Electronic Moviemaking

Name: Electronic Moviemaking
Price: 10.37 USD
Availability: InStock
ISBN: 9780534559717

ISBN-10: 0534559719

ISBN-13: 9780534559717

Edition: 4th 2000

Authors: Lynne Schafer S. Gross, Larry Wayne Ward

List price: $92.95

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Book details

List price: $92.95
Edition: 4th
Copyright year: 2000
Publisher: Wadsworth
Publication date: 11/1/1999
Binding: Paperback
Pages: 304
Size: 9.06" wide x 11.02" long
Weight: 1.408
Language: English

Lynne Schafer Gross is presently a Professor in the Department of Radio-TV-Film at California State University, Fullerton. She has written ten other textbooks and hundreds of magazine articles. In 1999 she was the recipient of the Frank Stanton Award for Distinguished Contribution to Electronic Media Education and in 1997 she received the Distinguished Education Service Award from the Broadcast Education Association. She is a past governor of the Academy of Television Arts and Sciences and has also chaired that organization’s Library Committee and Student Activities Committee. As Past President of the Broadcast Education Association she increased membership 24% and funding 59%.…

Larry Ward is a professor of radio-TV-film at California State University, Fullerton, where he teaches primarily film and television production and film history and aesthetics. While at the university, he has produced hundreds of hours of sports and public affairs programming broadcast and cablecast in the Los Angelesï¿½Orange County area. He was producer director for "The Science Report", a series of 20-minute educational tapes for sixth-grade students, funded by Union Oil and the Placentia School District. Before that he was director-editor for "The Moving Picture Boys in the Great War", a one-hour documentary film for Postï¿½Newsweek Television Productions, and "Lowell Thomas Remembers I…

Preproduction	p. 1
Developing the Script	p. 2
The Writer's Role	p. 2
Script Terminology	p. 2
Scripting Stages	p. 3
Other Script Forms	p. 11
Computer Programs for Scriptwriting	p. 15
Copyright and Clearances	p. 16
Notes	p. 17
The Process of Preproduction	p. 20
Preproduction Planning	p. 20
Script Breakdown	p. 20
Shooting Schedule	p. 26
Stripboards	p. 27
Production Schedule	p. 27
The Budget	p. 28
Daily Call Sheets	p. 33
Preproduction Responsibilities	p. 35
Hiring Behind-the-Scenes Personnel	p. 35
Casting	p. 37
Finding Locations	p. 38
Designing and Building Sets	p. 38
Planning Costumes, Wardrobe, Makeup, and Hairstyling	p. 43
Preparing Props, Effects, and Supplies	p. 44
Acquiring and Checking Equipment	p. 44
Obtaining Rights	p. 45
Arranging Transportation, Lodging, and Meals	p. 45
Obtaining Insurance	p. 47
Notes	p. 47
Production	p. 49
The Process of Production	p. 50
Production Responsibilities	p. 50
Directing	p. 50
Acting	p. 52
Organizing and Record Keeping	p. 53
Lighting and Camera Operation	p. 57
Recording the Picture and Sound	p. 60
Supporting the Production	p. 60
The Stages of Production	p. 60
Setting Up	p. 61
Rehearsing	p. 62
Shooting	p. 63
Striking	p. 65
Notes	p. 65
Cameras and Lenses	p. 68
Formats	p. 68
Film Formats	p. 68
Video Formats	p. 68
Aspect Ratio	p. 71
Choosing a Film or Tape Stock	p. 73
The Camera	p. 74
Imaging Devices	p. 74
Color Video	p. 75
Evaluating Camera Performance	p. 76
Basic Camera Features	p. 77
Video Recording	p. 78
Video Connectors	p. 80
Monitoring the Recording	p. 80
Supporting the Camera	p. 81
Hand-Held Cameras	p. 82
Tripods	p. 82
Dollies	p. 82
Cranes	p. 83
Moving the Camera	p. 83
Lenses	p. 84
Focal Length	p. 84
Focus	p. 86
Aperture	p. 86
Depth of Field	p. 87
Care of Equipment	p. 88
Notes	p. 89
Approaches to Image Making	p. 92
Shot Determination	p. 92
The Basic Shots	p. 92
Subjective Shots	p. 93
Lens Selection	p. 95
Focal Length Characteristics	p. 95
Depth of Field	p. 95
Camera Angle	p. 96
Composing Within the Static Frame	p. 97
Manipulating the Mise-en-Scene	p. 97
Balance	p. 99
Rule of Thirds	p. 99
Creating Depth	p. 100
On-Screen/Off-Screen Space	p. 100
The Edge of the Frame	p. 100
The Moving Frame	p. 101
Camera Movements	p. 101
Zooming	p. 103
Reframing	p. 103
Time	p. 103
Color and Tonality	p. 104
Film Color	p. 104
Video Color	p. 104
Black-and-White or Color	p. 104
Color Considerations	p. 105
Shooting to Edit	p. 105
Shot Selection	p. 106
Shot Duration	p. 107
The Long Shot, Medium Shot, Close-Up Pattern	p. 107
Shooting for Continuity	p. 107
Notes	p. 109
Lights and Filters	p. 110
Measuring the Light	p. 110
Incident Meters	p. 110
Reflected Light Meters	p. 110
Automatic Metering Systems	p. 111
Getting Correct Exposure	p. 111
Problems with Automatic Metering Systems	p. 112
Footcandles, F-Stops, and EI	p. 112
Contrast Range	p. 113
Using a Monitor to Evaluate Exposure	p. 113
Using a Waveform Monitor to Evaluate Exposure	p. 114
The Color of Light	p. 115
The Electromagnetic Spectrum	p. 115
The Kelvin Scale	p. 116
Tungsten and Daylight-Balanced Light	p. 116
Small-Scale Color Corrections	p. 117
The Vectorscope	p. 117
Filters for Film and Video	p. 118
Using Filters	p. 119
Mounting Filters	p. 119
Compensating for Filters	p. 119
Care of Filters	p. 120
Artificial Lighting	p. 120
Types of Lamps	p. 120
Basic Lighting Instruments	p. 122
Mounting Equipment	p. 124
Controlling the Light	p. 125
Electric Power Requirements	p. 129
Lighting Safety	p. 131
Notes	p. 132
Lighting Approaches	p. 134
Lighting Styles	p. 134
Basic Three-Point Lighting	p. 134
Film Versus Video Lighting	p. 136
Preparing to Light	p. 137
Outdoor Lighting	p. 138
Contrast Reduction	p. 139
Maintaining Continuity in Changing Light	p. 140
Shooting at Night	p. 140
Adapting to Weather Conditions	p. 141
Indoor Lighting	p. 142
Shooting in Available Light and Low Light	p. 142
Bounce Lighting	p. 142
Mixed Lighting	p. 143
Fluorescent Lighting	p. 144
Lighting for Movement	p. 145
Variations in Lighting	p. 147
Notes	p. 150
Microphones and Recorders	p. 152
The Nature of Sound	p. 152
Pitch and Frequency	p. 152
Loudness and Amplitude	p. 153
Timbre	p. 154
Duration	p. 154
Velocity	p. 154
Microphones	p. 154
Directionality	p. 155
Construction	p. 157
Impedance	p. 158
Positioning	p. 158
Cables and Connectors	p. 159
Balanced and Unbalanced Cables	p. 160
Connector Types	p. 160
Recorders	p. 161
Double System and Single System Sound Recording	p. 162
Types of Recorders	p. 163
Recording Methods	p. 165
Features of Sound Recorders	p. 166
Care of Audio Equipment	p. 167
Notes	p. 168
Approaches to Sound Recording	p. 170
Elements of Microphone Pickup	p. 170
Presence	p. 170
Perspective	p. 171
Balance	p. 171
Continuity	p. 172
Eliminating Unwanted Noises	p. 172
Miking Dialogue	p. 173
Selecting the Mic	p. 173
Setting Up the Mics	p. 173
Special Dialogue Situations	p. 174
Miking Voice-Overs	p. 175
Miking Sound Effects	p. 175
Miking Ambient Sounds	p. 176
Miking Music	p. 177
Recording Techniques	p. 178
Notes	p. 179
Postproduction	p. 181
The Process of Postproduction	p. 182
Film Editing	p. 183
Workprints	p. 183
Film Editing Equipment	p. 183
Film Editing Stages	p. 185
The Role of the Laboratory in Film Postproduction	p. 187
Video Editing	p. 188
Linear and Nonlinear Editing	p. 189
Off-Line and On-Line Editing	p. 190
Postproduction Responsibilities	p. 191
General Overseeing	p. 192
Transferring Film to Video	p. 192
Organizing Footage	p. 193
Picture and Dialogue Editing	p. 197
Sound Building	p. 197
Incorporating Graphics	p. 198
Incorporating Elaborate Special Effects	p. 198
Preparing the Movie for Distribution	p. 199
Notes	p. 200
Picture and Dialogue Editing	p. 202
Nonlinear Editing	p. 202
Hardware	p. 203
Software	p. 204
Digitizing and Importing	p. 205
Editing	p. 207
Adding Graphics and Effects	p. 208
Outputting	p. 210
A Nonlinear Example	p. 212
Transferring Picture and Sound	p. 212
Off-Line Editing	p. 212
Lock Down and Final Cut Assembly	p. 212
Sound Building	p. 213
Layback	p. 214
Cuts-Only Linear Editing	p. 214
Control Track Editing	p. 214
Time Code Editing	p. 215
Equipment	p. 215
Insert and Assemble Modes	p. 217
More Advanced Linear Editing	p. 219
Equipment for Effects	p. 219
Equipment for Control and Measurement	p. 220
Equipment for Graphics	p. 221
Notes	p. 221
Editing Approaches	p. 224
Conventional Hollywood Patterns	p. 224
Editing in the Service of the Story	p. 224
The Continuity System	p. 226
The Master Shot Method	p. 226
Ensuring a Consistent Screen Direction	p. 232
Finding the Cutting Point	p. 233
Other Editing Concerns	p. 233
Other Transitions	p. 236
Alternatives in Time and Space	p. 237
Montage Editing	p. 237
Notes	p. 238
Structuring Sound	p. 240
Variations in Structuring Sound	p. 240
Magnetic Film Stock Systems	p. 240
Magnetic Tape Systems	p. 241
Computer Systems	p. 242
Dialogue	p. 244
Automatic Dialogue Replacement	p. 245
Voice-Over	p. 246
Sound Effects	p. 247
Foley	p. 249
Ambient Sounds	p. 252
Music	p. 252
Original Music	p. 252
Previously Composed Music	p. 255
Mixing	p. 256
Limited Mixing	p. 256
Professional-Level Multitrack Mixing	p. 256
Computer-Based Mixing	p. 259
Laybacks and Dubs	p. 261
Notes	p. 262
Approaches to Structuring	p. 264
The Evolution of Sound	p. 264
The Relationship of Sound to Image	p. 264
The Functions of Sound	p. 265
Supplying Information	p. 266
Enhancing Reality and Fantasy	p. 269
Establishing Time, Place, and Character	p. 270
Creating Mood and Emotion	p. 271
Giving a Sense of Rhythm	p. 272
Directing Attention	p. 273
Layering Sound	p. 274
Notes	p. 275
Glossary	p. 276
Suggested Readings and Web Sites	p. 288
Index	p. 289
Table of Contents provided by Syndetics. All Rights Reserved.