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| Preface | |
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| The Studio Production Team | |
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| The Simple Shoot | |
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| The Host | |
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| The Guest | |
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| The Floor Manager | |
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| The Teleprompter Operator or Cue Card Holder | |
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| The Camera Operator | |
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| The Lighting Person | |
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| The Audio Person | |
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| The Technical Director | |
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| The Character Generator Operator | |
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| The Director | |
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| The Associate Director | |
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| The VCR Operator | |
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| Practice Makes Polished | |
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| How TV Works | |
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| TV Sets | |
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| TV Cameras | |
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| Color | |
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| Audio, Video, Sync, and RF | |
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| RGB, YIQ, Y/C, and Other Alphabet Soup | |
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| Digital Video | |
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| Cable and Connectors | |
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| Video and RF | |
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| Video Adapters | |
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| Audio Plugs and Adapters | |
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| TV Cameras and Lenses | |
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| Kinds of Cameras | |
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| Viewfinders | |
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| Built-in Microphones | |
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| Operating Cameras | |
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| Controls on a Portable Color Camera | |
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| Studio Color Cameras | |
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| Camera Care | |
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| Camera Mounting Equipment | |
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| Heads | |
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| Dollies | |
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| Body Mounts | |
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| Professional Mounts | |
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| Improvised Mounts | |
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| Tai Chi Stance | |
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| More About TV Camera Lenses | |
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| How Lenses Work | |
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| Focusing | |
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| Lens Control Systems | |
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| Close-up Shooting | |
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| Telephoto and Wide-Angle Converters | |
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| Lens Filters | |
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| Camera Angles and Picture Composition | |
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| Camera Moves | |
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| The Steady Camera | |
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| Tilt and Pan | |
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| Dolly, Truck, and Arc | |
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| Focus and Zoom | |
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| Think Ahead | |
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| Studio Procedures | |
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| Before the Shoot | |
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| During the Shoot | |
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| After the Shoot | |
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| Safety Tips | |
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| Camera Angles and Picture Composition | |
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| Basic Camera Angles and the Moods They Portray | |
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| Camera Placement and Backgrounds | |
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| Don'ts and Do's of Camera Angles | |
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| More Do's of Camera Angles | |
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| Creative Camera Angles | |
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| Popular Alternatives to the Simple Shot | |
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| Creating Moods and Impressions with the Camera | |
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| Progress versus Frustration | |
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| Suspense | |
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| Anger, Secrets | |
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| Speed | |
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| Night | |
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| Tricks of Perspective | |
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| Lighting | |
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| The Kind of Light the Camera Needs | |
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| Enough Light | |
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| Lighting Ratio | |
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| Lighting Placement | |
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| Lighting Color | |
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| Primitive Lighting Techniques | |
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| Existing Indoor Light Only | |
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| Outdoor Lighting | |
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| One Light Only | |
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| Two Lights Only | |
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| Studio Lighting | |
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| Key Light | |
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| Fill Light | |
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| Back Light | |
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| Set Light | |
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| Pattern Spotlight | |
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| Fluorescent lighting | |
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| Portable Lighting | |
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| HMI Lights | |
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| Umbrellas | |
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| Lighting Techniques | |
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| Lighting Several Areas at Once | |
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| Lighting for Color | |
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| Rules of Color | |
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| Lighting for Chroma Key | |
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| Lighting Motivation | |
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| Mood Lighting and Special Effects | |
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| Special Lighting Problems | |
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| Shine | |
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| Eyeglass Shadows | |
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| Lighting Procedure | |
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| Dimmers | |
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| Lighting Hardware | |
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| Lighting Grid | |
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| Lighting Connectors | |
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| Antigravity Hangers | |
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| Care of Lamps | |
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| Fixtures Get Hot | |
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| Moving Lamps | |
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| Changing Bulbs | |
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| Power Requirements | |
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| Audio | |
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| The Basics | |
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| The Microphone | |
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| How a Microphone Works | |
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| Kinds of Microphones | |
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| Pickup Patterns | |
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| Balanced and Unbalanced Lines | |
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| Frequency Response | |
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| Microphone Stands and Mounts | |
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| Choosing and Using the Proper Microphone for a Recording | |
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| One Person, One Microphone | |
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| Two People, One Microphone | |
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| Several People, Several Microphones | |
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| Musical Recording | |
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| Stereo Microphones | |
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| Redundant Mikes | |
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| Double System Sound | |
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| Banishing Unwanted Noise from a Recording | |
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| Testing a Microphone | |
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| Proper Audio Level | |
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| Automatic Volume Control | |
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| Manual Volume Control | |
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| Mixers | |
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| Inputs to the Mixer | |
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| Outputs from the Mixer | |
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| Stereo and Multichannel Mixers | |
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| Monitoring Audio | |
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| Professional Audio Control Boards | |
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| Sound Mixing Techniques | |
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| Segue | |
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| Music Under, Sound Mix, Voiceover | |
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| Several Performers--Each with His or Her Own Microphone | |
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| Cueing a CD Player | |
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| Cueing a Reel-to-Reel Tape | |
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| Cueing a Phonograph Record | |
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| Recording Stereo | |
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| With Mikes | |
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| From CDs and Tapes | |
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| Stereo Connectors | |
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| Recording Audio That is to Be Edited | |
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| Other Audio Devices | |
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| Audio Patch Bay | |
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| Prerecorded Music and Effects | |
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| Popular Music | |
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| Music and Sound-Effects Libraries | |
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| Music Selection | |
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| Digital Audio | |
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| Digitized Audio | |
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| Compact Disc (CD) and Digital Audiotape (DAT) | |
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| Wave Files | |
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| MIDI | |
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| Choosing a Digital Format | |
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| Summary: Getting the Best Audio | |
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| Room | |
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| Microphone | |
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| Cable | |
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| Inputs | |
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| Mixers | |
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| Camera Switching and Special Effects | |
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| The Simple Switcher | |
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| Fader | |
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| Special Effects Generator | |
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| Studio Production Switcher | |
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| Inputs | |
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| Preview and Program | |
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| Using Preview to Show What Your VCR Is Doing | |
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| Border | |
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| Key | |
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| Matte | |
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| Joystick | |
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| Soft Key and Soft Wipe | |
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| Colorizer | |
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| Spotlight | |
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| Master Fade to Black | |
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| Background Generator | |
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| Tally System | |
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| Semiprofessional Switchers and Segs | |
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| Switchers inside Computers | |
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| The Technical Director | |
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| Television Graphics and Titles | |
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| Aspect Ratio | |
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| Making the Picture Fit the TV Screen | |
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| Making Words Fit the TV Screen | |
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| The Chalkboard Dilemma | |
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| Safe Title Area | |
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| Boldness and Simplicity | |
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| Gray Scale | |
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| Color Compatibility | |
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| Character Generator | |
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| Anti-Aliasing | |
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| Title Placement and Background | |
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| Letter Edging and Color | |
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| Title Spacing and Legibility | |
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| Title Clustering | |
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| Making Graphics Come Alive | |
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| Lighting Graphics | |
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| Focusing on Graphics | |
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| Displaying Slides and Movies | |
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| Computer Graphics | |
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| Types of Computer Graphics | |
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| Video Capture | |
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| Compression | |
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| Firewire (P1394) | |
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| 3-D Graphics and Animation | |
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| Layering the Synthetic World onto the Real World | |
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| Filters and Effects | |
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| Electronic Graphics Is Still an Art | |
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| Videotape Recorders | |
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| Kinds of Videotape Recorders | |
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| VCRs, VTRs, and Camcorders | |
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| Compatibility | |
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| Format | |
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| Tape Speeds | |
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| Super Enhancements | |
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| Hi-Fi Sound | |
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| Foreign Standards | |
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| Playing a Tape | |
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| Finding Things Quickly on a Tape | |
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| Making a Videotape Recording | |
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| Avoiding Feedback | |
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| Industrial VCR with Manual Controls | |
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| Record/Play/Pause Dangers | |
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| Connecting an Industrial Vcr for a Recording | |
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| Other Features on Some Vcrs | |
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| Dew Indicator | |
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| Counter/Reset/Memory/Index | |
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| Speed Select | |
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| Tracking | |
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| Audio Dub | |
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| Stereo | |
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| Digital Video Recorders | |
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| Digital Vcr Formats | |
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| The Computer/Dvr Relationship | |
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| Firewire, IEEE P1394 | |
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| Avoiding Accidental Erasure | |
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| Bulk Erasing | |
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| Care of Video Tape | |
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| Planning and Scripting | |
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| Preplanning | |
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| Statement of purpose | |
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| Determine Your Audience | |
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| Consider Your Resources | |
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| Choose a Program Format or a Combination of Formats | |
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| Get Approvals | |
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| Scripts and Storyboards | |
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| Writing | |
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| Script Preparation | |
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| Storyboards | |
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| The Floor Plan | |
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| The Production Schedule | |
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| Directing | |
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| Before the Shoot | |
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| Preparing Yourself | |
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| Preparing Your Crew | |
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| Preparing Your Talent | |
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| During the Shoot | |
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| The Director in Action | |
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| Selection of Shots and Effects--Decisions the Director has to Make | |
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| Dissolves versus Cuts versus Wipes versus Fade-outs | |
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| Split Screen versus Matte and Key | |
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| Transitions | |
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| The Skillful Director | |
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| TV Talent | |
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| Being the Talent | |
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| Eyes | |
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| Chairs | |
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| Hands | |
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| Legs | |
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| Voice | |
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| Clothes | |
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| Getting Your Cues | |
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| Prompting Methods | |
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| Teleprompting Systems | |
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| Cue Cards | |
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| Crib notes | |
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| TV Makeup | |
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| Beards | |
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| Powder | |
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| Other Details | |
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| The Interview | |
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| How to Interview Someone | |
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| Being Interviewed | |
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| The Talent is the Show | |
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| On-Location Shooting | |
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| Using on-Location Footage in Your Production | |
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| Silent Images | |
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| Pretaped Segments with Sound | |
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| Studio Voice-over with Background Sound from the Tape | |
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| Editing | |
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| Shooting on Location | |
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| Preparations for a Local Shoot | |
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| What to Take with You | |
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| The Remote Survey | |
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| Lighting | |
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| Audio | |
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| Communications | |
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| Release forms | |
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| Preparations for an Expensive or Distant Shoot | |
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| Shooting for the Edit | |
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| Transitions | |
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| Jump Cut | |
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| Cutaways and Cover Shots | |
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| Fancier Transitions | |
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| Walk-Past | |
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| Blank Surface | |
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| Swish Pan | |
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| Defocus-Focus | |
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| Leading the Action | |
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| 180[degree] Rule | |
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| Continuity | |
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| Shooting Strategies for Eng | |
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| The Interview Shot | |
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| Stand-Up Reporter | |
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| Editing a Videotape | |
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| Editing Without an Editing Video Tape Recorder | |
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| Recording Something Over | |
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| Editing with an Editing Vcr | |
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| Assemble Editing | |
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| Insert Editing | |
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| An Important Technical Difference between Insert and Assemble Edits | |
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| The SMPTE Leader | |
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| Video Insert Only | |
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| Audio Insert Only | |
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| Editing from Another Videotape | |
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| Advantages and Disadvantages | |
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| Editor Controllers | |
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| Types of Time Code | |
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| Control Track Counters | |
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| SMPTE Time Code | |
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| Step-by-Step Editing Procedure | |
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| Nonlinear Editors | |
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| When You're Finished Editing | |
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| Practices to Ensure a Successful Edit | |
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| High Definition Television | |
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| DTV | |
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| What is DTV | |
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| DTV Audio | |
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| DTV's Roll-Out Schedule | |
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| What DTV Costs and How it Will Affect You | |
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| Shooting in High Definition | |
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| Epilogue | |
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| Index | |