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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 | |