book

Introduction to Media Production, 4th Edition

by Gorham Kindem, Robert B. Musburger PhD

August 2012

Beginner

536 pages

19h 7m

English

Routledge

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Cover
Halftitle
Title
Copyright
Contents
Preface to the Fourth Edition
Introduction for IMP IV
1. Producing: Exploiting New Opportunities and Markets in the Digital Arena
Introduction The Audience Audience Analysis The Technology of Distribution New Production Considerations The Big Ten of Distribution AM-FM Terrestrial Radio HD-Radio (IBOC) Mobile Satellite Terrestrial Television Cable/Telcos Disk/Disc The Internet Games Motion Pictures Solid-State Storage The Economics of Distribution Broadcasting, Cable, and Satellite Theatrical and Nontheatrical Home Video, audio, and Multimedia Corporate and In-House Internet Distribution The Future of Distribution and Exhibition SummaryExercisesAdditional Readings
2. The Production Process: Analog and Digital Technologies
Introduction Stages of Production Preproduction Production Postproduction Digital Versus Analog Technology Digital Technologies Used in Preproduction Digital Technologies Used in Production Digital Technologies Used in Postproduction Production Terminology Single-Camera Versus Multiple-Camera Production, and Studio Versus Location Production Planning for Positive Production Experiences Avoiding Negative Production Experiences The Production Team in Audio, Video, Film, and Multimedia Production Creative Staff in Media Production The Production Crew in Media Production The Production Team in the Recording Industry The Production Team on an Interactive Multimedia Production Visualization: Images, Sounds, and the Creative Process Conveying Information Rhetorical Persuasion Artistic Expression Production Aesthetics Realism Modernism Postmodernism Combining Aesthetic Approaches A Short History of Audio, Film, and Video Production Technology SummaryExercisesAdditional Readings
3. Producing and Production Management
Introduction Producing Role of the Producer Production Strategies Legal Rights and Concerns Unions, Guilds, and Nonunion Working Conditions Production Management Script Breakdown Shooting Schedule Production Budget SummaryExercisesAdditional Readings

4. Scriptwriting
Introduction Visual Thinking Preparation for Scriptwriting Research Premise, Synopsis, and Outline Treatments Scriptwriting Formats Full-Page Master Scene Script Format Split-Page Script Format Semiscripted Formats Fiction Scriptwriting Dramatic Structure Characterization and Theme Adaptation Short Fiction Forms and Formats Interactive Stories and Games Nonfiction Scriptwriting Rhetorical and Expository Structure Voice and Point of View Narration and Interviews Short Nonfiction Forms and Formats Interactive Learning and Training SummaryExercisesAdditional Readings
5. Directing: Aesthetic Principles and Production Coordination
Introduction Aesthetic Approaches Realism Modernism Postmodernism Visualization Types of Shots Camera Angle Stationary versus Mobile Camera Shots Composition Aspect Ratio Symmetry Closure Combining Shots Straight Cut or Take Fade Dissolve Wipe Defocus Swish Pan Special Effects Digital Transitions Scene Construction Continuity Editing Pace and Rhythm Compression and Expansion of Time Screen Directionality Directional Glances The 180-Degree Axis of Action Rule Sound and Image Interaction On-Screen versus Off-Screen Sound Commentative versus Actual Sound Synchronous versus Asynchronous Sound Parallel versus Contrapuntal Sound Composing Images for Prerecorded Music Composing Music for Prerecorded Images Preparing the Shooting Script Production Coordination Production Meetings Casting Rehearsals Performer and Camera Blocking Multiple-Camera Directing Timing Running Time Timing in Production On-the-Air Timing Production Switching Director’s Commands Live-on-Tape Recording Single-Camera Directing Cutaways Shooting Ratios Director’s Terminology SummaryExercisesAdditional Readings
6. Audio/Sound
Introduction Aesthetics of Audio/Sound Types of Microphones Transducer Elements MIC Placement and Selection On-Camera Mics Off-Camera Mics Selecting the Best Mic Using Multiple Mics Stereo Mic Placement Digital Mic Placement Sound-Signal Control Audio Problems: Distortion and Noise Sound Intensity Measurement Cables and Connectors Console Operation Sound Perspectives Stereo Sound Multichannel Sound Dolby Digital 5.1, 6.1, and 7.1 Sound and Beyond SummaryExercisesAdditional Readings
7. Lighting and Design
Introduction Realist Lighting and Design Modernist Lighting and Design Postmodernist Lighting and Design Light and Color Sunlight Tungsten Light Carbon Arc Light Metal Halide Light Fluorescent Light LED Lights White Balance Lighting Instruments Spotlights Floodlights Portable Lights New Lamp Designs Shaping Devices Light Control Lighting Control in the Studio Lighting Control on Location Light Measurement Types of Light Meter Readings Determining Contrast Ratios Setting Lighting Instruments Three- and Four-Point Lighting Controlling Shadows Cross Key Lighting Lighting Moving Subjects Low-Key versus High-Key Lighting Single-Camera versus Multiple-Camera Situations Lighting for Digital Cameras Lighting Plots Principles of Design Design Elements Color Composition On-Set Design Elements Scenic Design Set Construction Virtual Sets Set Construction Properties Costume Design Makeup SummaryExercisesAdditional Readings
8. The Camera
Introduction Camera Placement Framing Positioning Movement Mounting Devices Lens Control Basic Optics Aberrations Lens Perspective Video Cameras Basic Video Camera The Camera Chain Video Camera Filters Types of Video Cameras Digital Cameras Viewfinder Body Optics Recording Types of Digital Cameras Film Cameras Types of Film Cameras 35 mm Cameras Camera Accessories Camera Care SummaryExercisesAdditional Readings
9. Recording
Introduction Analog Audio Audiotape Formats Analog Audio Recorders Audiotape Speeds Digital Audio Digital Recorders Analog Video Composite Video Signal Videotape Formats Videotape Sound Synchronization Digital Video Signal Compression Digital Videotape Formats Tapeless Video Recording Film Recording Basic Photochemistry Color Film Film Exposure Motion Picture Formats Film Sound Synchronization SummaryExercisesAdditional Readings
10. Editing
Introduction Aesthetic Approaches Realism Modernism Postmodernism Editing Modes Fiction Nonfiction Editing Workflow Planning Acquisition Ingest Editing Log Editing Finishing Output Editing Digital Audio Synchronizing Sound Sources Sound Mixing Techniques Sound Effects Editing Music Editing Film Synchronizing the Dailies Digital Film Editing Conforming Combining the A and B Rolls SummaryExercisesAdditional Readings
11. Graphics, Animation, and Special Effects
Introduction Aesthetics of Graphics and Animation Realist Graphics Modernist Graphics Postmodernist Graphics Principles of Graphics Design Elements Color Composition Graphic Design Principles of Graphic Design Types of Graphics Computer Graphics Graphic Applications Typography Searching the Internet Hypertext Markup Language (HTML) Interactivity Multimedia On-Set Graphics Lettering and Titles Animation Storyboards and Animation Preproduction Types of Animation Special Effects Digital Effects Camera Effects Optical Effects Models and Miniatures Physical Effects SummaryExercisesAdditional Readings
12. The Future and Your Career
Introduction Economic Convergence Technological Convergence Impact of Convergence on Employment Preparation for A Media Production Career Internship Job Search Networking Application Process Résumé Cover Letter Portfolio Interviewing Freelancing Representation SummaryBe Sure ToExercisesAdditional Readings
Glossary
Plates
Index

Content preview from Introduction to Media Production, 4th Edition

CHAPTER

5 Directing: Aesthetic Principles and Production Coordination

• What are directing aesthetics approaches?

• How do shots vary?

• What does composition mean to a director?

• How are shots combined into sequences and scenes?

• How do single- and multiple-camera directing differ?

Introduction

Video and film directors are artists who can take a completed script and imaginatively transform it into exciting sounds and images. Directors creatively organize many facets of production to produce works of art. They know how and when to use different types of camera shots and have mastered the use of composition, image qualities, transition devices, and relations of time and space. Directors know when and how to use different types of ...

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