Television Production Handbook

ISBN-10: 0534647278

ISBN-13: 9780534647278

Edition: 9th 2006

Authors: Herbert Zettl

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Description:

This classic, best-selling text introduces students to the basic skills required in all aspects of television production, including camera and studio, field equipment and production, and multicamera directing, all while emphasizing the latest production techniques and technology, such as audio workstations, non-linear editing, and HDTV. This text introduces cutting edge developments in the field, while maintaining its name as the reference text for the TV Production course. This is the most current, technically accurate text available and offers the most extensive teaching and learning package. Zettl's TELEVISION PRODUCTION HANDBOOK is the reference text and standard for the course.
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Book details

List price: $351.95
Edition: 9th
Copyright year: 2006
Publisher: Wadsworth
Publication date: 7/12/2005
Binding: Hardcover
Pages: 566
Size: 8.25" wide x 10.25" long x 1.00" tall
Weight: 2.640
Language: English

Herbert Zettl is a professor emeritus of the Broadcast and Electronic Communication Arts Department at San Francisco State University (SFSU). While at San Francisco State University, he headed the Institute of International Media Communication and received the California State Legislature Distinguished Teaching Award and, from the Broadcast Education Association, the Distinguished Education Service Award. Prior to joining the SFSU faculty, Zettl worked at KOVR (Stockton-Sacramento) and as a producer-director at KPIX, the CBS affiliate in San Francisco. While at KPIX, he participated in a variety of CBS and NBC network television productions. Because of his outstanding contributions to the television profession, he was elected to the prestigious Silver Circle of the National Academy of Television Arts and Sciences (NATAS), Northern California Chapter. He also is a member of the Broadcast Legends of the NATAS, Northern California Chapter. Zettl has authored VIDEO BASICS, VIDEO BASICS WORKBOOK, TELEVISION PRODUCTION HANDBOOK, and SIGHT SOUND MOTION, which are translated into several languages and published internationally. His numerous articles on television production and media aesthetics have appeared in major media journals worldwide. He has lectured extensively on both subjects at universities and professional broadcast institutions both nationally and internationally. Zettl developed an interactive DVD-ROM, ZETTL'S VIDEOLAB 4.0, published by Wadsworth Cengage, a part of Cengage Learning. His previous CD-ROM version won several prestigious awards, among them the Macromedia People's Choice Award, the New Media Invision Gold Medal for Higher Education, and Invision Silver Medals in the categories of Continuing Education and Use of Video.

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