 219–220

Pots, 112

Power

in field production, 168

Power switch, 75

Preproduction, 5, 9, 156–170, 176–180

in streaming video, 298–299

Preset bus, 131

Preview bus, 131

Preview monitor, 14

Primary colors, additive, 63

Principal action axis, 183

in interviews, 214

Print to tape or DVD, 254

Prism block, 62, 63

Private line (PL), 16

Producers, 6–7, 8, 17, 18, 22

creative, 143–144

during the design stage, 146–155

and production process, 144–145

responsibilities of, 143–144, 168

role of, 143–172

skills needed for, 143

Producing

documentaries, 218

PSAs, 216

Production, 5, 9

case studies, 309–342

field, 21–24, 92–93, 167–168, 177–178

legal matters, 168–170

multicamera, 13, 23, 174–175, 195–209

single-camera, 209–219

studio, 5, 167, 195–209

three stages of, 9–10

see also Production process model

Production assistant (PA), 23

Production crew, communication systems, 16

Production planning, 7–8

Production process model, 144–145, 309

aesthetics of, 180–192, 312–313

budgeting, 163–164, 165

design stage, 146–155

distribution, 172

elements of, 309

evaluation, 171–172, 313–314

field, 22–23, 167–168, 177–178, 329–342

format, 151–152

media aesthetics and, 155–156

postproduction stage, 171, 210

preproduction stage, 5, 9, 156–170, 176–180176–180

production stage, 171, 180, 193

scheduling, 163, 316

single-camera, 174–175, 255, 256

technical aspects of, 156–171, 312–313

Production proposal, 311–314

Production schedule, 155

Production stage, 171, 180, 193

Production switcher, 127–129

Professional/broadcast equipment, 58–59

Program bus, 130–131

Program formats

multicamera, 207–209

panel discussion, 207–209

Programmable switcher, 129

Program monitor, 14

Program title, 153

Progressive download, 295–296

Progressive scanning, 73–74

Properties, set, 288

Properties (props), 16–17

Proposal, 152–155

Prosumer equipment, 58

Pro Tools workstation, 117

Proximity effect, 99

Public service announcements (PSAs), 146, 215–217, 312

 

Quantization, 229

Quantizing, 72, 116

Quartz halogen lights, 32–33

Quartz lights, 32–33

Question re-ask technique, 213–214

Quick-release plate, 79

QuickTime, 304, 305

QuickTime MOV files, 301

 

Radio microphones, 102–104

RCA/phono connector, 94

RealAudio, 304, 305

Reality-based television, 152

RealNetworks, 304, 305

Real-time streaming, 296

RealVideo, 304, 305

Record and playback VCRs, 15

Recording head, 221–222

Record-run mode, 243

Reel-to-reel format, 344

Reenactments, 217

Reflected light, 29

Reflectors, 43

Reframing, 272

Regional coding for discs, 347

Rehearsals, 193–195

types of, 194–195

Relative size, 185, 186

Releases, 169–170, 218

Remote control, robotic, 81–82

Rendering, 253

Researching the subject, 151

Reverse over-the-shoulder shot (RO/S), 189

Ribbon microphones, 101

Risers, 290–291

Robotic camera systems, 20, 81–82

Robotic remote control, 81–82

Rotary potentiometers, or pots, 112

Rough cut, 247

Routing switcher, 127

RTSP Streaming Server, 306

Rule of Thirds, 191–192

Rundown sheet, 203, 204, 320

Run-through, 195, 322

 

Safe title area, 282

Safety and health concerns, 179–180

Sampled, 118

Sampling rate, 118–119

Sampling rates for video, 229

Screen size, 281

Scrims, 43

Script, 155

breaking down, 177

format, 160–161

marking director’s commands, 197–201, 324–325

reading, 194

Scripting, 157–163

Script-marking symbols, 197–199, 324–325

Segue, 270

Set design, 286–292

action and function and, 292

concept development, 286–287

diagram, 319

floor plan, 288

technical phase, 289–292

Sets, 16, 327

built, 289–292

virtual, 291–292

Shading, 14

camera, 14, 21

Shadows, 48–49, 186

Shock mounts, 107

Shooter (videographer), 23

Shooting

to edit, 210–213

essential details, 212

establishing shots, 210–211

materials for transitions, 212

schedule, 316

segments long enough for editing, 212–213

Shotgun microphones, 99, 103, 106–107

Shutter, 62

Shutter speed, 77

Signals, on videotape, 223–225

Silks, 44

Single-camera field production, 22–23, 167–168 177–178

case study, 309, 329–342

Single-camera production, 174–175

shooting and editing, 255, 256

Situation comedy, rehearsal and taping schedule, 195, 196

16 signal processing, 226

Slant-track recording, 222

Slide fader, 112

SMPTE time code, 223–224, 236, 243–245

Snow, 227

Soft lights, 35, 38

Sound

ambient, 269, 300

amplitude, 97–98

versus audio, 95–96

background, 182

continuity, 182–183

control, 112–113

design, 124–126

frequency or pitch, 98

layering, 269–270

monitoring, 113

music, 125

natural, 13, 126, 182, 269

natural/location/ambient, 126

versus noise, 95

sequencing, 269–270

technical aspects of, 95–98

voice, 125

see also Audio

Sound bites, 267, 276

Sound continuity, 265

Sound effects (SFX), 126

editing, 269

Sound engineer (audio engineer), 19

Sound on tape (SOT), 125, 266–267

Sound recordist, 23

Sound waves, 96, 99

Spatial continuity, 182

Special effects, 26

when shooting for the Web, 301

Split screen, 136

Spot announcements, 216

Spotlights, 35–38

Spreader, tripod, 78–79

Standard-definition television (SDTV), 73

Star filters, 88

Steadicam®, 80

Stereo balance, 113

Sticks, 78

Stiles, 290

Storyboard, 155, 157

format, 162

Storyboarding, 157–163

Story(s)

characters, 275–276

of conflict and change, 276

editing for, 272–273

end of, 274–275

structure, 273–276

Streaming media, 294–295

live streaming or webcasting, 296

real-time streaming, 296

technology of, 294–295

types of streaming, 295–296

Streaming media servers, 296, 306

Streaming video

common uses of, 294, 295

creating and encoding stage, 297–302

encoding and compression, 302–306

postproduction, 300–302

preparation process, 296–308

preproduction, 298–299

production stage, 299–300

servers, 295–296, 306

technologies, 304

Stripe filter, 64

Studio lenses, 65–66

Studio lighting, 40–42

action areas, 49

background light, 48

background shadows, 48–49

base illumination and

modeling, 45

basic principles, 45–51

for chroma key backgrounds, 49–51

fill light, 46–47

key light, 46

for mood and effect, 48

Studio lights, 40–42

Studio mixing consoles, 110–111

Studio production, 5, 167, 195–209

Studio viewfinders, 67

Style, in graphics, 279

Summative evaluation, 172, 313–314

Sunlight, 32

Supercardiod, 99

Superimposition, 134

S-VHS (Super-VHS), 233, 234

S-Video, 94

SWF files, 305

Sync generator, 129

Synopsis, 153

 

Table reading, 194

Talent, 16

Talkback system, 16

Tape counters, 236

Tape logging, 268

Tape operator, 21

Taping schedule, 195, 196

Target object, 261

Technical director (TD), 18, 127–128, 130–131, 255

Technical elements, 6–7, 312–313

Telecine, 268

Television, 5

program genres, 152

Television commercials, 146

Television production, 1

Theme music, 125

Three dimensional (3-D) graphics, 284–285

Three-point lighting, 46

Tilting, 90–91

direction or speed of, 272

Time base corrector, 129

Time code

drop-frame, 243, 244

non-drop-frame, 243

SMPTE, 243–245

Time code generator, 243

Timed cut, 266

Time line, 250

production, 310–311, 314–329

recording media, 344

Titles, 267, 282, 283

inserting, 136–137

program, 153

for the Web, 302

Toggle bars, 290

Transitions, 270

shooting material for, 212

for the Web, 301

Treatment, 153

Trim control, 114

Tripod, camera, 78–79

mounts, 78

Truck (movement), 91

Tungsten-halogen lamps, 32–33, 55

Two-dimensional (2-D-) graphics, 284

 

Ultimatte, 138

Unbalanced lines, 110

Unidirectional microphones, 99

Union matters, 168

Unity, in graphics, 278–279

 

Variable beam instruments, 35, 39

Vectorscope, 228–229

Velocity microphones, 101

Vertical interval time code (VITC), 224

VHS (video home system)

format, 222, 223–224, 233–234

Video, 5

on the web, 293–295

Video camera. See Camera

Videocassette recorders (VCRs), 15, 221–222

connected to distribution switcher, 127

meters and tape counters, 236

operational controls, 234–237

other controls, 236–237

tape transport controls, 234–235

tracking control, 223, 237

Videocassettes, 222

Video connectors, 93–94

Video editing technologies, 241–254

digital nonlinear editing, 247–254

linear videotape editing, 241–247

Video editor, 255–256

Video engineer, 21

Video field production, 21–24, 23

Video file formats, 301

Videographer (shooter), 23

Video graphics, 279–283

Video monitors, 14

Video on demand, 293

technologies, 304

Video out, 225

Video production, 11–26

elements involved in, 6–8

expanding, 4–5

Video recorder, 23

Video recording devices, 237–240

computer hard disks and video servers, 237

memory cards, 239–240

optical discs, 238–239

Video recording technologies, 221

Video servers, 237

Video shading, 14

Video signals, 130

Video studio, 11–13

Video switcher, 14, 127–142, 195

digital video effects, 140–142

hardware versus software, 130

manual versus

programmable, 129

multifunction, 131

operational characteristics of, 130–131

and signal types, 130

transitions, 132–136

types of, 127–130

Videotape, 221–222

location of signals on, 223–225

master, 254

Videotape formats, 222–225

Videotape recording, 221–222

composite and component, 225–226

formats, 222–225

Video waveform, 226–228

Viewfinder, 60, 66–67, 281

Virtual set, 291–292

Vision, 311–312

Vision mixers, 135

Visual composition. See Composition

Visual continuity, 181–182

Visualization, 151

Voice, 125

Voice-over (VO), 125, 266–267, 267, 270

Volume unit (VU) meter, 115

 

Walk-through, 194

Waveform, 69

Waveform monitor, 226–228

Web, shooting video for, 299–300

Web-based video, 293–308

streaming media, 294–29

streaming video, 296–30

Webcasting, 296

White balance, 31, 76, 259, 271

Window dub, 244, 245

Windows AVI files, 301

Window sizes, 303

Windscreen, 106, 107

Wipe, 135–136

Wipe positioner, 136

Wireless microphones, 102–104

Workstations, 117

digital audio (DAW), 121–124, 348

Writing, 150

for television, 157

XDCAM camcorder, 239

XLR connectors, or cannon

connectors, 109, 110

 

Y/C signal processing (S-Video), 226

 

Z-axis, 186

Zebra-stripe exposure indicator, 67

Zoom

control, 85–86

in and out position, 85

speed, 85, 272

Zooming/panning effect, 218

Zoom lens, 20, 65, 82–88

Zoom ratio, 82–83

Zoom ring, 86