Video Production Handbook

Preface What is the book all about? Who is the book written for? What equipment do you need? Isn't all this equipment complicated to use? Why do we need to learn 'techniques'? How can this book be used? And then? Remember! A final word Preface to the second edition 1. Video production today = 1 1.1. What is video production? Breaking the ice 1.2. The need for 'know-how' 1.3. It's designed for you 1.4. First impression 1.5. Learning basics 1.6. Remember the purpose 1.7. Resources 1.8. Simplicity Video production approaches 1.9. Video production methods 1.10. Using a single video camera — 'live' 1.11. Single camera - videotaping 1.12. Multi-camera techniques 1.13. Multi-camera variations The versatility of video 1.14. What facilities do you need? 1.15. Subjects influence production methods Technicalities 1.16. Equipment performance 1.17. Technical basics 2. Meet your camera = 10 2.1. A range of designs 2.2. Cameracraft Camera features 2.3. Main features 2.4. The lens system 2.5. Focal length and lens angle 2.6. The zoom lens 2.7. Changing the lens system 2.8. Zoom lens control 2.9. Altering the iris 2.10. Lens accessories 2.11. The image sensor 2.12. Sensitivity 2.13. The viewfinder 2.14. Indicators 2.15. Audio circuits 2.16. Power 2.17. Camera arrangements Controlling the camera 2.18. Supporting your camera 2.19. Handling your camera 2.20. Hand-held cameras 2.21. Shoulder-supported cameras 2.22. The monopod 2.23. The panning head 2.24. Using a tripod 2.25. The rolling tripod 2.26. Other mobile mountings 2.27. Handling care 3. Using your camera = 33 3.1. Why bother? 3.2. What gets on the screen? 3.3. How close should we be? 3.4. How much we see? 3.5. Using a different lens angle 3.6. So why move around? 3.7. Zooming 3.8. Focusing 3.9. Auto-focus 3.10. Depth of field 3.11. Maximum sharpness? 3.12. Difficult to focus? 3.13. Pre-focusing the zoom lens Exposure 3.14. Tonal range 3.15. Underexposure and overexposure 3.16. Automatic exposure Handling your camera 3.17. Why all these rules? 3.18. Panning and tilting 3.19. Following moving subjects 3.20. Framing movement 3.21. Walking 3.22. Shooting from vehicles Picture-making basics 3.23. Practical conditions 3.24. Selecting the shots 3.25. Persuasive shots 3.26. What is it all about? 3.27. Clutter 3.28. I can't see it properly! Composing pictures 3.29. Theory and practice 3.30. The brief shot 3.31. 'Dull' is in the mind 3.32. Clever shots 3.33. Fitting the frame 3.34. The rule of thirds 3.35. Well-balanced shots 3.36. Good balance 3.37. Juggling proportions 3.38. Grouping (unity) 3.39. Camera viewpoint 3.40. Distortions Anticipating editing 3.41. Continuity 3.42. Improving flexibility 3.43. Crossing the line 4. Practical lighting = 60 4.1. Lighting for everyone 4.2. The camera does not compensate 4.3. The key factors 4.4. The light's intensity 4.5. If there is not enough light 4.6. If there is too much light 4.7. Hard light quality 4.8. Soft light quality 4.9. Lighting contrast 4.10. Light direction 4.11. Three-point lighting 4.12. Measuring light levels 4.13. Typical light levels 4.14. Color temperature compensation 4.15. Using colored light 4.16. Shooting in daylight 4.17. Using reflectors 4.18. Bounce light 4.19. Do we need light? 4.20. Lighting options 4.21. Economy lighting 4.22. Makeshift equipment Lightweight lighting fittings Supports 4.23. Gaffer grip／gaffer clamp／alligator ('gator') clamp／clip-light 4.24. Wall-plate 4.25. Lightweight lamp tripod／stand 4.26. Spring-loaded support pole (Jack tube, Varipole, Acrow, Polecat, Barricuda) Lamps 4.27. Camera light (video light) 4.28. Hand-held lamps (sun gun) 4.29. Open-bulb fittings 4.30. Scoop／pan 4.31. Broad 4.32. Multi-lamp sources 4.33. Lensless spotlight／open-bulb spot 4.34. Fresnel spotlights Practical lighting 4.35. The general approach to lighting 4.36. Shooting without lamps — in lit surroundings 4.37. Using one lamp — the only light available 4.38. Using one lamp — in lit surroundings 4.39. Using two lamps 4.40. Using three lamps 4.41. Limited lighting 4.42. Using multi-lamp lighting 5. Audio techniques = 87 5.1. The essential component 5.2. The nature of sound 5.3. Acoustics 5.4. Mono sound 5.5. Stereo sound 5.6. Microphone care 5.7. Directional features 5.8. Popular types of mike 5.9. Other types of mike Supporting the mike 5.10. Camera microphone 5.11. The hand mike／baton mike 5.12. Personal mikes 5.13. Fishpole mikes 5.14. Small booms 5.15. Desk mikes 5.16. Stand mikes 5.17. Hanging or slung mikes 5.18. Hidden mikes Controlling dynamics 5.19. Dynamic range 5.20. Automatic control 5.21. Manual control 5.22. Monitoring sound 5.23. The audio mixer 5.24. Using the mixer 5.25. Sound complexity 5.26. Live sound 5.27. Recorded inserts 5.28. Sync and non-sync sound 5.29. Why alter the soundtrack? 5.30. Making the changes 5.31. Discontinuous shooting Getting organized 5.32. Preparations 5.33. Working single-handed 5.34. Practical methods 5.35. Variations on a theme 5.36. Working with assistance 5.37. Action 5.38. Facilities 5.39. Audio dubbing 5.40. Anticipating sound editing 5.41. Music and effects track 5.42. Filtered sound 5.43. Sound effects 6. Backgrounds = 114 6.1. The importance of the background 6.2. The impact of the background 6.3. Real and unreal backgrounds 6.4. The neutral background 6.5. Economical settings 6.6. The location as a background 6.7. Keep a lookout 6.8. Camera height 6.9. Foreground pieces 6.10. The location as the subject 6.11. Versions of 'reality' 6.12. What can we do about the background? 6.13. Rearranging the background 6.14. Altering the background 6.15. Auxiliary backgrounds 6.16. Partial settings 6.17. Typical examples 6.18. Creating depth 6.19. Permanent sets 6.20. Adjustable permanent setting 6.21. Facing reality 6.22. Titling 7. The basics of videotape recording = 131 7.1. Various designs 7.2. Incompatibility 7.3. Recording principles 7.4. Helical scanning 7.5. Cue pulses 7.6. Tape formats 7.7. Audio on videotape 7.8. Standards conversion 8. Editing = 136 8.1. The need to edit 8.2. Editing opportunities 8.3. The principles of editing 8.4. Organization 8.5. Editing begins 8.6. Selecting required sections 8.7. The order of shots 8.8. Cutting points 8.9. Transitions 8.10. Good continuity 8.11. Physical editing 8.12. Editing during shooting 8.13. Editing after shooting 8.14. Generations 8.15. Electronic splicing 8.16. The editing process 8.17. Off-line and on-line editing 8.18. Edit controllers 8.19. Post-production editing 8.20. Good editing techniques 9. People = 151 9.1. Talent 9.2. Inexperienced talent 9.3. The presenter 9.4. When there are problems 9.5. The camera's viewpoint 9.6. People passing by 10. Organizing your production = 156 10.1. Art conceals craft 10.2. How techniques develop 10.3. The problem of familiarity 10.4. The problem of quality 10.5. Elaboration 10.6. Communication can be elusive 10.7. Begin at the end 10.8. Develop a system 10.9. The empirical approach 10.10. The planned approach 10.11. Storyboards 10.12. Why plan? 10.13. Thinking it out 10.14. Start with an idea 10.15. Coverage 10.16. Building an outline 10.17. Broad treatment 10.18. Finding out 10.19. Remote surveys (the 'recce') 10.20. Developing the contents 10.21. Freedom to plan Writing the script 10.22. The script's purpose 10.23. Is a script needed? 10.24. Basic script formats 10.25. The full script 10.26. The drama script 10.27. Hints on script writing 10.28. Be visual 10.29. Assimilation rate 10.30. Relative pace 10.31. Style 10.32. Copyright and contracts 11. Production techniques = 182 Single- and multi-camera production 11.1. Opportunities and styles 11.2. What is the aim? 11.3. The camera's role 11.4. The camera as an observer 11.5. The persuasive camera 11.6. Beginning and ending 11.7. Production methods 11.8. There is nothing there! 11.9. Shooting objects Shooting people 11.10. Shooting a single person 11.11. Conventional arrangements 11.12. Effective shots 11.13. Under questioning 11.14. Interviews 11.15. Editing continuous interviews 11.16. Shooting groups 11.17. Car interviews 11.18. Walking interviews Shooting demonstrations 11.19. Typical demonstrations 11.20. Approaches to demonstrations 11.21. Thinking it through 11.22. The problem of time 12. Visual effects = 209 12.1. Using effects 12.2. Using filters 12.3. Distorted images 12.4. Mattes 12.5. Superimpositions 12.6. Wipe patterns 12.7. Reflections 12.8. Pepper's ghost 12.9. Projected backgrounds 12.10. Color medium ('gels') 12.11. Light effects 12.12. Scenic effects 12.13. Chroma key 12.14. Video effects 12.15. Desktop video 13. Video basics = 222 13.1. Technical details 13.2. Producing video 13.3. Recreating the picture 13.4. How we see color 13.5. How the camera sees color 13.6. The color picture 13.7. Practical cameras 13.8. Scanning 13.9. Sync pulses 13.10. Color video 13.11. Transmitting the signal 13.12. Forms of video signal 13.13. Program sound 13.14. Reproduced quality 13.15. Units 13.16. Monitors and receivers Appendix A = 231 Battery care Types of power Battery sources Using batteries Cell capacity Sealed lead-acid cell Nickel-cadmium cell Silver-zinc cell Battery care Battery charging Appendix B = 236 Useful data Power consumption Typical light levels Typical color temperature (in kelvins) Lens angles Available shots on 25° lens Typical lens coverage Shot heights Hyperfocal distance Aspect ratio Audio tape formats Appendix C = 240 Camera set-up graph Index = 241

펼치기