Television production handbook

Overview: In the field-defining text TELEVISION PRODUCTION HANDBOOK, author Herbert Zettl 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, readers 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 features the latest digital equipment and production techniques, including stereo 3D, 3D camcorders, 4K and 8K digital cinema cameras, portable switchers, LED lighting instruments, and digital lighting control systems

Includes bibliographical references and index

The television production process -- The producer in preproduction -- The script -- The director in preproduction -- The television camera -- Lenses -- Comera operation and picture composition -- Audio : sound pickup -- Audio : -sound control -- Lighting -- Techniques of television lighting -- Vedeo-recording procedures and systems -- Switching, or instantaneous editing -- Design -- Television talent -- The director in production -- Field production and big remotes -- Postproduction editing : how it works -- Editing : functions and principles

About the author -- Preface -- 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 -- New production personnel -- Technical Production Systems: -- Basic television system: -- How a program host appears on the television receiver -- Single-camera systems -- Multicamera systems -- Major equipment: -- Camera -- Audio -- Lighting -- Switcher -- Video recorder -- Postproduction editing -- Producer In Preproduction: -- What Producing Is All About: -- Preproduction planning: from idea to script: -- Generating program ideas -- Evaluating ideas -- Devising a 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 Script 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 Message: 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 storyboard -- 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 -- 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 television cameras: -- Studio cameras -- EEP cameras -- ENG/EFP camcorders -- Special-purpose cameras: -- DSLR cameras -- Digital cinema cameras -- Stereo 3D camcorders -- Electronic features: -- Imaging device or sensor -- Gain -- Electronic shutter --White balance -- Audio channels -- Operational features: -- Power supply -- Cables and connectors -- Filter wheel -- Viewfinder and monitor -- Tally light and intercom -- How Digital Video Works: -- Analog and digital: -- What digital is all about -- Difference between analog and digital -- Advantages of the digital television system -- Basic image creation: -- Image raster -- Image resolution -- Scanning modes -- Color -- Lenses: -- What Lenses Are: -- Types 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 -- Image stabilization -- What Lenses See: -- How lenses see the world: -- Performance characteristics of lenses -- 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-purpose 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 -- Picture Composition: -- Screen size and filed of view: -- Screen size -- Field-of-view steps -- Framing a shot: subject placement: -- Screen-center -- Rule of thirds -- Framing a shot: close-ups and extreme close-ups: -- Close-ups and extreme close-ups in the 4x3 aspect ratio -- Close-ups and extreme close-ups in the 16x9 aspect ratio -- Headroom, nose-room, and closure: -- Headroom -- Nose-room and lead-room -- Closure -- Framing a shot: height and width -- Framing two-shots -- Depth in two-dimensional screen space: -- Single-lens depth: z-axis -- Depth in stereo 3D: -- Double z-axes -- Point of convergence -- Lens separation, or interocular distance -- Depth of field -- Closure in 3D space -- Framing moving shots: -- Lateral motion -- Z-axis motion -- Close-up motion -- 3D 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 -- Audio-recording systems -- Basic operation for studio audio: -- Audio control booth -- Basic operation for field audio: -- Keeping sounds separate -- Using the AGC in ENG/EFP -- Using an XLR pad -- ENG/EFP mixing -- Stereo, Surround Sound, And Sound Aesthetics: -- Spatial sound: -- Stereo sound -- Surround sound -- Binaural sound -- Basic aesthetic sound factors: -- Environment -- Figure/ground -- Perspective -- Continuity -- Energy -- Lighting: -- Lighting Instruments and Lighting Controls: -- Light-producing sources: -- Incandescent -- Fluorescent -- LED -- Studio lighting instruments: -- Spotlights -- Floodlights -- Field lighting instruments: -- Portable spotlights -- Portable floodlights -- Diffusing portable spotlights -- Camera lights -- Lighting control equipment: -- Mounting devices -- Directional controls -- Intensity controls: instrument size, distance, and beam -- Basic principle of electronic dimmers -- Light Intensity, Base-Light Levels, Color Temperature, and Color Mixing: -- Light intensity: -- Foot-candles and lux -- Incident light -- Reflected light -- Calculating light intensity -- Operating light level: baselight: -- Baselight levels -- Color temperature and white-balancing: -- Color temperature -- White-balancing -- Color media and mixing: -- How to use color media -- LED colors --

Techniques of Television Lighting: -- Lighting In The Studio: -- Safety: -- Basic lighting safety precautions -- Directional light and diffused light: -- Shadows -- 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: -- Survey checklists -- Power supply -- Video-Recording Procedures and Systems: -- How Video-Recording Is Done: -- Recording preparations: -- Schedule -- Equipment checklist -- Recording procedures: -- Video leader -- Recording checks -- Time code -- Recordkeeping -- Tapeless Video-Recording Systems: -- Video-recording systems: -- Memory cards -- Read/write optical discs -- Hard drives -- Electronic features of video-recording: -- Compression -- Codecs -- Composite and component signals -- Sampling -- Epitaph to videotape: -- How videotape recording works -- Videotape's demise -- Problem for the future -- Switching, or Instantaneous Editing -- Design: -- How Switchers Work: -- Basic switcher functions: -- Previewing sources -- Switcher operator -- Basic switcher layout: -- Program bus -- Mix buses -- Preview bus -- Effects buses -- Multifunction switchers -- Additional switcher controls -- Large production switchers -- Genlock and framestore synchronizer -- Special-Purpose Switchers: -- Nonproduction switchers: -- Master control switcher -- Routing switchers -- Portable switchers: -- Portable live production switchers -- Virtual studios -- Design: -- Designing and Using Television Graphics: -- Aspect ratio: -- Matching STV and HDTV aspect ratios -- Safe title area -- Out-of-aspect-ratio graphics -- Information density and readability: -- Information density -- Readability -- Color basics: -- Color attributes -- Primary colors of light -- Color mixing -- Color aesthetics -- Electronic effects and synthetic images: -- Standard video effects -- Digital video effects -- Synthetic images -- Style: -- Style dictated by technology -- Matching style of design with that of show -- 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 cues -- Prompting devices -- Maintaining continuity -- Acting techniques: -- Actor and audience -- Actor and blocking -- Memorizing lines -- Actor and 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 role: -- Director as artist -- Director as psychologist -- Director as technical adviser -- Director as coordinator -- Director's terminology: -- Terminology changes -- Directing terminology for multicamera productions -- 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 file 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 -- Director's duties -- 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) -- Communications systems: -- ENG communication systems -- EFP communication systems -- Big-remote communication systems -- Signal transport: -- Microwave transmission -- Cable distribution -- Cloud broadcasting -- Communications satellites -- Postproduction Editing: How It Works: -- How Nonlinear Editing Works: -- Nonlinear editing system: -- Computer hardware and software -- Source media -- Audio/video capture and codec -- Exporting the final edit -- Pre-edit phase: -- Thinking about shot continuity -- Recordkeeping -- Reviewing and organizing the source footage -- Edit preparation phase: -- Time code -- Logging -- Capture -- Audio transcription -- Editing phase: -- Paper-and-pencil edit -- Actual edit -- Audio/Video Linkage: -- Nonlinear audio editing: -- Condensing -- Correcting -- Mixing -- Controlling quality -- Editing video to audio: -- Split edit -- AB-roll editing -- Editing audio to video: -- Voice-over -- Automated dialogue replacement -- Editing Functions and Principles: -- Continuity Editing: -- Editing functions: -- Combine -- Shorten -- Correct -- Build -- Editing for continuity: -- Story continuity -- Subject continuity -- Vectors and mental map: -- Vectors -- Mental map -- Vector line -- 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

Notes

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