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Related Topics: Performing Arts >> Film >> Direction & Production
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Video Production Handbook
Edition: 3rd
Author(s): Millerson
ISBN10:  0240515978
ISBN13:  9780240515977
Format:  Paperback
Pub. Date:  5/15/2001
Publisher(s): Elsevier Science & Technology
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SummaryTable of Contents
This practical sourcebook has been specially prepared to give you an at-a-glance guide to quality video program-making on a modest budget. Emphasis throughout is on excellence with economy; whether you are working alone or with a small multi-camera group. The well-tried techniques detailed here will steer you through the hazards of production, helping you to avoid those frustrating, time-wasting problems, and to create an effective video program.

For many years Video Production Handbook has helped students and program-makers in a wide range of organizations. Now in its thoroughly revised 3rd edition, Video Production Handbook guides you step-by-step, explaining how to develop your initial program ideas, and build them into a successful working format. It covers the techniques of persuasive camerawork, successful lighting and sound treatment, video editing...etc. You will find straightforward up-to-the-minute guidance with your daily production problems, and a wealth of practical tips based on the author's personal experience. In this extended edition, you will see how you can use quite modest chromakey facilities and visual effects to create the magic of virtual reality surroundings.

Gerald Millerson's internationally acclaimed writings are based on a long and distinguished career with the BBC. His lecturing background includes TV production courses in the United States and UK. His other books for Focal Press have become standard works in a number of languages, and include his classic course text Television Production 13th ed, Effective TV Production 3rd ed, Video Camera Techniques 2nd ed, Lighting for TV and Film 3rd ed, Lighting for Video 3rd ed and TV Scenic Design.

get to know your camera controls with easy practical instruction
understand lighting technology and equipment and how to get the look you want
learn creative techniques using visual effects
Preface to the third edition xi
What is this book all about? xi
Who is the book written for? xi
Do I have sufficient equipment? xii
Isn't all this equipment complicated to use? xii
Why do we need to learn `techniques'? xii
How can this book be used? xii
And then? xiii
Remember! xiii
Terminology xiii
A final word xiii
The way ahead
1(9)
What is video production?
1(1)
Breaking the ice
1(1)
The need for `know-how'
1(1)
It's designed for you
2(1)
First impressions
2(1)
Learning basics
2(1)
Remember the purpose
3(1)
Resources
3(1)
Simplicity
3(2)
What facilities do I need?
5(1)
Is there a right way?
6(1)
Your productional approach
7(1)
Technicalities
8(1)
Equipment performance
8(1)
Technical basics
9(1)
Meet your camera
10(29)
A range of designs
10(1)
Cameracraft
10(2)
Camera features
12(1)
Main features
12(4)
The lens system
16(1)
Focal length and lens angle
16(2)
The zoom lens
18(1)
Changing the lens system
19(1)
Zoom lens control
19(1)
Altering the iris
20(2)
Lens accessories
22(1)
The image sensor
23(1)
Sensitivity
23(1)
The viewfinder
24(1)
Indicators
25(1)
Audio circuits
26(1)
Power
26(3)
Camera arrangements
29(1)
Controlling the camera
29(1)
Handling your camera
29(2)
Supporting your camera
31(1)
Hand-held cameras
31(1)
Shoulder-supported cameras
32(1)
The monopod
32(1)
The panning head (pan head, camera mounting head)
33(1)
Using a tripod
34(1)
The rolling tripod/tripod dolly
34(1)
The pedestal
35(1)
Jib arms
35(2)
Telescopic columns/motorized elevator pedestal
37(1)
Special mountings
37(1)
Other mobile mountings
37(1)
Handling care
37(2)
Using your camera
39(35)
Why brother?
39(1)
What gets on the screen?
39(1)
How close should we be?
40(1)
How much can we see?
41(1)
Using a different lens angle
41(1)
So why move around?
42(3)
The zooming process
45(2)
Focusing
47(1)
Auto-focus
48(1)
Depth of field
49(1)
Maximum sharpness?
50(1)
Difficult to focus?
50(1)
Pre-focusing the zoom lens
51(1)
Exposure
52(1)
What is `exposure'?
52(2)
Underexposure and overexposure
54(1)
Automatic exposure
54(1)
Practical solutions
55(1)
Handling your camera
56(1)
Why all these rules?
56(1)
Panning and tilting
57(1)
Following moving subjects
58(1)
Framing movement
59(1)
Walking
59(1)
Shooting from vehicles
59(1)
Picture-making basics
60(1)
Practical conditions
60(1)
Selecting the shots
60(1)
Persuasive shots
61(1)
What is it all about?
61(1)
Clutter
62(1)
I can't see it properly!
62(1)
Composing pictures
63(1)
Theory and practice
63(1)
The brief shot
63(1)
`Dull' is in the mind
63(1)
Clever shots
64(1)
Fitting the frame
65(1)
The rule of thirds
65(1)
Well-balanced shots
65(2)
Good balance
67(1)
Juggling proportions
68(1)
Grouping (unity)
68(1)
Camera viewpoint
68(1)
Distortions
69(1)
Anticipating editing
69(1)
Continuity
69(1)
Improving flexibility
69(4)
Crossing the line
73(1)
Practical lighting
74(27)
Lighting for everyone
74(1)
The camera does not compensate
75(1)
The key factors
75(1)
The light's intensity
76(1)
If there is not enough light
76(1)
If there is too much light
76(1)
Hard light quality
77(1)
Soft light quality
78(1)
Lighting contrast
78(1)
Light direction
79(1)
Three-point lighting
80(1)
Measuring light levels
80(1)
Typical light levels
81(1)
Color temperature compensation
81(1)
Using colored light
82(1)
Shooting in daylight
82(1)
Using reflectors
83(1)
Bounce light
84(1)
Do we need to light it?
84(1)
Lighting options
84(1)
Economy lighting
85(1)
Makeshift equipment
85(1)
Lightweight lighting fittings
86(1)
Supports
86(1)
Gaffer grip/gaffer clamp/alligator (`gator') clamp/clip-light
86(1)
Wall-plate
87(1)
Lightweight lamp tripod/stand
87(1)
Spring-loaded support pole (Jack tube, Varipole, Acrow, Polecat, Barricuda)
87(1)
Lamps
88(1)
Camera light (video light)
88(1)
Hand-held lamps (sun gun)
88(1)
Open-bulb fittings
88(1)
Scoop
89(1)
Skypan/open pan
89(1)
Broad
89(1)
Umbrella
90(1)
Multi-lamp sources
90(1)
Lensless spotlight/open-bulb spot
90(1)
Fresnel spotlights
91(1)
Practical lighting
91(1)
The general approach to lighting
91(2)
Shooting without lamps-in lit surroundings
93(1)
Using one lamp-the only light available
93(1)
Using one lamp- in lit surroundings
93(1)
Using two lamps
94(1)
Using three lamps
94(1)
Limited lighting
95(1)
Using multi-lamp lighting
95(6)
Audio techniques
101(36)
The essential component
101(1)
The nature of sound
102(1)
Acoustics
102(1)
Mono sound
103(1)
Stereo sound
104(1)
Microphone care
104(1)
Directional features
104(3)
Popular types of microphone
107(1)
Other types of microphone
107(1)
Supporting the mike
107(1)
Camera microphones
107(1)
The hand mike/baton mike
108(1)
The shotgun (rifle) microphone
109(1)
Using the shotgun (rifle) microphone
110(1)
Personal microphones
111(2)
Wireless microphones (radio microphones)
113(1)
Fishpole microphones
113(2)
Small booms
115(1)
Desk mikes
116(1)
Stand mikes
116(1)
Hanging or slung mikes
117(1)
Hidden mikes
117(1)
Controlling dynamics
117(1)
Dynamic range
117(1)
Automatic control
117(2)
Manual control
119(1)
Monitoring sound
120(1)
The audio mixer
120(1)
Using the audio mixer
121(1)
Sound complexity
122(1)
Live sound
123(1)
Recorded inserts
123(1)
Sync and non-sync sound
124(1)
Why alter the soundtrack?
124(1)
Making the changes
125(1)
Discountinuous shooting
126(1)
Getting organized
127(1)
Preparations
127(1)
Working single-handed
128(1)
Practical methods
128(1)
Variations on a theme
129(1)
Anticipation or `doing the obvious'
130(1)
Improvizing
131(1)
Audio dubbing
131(1)
Anticipating sound editing
132(1)
Music and effects track
132(1)
Filtered sound
132(1)
Reverberation
133(1)
Program music
134(1)
MIDI systems
135(1)
Sound effects
135(2)
Backgrounds
137(17)
The importance of the background
137(1)
The impact of the background
137(1)
Real and unreal backgrounds
138(1)
The neutral background
138(1)
Economical settings
139(1)
The location as a background
140(1)
Keep a lookout
141(1)
Camera height
142(1)
Foreground pieces
142(1)
The location as the subject
143(1)
Versions of `reality'
144(1)
What can we do about the background?
145(1)
Rearranging the background?
145(1)
Altering the background
146(1)
Auxiliary backgrounds
147(1)
Partial settings
148(1)
Typical examples
149(1)
Creating depth
150(1)
Permanent sets
150(1)
Adjustable permanent setting
150(1)
Facing reality
151(1)
Chroma key backgrounds
152(1)
Titling
152(2)
The basics of videotape recording
154(8)
Various designs
154(1)
Incompatibility
154(2)
Recording principles
156(1)
Helical scanning
156(1)
Cue pulses
157(1)
Audio on videotape
158(2)
Standards conversion
160(1)
Magnetic disk recording
161(1)
Editing
162(18)
The need to edit
162(1)
The editing process
163(1)
Editing equipment
163(2)
Editing opportunities
165(1)
Organization
165(1)
Editing begins
166(1)
Selecting required sections
166(1)
The order of shots
166(1)
Cutting points
167(1)
Transitions
167(1)
Good continuity
168(1)
Editing during shooting
169(1)
Generations
170(1)
Electronic splicing
171(1)
The editing process
172(1)
Off-line and on-line editing
173(1)
Edit controllers
174(1)
Linear and non-linear editing
174(1)
Post-production editing
175(1)
Good editing techniques
176(4)
People
180(5)
Talent
180(1)
Inexperienced talent
181(1)
The presenter
182(1)
When there are problems
182(1)
The camera's viewpoint
183(1)
People passing by
184(1)
Organizing your production
185(28)
Art conceals craft
185(1)
How techniques develop
185(1)
The problem of familiarity
185(2)
The problem of quality
187(1)
Elaboration
187(1)
Communication can be elusive!
188(1)
Begin at the end
188(2)
Develop a system
190(1)
The empirical approach
190(1)
The planned approach
190(1)
Storyboards
191(1)
Why plan?
192(1)
Thinking it out
192(1)
Start with an idea
193(1)
Coverage
193(1)
Building an outline
194(1)
Broad treatment
195(1)
Finding out
195(2)
Remote surveys (the `recce')
197(3)
Developing the contents
200(1)
Freedom to plan
201(1)
Writing the script
202(1)
The script's purpose
202(1)
Is a script needed?
202(1)
Basic script formats
203(2)
The full script
205(1)
The drama script
205(1)
Hints on script-writing
206(1)
Be visual
206(1)
Assimilation rate
206(4)
Relative pace
210(1)
Style
211(1)
Copyright and contracts
211(2)
Production techniques
213(28)
Single-and multi-camera production
214(2)
Multi-camera variations
216(1)
What is the aim?
216(2)
The camera's role
218(1)
The camera as an observer
218(1)
The persuasive camera
219(1)
Beginning and ending
219(1)
Production methods
220(1)
There is nothing there!
220(1)
Shooting objects
221(1)
Shooting people
222(1)
A single person
222(2)
Conventional arrangements
224(1)
Effective shots
224(2)
Concentration
226(1)
Interviews
226(2)
Editing continuous interviews
228(1)
Shooting groups
228(3)
Car interviews
231(1)
Walking interviews
231(3)
Shooting demonstrations
234(1)
Typical demonstrations
234(1)
Approaches to demonstrations
234(2)
Thinking it through
236(1)
The problem of time
236(5)
Visual effects
241(8)
Using effects
241(1)
Using filters
241(1)
Distorted images
242(1)
Mattes
243(1)
Reflections
243(1)
Pepper's ghost
243(2)
Projected backgrounds
245(2)
Color medium (`gels')
247(1)
Light effects
247(1)
Scenic effects
247(2)
Electronic effects
249(20)
Effects can extend horizons
249(1)
Opportunities for improvement
250(1)
Adjusting picture quality
250(1)
Electronic effects sources
251(1)
Matting or keying
252(1)
Using mattes
252(1)
The special effects generator (SEG)
252(1)
SEG adjustments
253(1)
Luminance keying
254(1)
The chroma key process
254(1)
What is chroma key?
254(1)
What can chroma key do?
255(1)
Inserting people
255(1)
Display panel
256(1)
`Magic paint'
256(1)
Camera mattes
256(2)
Transformation
258(1)
Abstract effects
258(1)
Staging with chroma key
258(1)
Taking care
258(1)
Background selection
259(1)
Coping with problems
259(3)
Compatibility
262(1)
Practical chroma key staging
262(1)
Shot-by-shot production
263(1)
What is `virtual reality'?
264(1)
Further video effects
265(1)
Desktop video
266(1)
Extending facilities
266(1)
Desktop video formats
266(1)
Operation
267(1)
Memory limitations
267(1)
Broadcast quality
267(2)
Video basics
269(11)
Technical details
269(1)
Producing video
269(1)
Reproducing the picture
269(1)
How we see color
270(1)
How the camera sees color
270(1)
The color picture
270(1)
Practical cameras
271(1)
Scanning
271(1)
Sync pulses
271(1)
Color video
272(1)
Transmitting the signal
272(1)
Forms of video signal
272(1)
Program sound
273(1)
Reproduced quality
273(1)
Units
273(1)
Monitors and receivers
273(5)
The digital world
278(2)
Appendix A Battery care 280(7)
Types of power
280(1)
Battery basics
281(1)
Using batteries
282(1)
Cell capacity
283(1)
Types of cell
283(1)
Battery care
284(1)
Battery charging
285(2)
Appendix B Useful data 287(4)
Power consumption
287(1)
Typical light levels
287(1)
Typical color temperatures
288(1)
Lens angle
288(1)
Shot heights
289(1)
Hyperfocal distance
289(1)
Aspect ratio
290(1)
Audio tape formats
290(1)
Appendix C Camera set-up graph 291(2)
Index 293

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