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| Preface to the third edition | |
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| What is this book all about? | |
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| Who is the book written for? | |
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| Do I have sufficient equipment? | |
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| Isn't all this equipment complicated to use? | |
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| Why do we need to learn 'techniques'? | |
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| How can this book be used? | |
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| And then? | |
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| Remember! | |
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| Terminology | |
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| A final word | |
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| The way ahead | |
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| What is video production? | |
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| Breaking the ice | |
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| The need for 'know-how' | |
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| It's designed for you | |
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| First impressions | |
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| Learning basics | |
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| Remember the purpose | |
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| Resources | |
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| Simplicity | |
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| What facilities do I need? | |
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| Is there a right way? | |
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| Your productional approach | |
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| Technicalities | |
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| Equipment performance | |
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| Technical basics | |
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| Meet your camera | |
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| A range of designs | |
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| Cameracraft | |
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| Camera features | |
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| Main features | |
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| The lens system | |
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| Focal length and lens angle | |
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| The zoom lens | |
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| Changing the lens system | |
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| Zoom lens control | |
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| Altering the iris | |
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| Lens accessories | |
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| The image sensor | |
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| Sensitivity | |
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| The viewfinder | |
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| Indicators | |
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| Audio circuits | |
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| Power | |
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| Camera arrangements | |
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| Controlling the camera | |
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| Handling your camera | |
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| Supporting your camera | |
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| Hand-held cameras | |
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| Shoulder-supported cameras | |
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| The monopod | |
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| The panning head (pan head, camera mounting head) | |
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| Using a tripod | |
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| The rolling tripod/tripod dolly | |
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| The pedestal | |
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| Jib arms | |
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| Telescopic columns/motirized elevator pedestal | |
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| Special mountings | |
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| Other mobile mountings | |
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| Handling care | |
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| Using your camera | |
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| Why bother? | |
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| What gets on the screen? | |
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| How close should we be? | |
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| How much can we see? | |
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| Using a different lens angle | |
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| So why move around? | |
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| The zooming process | |
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| Focusing | |
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| Auto-focus | |
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| Depth of field | |
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| Maximum sharpness? | |
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| Difficult to focus? | |
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| Pre-focusing the zoom lens | |
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| Exposure | |
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| What is 'exposure'? | |
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| Underexposure and overexposure | |
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| Automatic exposure | |
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| Practical solutions | |
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| Handling your camera | |
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| Why all these rules? | |
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| Panning and tilting | |
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| Following moving subjects | |
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| Framing movement | |
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| Walking | |
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| Shooting from vehicles | |
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| Picture-making basics | |
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| Practical conditions | |
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| Selecting the shots | |
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| Persuasive shots | |
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| What is it all about? | |
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| Clutter | |
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| I can't see it properly! | |
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| Composing pictures | |
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| Theory and practice | |
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| The brief shot | |
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| 'Dull' is in the mind | |
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| Clever shots | |
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| Fitting the frame | |
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| The rule of thirds | |
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| Well-balanced shots | |
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| Good balance | |
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| Juggling proportions | |
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| Grouping (unity) | |
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| Camera viewpoint | |
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| Distortions | |
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| Anticipating editing | |
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| Continuity | |
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| Improving flexibility | |
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| Crossing the line | |
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| Practical lighting | |
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| Lighting for everyone | |
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| The camera does not compensate | |
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| The key factors | |
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| The light's intensity | |
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| If there is not enough light | |
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| If there is too much light | |
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| Hard light quality | |
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| Soft light quality | |
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| Lighting contrast | |
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| Light direction | |
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| Three-point lighting | |
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| Measuring light levels | |
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| Typical light levels | |
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| Color temperature compensation | |
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| Using colored light | |
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| Shooting in daylight | |
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| Using reflectors | |
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| Bounce light | |
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| Do we need to light it? | |
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| Lighting options | |
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| Economy lighting | |
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| Makeshift equipment | |
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| Lightweight lighting fittings | |
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| Supports | |
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| Gaffer grip/gaffer clamp/alligator ('gator') clamp/clip-light | |
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| Wall-plate | |
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| Lightweight lamp tripod/stand | |
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| Spring-loaded support pole (Jack tube, Varipole, Acrow, Polecat, Barricuda) | |
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| Lamps | |
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| Camera light (video light) | |
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| Hand-held lamps (sun gun) | |
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| Open-bulb fittings | |
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| Scoop | |
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| Skypan/open pan | |
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| Broad | |
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| Umbrella | |
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| Multi-lamp sources | |
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| Lensless spotlight/open-bulb spot | |
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| Fresnel spotlights | |
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| Practical lighting | |
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| The general approach to lighting | |
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| Shooting without lamps-in lit surroundings | |
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| Using one lamp-the only light available | |
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| Using one lamp-in lit surroundings | |
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| Using two lamps | |
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| Using three lamps | |
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| Limited lighting | |
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| Using multi-lamp lighting | |
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| Audio techniques | |
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| The essential component | |
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| The nature of sound | |
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| Acoustics | |
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| Mono sound | |
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| Stereo sound | |
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| Microphone care | |
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| Directional features | |
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| Popular types of microphone | |
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| Other types of microphone | |
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| Supporting the mike | |
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| Camera microphones | |
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| The hand mike/baton mike | |
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| The shotgun (rifle) microphone | |
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| Using the shotgun (rifle) microphone | |
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| Personal microphones | |
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| Wireless microphones (radio microphones) | |
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| Fishpole microphones | |
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| Small booms | |
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| Desk mikes | |
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| Stand mikes | |
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| Hanging or slung mikes | |
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| Hidden mikes | |
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| Controlling dynamics | |
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| Dynamic range | |
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| Automatic control | |
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| Manual control | |
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| Monitoring sound | |
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| The audio mixer | |
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| Using the audio mixer | |
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| Sound complexity | |
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| Live sound | |
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| Recorded inserts | |
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| Sync and non-sync sound | |
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| Why alter the soundtrack? | |
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| Making the changes | |
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| Discontinuous shooting | |
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| Getting organized | |
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| Preparations | |
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| Working single-handed | |
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| Practical methods | |
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| Variations on a theme | |
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| Anticipation or 'doing the obvious' | |
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| Improvizing | |
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| Audio dubbing | |
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| Anticipating sound editing | |
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| Music and effects track | |
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| Filtered sound | |
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| Reverberation | |
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| Program music | |
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| MIDI systems | |
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| Sound effects | |
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| Backgrounds | |
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| The importance of the background | |
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| The impact of the background | |
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| Real and unreal backgrounds | |
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| The neutral background | |
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| Economical settings | |
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| The location as a background | |
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| Keep a lookout | |
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| Camera height | |
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| Foreground pieces | |
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| The location as the subject | |
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| Versions of 'reality' | |
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| What can we do about the background? | |
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| Rearranging the background | |
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| Altering the background | |
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| Auxiliary backgrounds | |
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| Partial settings | |
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| Typical examples | |
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| Creating depth | |
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| Permanent sets | |
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| Adjustable permanent setting | |
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| Facing reality | |
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| Chroma key backgrounds | |
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| Titling | |
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| The basics of videotape recording | |
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| Various designs | |
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| Incompatibility | |
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| Recording principles | |
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| Helical scanning | |
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| Cue pulses | |
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| Audio on videotape | |
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| Standards conversion | |
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| Magnetic disk recording | |
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| Editing | |
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| The need to edit | |
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| The editing process | |
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| Editing equipment | |
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| Editing opportunities | |
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| Organization | |
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| Editing begins | |
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| Selecting required sections | |
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| The order of shots | |
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| Cutting points | |
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| Transitions | |
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| Good continuity | |
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| Editing during shooting | |
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| Generations | |
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| Electronic splicing | |
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| The editing process | |
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| Off-line and on-line editing | |
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| Edit controllers | |
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| Linear and non-linear editing | |
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| Post-production editing | |
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| Good editing techniques | |
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| People | |
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| Talent | |
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| Inexperienced talent | |
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| The presenter | |
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| When there are problems | |
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| The camera's viewpoint | |
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| People passing by | |
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| Organizing your production | |
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| Art conceals craft | |
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| How techniques develop | |
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| The problem of familiarity | |
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| The problem of quality | |
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| Elaboration | |
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| Communication can be elusive! | |
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| Begin at the end | |
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| Develop a system | |
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| The empirical approach | |
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| The planned approach | |
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| Storyboards | |
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| Why plan? | |
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| Thinking it out | |
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| Start with an idea | |
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| Coverage | |
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| Building an outline | |
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| Broad treatment | |
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| Finding out | |
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| Remote surveys (the 'recce') | |
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| Developing the contents | |
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| Freedom to plan | |
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| Writing the script | |
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| The script's purpose | |
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| Is a script needed? | |
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| Basic script formats | |
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| The full script | |
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| The drama script | |
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| Hints on script-writing | |
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| Be visual | |
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| Assimilation rate | |
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| Relative pace | |
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| Style | |
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| Copyright and contracts | |
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| Production techniques | |
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| Single- and multi-camera production | |
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| Multi-camera variations | |
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| What is the aim? | |
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| The camera's role | |
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| The camera as an observer | |
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| The persuasive camera | |
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| Beginning and ending | |
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| Production methods | |
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| There is nothing there! | |
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| Shooting objects | |
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| Shooting people | |
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| A single person | |
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| Conventional arrangements | |
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| Effective shots | |
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| Concentration | |
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| Interviews | |
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| Editing continuous interviews | |
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| Shooting groups | |
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| Car interviews | |
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| Walking interviews | |
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| Shooting demonstrations | |
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| Typical demonstrations | |
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| Approaches to demonstrations | |
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| Thinking it through | |
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| The problem of time | |
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| Visual effects | |
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| Using effects | |
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| Using filters | |
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| Distorted images | |
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| Mattes | |
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| Reflections | |
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| Pepper's ghost | |
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| Projected backgrounds | |
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| Color medium ('gels') | |
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| Light effects | |
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| Scenic effects | |
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| Electronic effects | |
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| Effects can extend horizons | |
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| Opportunities for improvement | |
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| Adjusting picture quality | |
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| Electronic effects sources | |
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| Matting or keying | |
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| Using mattes | |
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| The special effects generator (SEG) | |
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| SEG adjustments | |
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| Luminance keying | |
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| The chroma key process | |
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| What is chroma key? | |
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| What can chroma key do? | |
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| Inserting people | |
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| Display panel | |
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| 'Magic paint' | |
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| Camera mattes | |
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| Transformation | |
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| Abstract effects | |
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| Staging with chroma key | |
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| Taking care | |
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| Background selection | |
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| Coping with problems | |
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| Compatibility | |
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| Practical chroma key staging | |
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| Shot-by-shot production | |
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| What is 'virtual reality'? | |
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| Further video effects | |
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| Desktop video | |
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| Extending facilities | |
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| Desktop video formats | |
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| Operation | |
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| Memory limitations | |
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| Broadcast quality | |
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| Video basics | |
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| Technical details | |
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| Producing video | |
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| Reproducing the picture | |
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| How we see color | |
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| How the camera sees color | |
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| The color picture | |
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| Practical cameras | |
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| Scanning | |
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| Sync pulses | |
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| Color video | |
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| Transmitting the signal | |
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| Forms of video signal | |
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| Program sound | |
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| Reproduced quality | |
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| Units | |
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| Monitors and receivers | |
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| The digital world | |
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| Battery care | |
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| Types of power | |
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| Battery basics | |
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| Using batteries | |
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| Cell capacity | |
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| Types of cell | |
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| Battery care | |
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| Battery charging | |
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| Useful data | |
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| Power consumption | |
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| Typical light levels | |
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| Typical color temperatures | |
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| Lens angle | |
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| Shot heights | |
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| Hyperfocal distance | |
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| Aspect ratio | |
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| Audio tape formats | |
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| Camera set-up graph | |
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| Index | |