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| Photo Credits | |
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| About the Author | |
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| Preface | |
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| The Television Production Process | |
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| What Television Production Is All About | |
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| The Basic Television System | |
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| The Expanded Studio and Electronic Field Production Systems | |
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| System Elements of Studio Production | |
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| The Studio System in Action | |
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| System Elements of Field Production | |
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| Production Elements | |
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| The Camera | |
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| Lighting | |
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| Audio | |
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| Videotape Recording | |
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| The Switcher | |
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| Postproduction Editing | |
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| Special Effects | |
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| Studios, Master Control, and Support Areas | |
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| The Television Studio | |
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| Physical Layout | |
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| Major Installations | |
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| The Studio Control Room | |
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| Program Control | |
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| Image Control | |
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| Audio Control | |
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| Lighting Control | |
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| Master Control | |
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| Program Input | |
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| Program Storage | |
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| Program Retrieval | |
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| Studio Support Areas | |
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| Scenery and Properties | |
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| Makeup and Dressing Rooms | |
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| Analog and Digital Television | |
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| Analog and Digital Television | |
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| Basic Image Creation | |
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| Basic Colors of the Video Display | |
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| What Digital is all About | |
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| Why Digital? | |
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| The Difference Between Analog and Digital | |
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| The Process of Digitization | |
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| Benefits of Digital Television | |
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| Quality | |
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| Computer Compatibility and Flexibility | |
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| Signal Transport | |
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| Compression | |
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| Aspect Ratio | |
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| The 4 [times] 3 Aspect Ratio | |
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| The 16 [times] 9 Aspect Ratio | |
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| DTV Scanning Systems | |
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| Progressive and Interlaced Scanning | |
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| The Progressive Scanning System | |
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| The Interlaced Scanning System | |
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| DTV Systems | |
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| The 480p System | |
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| The 720p System | |
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| The 1080i System | |
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| Flat-Panel Displays | |
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| Plasma Display Panel | |
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| Liquid Crystal Display | |
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| The Television Camera | |
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| How Television Cameras Work | |
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| Parts of the Camera | |
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| From Light to Video Signal | |
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| The Beam Splitter | |
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| The Imaging Device | |
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| The Camera Chain | |
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| The Camera Control Unit | |
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| The Sync Generator and Power Supply | |
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| Types of Cameras | |
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| Analog and Digital Cameras | |
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| Studio Cameras | |
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| ENG/EFP Cameras and Camcorders | |
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| Consumer Camcorders | |
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| Electronic Characteristics | |
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| Aspect Ratio | |
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| Resolution | |
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| Light Sensitivity and Operating Light Level | |
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| Gain | |
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| Video Noise and Signal-to-Noise Ratio | |
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| Image Blur and Electronic Shutter | |
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| Smear and Moire | |
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| Contrast | |
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| Operational Characteristics | |
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| Operational Items and Controls: Studio Cameras | |
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| Operational Items: ENG/EFP Cameras and Camcorders | |
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| Operational Controls: ENG/EFP Cameras and Camcorders | |
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| From Light to Video Image | |
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| The CCD Process | |
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| The Nature of Color | |
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| Color Attributes | |
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| Color Mixing | |
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| Chrominance and Luminance Channels | |
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| Chrominance Channel | |
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| Luminance Channel | |
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| The Encoder | |
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| Lenses | |
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| What Lenses Are | |
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| Types of Zoom Lenses | |
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| Studio and Field Lenses | |
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| Zoom Range | |
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| Lens Format | |
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| Optical Characteristics of Lenses | |
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| Focal Length | |
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| Focus | |
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| Light Transmission: Iris and f-stop | |
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| Depth of Field | |
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| Operational Controls | |
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| Zoom Control | |
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| Digital Zoom Lens | |
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| Focus Control | |
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| What Lenses See | |
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| How Lenses see the World | |
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| The Wide-Angle Lens | |
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| The Normal Lens | |
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| The Narrow-Angle, or Telephoto, Lens | |
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| Camera Mounting Equipment | |
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| Standard Camera Mounts and Movements | |
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| Basic Camera Mounts | |
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| The Handheld and Shoulder-Mounted Camera | |
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| The Monopod and Tripod | |
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| The Studio Pedestal | |
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| Camera Mounting (Pan-And-Tilt) Heads | |
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| Fluid Heads | |
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| Cam Heads | |
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| Plate and Wedge Mount | |
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| Camera Movements | |
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| Special Camera Mounts | |
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| Special Mounting Devices | |
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| High Hat | |
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| Bean Bag | |
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| Steadicam | |
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| Short and Long Jibs | |
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| Studio Crane | |
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| Robot Pedestals and Mounting Heads | |
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| Camera Operation and Picture Composition | |
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| Working the Camera | |
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| Working the Camcorder and EFP Camera | |
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| Some Basic Camera "Don'ts" | |
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| Before the Shoot | |
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| During the Shoot | |
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| After the Shoot | |
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| Working the Studio Camera | |
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| Before the Show | |
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| During the Show | |
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| After the Show | |
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| Framing Effective Shots | |
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| Screen Size and Field of View | |
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| Screen Size | |
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| Field of View | |
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| Framing A Shot | |
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| Dealing With Height and Width | |
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| Close-ups | |
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| Headroom | |
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| Noseroom and Leadroom | |
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| Closure | |
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| Depth | |
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| Screen Motion | |
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| Lighting | |
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| Lighting Instruments and Lighting Controls | |
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| Studio Lighting Instruments | |
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| Spotlights | |
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| Floodlights | |
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| Field Lighting Instruments | |
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| Spotlights | |
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| Floodlights | |
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| Handheld Lights | |
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| Lighting Control Equipment | |
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| Mounting Devices | |
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| Directional Controls | |
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| Intensity Controls: Diffusers and Reflectors | |
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| Intensity Controls: Electronic Dimmers | |
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| Color Temperature | |
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| How to Control Color Temperature | |
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| Light Intensity, Lamps, and Color Media | |
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| Light Intensity | |
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| Lux and Foot-candles | |
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| Incident Light | |
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| Reflected Light | |
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| Calculating Light Intensity | |
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| Operating Light Level: Baselight | |
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| Baselight Levels | |
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| Types of Lamps | |
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| Incandescent | |
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| Quartz, or Tungsten-Halogen | |
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| HMI | |
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| Fluorescent | |
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| Color Media | |
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| How to Use Color Media | |
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| Mixing Color Gels | |
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| Techniques of Television Lighting | |
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| Lighting in the Studio | |
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| Types of Light | |
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| Main Light Sources | |
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| Types of Lighting Instruments | |
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| Functions of Main Light Sources | |
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| The Photographic Principle, or Triangle Lighting | |
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| Specific Lighting Techniques | |
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| Continuous-Action Lighting | |
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| Large-Area Lighting | |
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| Cameo Lighting | |
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| Silhouette Lighting | |
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| Chroma-Key Area Lighting | |
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| Controlling Eye and Boom Shadows | |
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| Contrast | |
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| Contrast Ratio | |
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| Shading | |
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| Auto-Iris | |
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| Measuring Contrast | |
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| Limiting Contrast | |
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| Balancing Intensities | |
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| Key-to-Back-Light Ratio | |
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| Key-to-Fill-Light Ratio | |
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| The Light Plot | |
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| Operation of Studio Lights | |
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| Safety | |
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| Preserving Lamps and Power | |
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| Using a Studio Monitor | |
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| Lighting in the Field | |
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| Eng Lighting | |
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| Shooting in Outdoor Light | |
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| Shooting at Night | |
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| Shooting in Indoor Light | |
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| Efp Lighting | |
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| Safety | |
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| Power Supply | |
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| Location Survey | |
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| Lighting Setup | |
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| Audio: Sound Pickup | |
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| How Microphones Hear | |
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| Electronic Characteristics of Microphones | |
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| Sound-Generating Element | |
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| Pickup Patterns | |
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| Special Microphone Features | |
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| Operational Characteristics of Microphones | |
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| Lavaliere Microphones | |
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| Hand Microphones | |
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| Boom Microphones | |
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| Headset Microphones | |
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| Wireless Microphones | |
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| Desk Microphones | |
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| Stand Microphones | |
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| Hanging Microphones | |
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| Hidden Microphones | |
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| Long-distance Microphones | |
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| How Microphones Work | |
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| Sound-Generating Elements | |
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| Dynamic Microphones | |
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| Condenser Microphones | |
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| Ribbon Microphones | |
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| Sound Quality | |
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| Special Microphone Features | |
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| Impedance | |
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| Frequency Response | |
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| Balanced and Unbalanced Mics and Cables, and Audio Connectors | |
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| Mic Setups for Music Pickup | |
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| Microphone Setup for Singer and Acoustic Guitar | |
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| Microphone Setup for Singer and Piano | |
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| Microphone Setup for Small Rock Group and Direct Insertion | |
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| Microphone Use Specific to Eng/Efp | |
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| Microphone Use Specific to the Studio | |
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| Audio: Sound Control | |
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| Sound Controls and How to Use Them | |
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| Audio Control Areas: Studio | |
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| Audio Control Booth | |
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| Audio Production Room | |
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| Audio Production Equipment: Studio | |
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| Audio Console | |
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| Patchbay | |
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| Audio Recording Systems | |
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| Analog Recording Systems | |
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| Digital Recording Systems | |
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| Audio/Video Postproduction | |
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| Audio Production Equipment: Field | |
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| Mixer | |
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| Mixing and Sound Aesthetics | |
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| Basic Audio Operation | |
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| Volume Control | |
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| Live and Postproduction Mixing | |
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| Live Studio Mixing | |
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| Live Mixing in ENG/EFP | |
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| Postproduction Mixing | |
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| Controlling Sound Quality | |
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| Aesthetic Factors | |
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| Environment | |
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| Figure-ground | |
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| Perspective | |
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| Continuity | |
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| Energy | |
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| Surround Sound | |
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| Switching, or Instantaneous Editing | |
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| How Switchers Work | |
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| Basic Switcher Functions | |
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| Simple Switcher Layout | |
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| Program Bus | |
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| Mix Buses | |
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| Preview Bus | |
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| Effects Buses | |
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| Multifunction Switchers | |
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| Basic Switcher Operation | |
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| Cut or Take | |
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| Dissolve | |
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| Super | |
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| Fade | |
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| Additional Special-Effects Controls | |
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| What Switchers Do | |
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| Switcher Types and Functions | |
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| Production Switchers | |
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| Postproduction Switchers | |
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| Master Control Switchers | |
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| Routing Switchers | |
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| Electronic Designs | |
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| Composite and Component Switchers | |
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| Analog and Digital Switchers | |
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| Audio-Follow-Video Switchers | |
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| Video-Recording and Storage Systems | |
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| How Video Recording Works | |
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| Tape-and Disk-Based Recording Systems | |
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| Analog and Digital Systems | |
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| Linear and Nonlinear Systems | |
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| Composite and Component Systems | |
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| Compression | |
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| Tape-Based Recording and Storage Systems | |
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| How Videotape Recording Works | |
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| Operational Controls and Electronic Features | |
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| Major Analog Videotape Recorders | |
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| Major Digital Videotape Recorders | |
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| Disk-Based Recording and Storage Systems | |
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| Hard Disk Systems | |
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| Read/Write Optical Discs | |
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| Data Transfer | |
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| How Video Recording Is Done | |
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| Uses of Video Recording and Storage | |
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| Building a Show | |
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| Time Delay | |
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| Program Duplication and Distribution | |
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| Record Protection and Reference | |
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| Operational Video-Recording Systems | |
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| Quality Choice | |
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| Operational Video Recorder Systems | |
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| Video-Recording Production Factors | |
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| Preproduction | |
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| Production | |
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| Postproduction Editing | |
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| How Postproduction Editing Works | |
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| Editing Modes: Off- and On-Line | |
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| Basic Editing Systems | |
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| Linear Systems | |
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| Nonlinear Systems | |
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| Editing Principle | |
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| Linear Editing Systems | |
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| Single-Source System | |
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| Expanded Single-Source System | |
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| Multiple-Source Systems | |
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| Linear Editing Features and Techniques | |
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| Assemble and Insert Editing | |
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| Control Track and Time Code Editing | |
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| Control Track, or Pulse-Count, Editing | |
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| Time Code Editing | |
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| AB Rolling and AB-Roll Editing | |
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| AB Rolling | |
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| AB-Roll Editing | |
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| Nonlinear Editing Systems | |
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| Nonlinear Editing Features and Techniques | |
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| Digitizing Information | |
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| Compression | |
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| Storing Information | |
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| Juxtaposing and Rearranging Video and Audio Files | |
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| Preediting Phases | |
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| Shooting Phase | |
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| Review Phase | |
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| Decision-Making Phase | |
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| Operational Phase | |
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| Making Editing Decisions | |
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| Editing Functions | |
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| Combine | |
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| Trim | |
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| Correct | |
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| Build | |
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| Basic Transition Devices | |
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| The Cut | |
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| The Dissolve | |
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| The Wipe | |
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| The Fade | |
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| Major Editing Principles | |
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| Continuity Editing | |
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| Complexity Editing | |
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| Context | |
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| Ethics | |
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| Visual Effects | |
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| Electronic Effects and How to Use Them | |
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| Standard Analog Video Effects | |
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| Superimposition | |
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| Key | |
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| Chroma Key | |
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| Wipe | |
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| Digital Video Effects | |
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| Computer-Manipulated Effects | |
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| Image Size, Shape, Light, and Color | |
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| Motion | |
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| Multi-Images | |
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| Computer-Generated Effects | |
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| Nonelectronic Effects and How to Use Them | |
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| Optical Effects | |
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| Television Gobos | |
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| Reflections | |
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| Star Filter | |
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| Diffusion Filters | |
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| Defocus | |
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| Mechanical Effects | |
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| Rain | |
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| Snow | |
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| Fog | |
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| Wind | |
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| Smoke | |
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| Fire | |
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| Lightning | |
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| Explosions | |
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| Design | |
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| Designing and Using Television Graphics | |
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| Specifications of Television Graphics | |
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| Aspect Ratio | |
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| Scanning and Essential Areas | |
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| Out-of-Aspect-Ratio Graphics and Moving Images | |
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| Information Density and Readability | |
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| Color | |
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| Style | |
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| Graphics Equipment | |
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| Character Generator | |
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| Graphics Generator | |
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| Scenery and Props | |
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| Television Scenery | |
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| Standard Set Units | |
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| Hanging Units | |
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| Platforms and Wagons | |
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| Set Pieces | |
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| Properties and Set Dressings | |
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| Stage Props | |
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| Set Dressings | |
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| Hand Properties | |
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| Prop List | |
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| Elements of Scene Design | |
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| The Floor Plan | |
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| Set Backgrounds and Platforms | |
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| Studio Floor Treatments | |
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| Production People | |
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| What Production People Do | |
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| Production (Nontechnical) Personnel | |
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| Technical Personnel and Crew | |
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| News Production Personnel | |
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| Television Talent | |
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| Performance Techniques | |
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| Performer and Camera | |
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| Performer and Audio | |
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| Performer and Timing | |
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| Performer and Postproduction | |
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| Floor Manager's Cues | |
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| Prompting Devices | |
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| Acting Techniques | |
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| Audience | |
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| Blocking | |
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| Memorizing Lines | |
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| Timing | |
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| The Actor and Postproduction | |
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| The Director/Actor Relationship | |
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| Auditions | |
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| How to Do Makeup and What to Wear | |
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| Makeup | |
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| Technical Requirements | |
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| Materials | |
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| Techniques | |
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| Clothing and Costuming | |
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| Clothing | |
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| Costuming | |
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| Producing | |
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| What Producing Is All About | |
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| Preproduction Planning: From Idea to Script | |
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| Program Ideas | |
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| Production Models | |
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| Writing the Program Proposal | |
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| Preparing a Budget | |
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| Presenting the Proposal | |
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| Writing the Script | |
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| Preproduction Planning: Coordination | |
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| People | |
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| Facilities Request | |
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| Schedules | |
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| Permits and Clearances | |
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| Publicity and Promotion | |
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| Production: Host and Critical Observation | |
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| Playing Host | |
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| Watching the Production Flow | |
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| Evaluating the Production | |
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| Postproduction Activities | |
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| Postproduction Editing | |
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| Evaluation and Feedback | |
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| Recordkeeping | |
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| Dealing With Schedules, Legal Matters, and Ratings | |
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| Production Schedule | |
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| Information Resources | |
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| Program Types | |
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| Unions and Legal Matters | |
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| Unions | |
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| Copyrights and Clearances | |
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| Other Legal Considerations | |
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| Audience and Ratings | |
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| Target Audience | |
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| Ratings and Share | |
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| The Director in Preproduction | |
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| How a Director Prepares | |
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| The Director's Roles | |
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| Director as Artist | |
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| Director as Psychologist | |
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| Director as Technical Adviser | |
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| Director as Coordinator | |
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| Preproduction Activities | |
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| Process Message | |
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| Production Method | |
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| Production Team and Communication | |
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| Scheduling | |
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| Script Formats | |
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| Script Marking | |
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| Floor Plan and Location Sketch | |
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| Facilities Request | |
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| Support Staff | |
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| Floor Manager | |
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| Assistant, or Associate, Director | |
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| Production Assistant | |
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| Moving from Script to Screen | |
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| Visualization and Sequencing | |
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| Formulating the Process Message | |
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| Medium Requirements | |
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| Interpreting the Floor Plan and Location Sketch | |
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| Script Analysis | |
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| Locking-In Point and Translation | |
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| The Storyboard | |
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| The Director in Production and Postproduction | |
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| Multicamera Studio Directing | |
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| The Director's Terminology | |
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| Multicamera Studio Directing | |
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| Directing from the Control Room | |
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| Rehearsals | |
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| Time Line | |
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| Directing the Show | |
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| Controlling Clock Time | |
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| Schedule Time and Running Time | |
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| Clock Back-Timing and Front-Timing | |
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| Converting Frames into Clock Time | |
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| Controlling Subjective Time | |
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| Studio Intercom Systems | |
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| Single-Camera Directing | |
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| Single-Camera Directing Procedures | |
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| Visualization | |
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| Script Breakdown | |
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| Rehearsals | |
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| Videotaping | |
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| Postproduction Activities | |
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| Field Production and Big Remotes | |
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| ENG, EFP, and Big Remotes | |
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| Electronic News Gathering | |
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| ENG Production Features | |
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| SNG Production Features | |
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| Electronic Field Production | |
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| Preproduction | |
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| Production: Equipment Check | |
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| Production: Setup | |
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| Production: Rehearsals | |
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| Production: Videotaping | |
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| Production: Strike and Equipment Check | |
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| Postproduction | |
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| Big Remotes | |
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| Preproduction: The Remote Survey | |
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| Production: Equipment Setup and Operation | |
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| Production: Floor Manager and Talent Procedures | |
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| Covering Major Events | |
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| Sports Remotes | |
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| Location Sketch and Remote Setups | |
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| Reading Location Sketches | |
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| Production Requirements for Public Hearing (Indoor Remote) | |
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| Production Requirements for Parade (Outdoor Remote) | |
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| Communication Systems | |
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| ENG Communication Systems | |
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| EFP Communication Systems | |
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| Big-Remote Communication Systems | |
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| Signal Transport | |
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| Microwave Transmission | |
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| Communication Satellites: Frequencies, Uplinks, and Downlinks | |
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| Cable Distribution | |
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| Epilogue | |
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| Glossary | |
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| Selected Reading | |
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| Index | |