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| Foreword | |
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| Preface | |
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| Acknowledgments | |
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| Introduction | |
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| ENG and EFP: The World of Professional Video | |
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| Electronic News Gathering: Capturing the Event | |
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| A Brief History | |
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| TV News Videography Today | |
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| Electronic Field Production: Video Production on Location | |
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| Birth of an Industry | |
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| Video Production Today: The Process | |
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| Summary | |
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| Electronic News Gathering Style | |
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| Recorded Coverage | |
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| Spot News | |
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| General News | |
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| Feature News | |
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| Sports News | |
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| Summary | |
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| Live Coverage | |
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| Getting the Picture Out | |
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| Communications | |
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| Interrupted Feedback | |
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| Form and Style | |
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| Electronic Field Production | |
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| What Can Go Wrong? | |
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| Summary | |
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| Electronic Field Production Style | |
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| Corporate and Professional Videos | |
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| Corporate News Show | |
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| Instruction, Training, and Demonstration | |
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| Teleconferencing | |
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| Sales, Promotion, and Motivation | |
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| Entertainment | |
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| Commercials and Public Service Announcements | |
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| Commercials | |
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| Public Service Announcements | |
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| Budgets | |
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| Performance Videos | |
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| Historical Archive | |
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| Sports Videos | |
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| Competition Coverage | |
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| Skycam | |
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| Feature Coverage | |
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| Music Videos | |
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| Variety of Settings | |
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| Style and Technique | |
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| Nature and Documentary Videos | |
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| Video Art | |
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| Multimedia | |
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| Internet | |
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| World Wide Web | |
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| Vlogging | |
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| Podcasts | |
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| Mobile TV | |
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| Summary | |
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| Framing and Composition-The Language of Video | |
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| Identifying the Storyline | |
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| Framing-The Range of Shots | |
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| Shots by Perspective | |
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| Camera Action Shots | |
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| Special-Use Shots | |
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| Composition-Aesthetic Considerations | |
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| Creating the Third Dimension | |
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| Effects of Focal Length | |
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| Distance | |
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| Balancing the Picture | |
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| Composing Specific Shots | |
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| Following the Action | |
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| Breaking the Rules | |
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| Summary | |
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| Scriptwriting | |
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| Electronic News Gathering | |
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| W5H and the Inverted Pyramid | |
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| Writing to the Visuals | |
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| Writing Interviews | |
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| Writing Style | |
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| Electronic Field Production | |
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| Goals | |
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| Target Audience | |
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| Format | |
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| Style | |
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| Central Visual Theme | |
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| Research | |
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| Treatment | |
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| Outline | |
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| Script | |
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| Review and Revision | |
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| Storyboard | |
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| Editing Script | |
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| Story Structure | |
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| Summary | |
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| Preproduction and Production | |
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| Preproduction | |
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| Electronic News Gathering | |
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| Electronic Field Production | |
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| Production Crew | |
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| Scheduling and Coordinating | |
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| Location Selection and Survey | |
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| Graphics and Props Preparation | |
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| Clearance on Copyright Materials | |
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| Travel Planning | |
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| Production/Shooting on Location | |
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| ENG versus EFP | |
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| Setting Up | |
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| Sound and Light | |
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| Location Integrity | |
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| Maintaining Control | |
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| Backup Plans | |
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| Security | |
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| Dealing with the Public | |
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| Checklists | |
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| Recording | |
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| Rehearsing | |
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| Shooting (and Reshooting) | |
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| Wrapping Up | |
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| Summary | |
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| Postproduction: Editing It All Together | |
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| Technical Editing Basics | |
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| Log | |
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| Edit Decision List | |
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| Capture | |
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| Import | |
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| Trim | |
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| Sequence | |
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| Layer | |
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| Effects | |
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| Mix | |
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| Render | |
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| Distribute | |
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| Technical Concepts | |
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| Creative Editing Basics | |
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| Sequencing the Shots | |
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| Maintaining Continuity | |
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| Establishing a Story Line | |
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| Pacing | |
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| Adding Postproduction Value | |
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| Editing Sound | |
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| Summary | |
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| Video | |
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| Light, Lenses, Cameras, and Recorders | |
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| Video: The Process of Image Acquisition | |
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| Principles of Lens Operation | |
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| Lens Components | |
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| Video Cameras | |
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| Camera Basics | |
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| Camera Functions | |
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| Video Recorders | |
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| The Format Wars | |
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| Older Formats: Hi8, S-VHS, and 3/4-Inch SP | |
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| Standard Analog Videocassette Formats: Beta SP and MII | |
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| Digital Formats: D Series, Digital Betacam, Betacam SX, DV, DVCAM, DVCPRO, and Digital S | |
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| Digital Video Recorders | |
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| Time Code | |
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| Typical Control Functions | |
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| Typical Inputs | |
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| Typical Outputs | |
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| Onboard Decks | |
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| Meters | |
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| Warning Lights | |
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| Time Base Correctors | |
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| Maintenance | |
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| Troubleshooting | |
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| Batteries | |
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| Recharging | |
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| Life Span | |
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| Proper Care | |
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| Tripods and Camera-Mounting Devices | |
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| Fluid Heads | |
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| Tripod Legs | |
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| Dollies | |
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| Cranes and Booms | |
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| Steadicam | |
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| Car Mounts | |
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| Aerial Mounts | |
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| Special Mounts | |
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| Miniature Cameras | |
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| Summary | |
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| Audio | |
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| Microphone Structure | |
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| Microphones and Audio-Recording Techniques | |
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| Dynamic Microphones | |
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| Condenser Elements | |
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| Sensitivity | |
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| Sound Sensitivity | |
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| Directional Sensitivity | |
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| Frequency Response | |
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| Impedance | |
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| Microphone Impedance | |
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| Overload | |
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| Other Factors | |
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| Selection and Placement | |
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| Choosing a Mic | |
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| Placing a Mic | |
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| Style | |
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| Handheld Microphones | |
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| Mounted Microphones | |
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| Lavaliere Microphones | |
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| Special Applications | |
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| Performance Microphones | |
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| Multiple-Application Microphones | |
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| Headset Microphones | |
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| Surface-Mount and Pressure-Zone Microphones | |
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| Wireless Microphones | |
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| Accessories | |
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| Mounts | |
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| Acoustic Filters and Windscreens | |
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| Audio Cables and Connectors | |
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| Balanced and Unbalanced Lines | |
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| Connectors and Adapters | |
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| Signal Loss in Audio Cable | |
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| Phase | |
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| Filters and Pads | |
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| Handheld Microphones | |
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| Camera-Mounted Microphones | |
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| Boom Microphones | |
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| Lavaliere Microphones | |
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| Wireless Microphones | |
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| Monitoring, Mic Pre's, Mixing, and Stereo | |
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| Monitoring | |
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| Microphone Preamplifiers | |
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| Mixing | |
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| Stereo | |
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| Summary | |
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| Light: Understanding and Controlling It | |
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| The Physical Properties of Light | |
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| What Is Light? | |
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| The Color of Light | |
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| The Direction and Size of a Light Source | |
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| The Quantity of Light | |
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| Creating Light | |
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| Light Emitters | |
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| Lighting Equipment | |
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| Basic Lighting Technique | |
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| The Starting Point: Exposure | |
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| The Art of Casting Shadows | |
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| Basic Theory | |
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| Formal Lighting | |
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| Natural Lighting | |
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| Light as an Editorial Tool | |
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| Summary | |
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| Budgeting and Pricing | |
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| ENG and EFP | |
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| Electronic News Gathering | |
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| Electronic Field Production | |
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| Creating an Accurate Budget | |
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| Line Costs | |
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| Budgeting for Smaller Projects | |
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| Budget Tracking | |
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| Computer Assistance | |
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| EFP Pricing Formula | |
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| Entry into the Video Marketplace | |
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| Leasing | |
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| Using the Web for Video | |
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| Being Realistic | |
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| Summary | |
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| Laws, Ethics, Copyrights, and Insurance | |
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| Defamation: Libel and Slander | |
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| Privacy versus the Right to Know | |
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| ENG: News Productions | |
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| EFP: Non-News Productions | |
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| Copyrights | |
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| Violations | |
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| Fair Use Rules | |
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| Permission | |
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| Piracy | |
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| Exclusivity | |
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| Bugs | |
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| Courtesies | |
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| Pool | |
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| Public Domain Materials | |
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| Copyright Guidelines for the Web | |
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| Protecting Your Work | |
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| Obtaining Protection | |
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| Alerting Others of Protection | |
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| Scope | |
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| Insurance | |
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| Comprehensive Liability | |
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| Equipment Loss or Damage | |
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| Rental Floaters | |
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| Restrictions | |
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| Other Coverage | |
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| Errors and Omissions | |
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| Workers' Compensation | |
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| Completion Guarantee Bond | |
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| Producers' Insurance Policies | |
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| Summary | |
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| New Trends and Technologies | |
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| Format Wars | |
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| Buying Equipment | |
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| Cameras | |
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| Editors | |
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| Monitors | |
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| Speakers | |
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| Digital TV | |
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| High-Definition TV | |
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| Streaming Video | |
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| A Cautionary Note | |
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| Summary | |
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| Glossary | |
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| Bibliography | |
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| Books | |
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| Periodicals and Web Sites | |
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| Format Guidelines for Screenplays | |
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| Format Guidelines for Two-Column Scripts | |
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| How to Format a Two-Column Script in Microsoft Word Using the "Tables" Tool | |
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| Storyboards | |
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| Analog Tape-to-Tape Video Editing | |
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| Index | |