xxix, 514 pages : 27 cm
Overview: In Herbert Zettl's field-defining text TELEVISION PRODUCTION HANDBOOK, the author emphasizes how production proceeds in the digital age - from idea to image - and how it moves through the three major phases, from preproduction to production to postproduction. In this context, you will learn about the necessary tools, examine what they can and cannot do, and explore how they are used to ensure maximum efficiency and effectiveness. This edition also features the latest digital equipment and production techniques, including HDV and HDTV. A practical guide to the major aspects of today's television production, explaining everything from studio production to remotes and electronic newsgathering
Includes bibliographical references and index
About the author -- Preface -- Introduction: Process And System: -- Television production process: -- What television production is all about -- Three production phases: -- Preproduction -- Production -- Postproduction -- Production model: -- Effect-to-cause model -- Medium requirements -- Process message shaping medium requirements -- Production people: -- Nontechnical production personnel -- Technical personnel and crew -- News production personnel -- Technical production systems -- Basic television system: -- How a program host appears on the television receiver -- Expanded television system: -- Multicamera studio system -- Field production systems: -- ENG system -- EFP system -- Major equipment: -- Camera -- Audio -- Lighting -- Switcher -- Video recorder -- Postproduction editing -- Preproduction: -- Producer in preproduction -- What producing is all about -- Preproduction planning: from idea to script: -- Generating program ideas -- Evaluating ideas -- Program proposal -- Preparing a budget -- Writing the script -- Preproduction planning: coordination: -- People and communication -- Facilities request -- Production schedule -- Permits and clearances -- Publicity and promotion -- Ethics -- Information resources, unions, and ratings -- Information resources -- Unions and legal matters: --- Unions -- Copyrights and clearances -- Other legal considerations -- Audience and ratings: -- Target audience -- Ratings and share -- Script -- Basic scripts formats -- Single-column drama script -- Two-column A/V script: -- Fully scripted A/V format -- Partial two-column A/V script -- News script -- Show format -- Fact sheet -- Dramatic structure, conflict, and dramaturgy -- Structural components -- Conflict and classical dramaturgy: -- types of dramatic conflict -- Classical dramaturgy -- Event order -- Nondramatic story structure: -- Goal-directed programs -- From Idea To Process Messages: Feature story -- From Idea To Process Message: Goal-directed program -- Director in preproduction -- How a director prepares -- What the show is all about: -- Process message -- Production method -- Script analysis: -- Locking -in point and translation -- Visualization and sequencing: -- Formulating the process message -- Determining the medium requirements -- Preparing for the show: -- Interpreting a floor plan -- Interpreting a location sketch: -- Using a story board -- Marking the script -- Communication and scheduling -- Support staff: -- Floor manager -- Production assistant -- Associate or assistant, director -- Facilities requests, schedules, and communication: -- Facilities request -- Production schedule -- Time line -- Director's communication -- Production: -- Analog and digital television -- Analog and digital processes -- What digital is all about: -- Why digital? -- Difference between analog and digital: -- Digitization process -- Benefits of digital television: -- Quality -- Computer compatibility and flexibility -- Signal transport -- Compression -- Aspect ratio: -- 4 X 3 aspect ratio -- 16 X 9 aspect ratio -- Mobile media aspect ratios -- Digital scanning standards -- Scanning systems -- Basic image creation -- Basic colors of the video display -- Interlaced and progressive scanning: -- Interlaced scanning -- Progressive scanning -- Retrace and blanking -- Digital scanning systems: -- 480 system -- 720p system -- 1080i system -- 1080p system -- Maintaining quality -- Flat-panel displays: -- Plasma display panel -- Liquid crystal display -- Television camera: -- How television cameras work -- Parts of the camera -- From light to video signal: -- Imaging device -- Beam splitter and color filter array -- Camera chain: -- Camera control unit -- Sync generator and power supply -- Types of cameras: -- Studio cameras -- EFP cameras -- ENG/EFP camcorders -- Digital cinema cameras -- Electronic features: -- Imaging device -- Scanning -- Resolution -- Aspect ratio and essential area -- Gain -- Electronic shutter -- White balance -- Audio channels -- Operational features: -- Power supply -- Cables and connectors -- Filter wheel -- Viewfinder and monitor -- Tally light and intercom -- Resolution, contrast, and color -- Image resolution: -- Spatial resolution -- Temporal resolution -- Image contrast: -- Contrast ratio -- Contrast control -- Color basics: -- Color attributes -- Color mixing -- Luminance and chrominance channels: -- Luminance channel -- Chrominance channel -- Lenses: -- What lenses are -- Type of zoom lenses: -- Studio and field lenses -- Zoom range -- Prime lenses -- Lens format -- Optical characteristics of lenses: -- Focal length -- Focus -- Light transmission: Iris, aperture, and f-stop -- Depth of field -- Operational controls: -- Zoom control -- Focus control -- What lenses see -- How lenses see the world: -- Wide-angle lens -- Normal lens -- Narrow-angle, or telephoto, lens -- Image stabilization: -- Image stabilizer --
Camera operation and picture composition: -- Working the camera -- Standard camera movements -- Camera supports: -- Monopod -- Tripod and tripod dolly -- Studio pedestal -- Mounting (pan-and-tilt) heads -- Special camera mounts -- Working the camcorder and the 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: standard TV and HDTV aspect ratios: -- Dealing with height and width -- Framing close-ups -- Headroom -- Noseroom and leadroom -- Closure -- Depth -- Screen motion -- Audio: sound pickup: -- How microphones hear -- Microphone types by how they hear: -- Sound-generating elements -- Pickup patterns -- Microphone features -- Microphone types by how they are used: -- Lavalier 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 -- Specific 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 -- Audio: sound control: -- Sound controls and recording: -- Major audio production equipment: -- Audio console -- Audio mixer -- Patchbay -- Tapeless audio-recording systems -- Tape-based audio-recording systems -- Basic operation for studio audio: -- Audio control booth -- Basic operation for field audio: -- Keeping sounds separate -- Using the AGC in GNG and EFP -- Using and XLR pad -- ENG/EFP mixing -- Stereo, surround sound, and sound aesthetics -- Stereo and surround sound: -- Stereo sound -- Surround sound -- Basic aesthetic sound factors: -- Environment -- Figure/ground -- Perspective -- Continuity -- Energy -- Lighting: -- Lighting instruments and lighting controls: -- Studio lighting instruments: -- Spotlights -- Floodlights -- Field lighting instruments: -- Portable spotlights -- Portable floodlights -- Diffusing portable spotlights -- Camera lights -- Lightening control equipment: -- Mounting devices -- Directional controls -- Intensity controls: instrument size, distance, and beam -- Basic principle of electronic dimmers -- Lighting intensity, lamps, and color media --Light intensity: -- Foot-candles and lux -- Incident light -- Reflected light -- Calculating light intensity -- Operating light level: baselight: -- Baselight levels -- Color temperature -- Types of lamps: -- Incandescent -- Florescent -- HMI -- LED -- Color media: -- How to use color media -- Mixing color gels -- Techniques of television lighting: -- Lighting in the studio -- Safety -- Quality of light: -- Directional light and diffused light -- Color temperature -- Lighting functions: -- Terminology -- Specific functions of main light sources -- Photographic principle: triangle lighting -- Specific lighting techniques: -- High- and low-key lighting -- Flat lighting -- Continuous-action lighting -- Large-area lighting -- High-contrast lighting -- Cameo lighting -- Silhouette lighting -- Chroma-key-area lighting -- Controlling eye and boom shadows -- Contrast: -- Contrast ratio -- Measuring contrast -- Controlling contrast -- Balancing light intensities: -- Key-to-back-light ratio -- Key-to-fill-light ratio -- Light plot -- Operation of studio lights: -- Preserving lamps and power -- Using a studio monitor -- Lighting in the field -- Safety: -- Electric shock -- Cables -- Fires -- Location lighting: -- Shooting in bright sunlight -- Shooting in overcast daylight -- Shooting in indoor light -- Shooting at night -- Location survey: -- Power supply -- Video-recording and storage systems: -- Tape-based and tapeless video recording -- Recording systems: -- Tape-based systems -- Analog and digital systems -- Tapeless systems -- Taped-based video recording: -- How videotape recording works -- Operational controls -- Time based corrector and framestore synchronizer -- Tapeless video recording: -- Hard drives -- Read/write optical discs -- Memory cards -- Electronic features of video recordings: -- Composite and component systems -- Sampling -- Compression -- How video recording is done -- Uses of video recording and storage: -- Building a show -- Time delay -- Program duplication and distribution -- Record protection and reference -- Video-recording production factors: -- Recording preparations -- Production procedures -- Switching, or instantaneous editing -- How switcher work -- Basic switcher functions: -- Monitor display -- Simple switcher layout: -- Program bus -- Mix buses -- Preview bus -- Effects buses -- Multifunction switchers -- Additional switcher controls -- Large production switchers -- Other switchers: -- Portable switchers -- Switching software -- Routing switchers -- Master control switchers -- Genlock -- Electronic effects and switcher functions -- Standard video effects: -- Superimposition -- Key -- Chroma key -- Digital video effects: -- Image size, shape, light, and color -- Motion -- Multi-images -- Additional switcher functions --
Design: -- Designing and using television graphics -- Specifications of television graphics: -- Scanning and essential areas -- Out-of-aspect-ration graphics -- Matching STV and HDTV aspect ratios -- Information density and readability: -- Information density -- Readability -- Color: -- Color aesthetics -- Style -- Synthetic images -- Scenery and props -- Television scenery: -- Standard set units -- Hanging units --Platforms and wagons -- Set pieces -- Properties and set dressings: -- Stage props -- Set dressings -- Hand props -- Prop list -- Elements of scene design: -- Floor plan -- Set backgrounds -- Virtual sets -- Television talent: -- Television performers and actors -- Performance techniques: -- Performer and camera -- Performer and audio -- Performer and timing -- Floor manager's clues -- Prompting devices -- Continuity -- Acting techniques: -- Audience -- Blocking -- Memorizing lines -- Timing -- Maintaining continuity -- Director/actor relationship -- Auditions -- How to do makeup and what to wear -- Makeup: -- Materials -- Application -- Technical requirements -- Clothing and costuming: -- Clothing -- Costuming -- Director in production: -- Multicamera control room directing -- Director's roles: -- Director as artist -- Director as psychologist -- Director as technical adviser -- Director as coordinator -- Director's terminology -- Multicamera directing procedures: -- Directing from the control room -- Control room intercom systems -- Directing rehearsals: -- Script reading -- Dry run, or blocking rehearsal -- Walk-through -- Camera and dress rehearsals -- Walk-through/camera rehearsal combination -- Directing the show: -- Standby procedures -- On-the-air procedures -- Controlling clock time: -- Schedule time and running time -- Back-timing and front-timing -- Converting frames into clock time -- Single-camera and digital cinema directing -- Single-camera directing procedures: -- Visualization -- Script breakdown -- Rehearsals -- Video recording -- Directing multicamera digital cinema: -- Directing from the studio floor -- Directing on-location -- Field production and big remotes: -- Field production -- Electronic news gathering -- ENG production features: -- Satellite uplink -- Electronic field production: -- Preproduction -- Production preparation -- Production: Equipment check -- Production: Setup -- Production: Rehearsals -- Production: Video recording -- Production: Strike and equipment check -- Postproduction -- Big remotes: -- Remote survey -- 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 -- Cable distribution -- Communications satellites -- Postproduction: -- Postproduction editing: how it works -- How nonlinear editing works -- Nonlinear editing: -- Difference between linear and nonlinear editing -- Nonlinear editing system: -- Computer hardware and software -- Source media -- Audio/video capture -- Exporting the final edit -- Pre-edit phase: -- Thinking about shot continuity -- Recordkeeping -- Reviewing and ordering the source footage -- Preparation phase: -- Time code -- Logging -- Capture -- Audio transcription -- Editing Phase: Video -- Editing video to audio -- Editing audio to video -- Transitions and effects -- Editing Phase: Audio: -- Linear audio editing -- Nonlinear audio editing -- Condensing -- Correcting -- Mixing -- Controlling quality -- Automated dialogue replacement -- How linear editing works -- Basic and expanded linear editing systems: -- Single-source system -- Multiple-sources system -- AB-roll editing -- Time code and window dub -- Control track and time code editing: -- Control track editing -- Time code editing -- Assemble and insert editing: -- Assemble editing -- Insert editing -- Linear off- and on-line editing: -- Off-line edit -- On-line edit -- Editing functions and principles: -- Continuity editing -- Editing functions: -- Combine -- Shorten -- Correct -- Build -- Editing for continuity: -- Story continuity -- Subject continuity -- Vectors and mental map -- Screen position continuity -- Motion continuity -- Light and color continuity -- Sound continuity -- Complexity editing -- Transitions in complexity editing: -- Cut -- Dissolve -- Fade -- Wipe -- Animated transitions -- Crossing the vector line: -- Background shift -- Position shift -- Motion vector reversal -- Special complexity effects: -- Flashback and flashforward -- Instant replays -- Multiple screens -- Montage: -- Filmic shorthand -- Complexity -- Meaning -- Structure -- Ethics -- Epilogue -- Glossary -- Index
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