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Television production handbook / Herbert Zettl.

By: Zettl, Herbert.
Material type: materialTypeLabelBookCall no.: PN1992.75 .Z4 2015Series: Cengage series in broadcast and production: Publication: Stamford, Connecticut : Cengage Learning, 2015Edition: 12th ed.Description: xxx, 498 p. : ill.ISBN: 1285052676; 9781285052670; 9781285464916; 1285464915.Subject(s): Television -- Production and direction -- Handbooks, manuals, etc
Contents:
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 inter-ocular 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 -- Patch-bay -- 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: base-light: -- Base-light 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 -- 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 -- Gen-lock 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: -- Filed 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.
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Includes bibliographical references and index.

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 inter-ocular 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 -- Patch-bay -- 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: base-light: -- Base-light 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 -- 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 -- Gen-lock 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: -- Filed 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.

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