Video Production Handbook

ISBN-10: 0240522206

ISBN-13: 9780240522203

Edition: 5th 2012 (Revised)

Authors: Jim Owens, Gerald Millerson

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Book details

List price: $49.95
Edition: 5th
Copyright year: 2012
Publisher: Taylor & Francis Group
Publication date: 7/26/2011
Binding: Paperback
Pages: 416
Size: 7.75" wide x 9.25" long x 1.00" tall
Weight: 2.310
Language: English

Jim Owens has worked and taught in the video and television industry for almost 30 years. He has worked on local, regional and national productions. Owens' international television work has included ten Olympic broadcasts and has taken him to over twenty-five countries. He is the author of the Video Production Handbook Fourth Edition and Television Sports Production (both published by Focal Press), and has had over thirty articles published in television and broadcast magazines in the United States and Europe. Owens is chair of the Communication Arts Department at Asbury College in Wilmore, Kentucky, where he has taught since 1981.

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