Photo Credits | p. xxi |
About the Author | p. xxiii |
Preface | p. xxiv |
The Television Production Process | p. 2 |
What Television Production Is All About | p. 4 |
The Basic Television System | p. 4 |
The Expanded Studio and Electronic Field Production Systems | p. 5 |
System Elements of Studio Production | p. 5 |
The Studio System in Action | p. 7 |
System Elements of Field Production | p. 7 |
Production Elements | p. 8 |
The Camera | p. 8 |
Lighting | p. 10 |
Audio | p. 11 |
Videotape Recording | p. 13 |
The Switcher | p. 14 |
Postproduction Editing | p. 14 |
Special Effects | p. 15 |
Studios, Master Control, and Support Areas | p. 17 |
The Television Studio | p. 17 |
Physical Layout | p. 17 |
Major Installations | p. 18 |
The Studio Control Room | p. 19 |
Program Control | p. 20 |
Image Control | p. 21 |
Audio Control | p. 21 |
Lighting Control | p. 21 |
Master Control | p. 22 |
Program Input | p. 22 |
Program Storage | p. 23 |
Program Retrieval | p. 23 |
Studio Support Areas | p. 23 |
Scenery and Properties | p. 23 |
Makeup and Dressing Rooms | p. 24 |
Analog and Digital Television | p. 26 |
Analog and Digital Television | p. 28 |
Basic Image Creation | p. 28 |
Basic Colors of the Video Display | p. 30 |
What Digital is all About | p. 30 |
Why Digital? | p. 30 |
The Difference Between Analog and Digital | p. 30 |
The Process of Digitization | p. 30 |
Benefits of Digital Television | p. 32 |
Quality | p. 32 |
Computer Compatibility and Flexibility | p. 33 |
Signal Transport | p. 33 |
Compression | p. 33 |
Aspect Ratio | p. 34 |
The 4 [times] 3 Aspect Ratio | p. 34 |
The 16 [times] 9 Aspect Ratio | p. 34 |
DTV Scanning Systems | p. 36 |
Progressive and Interlaced Scanning | p. 36 |
The Progressive Scanning System | p. 36 |
The Interlaced Scanning System | p. 37 |
DTV Systems | p. 37 |
The 480p System | p. 38 |
The 720p System | p. 38 |
The 1080i System | p. 38 |
Flat-Panel Displays | p. 38 |
Plasma Display Panel | p. 38 |
Liquid Crystal Display | p. 38 |
The Television Camera | p. 40 |
How Television Cameras Work | p. 42 |
Parts of the Camera | p. 42 |
From Light to Video Signal | p. 43 |
The Beam Splitter | p. 44 |
The Imaging Device | p. 44 |
The Camera Chain | p. 45 |
The Camera Control Unit | p. 45 |
The Sync Generator and Power Supply | p. 46 |
Types of Cameras | p. 46 |
Analog and Digital Cameras | p. 46 |
Studio Cameras | p. 47 |
ENG/EFP Cameras and Camcorders | p. 48 |
Consumer Camcorders | p. 49 |
Electronic Characteristics | p. 50 |
Aspect Ratio | p. 50 |
Resolution | p. 50 |
Light Sensitivity and Operating Light Level | p. 52 |
Gain | p. 53 |
Video Noise and Signal-to-Noise Ratio | p. 54 |
Image Blur and Electronic Shutter | p. 54 |
Smear and Moire | p. 54 |
Contrast | p. 54 |
Operational Characteristics | p. 55 |
Operational Items and Controls: Studio Cameras | p. 55 |
Operational Items: ENG/EFP Cameras and Camcorders | p. 57 |
Operational Controls: ENG/EFP Cameras and Camcorders | p. 59 |
From Light to Video Image | p. 61 |
The CCD Process | p. 61 |
The Nature of Color | p. 62 |
Color Attributes | p. 62 |
Color Mixing | p. 62 |
Chrominance and Luminance Channels | p. 62 |
Chrominance Channel | p. 62 |
Luminance Channel | p. 63 |
The Encoder | p. 63 |
Lenses | p. 64 |
What Lenses Are | p. 66 |
Types of Zoom Lenses | p. 66 |
Studio and Field Lenses | p. 66 |
Zoom Range | p. 66 |
Lens Format | p. 68 |
Optical Characteristics of Lenses | p. 69 |
Focal Length | p. 69 |
Focus | p. 70 |
Light Transmission: Iris and f-stop | p. 71 |
Depth of Field | p. 73 |
Operational Controls | p. 74 |
Zoom Control | p. 75 |
Digital Zoom Lens | p. 76 |
Focus Control | p. 76 |
What Lenses See | p. 78 |
How Lenses see the World | p. 78 |
The Wide-Angle Lens | p. 78 |
The Normal Lens | p. 81 |
The Narrow-Angle, or Telephoto, Lens | p. 82 |
Camera Mounting Equipment | p. 86 |
Standard Camera Mounts and Movements | p. 88 |
Basic Camera Mounts | p. 88 |
The Handheld and Shoulder-Mounted Camera | p. 88 |
The Monopod and Tripod | p. 89 |
The Studio Pedestal | p. 90 |
Camera Mounting (Pan-And-Tilt) Heads | p. 92 |
Fluid Heads | p. 92 |
Cam Heads | p. 93 |
Plate and Wedge Mount | p. 93 |
Camera Movements | p. 94 |
Special Camera Mounts | p. 97 |
Special Mounting Devices | p. 97 |
High Hat | p. 97 |
Bean Bag | p. 97 |
Steadicam | p. 98 |
Short and Long Jibs | p. 98 |
Studio Crane | p. 99 |
Robot Pedestals and Mounting Heads | p. 100 |
Camera Operation and Picture Composition | p. 102 |
Working the Camera | p. 104 |
Working the Camcorder and EFP Camera | p. 104 |
Some Basic Camera "Don'ts" | p. 105 |
Before the Shoot | p. 105 |
During the Shoot | p. 106 |
After the Shoot | p. 109 |
Working the Studio Camera | p. 109 |
Before the Show | p. 110 |
During the Show | p. 110 |
After the Show | p. 112 |
Framing Effective Shots | p. 113 |
Screen Size and Field of View | p. 113 |
Screen Size | p. 114 |
Field of View | p. 114 |
Framing A Shot | p. 115 |
Dealing With Height and Width | p. 115 |
Close-ups | p. 117 |
Headroom | p. 118 |
Noseroom and Leadroom | p. 118 |
Closure | p. 119 |
Depth | p. 122 |
Screen Motion | p. 123 |
Lighting | p. 126 |
Lighting Instruments and Lighting Controls | p. 128 |
Studio Lighting Instruments | p. 128 |
Spotlights | p. 128 |
Floodlights | p. 131 |
Field Lighting Instruments | p. 134 |
Spotlights | p. 134 |
Floodlights | p. 137 |
Handheld Lights | p. 138 |
Lighting Control Equipment | p. 139 |
Mounting Devices | p. 139 |
Directional Controls | p. 143 |
Intensity Controls: Diffusers and Reflectors | p. 144 |
Intensity Controls: Electronic Dimmers | p. 145 |
Color Temperature | p. 148 |
How to Control Color Temperature | p. 149 |
Light Intensity, Lamps, and Color Media | p. 151 |
Light Intensity | p. 151 |
Lux and Foot-candles | p. 151 |
Incident Light | p. 152 |
Reflected Light | p. 152 |
Calculating Light Intensity | p. 153 |
Operating Light Level: Baselight | p. 153 |
Baselight Levels | p. 154 |
Types of Lamps | p. 154 |
Incandescent | p. 155 |
Quartz, or Tungsten-Halogen | p. 155 |
HMI | p. 155 |
Fluorescent | p. 155 |
Color Media | p. 155 |
How to Use Color Media | p. 155 |
Mixing Color Gels | p. 155 |
Techniques of Television Lighting | p. 158 |
Lighting in the Studio | p. 160 |
Types of Light | p. 160 |
Main Light Sources | p. 161 |
Types of Lighting Instruments | p. 161 |
Functions of Main Light Sources | p. 161 |
The Photographic Principle, or Triangle Lighting | p. 165 |
Specific Lighting Techniques | p. 166 |
Continuous-Action Lighting | p. 166 |
Large-Area Lighting | p. 168 |
Cameo Lighting | p. 168 |
Silhouette Lighting | p. 169 |
Chroma-Key Area Lighting | p. 169 |
Controlling Eye and Boom Shadows | p. 170 |
Contrast | p. 172 |
Contrast Ratio | p. 172 |
Shading | p. 172 |
Auto-Iris | p. 173 |
Measuring Contrast | p. 173 |
Limiting Contrast | p. 173 |
Balancing Intensities | p. 173 |
Key-to-Back-Light Ratio | p. 174 |
Key-to-Fill-Light Ratio | p. 174 |
The Light Plot | p. 175 |
Operation of Studio Lights | p. 176 |
Safety | p. 176 |
Preserving Lamps and Power | p. 176 |
Using a Studio Monitor | p. 176 |
Lighting in the Field | p. 178 |
Eng Lighting | p. 178 |
Shooting in Outdoor Light | p. 179 |
Shooting at Night | p. 180 |
Shooting in Indoor Light | p. 181 |
Efp Lighting | p. 183 |
Safety | p. 184 |
Power Supply | p. 184 |
Location Survey | p. 184 |
Lighting Setup | p. 186 |
Audio: Sound Pickup | p. 190 |
How Microphones Hear | p. 192 |
Electronic Characteristics of Microphones | p. 192 |
Sound-Generating Element | p. 192 |
Pickup Patterns | p. 193 |
Special Microphone Features | p. 195 |
Operational Characteristics of Microphones | p. 195 |
Lavaliere Microphones | p. 195 |
Hand Microphones | p. 198 |
Boom Microphones | p. 200 |
Headset Microphones | p. 204 |
Wireless Microphones | p. 204 |
Desk Microphones | p. 206 |
Stand Microphones | p. 208 |
Hanging Microphones | p. 209 |
Hidden Microphones | p. 210 |
Long-distance Microphones | p. 211 |
How Microphones Work | p. 213 |
Sound-Generating Elements | p. 213 |
Dynamic Microphones | p. 213 |
Condenser Microphones | p. 214 |
Ribbon Microphones | p. 214 |
Sound Quality | p. 214 |
Special Microphone Features | p. 214 |
Impedance | p. 214 |
Frequency Response | p. 218 |
Balanced and Unbalanced Mics and Cables, and Audio Connectors | p. 218 |
Mic Setups for Music Pickup | p. 218 |
Microphone Setup for Singer and Acoustic Guitar | p. 218 |
Microphone Setup for Singer and Piano | p. 219 |
Microphone Setup for Small Rock Group and Direct Insertion | p. 219 |
Microphone Use Specific to Eng/Efp | p. 219 |
Microphone Use Specific to the Studio | p. 221 |
Audio: Sound Control | p. 224 |
Sound Controls and How to Use Them | p. 226 |
Audio Control Areas: Studio | p. 226 |
Audio Control Booth | p. 226 |
Audio Production Room | p. 227 |
Audio Production Equipment: Studio | p. 228 |
Audio Console | p. 228 |
Patchbay | p. 232 |
Audio Recording Systems | p. 234 |
Analog Recording Systems | p. 234 |
Digital Recording Systems | p. 235 |
Audio/Video Postproduction | p. 238 |
Audio Production Equipment: Field | p. 239 |
Mixer | p. 239 |
Mixing and Sound Aesthetics | p. 241 |
Basic Audio Operation | p. 241 |
Volume Control | p. 241 |
Live and Postproduction Mixing | p. 243 |
Live Studio Mixing | p. 243 |
Live Mixing in ENG/EFP | p. 244 |
Postproduction Mixing | p. 245 |
Controlling Sound Quality | p. 245 |
Aesthetic Factors | p. 246 |
Environment | p. 246 |
Figure-ground | p. 246 |
Perspective | p. 246 |
Continuity | p. 247 |
Energy | p. 247 |
Surround Sound | p. 247 |
Switching, or Instantaneous Editing | p. 250 |
How Switchers Work | p. 252 |
Basic Switcher Functions | p. 252 |
Simple Switcher Layout | p. 253 |
Program Bus | p. 253 |
Mix Buses | p. 253 |
Preview Bus | p. 254 |
Effects Buses | p. 254 |
Multifunction Switchers | p. 254 |
Basic Switcher Operation | p. 256 |
Cut or Take | p. 256 |
Dissolve | p. 258 |
Super | p. 259 |
Fade | p. 259 |
Additional Special-Effects Controls | p. 259 |
What Switchers Do | p. 262 |
Switcher Types and Functions | p. 262 |
Production Switchers | p. 262 |
Postproduction Switchers | p. 263 |
Master Control Switchers | p. 263 |
Routing Switchers | p. 264 |
Electronic Designs | p. 264 |
Composite and Component Switchers | p. 264 |
Analog and Digital Switchers | p. 264 |
Audio-Follow-Video Switchers | p. 265 |
Video-Recording and Storage Systems | p. 266 |
How Video Recording Works | p. 268 |
Tape-and Disk-Based Recording Systems | p. 268 |
Analog and Digital Systems | p. 268 |
Linear and Nonlinear Systems | p. 269 |
Composite and Component Systems | p. 269 |
Compression | p. 270 |
Tape-Based Recording and Storage Systems | p. 271 |
How Videotape Recording Works | p. 271 |
Operational Controls and Electronic Features | p. 273 |
Major Analog Videotape Recorders | p. 275 |
Major Digital Videotape Recorders | p. 277 |
Disk-Based Recording and Storage Systems | p. 280 |
Hard Disk Systems | p. 280 |
Read/Write Optical Discs | p. 281 |
Data Transfer | p. 281 |
How Video Recording Is Done | p. 283 |
Uses of Video Recording and Storage | p. 283 |
Building a Show | p. 283 |
Time Delay | p. 284 |
Program Duplication and Distribution | p. 284 |
Record Protection and Reference | p. 284 |
Operational Video-Recording Systems | p. 284 |
Quality Choice | p. 284 |
Operational Video Recorder Systems | p. 284 |
Video-Recording Production Factors | p. 286 |
Preproduction | p. 286 |
Production | p. 288 |
Postproduction Editing | p. 294 |
How Postproduction Editing Works | p. 296 |
Editing Modes: Off- and On-Line | p. 297 |
Basic Editing Systems | p. 297 |
Linear Systems | p. 297 |
Nonlinear Systems | p. 297 |
Editing Principle | p. 298 |
Linear Editing Systems | p. 298 |
Single-Source System | p. 298 |
Expanded Single-Source System | p. 299 |
Multiple-Source Systems | p. 301 |
Linear Editing Features and Techniques | p. 302 |
Assemble and Insert Editing | p. 302 |
Control Track and Time Code Editing | p. 303 |
Control Track, or Pulse-Count, Editing | p. 304 |
Time Code Editing | p. 305 |
AB Rolling and AB-Roll Editing | p. 306 |
AB Rolling | p. 306 |
AB-Roll Editing | p. 307 |
Nonlinear Editing Systems | p. 308 |
Nonlinear Editing Features and Techniques | p. 309 |
Digitizing Information | p. 309 |
Compression | p. 309 |
Storing Information | p. 309 |
Juxtaposing and Rearranging Video and Audio Files | p. 309 |
Preediting Phases | p. 310 |
Shooting Phase | p. 310 |
Review Phase | p. 311 |
Decision-Making Phase | p. 314 |
Operational Phase | p. 315 |
Making Editing Decisions | p. 318 |
Editing Functions | p. 318 |
Combine | p. 318 |
Trim | p. 319 |
Correct | p. 319 |
Build | p. 319 |
Basic Transition Devices | p. 319 |
The Cut | p. 319 |
The Dissolve | p. 320 |
The Wipe | p. 320 |
The Fade | p. 320 |
Major Editing Principles | p. 320 |
Continuity Editing | p. 322 |
Complexity Editing | p. 328 |
Context | p. 328 |
Ethics | p. 329 |
Visual Effects | p. 332 |
Electronic Effects and How to Use Them | p. 334 |
Standard Analog Video Effects | p. 334 |
Superimposition | p. 334 |
Key | p. 335 |
Chroma Key | p. 337 |
Wipe | p. 339 |
Digital Video Effects | p. 341 |
Computer-Manipulated Effects | p. 341 |
Image Size, Shape, Light, and Color | p. 342 |
Motion | p. 344 |
Multi-Images | p. 346 |
Computer-Generated Effects | p. 347 |
Nonelectronic Effects and How to Use Them | p. 349 |
Optical Effects | p. 350 |
Television Gobos | p. 350 |
Reflections | p. 350 |
Star Filter | p. 351 |
Diffusion Filters | p. 351 |
Defocus | p. 352 |
Mechanical Effects | p. 352 |
Rain | p. 352 |
Snow | p. 352 |
Fog | p. 352 |
Wind | p. 352 |
Smoke | p. 353 |
Fire | p. 353 |
Lightning | p. 353 |
Explosions | p. 353 |
Design | p. 354 |
Designing and Using Television Graphics | p. 356 |
Specifications of Television Graphics | p. 356 |
Aspect Ratio | p. 357 |
Scanning and Essential Areas | p. 357 |
Out-of-Aspect-Ratio Graphics and Moving Images | p. 358 |
Information Density and Readability | p. 361 |
Color | p. 362 |
Style | p. 365 |
Graphics Equipment | p. 365 |
Character Generator | p. 365 |
Graphics Generator | p. 366 |
Scenery and Props | p. 370 |
Television Scenery | p. 370 |
Standard Set Units | p. 370 |
Hanging Units | p. 372 |
Platforms and Wagons | p. 373 |
Set Pieces | p. 374 |
Properties and Set Dressings | p. 375 |
Stage Props | p. 375 |
Set Dressings | p. 375 |
Hand Properties | p. 376 |
Prop List | p. 376 |
Elements of Scene Design | p. 376 |
The Floor Plan | p. 377 |
Set Backgrounds and Platforms | p. 379 |
Studio Floor Treatments | p. 379 |
Production People | p. 382 |
What Production People Do | p. 384 |
Production (Nontechnical) Personnel | p. 384 |
Technical Personnel and Crew | p. 386 |
News Production Personnel | p. 387 |
Television Talent | p. 389 |
Performance Techniques | p. 389 |
Performer and Camera | p. 390 |
Performer and Audio | p. 391 |
Performer and Timing | p. 392 |
Performer and Postproduction | p. 392 |
Floor Manager's Cues | p. 392 |
Prompting Devices | p. 397 |
Acting Techniques | p. 399 |
Audience | p. 399 |
Blocking | p. 400 |
Memorizing Lines | p. 400 |
Timing | p. 400 |
The Actor and Postproduction | p. 400 |
The Director/Actor Relationship | p. 401 |
Auditions | p. 401 |
How to Do Makeup and What to Wear | p. 403 |
Makeup | p. 403 |
Technical Requirements | p. 404 |
Materials | p. 404 |
Techniques | p. 405 |
Clothing and Costuming | p. 405 |
Clothing | p. 405 |
Costuming | p. 406 |
Producing | p. 408 |
What Producing Is All About | p. 410 |
Preproduction Planning: From Idea to Script | p. 410 |
Program Ideas | p. 411 |
Production Models | p. 412 |
Writing the Program Proposal | p. 413 |
Preparing a Budget | p. 415 |
Presenting the Proposal | p. 419 |
Writing the Script | p. 419 |
Preproduction Planning: Coordination | p. 419 |
People | p. 419 |
Facilities Request | p. 420 |
Schedules | p. 421 |
Permits and Clearances | p. 421 |
Publicity and Promotion | p. 421 |
Production: Host and Critical Observation | p. 422 |
Playing Host | p. 422 |
Watching the Production Flow | p. 422 |
Evaluating the Production | p. 422 |
Postproduction Activities | p. 422 |
Postproduction Editing | p. 422 |
Evaluation and Feedback | p. 422 |
Recordkeeping | p. 423 |
Dealing With Schedules, Legal Matters, and Ratings | p. 424 |
Production Schedule | p. 424 |
Information Resources | p. 425 |
Program Types | p. 426 |
Unions and Legal Matters | p. 426 |
Unions | p. 426 |
Copyrights and Clearances | p. 426 |
Other Legal Considerations | p. 427 |
Audience and Ratings | p. 427 |
Target Audience | p. 427 |
Ratings and Share | p. 428 |
The Director in Preproduction | p. 430 |
How a Director Prepares | p. 432 |
The Director's Roles | p. 432 |
Director as Artist | p. 432 |
Director as Psychologist | p. 433 |
Director as Technical Adviser | p. 433 |
Director as Coordinator | p. 433 |
Preproduction Activities | p. 433 |
Process Message | p. 434 |
Production Method | p. 434 |
Production Team and Communication | p. 434 |
Scheduling | p. 434 |
Script Formats | p. 434 |
Script Marking | p. 436 |
Floor Plan and Location Sketch | p. 445 |
Facilities Request | p. 446 |
Support Staff | p. 446 |
Floor Manager | p. 446 |
Assistant, or Associate, Director | p. 448 |
Production Assistant | p. 449 |
Moving from Script to Screen | p. 450 |
Visualization and Sequencing | p. 450 |
Formulating the Process Message | p. 451 |
Medium Requirements | p. 451 |
Interpreting the Floor Plan and Location Sketch | p. 457 |
Script Analysis | p. 459 |
Locking-In Point and Translation | p. 459 |
The Storyboard | p. 460 |
The Director in Production and Postproduction | p. 464 |
Multicamera Studio Directing | p. 466 |
The Director's Terminology | p. 466 |
Multicamera Studio Directing | p. 467 |
Directing from the Control Room | p. 470 |
Rehearsals | p. 473 |
Time Line | p. 478 |
Directing the Show | p. 480 |
Controlling Clock Time | p. 482 |
Schedule Time and Running Time | p. 483 |
Clock Back-Timing and Front-Timing | p. 483 |
Converting Frames into Clock Time | p. 484 |
Controlling Subjective Time | p. 484 |
Studio Intercom Systems | p. 484 |
Single-Camera Directing | p. 487 |
Single-Camera Directing Procedures | p. 487 |
Visualization | p. 487 |
Script Breakdown | p. 488 |
Rehearsals | p. 488 |
Videotaping | p. 488 |
Postproduction Activities | p. 490 |
Field Production and Big Remotes | p. 492 |
ENG, EFP, and Big Remotes | p. 494 |
Electronic News Gathering | p. 495 |
ENG Production Features | p. 495 |
SNG Production Features | p. 496 |
Electronic Field Production | p. 496 |
Preproduction | p. 497 |
Production: Equipment Check | p. 497 |
Production: Setup | p. 499 |
Production: Rehearsals | p. 499 |
Production: Videotaping | p. 500 |
Production: Strike and Equipment Check | p. 500 |
Postproduction | p. 500 |
Big Remotes | p. 500 |
Preproduction: The Remote Survey | p. 501 |
Production: Equipment Setup and Operation | p. 503 |
Production: Floor Manager and Talent Procedures | p. 508 |
Covering Major Events | p. 511 |
Sports Remotes | p. 511 |
Location Sketch and Remote Setups | p. 518 |
Reading Location Sketches | p. 518 |
Production Requirements for Public Hearing (Indoor Remote) | p. 521 |
Production Requirements for Parade (Outdoor Remote) | p. 521 |
Communication Systems | p. 522 |
ENG Communication Systems | p. 524 |
EFP Communication Systems | p. 524 |
Big-Remote Communication Systems | p. 524 |
Signal Transport | p. 524 |
Microwave Transmission | p. 524 |
Communication Satellites: Frequencies, Uplinks, and Downlinks | p. 526 |
Cable Distribution | p. 527 |
Epilogue | p. 530 |
Glossary | p. 531 |
Selected Reading | p. 554 |
Index | p. 556 |
Table of Contents provided by Syndetics. All Rights Reserved. |