book

Video Production Handbook, 6th Edition

by Jim Owens

March 2017

Beginner

306 pages

9h 40m

English

Routledge

Read now

Unlock full access

1.1 What Is Video Production?1.2 Defining the New Media1.3 Understanding the Field of Video Production1.4 Remember the Purpose1.5 Is There a Right Way?1.6 The Production Approach1.7 Equipment1.8 It’s Designed for You1.9 Learning Basics1.10 What Equipment Is Needed?1.11 Equipment PerformanceInterview: Ben Brown, Media Executive
2.1 Production Crew SizeVideo Production Crew Job Descriptions ....2.2 Producer2.3 Assistant Producer or Associate Producer2.4 Director2.5 Assistant Director or Associate Director2.6 Production Assistant2.7 Floor Manager or Stage Manager2.8 Technical Director or Vision Mixer2.9 Makeup Artist2.10 Graphic Designer/Operator2.11 Lighting Director/Vision Supervisor2.12 Videographer/Camera Operator/Photographer2.13 Camera Assistant2.14 Audio Mixer/Sound Mixer/Sound Supervisor2.15 Boom Operator or Audio Assistant2.16 Engineer2.17 Writer2.18 Editor2.19 Set DesignerProfessional Crew2.20 Freelance Crew2.21 Below-the-Line/Above-the-Line2.22 The Structure of a Video Production Crew2.23 What Do You Wear?2.24 What Do You Bring with You?Interview: Tommy Mitchell, Crewer
3.1 Art Conceals Craft3.2 Shot Selection3.3 The Problem of Familiarity3.4 The Issue of Quality3.5 “Bigger and Better”The Production Process3.6 It All Starts with an Idea (Concept)3.7 Goals and Objectives3.8 Determining Your Audience3.9 Research3.10 Covering the Subject3.11 Production Methods3.12 The Empirical Approach3.13 The Planned Approach3.14 Storyboards3.15 Why Plan?3.16 The Three Stages of Production3.17 Coverage3.18 Building a Production Outline3.19 Broad Treatment3.20 Production Research3.21 Remote Surveys (Recce)3.22 Freedom to Plan3.23 Single-Camera Shooting3.24 Multicamera Shooting3.25 Budgeting3.26 Copyrights3.27 ContractsInterview: DT Slouffman, Producer

4.1 Single- and Multicamera Production4.2 Multicamera ISO4.3 Multicamera Production Without a Switcher4.4 The Illusion of Reality4.5 The Camera’s Role4.6 The Camera as an Observer4.7 The Persuasive Camera4.8 How Do You Visualize Something That Does Not Exist? .Interview: Scott Rogers, Sports Producer
5.1 The Script’s Purpose5.2 The Outline Script5.3 Basic Script Formats5.4 The Full Script5.5 The Drama ScriptSuggestions on Scriptwriting5.6 Visual Storytelling5.7 Style5.8 Script Processes5.9 Scriptwriting Basics5.10 Script QuestionsInterview: Robyn Sjogren, Writer
6.1 The Director6.2 Selective Techniques6.3 Communication6.4 Guiding the Viewer Through the Scene6.5 Organizing the Angles6.6 Visual Variety6.7 Focusing Audience Attention6.8 Shooting Controlled Action6.9 Segmented Shooting with a Single Camera6.10 Multicamera Techniques6.11 Directing TalentInterview: Doug Smart, Director
7.1 A Variety of Cameras7.2 CameracraftCamera Features7.3 Main Camera Features7.4 Lenses7.5 Focal Length and Lens Angle7.6 The Prime lens or Fixed Lens7.7 The Zoom Lens7.8 The Aperture of the Lens7.9 Lens Accessories7.10 The Image Sensor7.11 Gain: Sensor Sensitivity7.12 The Viewfinder7.13 AudioControlling the Camera7.14 Handling the Camera7.15 Supporting the Camera7.16 Handheld Cameras7.17 The Pan Head (Panning Head or Tripod Head)...7.18 Using a Tripod7.19 The Monopod7.20 Jib Arms7.21 Camera Slider7.22 Specialty Camera Mounts7.23 Camera CareInterview: Keith Brown, Videographer
8.1 Just Point and Shoot8.2 Shooting For the Screen8.3 What Is the Best Shot?8.4 Why Move the Camera?8.5 Focusing8.6 Depth of Field8.7 Using Focus to Communicate8.8 Focus Issues?Exposure8.9 What Is “Exposure”?8.10 Underexposure and Overexposure8.11 Automatic Exposure8.12 Exposure: Graduated Filters8.13 Crossing the LineThe Moving Camera8.14 Following Moving Subjects8.15 Framing Movement .Camera Moves8.16 Moving Camera Mounts8.17 Walking8.18 Shooting from VehiclesThe Basics of Shooting8.19 Selecting the Right Shots8.20 Persuasive ShotsComposing Pictures8.21 Composition Rules and Guidelines8.22 Shots That Are Different8.23 Watch the Background8.24 The Rule of Thirds8.25 Shooting from Different Angles8.26 Showing Scale8.27 Framing the Subject8.28 Leading Lines8.29 Headroom8.30 Changing the Perspective8.31 DistortionsLens Filters8.32 What Does a Filter Do?Anticipating Editing8.33 Continuity8.34 Shooting to Improve EditingInterview: Nathan White: Videographer
Shooting People9.1 The Single Person9.2 Arranging People Shots9.3 Effective Shots9.4 Selecting the Right Shot9.5 Single-Camera Interviews9.6 Editing Continuous Interviews9.7 Shooting Groups9.8 Car Interviews9.9 Walking InterviewsShooting Instructional Productions9.10 Typical Instructional Productions9.11 Approaches to Instruction9.12 Advance Planning9.13 Creating the Instructional Program9.14 Shooting ObjectsInterview: Sarah Hogencamp, Director/Videographer.
10.1 Talent10.2 Talent and Production Styles10.3 The Interview: Go Beyond the Obvious10.4 Selecting Talent10.5 Inexperienced TalentThe Actor’s Craft10.6 The Host10.7 The Off-Camera Host10.8 Presenting the Information10.9 Importance of People in the Scene10.10 SafetyInterview: Kristin Ross Lauterbach, Director
11.1 The Essential Component11.2 The Nature of Sound11.3 Acoustics11.4 Mono Sound11.5 Stereo Sound11.6 Surround SoundMicrophones11.7 It Begins with the Microphone11.8 Directional Features11.9 Dynamic and Condenser MicrophonesTypes Of Microphones11.10 Camera Microphones11.11 The Handheld Microphone11.12 The Shotgun Microphone11.13 Lavalier (Lapel or Clip-on Mic) Microphones11.14 Boundary or PZM Microphone11.15 Hanging Microphone11.16 Surround Sound Microphone11.17 Wireless Microphone11.18 Hidden Mics11.19 Microphone Stands and MountsControlling Audio11.20 Automatic Gain Control (AGC) for Audio11.21 Manual Control11.22 Monitoring the Audio11.23 The Audio Mixer11.24 Using the Audio Mixer11.25 Preparing for AudioProduction Sounds11.26 Natural Sound11.27 Program Music11.28 Sound EffectsInterview: Noel Dannemiller, Sound Mixer
12.1 Lighting the Scene12.2 Lighting Options12.3 Existing Light12.4 The Camera Does Not Compensate12.5 The Key Factors12.6 If There Is Not Enough Light12.7 If There Is Too Much Light12.8 The LED Light12.9 The Spotlight (Hard Light)12.10 The Floodlight (Soft Light)12.11 Lighting Contrast12.12 Three-Point Lighting12.13 Color Temperature Compensation12.14 Shooting in Daylight12.15 Using Reflectors12.16 Bounce LightLightweight Light Supports12.17 Grip Clamps12.18 Light StandsLighting Instruments12.19 Camera Light12.20 Soft Light Panel12.21 Cyc Lights12.22 Fresnel Spotlights12.23 Small Portable Spotlights12.24 Flexible Mat LightingInterview: Tommy Brown, Lighting
13.1 The Importance of the Background13.2 Real and Unreal Backgrounds13.3 Set Components13.4 The Neutral Background13.5 Economical Sets13.6 Semipermanent Sets13.7 Chroma-Key Sets13.8 Virtual Sets13.9 Outside/Back-Lot Sets13.10 The Location13.11 Watch the Background13.12 Foreground Pieces13.13 Versions of “Reality”13.14 What Can We Do About the Background?13.15 Rearranging the Background13.16 Partial Settings13.17 Typical Examples of Partial Settings13.18 Facing RealityInterview: John DeCuir, Jr., Production Designer.
14.1 The Goals of Television Graphics14.2 Types of Graphics14.3 Designing Television Graphics14.4 Animated Graphics14.5 Backgrounds for Graphics14.6 Graphics EquipmentInterview: Lou Moore, Television Graphics Operator ..
The Video Image15.1 High-Definition Television (HDTV or HD)15.2 4K Television15.3 8K TelevisionVideo Recording Media15.4 Videotape15.5 Flash Memory15.6 Hard Disk Drive (HDD) (Internal Hard Drive)15.7 External Camera Hard Drives15.8 Hard Drive Server Recorders15.9 XDCAM Disk15.10 Recording Media Care15.11 Video Recording SuggestionsInterview: Ryan Hammer, Atlas Digital
16.1 Editing Goals16.2 Shooting Order versus Running Order16.3 Editing Video and Audio16.4 Logging16.5 An Overview of the Nonlinear Process16.6 Editing Equipment16.7 OrganizationEditing the Project16.8 Editing Begins16.9 Selecting the Shots16.10 The Order of Shots16.11 Where Should the Edits Be Made?16.12 Transitions16.13 Continuity16.14 Good Editing Techniques16.15 Anticipating EditingInterview: Brock Smith, Editor
17.1 Traditional Broadcast Distribution17.2 Distributing Hard Copies of the Production17.3 Online Distribution17.4 Live Online Distribution17.5 Internet Protocol Television (IPTV)17.6 3G/4G Transmission17.7 Festivals and CompetitionsInterview: Chad Crouch: CEO, The Creative Group....

Overview

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.