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| About the Author | |
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| Preface | |
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| Production: Processes and People | |
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| The Production Process | |
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| The Production Model | |
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| The Production Phases | |
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| Importance of Preproduction | |
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| Preproduction: From Idea to Script | |
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| Program Objective | |
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| Angle | |
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| Evaluation | |
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| Script | |
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| Preproduction: From Script to Production | |
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| Medium Requirements | |
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| Budget | |
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| Generating Ideas on Demand | |
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| Brainstorming | |
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| Clustering | |
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| The Convergence of Studio and Field Production | |
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| The Production Team: Who Does What When? | |
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| Production Teams | |
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| Preproduction Team | |
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| Production Team | |
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| Postproduction Team | |
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| Passing the Buck | |
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| Taking and Sharing Responsibility | |
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| Production Schedule and Time Line | |
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| Interview Production Schedule | |
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| Time Line: March 9-Interview (Studio 1) | |
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| Image Creation: Digital Video and Camera | |
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| Image Formation and Digital Video | |
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| Basic Image Formation | |
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| Scanning Process | |
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| Digital Video Scanning Systems | |
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| Flat-panel Screens | |
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| What is Digital? | |
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| The Difference Between Analog and Digital | |
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| Why Digital? | |
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| Picture Quality in Dubs | |
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| Compression | |
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| Picture and Sound Manipulation | |
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| The Video Camera | |
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| Basic Camera Function and Elements | |
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| Function | |
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| Lens | |
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| Imaging Device | |
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| Video Signal Processing | |
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| Viewfinder | |
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| Types of Cameras | |
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| Camcorders | |
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| Studio Cameras | |
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| Field Cameras | |
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| ENG/EFP Cameras | |
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| HDTV Cameras | |
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| Operating the Camera | |
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| Basic Camera Movements | |
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| Camera Mounts and How to Use Them | |
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| Handheld and Shoulder-mounted Camera | |
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| Tripod-supported Camera | |
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| Special Camera Mounts | |
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| Studio Pedestal | |
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| Robotic Studio Pedestal | |
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| Operational Features | |
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| Focusing | |
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| Adjusting Shutter Speed | |
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| Zooming | |
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| White-balancing | |
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| General Guidelines | |
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| Checklist: Camcorders and ENG/EFP Cameras | |
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| Checklist: Studio Cameras | |
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| Looking Through the Viewfinder | |
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| Framing a Shot | |
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| Aspect Ratio | |
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| Field of View | |
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| Vectors | |
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| Composition | |
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| Psychological Closure | |
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| Manipulating Picture Depth | |
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| Defining the Z-axis | |
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| Lenses and Z-axis Length | |
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| Lenses and Depth of Field | |
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| Lenses and Z-axis Speed | |
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| Controlling Camera and Object Motion | |
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| Controlling Camera Movement and Zooms | |
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| Controlling Object Motion | |
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| Image Creation: Sound, Light, Graphics, and Effects | |
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| Audio and Sound Control | |
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| Sound Pickup Principle | |
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| Microphones | |
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| How Well Mics Hear: Sound Pickup | |
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| How Mics Are Made | |
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| How Mics Are Used | |
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| Sound Control | |
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| Manual Volume Control | |
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| Audio Mixer | |
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| Audio Console | |
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| Cables and Patch Panel | |
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| Sound Recording | |
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| Analog Recording Equipment | |
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| Digital Audio Production Equipment | |
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| Synthesized Sound | |
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| Sound Aesthetics | |
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| Context | |
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| Figure/Ground | |
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| Sound Perspective | |
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| Continuity | |
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| Energy | |
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| Light, Color, and Lighting | |
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| Light | |
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| Types of Light | |
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| Light Intensity | |
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| Measuring Illumination | |
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| Contrast | |
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| Shadows | |
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| Attached Shadows | |
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| Cast Shadows | |
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| Falloff | |
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| Color | |
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| Additive and Subtractive Color Mixing | |
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| Color Television Receiver and Generated Colors | |
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| Color Temperature and White-balancing | |
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| Lighting Instruments | |
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| Spotlights | |
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| Floodlights | |
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| Special-purpose Spotlights and Floodlights | |
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| Lighting Techniques | |
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| Operation of Lights | |
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| Checklist: Lighting Safety | |
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| Studio Lighting | |
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| Field Lighting | |
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| Guidelines: Field Lighting | |
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| Graphics and Effects | |
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| Principles of Graphics | |
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| Aspect Ratio | |
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| Essential Area | |
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| Readability | |
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| Color | |
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| Animated Graphics | |
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| Style | |
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| Standard Electronic Video Effects | |
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| Superimposition | |
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| Key | |
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| Wipe | |
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| Digital Effects | |
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| Digital Image Manipulation Equipment | |
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| Common Digital Video Effects | |
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| Synthetic Image Creation | |
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| Image Control: Switching, Recording, and Editing | |
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| Switcher and Switching | |
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| Production Switcher | |
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| Basic Switcher Functions | |
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| Switcher Layout | |
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| Program Bus | |
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| Preview Bus | |
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| Key Bus | |
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| Fader Bar and Auto-transition | |
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| Delegation Controls | |
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| Switcher Operation | |
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| Working the Program Bus: Cuts-only | |
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| Working the Mix Buses: Cuts | |
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| Working the Mix Buses: Dissolves | |
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| Working the Effects Bus: Wipes | |
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| Working the Key Bus: Keys | |
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| Working the Downstream Keyer | |
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| Chroma Keying | |
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| Special Effects | |
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| Video Recording | |
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| Videotape-Recording Systems | |
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| Tape- and Tapeless Recording Systems | |
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| Basic Videotape Tracks | |
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| Composite, Y/C Component, and Y/Color Difference Component Recording Systems | |
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| Types of Videotape Recorders | |
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| Time Base Corrector | |
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| Tape Format and Quality | |
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| Videotape-Recording Process | |
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| The "Before" Checklist | |
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| The "During" Checklist | |
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| The "After" Checklist | |
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| Nonlinear Storage Systems | |
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| Computer Disks and Video Servers | |
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| Flash Memory Devices | |
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| Read/Write Optical Discs | |
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| Electronic Still Store Systems | |
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| Use of Video Recording | |
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| Multimedia | |
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| Interactive Video | |
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| Postproduction: Linear and Nonlinear Editing | |
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| Linear Editing | |
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| Single-source Linear System | |
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| Multiple-source Linear System | |
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| Pulse-count and Address Code | |
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| Assemble Editing | |
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| Insert Editing | |
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| Nonlinear Editing | |
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| Nonlinear Editing System | |
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| Nonlinear Editing Phase 1: Capture | |
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| Nonlinear Editing Phase 2: Editing | |
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| Nonlinear Editing Phase 3: Export to Videotape or Disc | |
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| Postproduction Preparations | |
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| Production Tips to Make Postproduction Easier | |
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| Offline and On-Line Editing | |
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| Off-line Editing Procedures | |
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| On-line Editing Procedures | |
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| Editing Principles | |
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| Editing Purpose | |
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| Editing Functions | |
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| Combine | |
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| Condense | |
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| Correct | |
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| Build | |
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| Aesthetic Principles of Continuity Editing | |
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| Mental Map | |
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| Vectors | |
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| On- and Off-screen Positions | |
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| Aesthetic Principles of Complexity Editing | |
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| Intensifying an Event | |
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| Supplying Meaning | |
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| Production Environment: Studio, Field, and Synthetic | |
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| Production Environment: The Studio | |
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| Video Production Studio | |
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| Physical Layout | |
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| Major Installations | |
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| Studio Control Room | |
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| Image Control | |
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| Sound Control | |
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| Master Control | |
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| Studio Support Areas | |
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| Scenery and Property Storage | |
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| Makeup | |
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| Scenery, Properties, and Set Dressings | |
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| Scenery | |
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| Properties | |
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| Set Dressings | |
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| Set Design | |
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| Program Objective | |
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| Floor Plan | |
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| Prop List | |
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| Using the Floor Plan for Setup | |
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| Evaluating the Floor Plan | |
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| Production Environment: Field and Computer-generated | |
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| Electronic News Gathering | |
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| News Gathering | |
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| Transmission | |
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| Electronic Field Production | |
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| Preproduction: Remote Survey | |
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| Production: Shooting | |
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| Checklist: Field Production Equipment | |
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| Postproduction: Wrap-up | |
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| Big Remotes | |
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| Synthetic Environments | |
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| Computer-generated Settings | |
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| Virtual Reality | |
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| Computer-controlled Environments | |
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| Production Control: Talent and Directing | |
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| Talent, Clothing, and Makeup | |
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| Performing Techniques | |
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| Performer and Camera | |
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| Audio and Lighting | |
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| Timing and Prompting | |
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| Acting Techniques | |
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| Environment and Audience | |
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| Close-ups | |
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| Repeating Action | |
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| Auditions | |
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| Clothing | |
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| Texture and Detail | |
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| Color | |
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| Makeup | |
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| Technical Requirements | |
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| Materials | |
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| Putting It All Together: Directing | |
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| Revisiting the Program Objective | |
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| Program Objective and Angle | |
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| Script Formats | |
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| Visualization | |
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| Preparing for a Multicamera Studio Production | |
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| Control Room Directing | |
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| Terminology | |
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| Time Line | |
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| Rehearsals | |
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| Directing the Multicamera Show | |
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| Single-Camera Directing | |
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| Major Differences | |
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| Single-camera Studio Directing | |
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| Single-camera Field Production | |
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| Interview | |
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| Documentary | |
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| Epilogue | |
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| Glossary | |
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| Index | |
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| Photo Credits | |