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Introduction | |
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Overview of Video Production | |
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What is video production? | |
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First Step in Video Production | |
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Defining the new media | |
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Distribution | |
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Understanding the field of Video Production | |
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It's designed for you | |
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Learning basics | |
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Remember the purpose | |
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Equipment | |
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Sidebar: Versatility of Video | |
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What equipment is needed? | |
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Is there a right way? | |
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Interview: Ben Brown, Media Executive | |
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The production approach | |
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Technicalities | |
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Equipment performance | |
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Production Crew | |
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Production crew size | |
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Video Production Crew Job Descriptions | |
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Producer | |
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Assistant producer or associate producer (AP) | |
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Director | |
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Assistant director or associate director (AD) | |
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Floor manager (FM) or stage manager (SM) | |
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Production assistant (PA) | |
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Technical director (TD) or vision mixer | |
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Makeup artist | |
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Graphic designer/operator | |
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Lighting director/vision supervisor | |
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Camera operator | |
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Camera assistant | |
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Audio mixer/sound mixer/sound supervisor | |
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Stereographer | |
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Interview: Tommy Mitchell, Crewer for productions | |
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Boom operator or audio assistant | |
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Engineer | |
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Writer | |
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Editor | |
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Sidebar: The Crew | |
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Set designer | |
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Professional Crew | |
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Freelance crew | |
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Below-the-line/above-the-line | |
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The structure of a video production crew | |
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Organizing the Production | |
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Art conceals craft | |
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Shot selection | |
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The problem of familiarity | |
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The problem of quality | |
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The problem of "bigger and betterï¿½Ç | |
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Communication can be elusive | |
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Start with an idea (concept) | |
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Interview: DT Slouffman, Producer | |
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Goals and objectives | |
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Target audience | |
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Research | |
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Covering the subject | |
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Production methods | |
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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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The three stages of production | |
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Coverage | |
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Building an outline | |
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Broad treatment | |
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Production research | |
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Remote surveys (recce) | |
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Freedom to plan | |
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Single camera shooting | |
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Multicamera shooting | |
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Budgeting | |
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Copyright | |
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Contracts | |
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Production techniques | |
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Single- and multicamera production | |
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Sidebar: 3D Shot Selection | |
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Multicamera ISO | |
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Multicamera production without a switcher | |
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The illusion of reality | |
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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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How do you visualize something that does not exist? | |
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Interview: Scott Rogers, Sports Producer | |
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Writing for Video | |
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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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Interview: Robyn Sjogren, Writer: CNN &TruTV | |
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The full script | |
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TIPS: Tips for writing better dialog: keeping it brief | |
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The drama script | |
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Suggestions on scriptwriting | |
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Be visual | |
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Assimilation | |
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Relative pace | |
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Style | |
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TIPS: Tips on developing the script | |
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The Camera | |
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A range of models | |
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Cameracraft | |
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Camera Features | |
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Main features | |
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Sidebar: The DSLR (Pros and Cons) | |
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The lens system | |
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Focal length and lens angle | |
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The prime lens | |
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The zoom lens | |
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Zoom lens remote controls | |
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The aperture of the camera | |
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Lens accessories | |
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Interview: Keith Brown, Videographer | |
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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 | |
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Power | |
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Controlling the Camera | |
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Handling the camera | |
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Supporting the camera | |
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Handheld cameras | |
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The monopod | |
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The pan head (panning head or tripod 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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Gorilla Pod | |
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Beanbag | |
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Jib arms | |
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Specialty camera mounts | |
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Handling care | |
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Using the Camera | |
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Just point and shoot | |
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What gets on the screen? | |
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How close should you get? | |
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Sidebar: Camera Shots | |
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Sidebar: Shooting for the Internet | |
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How much can we see? | |
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Lens angles | |
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So why move around? | |
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The zooming process | |
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CONTROLLING THE ZOOM | |
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Focusing | |
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Auto-focus | |
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Interview: Nathan White: Videographer | |
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Depth of field | |
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Maximum sharpness? | |
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Difficult to focus? | |
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Prefocusing the zoom lens | |
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Sidebar: Prefocusing the Zoom | |
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Exposure | |
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What is "exposureï¿½Ç ? | |
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Underexposure and overexposure | |
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Automatic exposure | |
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Camera adjustments | |
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Practical solutions | |
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Sidebar: Ten Commandments of Shooting Video | |
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Handling the Camera | |
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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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The Basics of Shooting | |
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Practical conditions | |
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Sidebar: Shooting in 3D | |
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Selecting the right shots | |
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Persuasive shots | |
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Guiding the viewer through the scene | |
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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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Composition rules and guidelines | |
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The brief shot | |
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"Boringï¿½Ç is in the mind | |
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Shots that are different | |
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Fitting the frame | |
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Sidebar: Framing People | |
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Watch the background | |
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Dividing the image into thirds | |
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Shooting from different angles | |
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Showing scale | |
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Framing the subject | |
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Leading lines | |
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Headroom | |
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Good balance | |
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Changing the perspective | |
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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 editing flexibility | |
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Sidebar: Common Faults While Shooting | |
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What does a filter do? | |
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Crossing the line | |
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Shooting People and Objects | |
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Shooting People | |
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The single person | |
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Arranging people shots | |
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Effective shots | |
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Selecting the right shot | |
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Single-camera interviews | |
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Interview: Sarah Leckie, International Documentary Director/Videographer | |
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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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Sidebar: Shooting an Effective Interview | |
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Shooting Instructional Productions | |
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Typical instructional productions | |
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Approaches to instruction | |
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Advance planning | |
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Creating the instructional program | |
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Shooting objects | |
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Working with the Talent | |
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Talent | |
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Sidebar: High-Definition Makeup | |
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Talent and production styles | |
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The interview: go beyond the obvious | |
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Selecting talent | |
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Sidebar: Working with New Talent | |
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Inexperienced talent | |
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The host | |
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The off-camera host | |
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Interview: Kristin Ross Lauterbach, Director | |
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Presenting the information | |
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Importance of people in the scene | |
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Audio for Video | |
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The essential component | |
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Acoustics | |
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Stereo sound | |
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Sidebar: First Surround Sound | |
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Surround sound | |
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Interview: Noel Dannemiller, Sound Mixer | |
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Microphone care | |
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Directional features | |
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Popular types of microphone | |
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Supporting the Microphone | |
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Camera microphones | |
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The handheld microphone | |
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The shotgun microphone | |
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Using the shotgun microphone | |
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The shotgun and the boom pole (fishpole) | |
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Lavalier (lapel or clip-on mic) microphones | |
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Boundary or PZM microphone | |
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Hanging microphone | |
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Surround sound microphone | |
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Microphone stands and mounts | |
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Wireless microphone | |
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Hidden mics | |
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Controlling Dynamics | |
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Dynamic range | |
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Automatic control for audio | |
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Manual control | |
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Monitoring the audio | |
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The audio mixer | |
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Using the audio mixer | |
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Natural sound | |
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Anticipation | |
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Anticipating sound editing | |
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Filtered sound | |
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Reverberation | |
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Program music | |
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Sound effects | |
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Lighting for Video | |
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Lighting for the scene | |
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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(spotlight) | |
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Interview: Tommy Brown, Lighting | |
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Soft light quality (floodlight) | |
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Lighting contrast | |
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Sidebar: Lighting Direction Exercise | |
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Three-point lighting | |
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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 really need to light it? | |
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Lighting options | |
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Existing light | |
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Lightweight Light Supports | |
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Grip clamps | |
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Light stands | |
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Sidebar: Lighting Safety | |
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Lighting Instruments | |
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Camera light | |
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Scoop | |
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Broad | |
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The portable soft light | |
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Multilamp sources | |
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Open face adjustable light | |
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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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Using one light | |
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Using multiple lights | |
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The Background | |
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The importance of the background | |
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The impact of the background | |
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Sidebar: Backgrounds (sets) are a Matter of Taste | |
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Real and unreal backgrounds | |
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Set components | |
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Set design for 16:9 | |
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The neutral background | |
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Economical sets | |
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Semipermanent sets | |
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Chroma-key/matting | |
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Virtual sets | |
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Outside/back-lot sets | |
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The location as a background | |
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Watch the background | |
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Foreground pieces | |
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Versions of "realityï¿½Ç | |
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What can we do about the background? | |
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Interview: John DeCuir, Designer | |
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Rearranging the background | |
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Partial settings | |
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Typical examples of partial settings | |
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Facing reality | |
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Television Graphics | |
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The goals of television graphics | |
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Types of graphics | |
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Designing graphics | |
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Sidebar: The Graphic Operator | |
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Animated graphics | |
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Interview: Lou Moore, Graphic Operator | |
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Backgrounds for graphics | |
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Graphics equipment | |
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Recording and Viewing the Video | |
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Recording the Video | |
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High-definition television (HDTV or HD) | |
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Videotape | |
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Analog and digital | |
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Tape formats | |
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Interview: Ryan Hammer, Atlast Digital | |
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Flash memory | |
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Hard disk drive (HDD) (internal hard drive) | |
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External camera hard drives | |
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Hard drive server recorders | |
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Recordable DVD | |
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XDCAM disk | |
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Recording media care | |
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Video recording suggestions | |
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Viewing the Video | |
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How we see color | |
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Sidebar: Health Risks &3DTV? | |
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How the camera sees color | |
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Monitors and receivers | |
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Editing | |
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Editing goals | |
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Shooting order versus running order | |
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Sidebar: Editing in 3D | |
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Editing video and audio | |
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Logging | |
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An overview of the nonlinear process | |
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Interview: Brock Smith, Editor | |
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Sidebar: Habits of a Highly Effective Editor | |
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Editing equipment | |
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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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Where should the edits be made? | |
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Transitions | |
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Sidebar: Common Transitions | |
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Good continuity | |
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Editing priorities | |
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Good editing techniques | |
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Anticipating editing | |
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Distributing Your Production | |
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Traditional broadcast distribution | |
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Traditional non-broadcast distribution | |
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Distributing hard copies of the production | |
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Online distribution | |
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Live online distribution | |
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Interview: Chad Crouch: CEO, The Creative Group | |
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IPTV | |
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Glossary | |
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Index | |