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Television Production
Author(s): Millerson
ISBN10:  0240514920
ISBN13:  9780240514925
Format:  Paperback
Pub. Date:  3/10/1999
Publisher(s): Elsevier Science & Technology

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SummaryTable of Contents
For over 30 years, Gerald Millerson's various books have been the foundation texts for thousands of students and professionals studying television production. Translated into Spanish, Italian, Japanese, Hebrew, French and German, these titles have become truly international.


For over 30 years, Gerald Millerson's various books have been the foundation texts for thousands of students and professionals studying television production. Translated into Spanish, Italian, Japanese, Hebrew, French and German, these titles have become truly international.

Television Production offers you a very practical guide to professional TV and video production techniques. Here you will find straightforward description and explanations of the equipment you will use, and discover the best ways to use it. You will also learn how to anticipate and quickly overcome typical everyday problems.

You will explore in detail all the major features of television production, learning the secrets of top-grade camerawork, persuasive lighting techniques, effective sound treatment, as well as the subtle processes of scenic design and the art of video editing.

Successful program-making is about communication and persuasion. It is not merely a matter of knowing which buttons to press, but how to influence and persuade your audience, hold their attention, develop their interest, and arouse their emotions. This book tells you how to do all this - and much more.

Now in its thirteenth edition, formerly entitled The Technique of Television Production, Gerald Millerson has extended and fully updated the book to reflect the important technical innovations that have occurred since the previous edition was published.
It now covers:
· Digital recording and editing processes
· Computer based desktop video equipment
· Virtual sets
Supplementary topics are discussed as digests.

Gerald Millerson's analytical writings spring from a lifetime's personal experience in the medium, and from his teaching and engineering background. During his career with the BBC, he was primarily associated with studio operations in the Television Service. His lecturing background included courses in TV production at a number of American universities.
His other books for Focal Press are The Technique of Lighting for Television and Film, TV Scenic Design, Video Production Handbook and, in the Media Manuals series, Effective TV Production, Lighting for Video and Video Camera Techniques.

Contents:
An introduction * Television in action * How television works * What your camera can do * Handling your camera * The persuasive camera * Effective picture making * Video editing * Lighting * Scenery * Make-up * Audio * Film * Video recording * Titling and graphics * The background of production * Production practices * Production organization * In production * Style * Visual effects * On location * Video engineering * Digests


Reviews of previous editions:
"This very comprehensive book is possibly the best overview of technical television"
US customer review from Amazon.com website
"For the student seeking hard experience in studio operational practice it really is impossible to better Gerald Millerson's basic text, The Technique of Television Production"
Television - Journal of the Royal Television Society
"This superb manual is concentrated and comprehensive, but well-written, outstandingly illustrated, and supplied with plenty of white space. The 23 chapters go into satisfying depth on theoretical, technical, practical and creative aspects, and there is a thorough glossary, reading list and index.".
British Journal of Educational Technology

· 1150 illustrations and diagrams
· 'digests' of important topics
· written in non-technical manner
Preface to the thirteenth edition xv
An introduction
1(14)
Equipment gets simpler to use
1(1)
The illusion of reality
1(1)
It's not just academic
2(1)
Techniques will tell
2(1)
Having the edge
3(1)
An overview
4(4)
Audience impact
7(1)
`Television' or `video'?
8(1)
TV organizations
8(1)
Video production units
9(1)
The technical world
9(3)
Meeting new equipment
9(1)
Terminology
10(1)
Technical developments
10(1)
Today's equipment
11(1)
The production team
12(1)
The journey ahead
12(1)
Teamwork
12(1)
Practical production
12(3)
The hidden factors
12(1)
The daily routine
13(1)
The pressures of production
13(1)
The detached viewpoint
13(2)
Television in action
15(14)
Production methods
15(2)
The venue
17(1)
The television studio
17(12)
The television studio in action
20(2)
The production control room
22(5)
Master control
27(1)
Services and support areas
27(2)
How television works
29(9)
The video signal
29(1)
Color analysis
30(1)
Color mixtures
31(1)
Light and shade
32(1)
Transmitting color
32(2)
The television picture
34(2)
Digital magic
36(2)
What your camera can do
38(61)
Types of television camera
38(4)
Camera basics
42(6)
The viewfinder
42(5)
The camera's controls
47(1)
The camera lens
48(13)
Meet your lens
48(1)
Lens systems
49(1)
Lens controls
49(1)
Identifying your lens
50(1)
Focal length
50(3)
What is a lens angle?
53(2)
Perspective distortion
55(1)
The narrow-angle lens (long-focus lens)
56(2)
The wide-angle lens (short-focus lens)
58(3)
Supplementary lenses
61(1)
The zoom lens
61(8)
Types of zoom lenses
62(2)
Zoom lens controls
64(2)
The shot box
66(1)
Zoom performance
66(2)
Extender lens
68(1)
Focusing
69(7)
Why focus?
69(1)
Focusing methods
70(2)
Depth of field
72(1)
Focusing problems
73(1)
Minimum focusing distance
74(1)
Setting up the zoom lens
74(1)
Lens aperture (f-stop)
75(1)
Exposure
76(6)
Automatic iris
77(2)
Remote iris control
79(1)
Neutral density filters
79(1)
Camera sensitivity
79(2)
Shutter speeds
81(1)
Supporting the camera
82(4)
What type of support?
83(1)
The hand-held camera
83(1)
Camera stabilizers
84(1)
Fixed cameras
85(1)
The panning head (pan-and-tilt head; camera mounting head)
86(1)
Choosing the camera mounting
86(13)
Camera tripods
86(3)
Camera pedestals
89(2)
Camera cranes
91(3)
Small cranes
94(1)
Film dollies
95(1)
Special mountings
95(2)
Remotely controlled cameras
97(2)
Handling your camera
99(16)
Standard shots
99(2)
Remembering the shot
100(1)
Checking the shot
101(1)
Camera operation
101(4)
Focusing
101(1)
Moving people
102(2)
Camera moves
104(1)
Raising and lowering the camera
105(1)
Camera shadows
105(1)
Production format
105(1)
The single-camera shoot
106(1)
The multi-camera shoot
106(1)
Working in the studio
106(4)
Preparing for rehearsals
110(1)
During rehearsal
110(5)
Relaxed yet alert
110(2)
Production techniques
112(2)
After the show
114(1)
The persuasive camera
115(22)
Why do we need techniques?
115(22)
Shooting style
115(1)
Screen size
116(1)
Selecting the shot
116(1)
The very long shot (vista shot)
117(1)
The long shot
118(1)
Medium shots
118(1)
The close-up
118(1)
Deep-focus techniques
119(1)
Shallow-focus techniques
120(1)
Moving the camera head
120(2)
Panning the camera
122(2)
Tilting the camera head
124(1)
Camera height
124(3)
Moving the camera
127(2)
Subjective treatment
129(3)
Using the zoom lens
132(5)
Effective picture making
137(32)
Behind the picture
137(1)
Composing the picture
137(1)
Practical composition
138(1)
The director and composition
139(1)
Composition principles
139(1)
The effect of the picture frame
140(1)
Proportions
141(2)
Framing
143(2)
Pictorial balance
145(2)
The emotional influence of tone
147(1)
Scale
148(1)
Subject prominence
148(1)
Subject attitude
149(1)
Picture shape
150(1)
Unifying interest
151(1)
Speed of compositional lines
151(1)
Continuity of centers of interest
152(1)
Composition continuity in multi-camera production
153(2)
Color impact
155(2)
Dynamic composition
157(12)
The still picture
158(1)
Potentials of the moving picture
159(1)
A theory of dynamic composition
160(2)
Using dynamic composition
162(4)
Accepted maxims
166(1)
Mirror images
167(2)
Video editing
169(37)
An introduction to editing
169(2)
Editing techniques in television
169(2)
Editing basics
171(2)
Editing decisions
171(1)
Editing opportunities
172(1)
The mechanics of editing
173(17)
Editing in-camera
173(1)
Editing with the production switcher (vision mixer)
174(2)
What the production switcher can do
176(3)
Switching conditions
179(1)
Operating the switcher
180(2)
Additional switcher features
182(4)
Linear editing
186(1)
Non-linear editing
187(3)
The art and techniques of editing
190(16)
The cut
192(3)
The fade
195(1)
The mix (dissolve, lap dissolve)
196(3)
The wipe
199(1)
Superimpositions (half-lap dissolves, supers)
199(1)
Order of shots
200(2)
Montage
202(1)
Duration of shots
203(1)
Cutting rate
204(1)
Cutting rhythm
205(1)
Lighting
206(51)
The aims of lighting
206(1)
Why is lighting necessary?
207(1)
The nature of light
208(6)
Light intensity
208(2)
Color quality of light
210(1)
Light dispersion
211(2)
The direction of the light
213(1)
The technique of lighting
214(9)
Lighting a flat surface
214(1)
Lighting an object
215(1)
Lighting people
216(6)
Lighting areas
222(1)
Light fittings
223(8)
Light sources (luminants)
223(2)
Types of light fitting (luminaires)
225(3)
Lamp supports
228(1)
Improvised lighting
229(2)
Lighting control
231(3)
Dimmer board design
231(3)
Basic lighting approach
234(6)
What is going to happen?
234(1)
Check out the facilities
234(1)
The lighting plot
235(4)
Lighting rigging
239(1)
Setting lamps
240(4)
The mechanics of setting lamps
240(1)
Setting spotlights
240(1)
Lamp care and safety
240(3)
Lighting and camera rehearsal
243(1)
After production
243(1)
TV lighting problems
244(10)
Electronic problems
244(1)
Sound-boom shadows
245(1)
How setting affect lighting treatment
246(1)
Practical lamps
247(1)
Other factors affecting lighting
247(1)
Lighting for color
248(1)
Colored light
248(1)
Pictorial treatment
249(1)
Atmospheric lighting
250(3)
Lighting effects
253(1)
Lighting on location
254(3)
Varying conditions
254(1)
Lighting techniques on location
254(3)
Scenery
257(32)
Considerations in design
257(3)
Basic organization
257(3)
Basic scenic forms
260(10)
The flat
260(2)
Set pieces (built pieces, solid pieces, rigid units)
262(1)
Profile pieces (cut-outs)
263(2)
Cyclorama
265(1)
Backgrounds
266(2)
Surface detail and contouring
268(1)
Floor treatment
268(2)
Basic forms of staging
270(19)
Size and shape of sets
274(2)
Overshoot (shooting off)
276(1)
Ceilings
276(1)
Height and depth in floors
277(1)
Space economies
277(1)
Multi-plane techniques
278(1)
Partial settings
279(1)
Realism
279(1)
Scrim (scenic gauze)
280(1)
Mobile scenic units
281(1)
Set dressing
282(2)
Technical problems
284(2)
Using color
286(2)
Costume (wardrobe)
288(1)
Make-up
289(9)
Forms of make-up
289(9)
Straight make-up
289(1)
Corrective make-up
289(1)
Character make-up
290(1)
Conditions of television make-up
290(2)
Principles of make-up
292(1)
Make-up materials
292(3)
Surface modeling (prosthetics)
295(1)
Hair
296(2)
Audio
298(47)
Sound quality
298(1)
Reproduced sound
299(3)
Acoustics
302(1)
Microphone characteristics
303(2)
Types of microphone
305(1)
Directional characteristics
306(3)
Using the microphone
309(11)
Personal microphones
309(2)
Hand microphone (baton, stick)
311(1)
Stand microphone
312(1)
Desk microphone
312(1)
Slung microphone (hung, hanging)
313(1)
The shotgun (rifle) microphone
314(1)
The fishpole (fishing rod)
314(2)
Sound booms
316(4)
Audio control
320(10)
Dynamic range control
322(1)
Sound balance
323(2)
Sound perspective
325(1)
Sound quality
325(2)
Audio tape (recording and reply)
327(3)
Building the soundtrack
330(15)
Types of program sound
330(1)
Sound effects
331(1)
Forms of sound effect
332(1)
Music and effects (M&E track)
333(1)
Anticipating sound editing
334(1)
Audio sweetening
335(1)
Typical postproduction methods
336(3)
Playback (foldback)
339(1)
Treated sound
340(2)
Synthetic sound
342(1)
Noise reduction
343(2)
Film
345(15)
Film versus video
345(1)
Film in television production
345(2)
The basic filming process
347(2)
Sound on film
349(2)
The mechanics of film reproduction
351(9)
The film chain
351(3)
Non-standard projection
354(1)
Video control for telecine
354(1)
Cuing film
355(2)
Film aspect ratio (picture shape)
357(1)
Recording video on film
358(2)
Video recording
360(25)
Recording formats
360(3)
Videotape recording basics
363(1)
The tape support
363(1)
The magnetic tape
363(1)
Neutralizing the videotape
364(1)
The videotape recording process
364(6)
Helical scanning
364(2)
Longitudinal tracks
366(1)
The recorded signals
366(2)
Practical VTRs
368(2)
Practical editing
370(5)
The videotape editor
372(3)
Postproduction editing
375(3)
Time code
375(1)
On-line editing
376(1)
Off-line editing
376(1)
Editing problems
377(1)
The edit controller
378(7)
Using the edit controller
379(1)
A/B editing
380(1)
Editing ethics
381(4)
Titling and graphics
385(16)
Titling and graphics today
385(1)
Good titling
386(1)
Backgrounds to titles
387(1)
Forms of lettering
388(1)
Introducing titling
388(1)
The character generator
389(1)
Forms of graphics
390(11)
Graphic display
390(1)
Animated graphics
391(2)
Camera graphics
393(3)
Unseen drawing
396(1)
Electronically generated graphics
396(5)
The background of production
401(9)
The director's job
401(1)
Production emphasis
402(4)
Selective tools
406(1)
Selective techniques
406(1)
The screen transforms reality
407(1)
Interpretative techniques
407(1)
Making the contrived arise `naturally'
408(1)
Gratuitous techniques
408(1)
Production pressures
409(1)
Production practices
410(37)
Single-camera techniques
410(6)
Scripting
410(1)
Single-camera shooting
410(1)
Continuous single-camera shooting
411(2)
Discontinuous single-camera shooting
413(1)
Segmented shooting
414(2)
Multi-camera treatment
416(31)
Visual variety
417(4)
The illusion of relationships
421(1)
Shot organization
422(3)
Program opening
425(1)
Subjective and objective approaches
426(1)
Focusing audience attention
427(2)
Creating tension
429(2)
Pace
431(1)
Timing
431(1)
Visual clarity
432(1)
Confusing and frustrating techniques
433(1)
Interest or concentration patterns
434(3)
Visual padding
437(4)
The illusion of time
441(1)
Interscene devices
442(1)
Deliberate disruption
442(2)
The recorded insert
444(1)
Library shots (stock shots)
445(1)
The illusion of spectacle
445(2)
Production organization
447(23)
Fundamentals
447(23)
The action
447(1)
The camera viewpoint
447(1)
Limitations/restrictions
448(1)
Production approaches
448(1)
Unplanned productions
449(1)
Regular formats
450(1)
Complex productions
451(5)
Developing the camera plan
456(1)
Production planning meeting
456(1)
The script
457(6)
Auxiliary information
463(2)
Calculating shots
465(5)
In production
470(28)
Unrehearsed formats
470(1)
Pre-studio rehearsal
470(1)
Studio rehearsal
471(3)
Rehearsal procedures
474(1)
Rehearsal problems
475(3)
The floor manager
478(2)
Guiding performers
480(1)
Cuing
481(2)
Prompting
483(1)
Production timing
484(14)
Types of timer
486(1)
Timing methods
487(1)
Taping the production
487(7)
Discontinuous recording
494(2)
The postproduction process (the `post')
496(2)
Style
498(18)
Production approaches
498(18)
Appropriateness
498(1)
Routines
498(1)
Ambience
499(1)
The illusion of truth
500(1)
Pictorial function
501(1)
Picture applications
501(1)
Productional rhetoric
502(3)
Imaginative sound
505(1)
Sound elements
506(1)
Sound emphasis
507(1)
Sound applications
508(1)
Off-screen sound
508(1)
Substituted sound
509(1)
Controlling sound treatment
510(1)
Audio analysis
510(3)
Focusing attention
513(1)
Selective sound
514(1)
Audiovisual relationships
515(1)
Visual effects
516(49)
Mirror effects
516(3)
Rear (back) projection
519(1)
Front projection
520(1)
Reflex projection
521(2)
Camera lens filters
523(1)
Lens attachments
524(1)
Camera mattes (gobos)
525(2)
Electronic effects
527(3)
Keyed insertion (electronic matting)
530(3)
External key
531(2)
Prepared mattes
533(4)
Internal key (self-keying, self-matting, common key mode)
534(3)
Using keyed insertion
537(7)
Inserting titling
537(4)
Display screens
541(1)
Localized inserts
542(1)
Multi-split screen
543(1)
Chroma-key insertion techniques
544(8)
Further practical problems
549(3)
Virtual settings
552(6)
Complex insertion
554(4)
Digital video effects
558(4)
Using video effects
559(3)
Adjusting time
562(3)
On location
565(15)
Shooting on location
565(1)
On location with a single camera
565(8)
Lightweight camera techniques
566(3)
The single camera in action
569(4)
Multi-camera units
573(7)
Location vehicles
574(4)
ENG editing
578(2)
Video engineering
580(13)
Behind the scenes
580(2)
Adjusting picture quality
582(3)
Why is video control necessary?
585(1)
Synchronizing the system
586(7)
Digests 593(28)
Further reading 621(2)
Index 623