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Video Production Handbook 6th edition [Mīkstie vāki]

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(Dean of the School of Communication Arts at Asbury University)
  • Formāts: Paperback / softback, 306 pages, height x width: 235x191 mm, weight: 700 g, 350 Illustrations, color
  • Izdošanas datums: 01-Mar-2017
  • Izdevniecība: Routledge
  • ISBN-10: 1138693499
  • ISBN-13: 9781138693494
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Video Production Handbook 6th editionPalielināt
  • Formāts: Paperback / softback, 306 pages, height x width: 235x191 mm, weight: 700 g, 350 Illustrations, color
  • Izdošanas datums: 01-Mar-2017
  • Izdevniecība: Routledge
  • ISBN-10: 1138693499
  • ISBN-13: 9781138693494
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9781138693494.html
Keywords:

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 students and professors rounds out this full-color, highly visual text to meet all of your video production learning needs.

Acknowledgments xv
Introduction xvii
Chapter 1 Overview of Video Production 1(10)
1.1 What Is Video Production?
1(1)
1.2 Defining the New Media
2(1)
1.3 Understanding the Field of Video Production
2(1)
1.4 Remember the Purpose
3(1)
1.5 Is There a Right Way?
3(1)
1.6 The Production Approach
4(1)
1.7 Equipment
5(2)
1.8 It's Designed for You
7(1)
1.9 Learning Basics
8(1)
1.10 What Equipment Is Needed?
8(1)
1.11 Equipment Performance
9(1)
Interview: Ben Brown, Media Executive
9(2)
Chapter 2 Production Crew 11(12)
2.1 Production Crew Size
11(1)
Video Production Crew Job Descriptions
12(7)
2.2 Producer
12(1)
2.3 Assistant Producer or Associate Producer
12(1)
2.4 Director
13(1)
2.5 Assistant Director or Associate Director
13(1)
2.6 Production Assistant
14(1)
2.7 Floor Manager or Stage Manager
14(1)
2.8 Technical Director or Vision Mixer
14(1)
2.9 Makeup Artist
15(1)
2.10 Graphic Designer/Operator
15(1)
2.11 Lighting Director/Vision Supervisor
16(1)
2.12 Videographer/Camera Operator/Photographer
16(1)
2.13 Camera Assistant
16(1)
2.14 Audio Mixer/Sound Mixer/Sound Supervisor
17(1)
2.15 Boom Operator or Audio Assistant
18(1)
2.16 Engineer
18(1)
2.17 Writer
18(1)
2.18 Editor
18(1)
2.19 Set Designer
18(1)
Professional Crew
19(2)
2.20 Freelance Crew
19(1)
2.21 Below-the-Line/Above-the-Line
19(1)
2.22 The Structure of a Video Production Crew
20(1)
2.23 What Do You Wear?
20(1)
2.24 What Do You Bring with You?
21(1)
Interview: Tommy Mitchell, Crewer
21(2)
Chapter 3 Organizing the Production 23(28)
3.1 Art Conceals Craft
24(1)
3.2 Shot Selection
24(1)
3.3 The Problem of Familiarity
25(2)
3.4 The Issue of Quality
27(1)
3.5 "Bigger and Better"
27(1)
The Production Process
28(22)
3.6 It All Starts with an Idea (Concept)
28(1)
3.7 Goals and Objectives
28(1)
3.8 Determining Your Audience
29(2)
3.9 Research
31(1)
3.10 Covering the Subject
31(1)
3.11 Production Methods
32(1)
3.12 The Empirical Approach
32(1)
3.13 The Planned Approach
33(1)
3.14 Storyboards
34(3)
3.15 Why Plan?
37(1)
3.16 The Three Stages of Production
37(1)
3.17 Coverage
38(1)
3.18 Building a Production Outline
38(1)
3.19 Broad Treatment
39(1)
3.20 Production Research
40(1)
3.21 Remote Surveys (Recce)
40(1)
3.22 Freedom to Plan
40(4)
3.23 Single-Camera Shooting
44(2)
3.24 Multicamera Shooting
46(1)
3.25 Budgeting
47(1)
3.26 Copyrights
48(1)
3.27 Contracts
49(1)
Interview: DT Slouffman, Producer
50(1)
Chapter 4 Production Techniques 51(16)
4.1 Single- and Multicamera Production
52(5)
4.2 Multicamera ISO
57(1)
4.3 Multicamera Production Without a Switcher
57(1)
4.4 The Illusion of Reality
58(1)
4.5 The Camera's Role
59(2)
4.6 The Camera as an Observer
61(1)
4.7 The Persuasive Camera
62(1)
4.8 How Do You Visualize Something That Does Not Exist?
63(1)
Interview: Scott Rogers, Sports Producer
64(3)
Chapter 5 Writing for Video 67(12)
5.1 The Script's Purpose
67(2)
5.2 The Outline Script
69(1)
5.3 Basic Script Formats
69(2)
5.4 The Full Script
71(2)
5.5 The Drama Script
73(1)
Suggestions On Scriptwriting
73(3)
5.6 Visual Storytelling
74(1)
5.7 Style
75(1)
5.8 Script Processes
75(1)
5.9 Scriptwriting Basics
75(1)
5.10 Script Questions
76(1)
Interview: Robyn Sjogren, Writer
76(3)
Chapter 6 Directing 79(12)
6.1 The Director
79(1)
6.2 Selective Techniques
80(1)
6.3 Communication
80(1)
6.4 Guiding the Viewer Through the Scene
81(1)
6.5 Organizing the Angles
82(1)
6.6 Visual Variety
83(1)
6.7 Focusing Audience Attention
83(2)
6.8 Shooting Controlled Action
85(1)
6.9 Segmented Shooting with a Single Camera
86(1)
6.10 Multicamera Techniques
86(1)
6.11 Directing Talent
87(1)
Interview: Doug Smart, Director
88(3)
Chapter 7 The Camera 91(26)
7.1 A Variety of Cameras
92(2)
7.2 Cameracraft
94(2)
Camera Features
96(11)
7.3 Main Camera Features
96(2)
7.4 Lenses
98(1)
7.5 Focal Length and Lens Angle
99(1)
7.6 The Prime lens or Fixed Lens
100(1)
7.7 The Zoom Lens
100(2)
7.8 The Aperture of the Lens
102(1)
7.9 Lens Accessories
103(1)
7.10 The Image Sensor
103(1)
7.11 Gain: Sensor Sensitivity
104(1)
7.12 The Viewfinder
104(2)
7.13 Audio
106(1)
Controlling The Camera
107(7)
7.14 Handling the Camera
107(1)
7.15 Supporting the Camera
107(1)
7.16 Handheld Cameras
108(2)
7.17 The Pan Head (Panning Head or Tripod Head)
110(1)
7.18 Using a Tripod
110(1)
7.19 The Monopod
111(1)
7.20 Jib Arms
112(1)
7.21 Camera Slider
112(1)
7.22 Specialty Camera Mounts
113(1)
7.23 Camera Care
113(1)
Interview: Keith Brown, Videographer
114(3)
Chapter 8 Using the Camera 117(30)
8.1 Just Point and Shoot
118(1)
8.2 Shooting For the Screen
118(1)
8.3 What Is the Best Shot?
118(2)
8.4 Why Move the Camera?
120(1)
8.5 Focusing
121(1)
8.6 Depth of Field
121(2)
8.7 Using Focus to Communicate
123(1)
8.8 Focus Issues?
123(2)
Exposure
125(5)
8.9 What Is "Exposure"?
125(1)
8.10 Underexposure and Overexposure
126(1)
8.11 Automatic Exposure
127(1)
8.12 Exposure: Graduated Filters
128(1)
8.13 Crossing the Line
128(2)
The Moving Camera
130(2)
8.14 Following Moving Subjects
130(1)
8.15 Framing Movement
131(1)
Camera Moves
132(3)
8.16 Moving Camera Mounts
132(1)
8.17 Walking
133(1)
8.18 Shooting from Vehicles
134(1)
The Basics Of Shooting
135(1)
8.19 Selecting the Right Shots
135(1)
8.20 Persuasive Shots
135(1)
Composing Pictures
135(7)
8.21 Composition Rules and Guidelines
135(1)
8.22 Shots That Are Different
136(1)
8.23 Watch the Background
137(1)
8.24 The Rule of Thirds
138(1)
8.25 Shooting from Different Angles
138(1)
8.26 Showing Scale
139(1)
8.27 Framing the Subject
139(1)
8.28 Leading Lines
140(1)
8.29 Headroom
140(1)
8.30 Changing the Perspective
141(1)
8.31 Distortions
141(1)
Lens Filters
142(1)
8.32 What Does a Filter Do?
142(1)
Anticipating Editing
143(2)
8.33 Continuity
143(1)
8.34 Shooting to Improve Editing
144(1)
Interview: Nathan White: Videographer
145(2)
Chapter 9 Shooting People and Objects 147(16)
Shooting People
148(10)
9.1 The Single Person
148(1)
9.2 Arranging People Shots
149(1)
9.3 Effective Shots
150(1)
9.4 Selecting the Right Shot
151(1)
9.5 Single-Camera Interviews
152(1)
9.6 Editing Continuous Interviews
153(1)
9.7 Shooting Groups
154(1)
9.8 Car Interviews
155(1)
9.9 Walking Interviews
156(2)
Shooting Instructional Productions
158(4)
9.10 Typical Instructional Productions
158(1)
9.11 Approaches to Instruction
158(1)
9.12 Advance Planning
158(1)
9.13 Creating the Instructional Program
159(1)
9.14 Shooting Objects
160(2)
Interview: Sarah Hogencamp, Director/Videographer
162(1)
Chapter 10 Working with the Talent 163(12)
10.1 Talent
163(3)
10.2 Talent and Production Styles
166(2)
10.3 The Interview: Go Beyond the Obvious
168(1)
10.4 Selecting Talent
168(1)
10.5 Inexperienced Talent
169(1)
The Actor's Craft
170(3)
10.6 The Host
170(1)
10.7 The Off-Camera Host
171(1)
10.8 Presenting the Information
171(1)
10.9 Importance of People in the Scene
172(1)
10.10 Safety
172(1)
Interview: Kristin Ross Lauterbach, Director
173(2)
Chapter 11 Audio for Video 175(26)
11.1 The Essential Component
176(1)
11.2 The Nature of Sound
177(1)
11.3 Acoustics
177(2)
11.4 Mono Sound
179(1)
11.5 Stereo Sound
179(1)
11.6 Surround Sound
179(1)
Microphones
180(2)
11.7 It Begins with the Microphone
180(1)
11.8 Directional Features
180(1)
11.9 Dynamic and Condenser Microphones
181(1)
Types Of Microphones
182(10)
11.10 Camera Microphones
182(1)
11.11 The Handheld Microphone
183(1)
11.12 The Shotgun Microphone
184(2)
11.13 Lavalier (Lapel or Clip-on Mic) Microphones
186(2)
11.14 Boundary or PZM Microphone
188(1)
11.15 Hanging Microphone
188(1)
11.16 Surround Sound Microphone
188(2)
11.17 Wireless Microphone
190(1)
11.18 Hidden Mics
191(1)
11.19 Microphone Stands and Mounts
191(1)
Controlling Audio
192(5)
11.20 Automatic Gain Control (AGC) for Audio
192(1)
11.21 Manual Control
193(1)
11.22 Monitoring the Audio
194(1)
11.23 The Audio Mixer
194(2)
11.24 Using the Audio Mixer
196(1)
11.25 Preparing for Audio
197(1)
Production Sounds
197(2)
11.26 Natural Sound
197(1)
11.27 Program Music
198(1)
11.28 Sound Effects
199(1)
Interview: Noel Dannemiller, Sound Mixer
199(2)
Chapter 12 Lighting for Video 201(20)
12.1 Lighting the Scene
202(1)
12.2 Lighting Options
203(1)
12.3 Existing Light
203(1)
12.4 The Camera Does Not Compensate
204(1)
12.5 The Key Factors
204(1)
12.6 If There Is Not Enough Light
205(1)
12.7 If There Is Too Much Light
205(1)
12.8 The LED Light
206(1)
12.9 The Spotlight (Hard Light)
206(2)
12.10 The Floodlight (Soft Light)
208(1)
12.11 Lighting Contrast
209(1)
12.12 Three-Point Lighting
209(1)
12.13 Color Temperature Compensation
210(1)
12.14 Shooting in Daylight
211(1)
12.15 Using Reflectors
212(1)
12.16 Bounce Light
213(1)
Lightweight Light Supports
213(2)
12.17 Grip Clamps
213(1)
12.18 Light Stands
214(1)
Lighting Instruments
215(4)
12.19 Camera Light
215(1)
12.20 Soft Light Panel
216(1)
12.21 Cyc Lights
217(1)
12.22 Fresnel Spotlights
217(1)
12.23 Small Portable Spotlights
218(1)
12.24 Flexible Mat Lighting
218(1)
Interview: Tommy Brown, Lighting
219(2)
Chapter 13 The Background 221(22)
13.1 The Importance of the Background
222(1)
13.2 Real and Unreal Backgrounds
223(1)
13.3 Set Components
224(3)
13.4 The Neutral Background
227(1)
13.5 Economical Sets
227(1)
13.6 Semipermanent Sets
228(2)
13.7 Chroma-Key Sets
230(1)
13.8 Virtual Sets
231(1)
13.9 Outside/Back-Lot Sets
231(1)
13.10 The Location
232(1)
13.11 Watch the Background
233(1)
13.12 Foreground Pieces
234(1)
13.13 Versions of "Reality"
235(1)
13.14 What Can We Do About the Background?
235(1)
13.15 Rearranging the Background
236(1)
13.16 Partial Settings
237(1)
13.17 Typical Examples of Partial Settings
238(1)
13.18 Facing Reality
239(1)
Interview: John DeCuir, Jr., Production Designer
240(3)
Chapter 14 Television Graphics 243(8)
14.1 The Goals of Television Graphics
244(1)
14.2 Types of Graphics
245(1)
14.3 Designing Television Graphics
245(2)
14.4 Animated Graphics
247(1)
14.5 Backgrounds for Graphics
247(1)
14.6 Graphics Equipment
248(1)
Interview: Lou Moore, Television Graphics Operator
249(2)
Chapter 15 Recording the Video 251(8)
The Video Image
251(3)
15.1 High-Definition Television (HDTV or HD)
252(1)
15.2 4K Television
253(1)
15.3 8K Television
254(1)
Video Recording Media
254(4)
15.4 Videotape
254(1)
15.5 Flash Memory
255(1)
15.6 Hard Disk Drive (HDD) (Internal Hard Drive)
256(1)
15.7 External Camera Hard Drives
256(1)
15.8 Hard Drive Server Recorders
256(1)
15.9 XDCAM Disk
257(1)
15.10 Recording Media Care
257(1)
15.11 Video Recording Suggestions
258(1)
Interview: Ryan Hammer, Atlas Digital
258(1)
Chapter 16 Editing 259(16)
16.1 Editing Goals
260(1)
16.2 Shooting Order versus Running Order
261(1)
16.3 Editing Video and Audio
261(1)
16.4 Logging
262(1)
16.5 An Overview of the Nonlinear Process
263(1)
16.6 Editing Equipment
264(1)
16.7 Organization
264(2)
Editing The Project
266(7)
16.8 Editing Begins
266(1)
16.9 Selecting the Shots
266(1)
16.10 The Order of Shots
266(1)
16.11 Where Should the Edits Be Made?
267(1)
16.12 Transitions
268(1)
16.13 Continuity
269(1)
16.14 Good Editing Techniques
270(1)
16.15 Anticipating Editing
271(2)
Interview: Brock Smith, Editor
273(2)
Chapter 17 Distributing Your Production 275(8)
17.1 Traditional Broadcast Distribution
276(1)
17.2 Distributing Hard Copies of the Production
276(1)
17.3 Online Distribution
277(1)
17.4 Live Online Distribution
278(2)
17.5 Internet Protocol Television (IPTV)
280(1)
17.6 3G/4G Transmission
280(2)
17.7 Festivals and Competitions
282(1)
Interview: Chad Crouch: CEO, The Creative Group
282(1)
Glossary 283(14)
Index 297
Jim Owens has worked and taught in the video and television industry for over 30 years. As an Emmy Award-winning producer, he has worked on local, regional, and national productions. Owens international television work has included 14 Olympic broadcasts and has taken him to over 25 countries. He is the author of the Video Production Handbook, Television Production, and Television Sports Production, and has had over 30 articles published in television and broadcast magazines in the United States and Europe. He also served as the curator of the History of Olympic Broadcasting exhibit at the Olympic Museum in Lausanne, Switzerland. Owens is Dean of the School of Communication Arts at Asbury University in Wilmore, Kentucky, where he has taught since 1981.