THE TECHNIQUE OF TELEVISION PRODUCTION

Preface = 13 1. Studio tour = 15 The television studio = 15 The television studio in action = 16 The production control room = 19 Master control = 23 2. How television works = 24 The video signal = 24 Color television = 24 Picture detail = 29 Tonal contrast = 29 Tonal gradation = 30 3. What your camera can do = 31 The lens = 31 The lens system = 31 Focal length and lens angle = 32 Perspective distortion = 36 Long-focus lens (narrow-angle lens) = 37 Short-focus lens (wide-angle lens) = 39 Supplementary lenses = 41 The zoom lens = 41 Focus controls = 43 Lens aperture—f-stop = 46 Neutral density filters = 48 Camera-tube sensitivity = 48 Mountings for lightweight cameras = 49 Static mountings = 50 The rolling tripod = 50 The studio pedestal = 50 The small crane = 52 Larger cranes = 53 Motorized dolly = 54 Low dollies (creepers) = 55 Hydraulic platforms (cherry-pickers; Simon crane) = 55 Remotely controlled cameras = 55 Basic camera operation = 56 4. The persuasive camera = 59 Defining the shot = 59 Selecting the length of shot = 60 The very long shot (vista shot) = 61 The long shot = 61 Medium shots = 62 The close-up = 62 Deep-focus techniques = 63 Shallow-focus techniques = 64 Moving the camera head = 66 Panning the camera = 66 Tilting the camera head = 69 Camera height = 70 Moving the camera = 72 Using the zoom lens = 78 5. Composing the picture = 81 Composition by design = 81 Composition by arrangement = 81 Composition by selection = 81 The director and composition = 82 Composition principles = 82 The effect of the picture frame = 82 Proportions = 83 Framing = 85 Pictorial balance = 87 Emotional influence of tone = 90 Scale = 90 Subject prominence = 91 Subject attitude = 92 Picture shape = 93 Unifying interest = 93 Speed of composition lines = 94 Continuity of centres of interest = 94 Composition continuity in multicamera production = 95 Color and the picture = 98 Dynamic composition = 103 Potentials of the still picture = 103 Potentials of the moving picture = 103 A theory of dynamic composition = 104 Accepted maxims = 107 Mirror images = 109 6. Editing = 110 The nature of editing = 110 Editing and the TV director = 110 Television editing techniques = 111 Continuity cutting = 112 Relation cutting = 112 Types of editing = 113 Dynamic cutting = 113 The cut = 113 The fade = 116 The mix (dissolve, lap dissolve) = 118 The wipe = 120 Superimpositions (half-lap dissolves, supers) = 121 Order of shots = 124 Duration of shots = 126 Cutting rate = 127 Cutting rhythm = 128 The production switcher = 128 Basic production switcher functions = 131 7. Lighting = 133 Influence of lighting = 133 Why is lighting necessary? = 133 Light quality—dispersion = 134 Direction of the light = 136 Light intensity = 136 Pictorial quality = 136 Color quality of light = 137 Lighting flat surfaces = 137 Lighting an object = 138 Lighting people = 140 Lighting areas = 145 Pictorial treatment = 147 Light sources (luminants) = 149 Types of lamp housing— luminaires = 151 Lamp supports = 153 Light control = 156 Lighting control equipment = 157 TV lighting problems = 157 Electronic problems = 157 Sound boom shadows = 158 How settings affect lighting treatment = 159 Other factors affecting lighting = 160 Lighting for color = 161 Atmospheric lighting = 162 Lighting effects = 166 8. Scenery = 167 Basic organization = 167 Basic scenic forms = 170 The flat = 170 Set pieces (built pieces/solid pieces/rigid units) = 172 Profile pieces (cut-outs) = 173 Cyclorama = 174 Backgrounds = 175 Surface detail and contouring = 176 Floor treatment = 178 Ceilings = 179 Size and shape of sets = 180 Shooting off (overshoot) = 180 Height and depth in floors = 180 Space economies = 181 Multiplane techniques = 182 The illusion of four walls = 182 Partial settings = 185 Realism of settings = 186 Scrim (scenic gauze) = 187 Mobile scenic units = 187 Set dressing = 188 Electronic and lighting considerations = 189 Staging for color = 192 Costume (wardrobe) = 193 9. Make-up = 194 Types of make-up = 194 Straight make-up = 194 Corrective make-up = 194 Character make-up = 195 Conditions of television make-up = 195 Principles of make-up = 196 Make-up materials = 197 Surface modeling (prosthetics) = 199 Hair = 200 10. Audio = 202 Sound quality = 202 Reproduced sound = 204 Acoustics = 204 Microphone characteristics = 205 Personal microphones = 207 Hand microphone (baton mike, stick mike) = 208 Stand microphone = 209 Desk microphone = 209 Slung microphone (hung, hanging mike) = 209 Fishpole (fishing rod) = 210 Sound booms = 211 Omnidirectional characteristics = 212 Unidirectional characteristics = 213 Dynamic (moving coil) microphone = 217 Condenser (electrostatic) microphone = 218 Ribbon (velocity, pressure-gradient) microphone = 218 Crystal microphone = 219 Audio control = 219 Dynamic range control = 220 Sound balance = 221 Sound perspective = 222 Sound quality = 223 Audio tape—recording and replay = 224 Playback (foldback) = 226 Music and effects (M & E track) = 226 Audio effects = 226 Audio effects using tape = 227 Synthetic sound = 230 Dolby noise reduction = 231 11. Film = 232 Basic filming process = 232 Scripting = 234 Single-Camera shooting = 234 Production decisions = 235 Uses of film in TV = 236 Sound on film = 239 Transmitting negative film = 240 Reversal film = 240 The mechanics of film reproduction = 241 Telecine = 242 Video control for telecine = 242 Non-standard projection = 243 Cuing film = 244 Recording color TV on film = 244 12. Videotape = 247 Production flexibility = 247 Problems of standards = 247 The major advantages of VTR = 247 Quadruplex (quad, transverse) scanning = 248 Helical (slant track) scanning = 249 Magnetic video disc = 252 Tape formats = 253 The reasons for videotape editing = 254 Physical editing = 254 Electronic editing = 255 Manual edits using electronic splicing = 256 Editing controllers = 257 Editing using a time code = 257 Off-line editing techniques = 258 Videotape processors = 259 Audio dub = 260 13. Graphics = 261 The purpose of titles = 261 Readability = 261 Backgrounds to titles = 262 Forms of lettering = 263 Character generators (alpha-numeric generators) = 264 Forms of graphics = 265 Animated graphics = 267 Graphics with movement = 268 Unseen drawing = 271 14. The background of production = 275 The director’s role = 276 Production emphasis = 276 Production approaches = 276 Routines = 278 Ambience = 279 Selective tools = 279 Selective techniques = 279 The screen transforms reality = 281 Interpretative techniques = 281 Making the contrived arise ‘naturally’ = 282 Gratuitous techniques = 282 Production pressures = 283 15. Production practices = 284 Single-camera treatment = 284 Multi-camera treatment = 284 Visual variety = 286 Shot organization = 289 Program opening = 295 Subjective and objective approaches = 296 Focusing audience attention = 297 Creating tension = 300 Pace = 300 Timing = 301 Visual clarity = 302 Confusing and frustrating techniques = 302 Interest or concentration patterns = 303 Visual padding = 306 Illusion of time = 308 Interscene devices = 310 Deliberate disruption = 310 Illusion of spectacle = 312 16. Production organization = 314 Unplanned production = 314 Unrehearsed formats = 314 Regular formats = 315 Complex productions = 316 The script = 320 Auxiliary information = 322 Calculating shots = 328 17. In production = 332 Pre-studio rehearsal = 332 Studio rehearsal = 332 Rehearsal procedures = 334 Rehearsal problems = 336 Floor manager = 338 Guiding performers = 341 Cuing = 342 Prompting = 344 Production timing = 345 18. Imaginative production = 352 Pictorial function = 352 Production rhetoric = 352 Summary of devices used = 353 Examples = 355 Imaginative sound = 358 Sound elements = 358 Sound emphasis = 359 Sound usage = 360 Off-screen sound = 360 Substituted sound = 361 Controlling sound treatment = 362 Audio analysis = 362 Focusing attention = 365 Selective sound = 366 Audio-visual relationships = 367 19. Visual effects = 368 Mirror effects = 368 Rear (back) projection = 370 Front projection = 370 Reflex projection = 371 Camera filters = 371 Lens attachments = 375 Camera mattes (gobos) = 376 Electronic effects = 377 Keyed insertion electronic matting) = 380 External key = 382 Self-keying (self-matting, internal key) = 384 Using keyed insertion = 385 Chroma-key insertion techniques = 390 Complex insertion = 397 Color synthesis = 398 Digital systems = 399 Temporal effects = 400 20. On location = 403 Large mobile control room (location production unit) = 403 Remotes van = 403 Lightweight truck small van units = 404 Station wagon small van units = 404 Portable units = 404 Program handling = 404 ENG Editing = 406 Types of field camera = 407 Field camera equipment = 408 21. Video engineering = 411 Video control (shading) = 411 Preset control = 411 Automatic control = 412 Shader = 412 Video control operator (video control) = 412 Exposure control = 413 Black level = 413 Further controls = 414 Artistic aspects of video control = 414 The television camera-tube = 416 Synchronization = 418 Glossary = 423 Bibliography = 440 Index = 443

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