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Related Topics: Performing Arts >> Theater >> Stagecraft
Cover Art for TV Scenic Design
Other versions by this Author
TV Scenic Design
Author(s): Millerson
ISBN10:  0240514939
ISBN13:  9780240514932
Format:  Paperback
Pub. Date:  7/3/1997
Publisher(s): Elsevier Science & Technology

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SummaryTable of Contents
TV Scenic Design is a comprehensive resource for aspiring and practicing set designers. Summarizing the principles and practices of scenic design, it details design approaches, structures, and staging methods.

TV Scenic Design is a comprehensive resource for aspiring and practicing set designers. Summarizing the principles and practices of scenic design, it details design approaches, structures, and staging methods.

The information contained in the book can be applied to a variety of design situations, from campus or network TV studios, to exhibitions, audio-visual presentations or window displays.

Whatever the scale, space or budget, the methods described in TV Scenic Design will ensure professional results. Now expanded to cover 'virtual' set design, this new edition continues to be an invaluable aid to anyone involved in creating effective sets.

Contents:
The background of design * The basics of design organization * Scenic construction * Staging techniques * Staging practices * Shoestring staging * Scenic effect * Electronic reality * Scenic operation * The designer on location * Controlling the tone and color * Lighting and the designer * glossary * Index

Gerald Millerson's books on television and video have been acknowledged as among the best ever published. His other titles for Focal Press are Video Production Handbook, The Technique of Television Production, The Technique of Lighting for Television and Film and, in the Media Manual series, Effective TV Production and Video Camera Techniques.

an up to date reference written for today's TV scenic designer
includes a new chapter on VIRTUAL SET technology
updates to sections include new illustrations to help understanding of the subject

Summarizing the principles and practices of scenic design, this book details design approaches, structures, and staging methods. Contains information that can be applied to a variety of design situations, from network TV studios, to exhibitions, audio-visual presentations or window displays. Paper.
Preface to second edition xi(2)
Preface to first edition xiii(2)
What is this book all about?
Who is this book written for?
How can the book help me?
Acknowledgments xv
1 The background of design
1(10)
1.1 The illusion of reality
1.2 The designer's craft
1.3 The settings
1.4 ... and the staging
1.5 Is it appropriate?
Production techniques and the designer
1.6 What does the camera reveal?
1.7 How are the cameras to be used?
1.8 Advance warning
1.9 The program's purpose
1.10 Economics
1.11 Time scale
1.12 Studio space
2 The basics of design organization
11(25)
2.1 Practical design
2.2 `Off-the-cuff' design
2.3 Design preliminaries
2.4 The source of inspiration
Planning
2.5 Scale of production
2.6 Production conditions
2.7 Construction
2.8 Action
2.9 Special effects
2.10 Graphics
2.11 The scale plan
2.12 The studio plan
2.13 Safety lanes
2.14 Elevations
2.15 Scale model
2.16 The preliminary plan
2.17 The production planning meeting
2.18 Major productions
2.19 Pre-studio rehearsals
2.20 The studio setting period
2.21 Lighting the setting
2.22 Rigging the lamps
2.23 Camera rehearsals
2.24 The designer during rehearsal
Methods of production
2.25 `Live' and taped production
2.26 No rehearsal
2.27 Stop-start rehearsal
2.28 Stop-start and dress rehearsals
2.29 `Rehearse/record'
2.30 Retakes and continuity
2.31 Clearing the studio
3 Scenic construction
36(44)
The cyclorama
3.1 The `cyc'
3.2 Materials
3.3 Size
3.4 Hanging the cyc
3.5 Colors
3.6 Paper cycloramas
3.7 Hardwall cycloramas
Ground rows
3.8 The floor join
3.9 Cove units
3.10 Scenic planes
3.11 Cyc cloths
Flats
3.12 The basic unit
3.13 Softwall units
3.14 Hardwall units
3.15 Stock flats
3.16 Frame construction
3.17 Flat heights
3.18 Flat width
3.19 Hardware
3.20 Surface finish
Surface formation
3.21 Illusion through paint
3.22 Surface coverings
3.23 Attached contours
3.24 Expanded polystyrene/styrofoam/jabolite
3.25 Shell moldings
3.26 Contoured flats/plugs
3.27 Door flats
3.28 Window flats
3.29 Single and double cladding
3.30 Dummy features
Set pieces
3.31 Arches
3.32 Buttresses and pilasters
3.33 Beams
3.34 Columns and pillars
Raised areas
3.35 Blocks/step blocks/apple boxes/risers
3.36 Platforms/parallels/rostra/risers
3.37 Stairs
3.38 Getaway steps/offstage steps
3.39 Ramps
3.40 Wagons
Using drapes
3.41 Draperies
3.42 Supporting drapes
3.43 Auxilary drapes
3.44 Choosing draperies
3.45 Wear and tear
3.46 Decorative screens and panels
3.47 Flexible screens
3.48 Cut-outs/profiles
Pictorial background
3.49 Backdrop/painted cloth
3.50 Photomurals/photo blow-ups
3.51 Adjusting the background
3.52 Re-using the background
The studio floor
3.53 Floor care
3.54 Floor treatment
3.55 Floor painting
3.56 Hand painting
3.57 Adhesive patterns
3.58 Floor panels
3.59 Floor cloths
3.60 Scattering
3.61 Substitute surfaces
3.62 Rugs, mats, and carpets
Floor light-patterns
3.63 Opportunities and methods
3.64 Direct patterns
3.65 Cast shadows
3.66 Projected light-patterns
3.67 Problems
Ceilings
3.68 Frustrations
3.69 The central light-fitting
3.70 The need for a ceiling
3.71 Complete ceilings
3.72 Partial ceilings
3.73 Cutting pieces
3.74 Substitution
Greenery
3.75 Living greenery
3.76 Dead greenery
3.77 Artificial greenery
3.78 Mixed methods
3.79 Street furniture
4 Staging techniques
80(46)
4.1 `Traditional' methods
4.2 Basic forms of staging
4.3 Scenic backgrounds
4.4 Area staging
4.5 Open sets
4.6 Desk set-ups
4.7 Box sets/closed sets
4.8 Composite settings
4.9 Audience shows
4.10 Two-tier staging
4.11 Enclosed sets
4.12 Style
4.13 Basic stylistic approaches
Neutral backgrounds
4.14 Plain tone
4.15 Cameo staging
4.16 Limbo staging
4.17 Electronically inserted tone
4.18 Non-associative backgrounds
4.19 Subject/background contrast
4.20 Flatly lit backgrounds
4.21 Vertical shading
4.22 Background light-patterns
4.23 Dappled backgrounds
Realistic settings
4.24 The illusion of reality
4.25 Forms of realism
4.26 Accuracy
4.27 Authenticity
4.28 Believability
4.29 The lived-in look
Decorative settings
4.30 Symbolism
4.31 Skeletal sets
4.32 Translucent screens
Using scrim
4.33 Scrim/scenic gauze
4.34 `Solid' scrim
4.35 `Transparent' scrim
4.36 `Translucent' scrim
4.37 Scrim cycs
4.38 Substitute glass
4.39 Contrast control
4.40 Painted scrims
Mobile scenic units
4.41 Wagons
4.42 Mobile areas
4.43 Moving vehicles
4.44 Shots in cars
4.45 Ships and others
Height and depth in floors
4.46 Interviews/talks
4.47 Multi-level settings
4.48 High ground
4.49 Heights
4.50 Holes
Furniture
4.51 Stock furniture
4.52 Practical hazards
4.53 Laming the unruly
Properties
4.54 What are props?
Set dressing
4.55 Underlying skills
4.56 Effectiveness on camera
4.57 What the audience sees
4.58 Dressing density
Practical lamps
4.59 Practical problems
4.60 Choosing practicals
4.61 Controlling practicals
Decorative light fittings
4.62 Illuminated signs
4.63 Multi-lamp displays
5 Staging practices
126(19)
5.1 Suiting the studio
Studio layout
5.2 Shooting order
5.3 Crowded studios
5.4 Cyclorama limitations
5.5 Widespread action
5.6 Studio audience
5.7 Production control room
5.8 Sharing the studio
5.9 Storage
5.10 Facilities
5.11 Lighting and layout
5.12 Proportions and shapes of sets
5.13 Wall formation
5.14 Working areas
5.15 Restricted viewpoints
Backings
5.16 The need for backings
5.17 Positioning backings
5.18 Window treatment
5.19 Overshoot/shooting off
5.20 Space saving
5.21 Elevated cameras
General staging treatment
5.22 Typical rooms
5.23 Room layouts
5.24 Safety
6 Shoestring staging
145(16)
6.1 Biggest is not best
6.2 The economical approach
6.3 Low-cost materials
6.4 Scenic decoration
6.5 Realistic aims
6.6 Minimum scenery
Using screens and panels
6.7 Themes and variations
6.8 Supporting screens and panels
6.9 The modular frame
The art of multiple use
6.10 Multi-use of units
6.11 Multi-use of settings
6.12 Partial settings
6.13 Selected elements
6.14 Permanent sets
6.15 Stock sets
7 Scenic effects
161(15)
The illusion of space
7.1 The divided setting
7.2 Foreground planes
7.3 Exaggerated perspective
7.4 Scale change
7.5 Using mirrors
Water in the studio
7.6 Facts and figures
7.7 Water is a hazard!
7.8 Tanks and pools
7.9 Rain
7.10 Fire!
7.11 Smoke
7.12 Wind
7.13 Snow
7.14 The ancient look
7.15 Skies - day
7.16 Skies - night
Scenic projection
7.17 Front projection
7.18 Reflex projection
7.19 Rear projection - patterns
7.20 Rear projection - pictures
8 Electronic reality
176(20)
A substitute for reality
8.1 Artifice and art
8.2 Electronic effects
8.3 Using electronic effects
8.4 Electronic picture insertion
8.5 Source selection
8.6 Advantages of `electronic scenery'
8.7 So why aren't they widely used?
Simple matting
8.8 The special effects generator
8.9 Luminance keying (inlay)
Chroma key (overlay)
8.10 The principles
8.11 Chroma key mechanics
8.12 Check the chroma key area
8.13 Practical problems
Virtual sets
8.14 The principles
8.15 Opportunities
8.16 Digital video effects
9 Scenic operations
196(22)
The studio
9.1 The flies
9.2 Hoisting scenery
9.3 Wall platform
9.4 Studio walls
9.5 The studio floor
9.6 Studio ventilation
9.7 Scenic progress
9.8 Scenic support
Setting flats
9.9 Fastenings for flats
9.10 Lashing
9.11 Stage brace
9.12 Jacks
9.13 Stabilizing scenery
9.14 Rope and knots
9.15 Tubular bars
9.16 Rigging the cyc
9.17 Suspending backdrops
Setting up scenery
9.18 Preliminaries
9.19 Setting priorities
9.20 Building sets
9.21 Handling scenery
9.22 Lifting
9.23 Disguising joins
9.24 Set-dressing mechanics
9.25 Striking the scenery
9.26 Scenic transport
9.27 Storage
9.28 Storage methods
10 The designer on location
218(6)
10.1 Away from the studio
10.2 Eye and camera
10.3 Improving an interior
10.4 Modifying an interior
10.5 Modifying an exterior
10.6 Matching location to studio
10.7 Faking the studio `exterior'
11 Controlling the tone and color
224(11)
Controlling tone
11.1 Exposure
11.2 Tonal restriction
11.3 Reflectance
11.4 Gray scale
11.5 Reproduced tones
11.6 Video basics
11.7 Black level
11.8 Gamma
Controlling color
11.9 Colour impact
11.10 Compatibility
11.11 Color fidelity
11.12 Staging for color
11.13 Color illusions
12 Lighting and the designer
235(13)
12.1 Why light the scene?
12.2 Lighting aims
12.3 What lighting can do
Tone, form, and texture
12.4 Tone
12.5 Surface contours
12.6 Texture
Basic lighting
12.7 Light-fittings
12.8 Lamp suspension
12.9 Using soft light
12.10 Using hard light
12.11 The effect of light direction
12.12 Three-point lighting
12.13 Lighting people
12.14 Background lighting
12.15 The need for compromise
Glossary 248(11)
Further reading 259(2)
Index 261

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