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Video Production Handbook, 6th Edition

Book Description

This new edition of the Video Production Handbook walks students through the full video production process, from inception of idea to final distribution. Concentrating on the techniques and concepts behind the latest equipment, this book demonstrates the fundamental principles needed to create good video content on any kind of budget. Ideal for students, the new edition features a new chapter on directing and updated information on the latest DSLR and cinema cameras, LED lighting and much more. A companion website with additional resources for professors rounds out this full-color, highly visual text to meet all of your video production learning needs.

Table of Contents

  1. Cover
  2. Half Title
  3. Title Page
  4. Copyright Page
  5. Table of Contents
  6. Acknowledgments
  7. Introduction
  8. Chapter 1 Overview of Video Production
    1. 1.1 What Is Video Production?
    2. 1.2 Defining the New Media
    3. 1.3 Understanding the Field of Video Production
    4. 1.4 Remember the Purpose
    5. 1.5 Is There a Right Way?
    6. 1.6 The Production Approach
    7. 1.7 Equipment
    8. 1.8 It’s Designed for You
    9. 1.9 Learning Basics
    10. 1.10 What Equipment Is Needed?
    11. 1.11 Equipment Performance
    12. Interview: Ben Brown, Media Executive
  9. Chapter 2 Production Crew
    1. 2.1 Production Crew Size
    2. Video Production Crew Job Descriptions ....
    3. 2.2 Producer
    4. 2.3 Assistant Producer or Associate Producer
    5. 2.4 Director
    6. 2.5 Assistant Director or Associate Director
    7. 2.6 Production Assistant
    8. 2.7 Floor Manager or Stage Manager
    9. 2.8 Technical Director or Vision Mixer
    10. 2.9 Makeup Artist
    11. 2.10 Graphic Designer/Operator
    12. 2.11 Lighting Director/Vision Supervisor
    13. 2.12 Videographer/Camera Operator/Photographer
    14. 2.13 Camera Assistant
    15. 2.14 Audio Mixer/Sound Mixer/Sound Supervisor
    16. 2.15 Boom Operator or Audio Assistant
    17. 2.16 Engineer
    18. 2.17 Writer
    19. 2.18 Editor
    20. 2.19 Set Designer
    21. Professional Crew
    22. 2.20 Freelance Crew
    23. 2.21 Below-the-Line/Above-the-Line
    24. 2.22 The Structure of a Video Production Crew
    25. 2.23 What Do You Wear?
    26. 2.24 What Do You Bring with You?
    27. Interview: Tommy Mitchell, Crewer
  10. Chapter 3 Organizing the Production
    1. 3.1 Art Conceals Craft
    2. 3.2 Shot Selection
    3. 3.3 The Problem of Familiarity
    4. 3.4 The Issue of Quality
    5. 3.5 “Bigger and Better”
    6. The Production Process
    7. 3.6 It All Starts with an Idea (Concept)
    8. 3.7 Goals and Objectives
    9. 3.8 Determining Your Audience
    10. 3.9 Research
    11. 3.10 Covering the Subject
    12. 3.11 Production Methods
    13. 3.12 The Empirical Approach
    14. 3.13 The Planned Approach
    15. 3.14 Storyboards
    16. 3.15 Why Plan?
    17. 3.16 The Three Stages of Production
    18. 3.17 Coverage
    19. 3.18 Building a Production Outline
    20. 3.19 Broad Treatment
    21. 3.20 Production Research
    22. 3.21 Remote Surveys (Recce)
    23. 3.22 Freedom to Plan
    24. 3.23 Single-Camera Shooting
    25. 3.24 Multicamera Shooting
    26. 3.25 Budgeting
    27. 3.26 Copyrights
    28. 3.27 Contracts
    29. Interview: DT Slouffman, Producer
  11. Chapter 4 Production Techniques
    1. 4.1 Single- and Multicamera Production
    2. 4.2 Multicamera ISO
    3. 4.3 Multicamera Production Without a Switcher
    4. 4.4 The Illusion of Reality
    5. 4.5 The Camera’s Role
    6. 4.6 The Camera as an Observer
    7. 4.7 The Persuasive Camera
    8. 4.8 How Do You Visualize Something That Does Not Exist? .
    9. Interview: Scott Rogers, Sports Producer
  12. Chapter 5 Writing for Video
    1. 5.1 The Script’s Purpose
    2. 5.2 The Outline Script
    3. 5.3 Basic Script Formats
    4. 5.4 The Full Script
    5. 5.5 The Drama Script
    6. Suggestions on Scriptwriting
    7. 5.6 Visual Storytelling
    8. 5.7 Style
    9. 5.8 Script Processes
    10. 5.9 Scriptwriting Basics
    11. 5.10 Script Questions
    12. Interview: Robyn Sjogren, Writer
  13. Chapter 6 Directing
    1. 6.1 The Director
    2. 6.2 Selective Techniques
    3. 6.3 Communication
    4. 6.4 Guiding the Viewer Through the Scene
    5. 6.5 Organizing the Angles
    6. 6.6 Visual Variety
    7. 6.7 Focusing Audience Attention
    8. 6.8 Shooting Controlled Action
    9. 6.9 Segmented Shooting with a Single Camera
    10. 6.10 Multicamera Techniques
    11. 6.11 Directing Talent
    12. Interview: Doug Smart, Director
  14. Chapter 7 The Camera
    1. 7.1 A Variety of Cameras
    2. 7.2 Cameracraft
    3. Camera Features
    4. 7.3 Main Camera Features
    5. 7.4 Lenses
    6. 7.5 Focal Length and Lens Angle
    7. 7.6 The Prime lens or Fixed Lens
    8. 7.7 The Zoom Lens
    9. 7.8 The Aperture of the Lens
    10. 7.9 Lens Accessories
    11. 7.10 The Image Sensor
    12. 7.11 Gain: Sensor Sensitivity
    13. 7.12 The Viewfinder
    14. 7.13 Audio
    15. Controlling the Camera
    16. 7.14 Handling the Camera
    17. 7.15 Supporting the Camera
    18. 7.16 Handheld Cameras
    19. 7.17 The Pan Head (Panning Head or Tripod Head)...
    20. 7.18 Using a Tripod
    21. 7.19 The Monopod
    22. 7.20 Jib Arms
    23. 7.21 Camera Slider
    24. 7.22 Specialty Camera Mounts
    25. 7.23 Camera Care
    26. Interview: Keith Brown, Videographer
  15. Chapter 8 Using the Camera
    1. 8.1 Just Point and Shoot
    2. 8.2 Shooting For the Screen
    3. 8.3 What Is the Best Shot?
    4. 8.4 Why Move the Camera?
    5. 8.5 Focusing
    6. 8.6 Depth of Field
    7. 8.7 Using Focus to Communicate
    8. 8.8 Focus Issues?
    9. Exposure
    10. 8.9 What Is “Exposure”?
    11. 8.10 Underexposure and Overexposure
    12. 8.11 Automatic Exposure
    13. 8.12 Exposure: Graduated Filters
    14. 8.13 Crossing the Line
    15. The Moving Camera
    16. 8.14 Following Moving Subjects
    17. 8.15 Framing Movement .
    18. Camera Moves
    19. 8.16 Moving Camera Mounts
    20. 8.17 Walking
    21. 8.18 Shooting from Vehicles
    22. The Basics of Shooting
    23. 8.19 Selecting the Right Shots
    24. 8.20 Persuasive Shots
    25. Composing Pictures
    26. 8.21 Composition Rules and Guidelines
    27. 8.22 Shots That Are Different
    28. 8.23 Watch the Background
    29. 8.24 The Rule of Thirds
    30. 8.25 Shooting from Different Angles
    31. 8.26 Showing Scale
    32. 8.27 Framing the Subject
    33. 8.28 Leading Lines
    34. 8.29 Headroom
    35. 8.30 Changing the Perspective
    36. 8.31 Distortions
    37. Lens Filters
    38. 8.32 What Does a Filter Do?
    39. Anticipating Editing
    40. 8.33 Continuity
    41. 8.34 Shooting to Improve Editing
    42. Interview: Nathan White: Videographer
  16. Chapter 9 Shooting People and Objects
    1. Shooting People
    2. 9.1 The Single Person
    3. 9.2 Arranging People Shots
    4. 9.3 Effective Shots
    5. 9.4 Selecting the Right Shot
    6. 9.5 Single-Camera Interviews
    7. 9.6 Editing Continuous Interviews
    8. 9.7 Shooting Groups
    9. 9.8 Car Interviews
    10. 9.9 Walking Interviews
    11. Shooting Instructional Productions
    12. 9.10 Typical Instructional Productions
    13. 9.11 Approaches to Instruction
    14. 9.12 Advance Planning
    15. 9.13 Creating the Instructional Program
    16. 9.14 Shooting Objects
    17. Interview: Sarah Hogencamp, Director/Videographer.
  17. Chapter 10 Working with the Talent
    1. 10.1 Talent
    2. 10.2 Talent and Production Styles
    3. 10.3 The Interview: Go Beyond the Obvious
    4. 10.4 Selecting Talent
    5. 10.5 Inexperienced Talent
    6. The Actor’s Craft
    7. 10.6 The Host
    8. 10.7 The Off-Camera Host
    9. 10.8 Presenting the Information
    10. 10.9 Importance of People in the Scene
    11. 10.10 Safety
    12. Interview: Kristin Ross Lauterbach, Director
  18. Chapter 11 Audio for Video
    1. 11.1 The Essential Component
    2. 11.2 The Nature of Sound
    3. 11.3 Acoustics
    4. 11.4 Mono Sound
    5. 11.5 Stereo Sound
    6. 11.6 Surround Sound
    7. Microphones
    8. 11.7 It Begins with the Microphone
    9. 11.8 Directional Features
    10. 11.9 Dynamic and Condenser Microphones
    11. Types Of Microphones
    12. 11.10 Camera Microphones
    13. 11.11 The Handheld Microphone
    14. 11.12 The Shotgun Microphone
    15. 11.13 Lavalier (Lapel or Clip-on Mic) Microphones
    16. 11.14 Boundary or PZM Microphone
    17. 11.15 Hanging Microphone
    18. 11.16 Surround Sound Microphone
    19. 11.17 Wireless Microphone
    20. 11.18 Hidden Mics
    21. 11.19 Microphone Stands and Mounts
    22. Controlling Audio
    23. 11.20 Automatic Gain Control (AGC) for Audio
    24. 11.21 Manual Control
    25. 11.22 Monitoring the Audio
    26. 11.23 The Audio Mixer
    27. 11.24 Using the Audio Mixer
    28. 11.25 Preparing for Audio
    29. Production Sounds
    30. 11.26 Natural Sound
    31. 11.27 Program Music
    32. 11.28 Sound Effects
    33. Interview: Noel Dannemiller, Sound Mixer
  19. Chapter 12 Lighting for Video
    1. 12.1 Lighting the Scene
    2. 12.2 Lighting Options
    3. 12.3 Existing Light
    4. 12.4 The Camera Does Not Compensate
    5. 12.5 The Key Factors
    6. 12.6 If There Is Not Enough Light
    7. 12.7 If There Is Too Much Light
    8. 12.8 The LED Light
    9. 12.9 The Spotlight (Hard Light)
    10. 12.10 The Floodlight (Soft Light)
    11. 12.11 Lighting Contrast
    12. 12.12 Three-Point Lighting
    13. 12.13 Color Temperature Compensation
    14. 12.14 Shooting in Daylight
    15. 12.15 Using Reflectors
    16. 12.16 Bounce Light
    17. Lightweight Light Supports
    18. 12.17 Grip Clamps
    19. 12.18 Light Stands
    20. Lighting Instruments
    21. 12.19 Camera Light
    22. 12.20 Soft Light Panel
    23. 12.21 Cyc Lights
    24. 12.22 Fresnel Spotlights
    25. 12.23 Small Portable Spotlights
    26. 12.24 Flexible Mat Lighting
    27. Interview: Tommy Brown, Lighting
  20. Chapter 13 The Background
    1. 13.1 The Importance of the Background
    2. 13.2 Real and Unreal Backgrounds
    3. 13.3 Set Components
    4. 13.4 The Neutral Background
    5. 13.5 Economical Sets
    6. 13.6 Semipermanent Sets
    7. 13.7 Chroma-Key Sets
    8. 13.8 Virtual Sets
    9. 13.9 Outside/Back-Lot Sets
    10. 13.10 The Location
    11. 13.11 Watch the Background
    12. 13.12 Foreground Pieces
    13. 13.13 Versions of “Reality”
    14. 13.14 What Can We Do About the Background?
    15. 13.15 Rearranging the Background
    16. 13.16 Partial Settings
    17. 13.17 Typical Examples of Partial Settings
    18. 13.18 Facing Reality
    19. Interview: John DeCuir, Jr., Production Designer.
  21. Chapter 14 Television Graphics
    1. 14.1 The Goals of Television Graphics
    2. 14.2 Types of Graphics
    3. 14.3 Designing Television Graphics
    4. 14.4 Animated Graphics
    5. 14.5 Backgrounds for Graphics
    6. 14.6 Graphics Equipment
    7. Interview: Lou Moore, Television Graphics Operator ..
  22. Chapter 15 Recording the Video
    1. The Video Image
    2. 15.1 High-Definition Television (HDTV or HD)
    3. 15.2 4K Television
    4. 15.3 8K Television
    5. Video Recording Media
    6. 15.4 Videotape
    7. 15.5 Flash Memory
    8. 15.6 Hard Disk Drive (HDD) (Internal Hard Drive)
    9. 15.7 External Camera Hard Drives
    10. 15.8 Hard Drive Server Recorders
    11. 15.9 XDCAM Disk
    12. 15.10 Recording Media Care
    13. 15.11 Video Recording Suggestions
    14. Interview: Ryan Hammer, Atlas Digital
  23. Chapter 16 Editing
    1. 16.1 Editing Goals
    2. 16.2 Shooting Order versus Running Order
    3. 16.3 Editing Video and Audio
    4. 16.4 Logging
    5. 16.5 An Overview of the Nonlinear Process
    6. 16.6 Editing Equipment
    7. 16.7 Organization
    8. Editing the Project
    9. 16.8 Editing Begins
    10. 16.9 Selecting the Shots
    11. 16.10 The Order of Shots
    12. 16.11 Where Should the Edits Be Made?
    13. 16.12 Transitions
    14. 16.13 Continuity
    15. 16.14 Good Editing Techniques
    16. 16.15 Anticipating Editing
    17. Interview: Brock Smith, Editor
  24. Chapter 17 Distributing Your Production
    1. 17.1 Traditional Broadcast Distribution
    2. 17.2 Distributing Hard Copies of the Production
    3. 17.3 Online Distribution
    4. 17.4 Live Online Distribution
    5. 17.5 Internet Protocol Television (IPTV)
    6. 17.6 3G/4G Transmission
    7. 17.7 Festivals and Competitions
    8. Interview: Chad Crouch: CEO, The Creative Group....
  25. Glossary
  26. Index