Introduction | p. xxiii |
All You Can Achieve with Digital Video | p. 1 |
Types of Projects You Can Shoot with Digital Video | p. 1 |
Basic Video Shooting Styles: News or Film | p. 15 |
Experimenting with Digital Video | p. 25 |
Yes, You Need a Script | p. 29 |
Script Elements and Formats | p. 30 |
Script Formatting Software and Preproduction Planning | p. 34 |
Thinking About Your Project | p. 37 |
DV Technology and the Camcorder | p. 47 |
About DV | p. 48 |
Matching a DV Camcorder to Your Shooting Style | p. 57 |
Access to Controls | p. 59 |
Camcorder Resolution and Picture Quality | p. 59 |
What Are NTSC/PAL/SECAM Broadcast Formats? | p. 63 |
What Do You Need to Know About Scanning Modes? | p. 66 |
Do You Need Automatic Camcorder Controls? | p. 69 |
Optical vs. Digital Zoom | p. 71 |
Audio Options | p. 71 |
Getting DV into Your Computer | p. 73 |
Your Mission | p. 73 |
Using Your Camcorder Like a Pro | p. 75 |
How to Get a Crash Course Without Trashing a Camera | p. 75 |
Ergonomics | p. 76 |
Lenses and Lens Operation | p. 81 |
Record and Playback Settings | p. 88 |
Audio/Video I/O Connections and Settings | p. 92 |
Professional Camera Techniques | p. 95 |
Shoot Some Tests | p. 102 |
Your Camcorder--An Extension of You | p. 103 |
Shots and Shot Plans | p. 105 |
Planning Your Shots | p. 105 |
Telling Stories with Pictures | p. 110 |
Direct Audience Attention | p. 114 |
Ten Ways to Shoot a Chair | p. 115 |
Types of Shots | p. 116 |
Using Shots as Storytelling Elements | p. 125 |
Blocking the Action | p. 129 |
Drawing Shot Plans | p. 130 |
Extracting the Shot List | p. 133 |
Making It Visual | p. 133 |
Lighting for DV | p. 135 |
Painting with Light | p. 135 |
Meet Your Lighting Crew | p. 136 |
Using Three-Point Lighting | p. 139 |
Controlling Color Temperature | p. 148 |
Selecting Professional Lights | p. 149 |
Tools for Controlling Light | p. 158 |
Lighting Techniques | p. 165 |
Painterly Art | p. 179 |
Sound on the Set | p. 181 |
Planning for Professional Sound | p. 181 |
Capturing Realistic Sound on the Set | p. 182 |
Meet Your Sound Crew | p. 184 |
Selecting Professional Microphones | p. 186 |
Tools for Controlling and Capturing Sound | p. 193 |
Should You Record Separate Sound? | p. 196 |
Sound Techniques | p. 199 |
Avoiding Nasty Surprises in Post | p. 209 |
The Mark of Professional Video | p. 210 |
Preproduction | p. 211 |
Choosing a Production Style | p. 211 |
How Much Structure? | p. 213 |
Multicamera Styles for Live Events | p. 215 |
Scouting Locations | p. 217 |
Shooting Offshore--Or Out of State | p. 220 |
Meet Your Crew | p. 221 |
Staffing Requirements | p. 222 |
What to Rent, What to Buy | p. 232 |
Breaking Down the Script | p. 234 |
Casting and Improvisation for DV | p. 237 |
Rehearsals/Briefings/Run-Throughs | p. 240 |
Scheduling and Budgeting for Digital Video Production | p. 241 |
Developing a Budget | p. 246 |
Dealing with Legal Issues | p. 250 |
Preparing to Shoot | p. 252 |
Eating the Elephant | p. 254 |
On the Set | p. 255 |
Running and Gunning | p. 255 |
The Call Sheet | p. 258 |
Transporting and Managing Equipment | p. 260 |
Setting up for a Scene | p. 262 |
Artful Composition | p. 266 |
Keeping Track of Your Takes | p. 268 |
Calling for Quiet Between Takes | p. 270 |
Working with Actors | p. 271 |
What Is a Sensible Shooting Ratio? | p. 275 |
Moving the Camera During a Shot | p. 275 |
Record Keeping | p. 280 |
Preventing and Troubleshooting Common Problems | p. 283 |
Striking the Set | p. 286 |
Abby Singer and the Martini | p. 287 |
In the Cutting Room | p. 289 |
The Editing Process | p. 290 |
Meet Your Editing Crew | p. 291 |
Thinking About Your Digital Editing System | p. 293 |
How Does NLE Work? | p. 294 |
Nonlinear Editing Basics | p. 300 |
No Need for Perfection | p. 315 |
Show It to Someone Before It's Too Late | p. 315 |
Storing Your Project Files for Possible Re-Edit | p. 316 |
Learning to Use Your Editing System Better | p. 317 |
Polishing Sound and Images | p. 319 |
Post Tools | p. 319 |
Making the Magic Invisible | p. 321 |
Meet Your Postproduction Crew | p. 323 |
Polishing Sound | p. 326 |
The Infinite Variety of Music | p. 336 |
Polishing Images | p. 345 |
The Missing Ingredient? | p. 353 |
Distribution and E-Publishing | p. 355 |
Going Wide | p. 355 |
Meet Your Mastering and Duplication Team | p. 356 |
Meet Your Distribution Team | p. 359 |
Deliverables for Distribution | p. 363 |
Copyright | p. 365 |
Releasing on Videotape and DVD | p. 367 |
Releasing on Television | p. 379 |
Releasing on Theatrical Film | p. 381 |
Releasing on the Internet | p. 387 |
Releasing on Corporate Networks | p. 393 |
Delivering on the Democratization of Video | p. 396 |
Coming Attractions | p. 399 |
Digital Video Technology in Depth | p. 403 |
Types of Digital Video: Sorting out the Confusion | p. 403 |
Proprietary DV Variants | p. 408 |
DV Technology: Under the Hood | p. 410 |
CCD Technology | p. 412 |
What Is Color Space and Why Is It Important? | p. 416 |
Selecting and Building an NLE System | p. 421 |
Choose Your Platform | p. 421 |
NLE Products: An Overview | p. 422 |
Which Mac or Which PC? | p. 433 |
Configuring an Editing System: Three Examples | p. 437 |
Preparing Your Drives Before Installing NLE Software | p. 440 |
Glossary | p. 443 |
References and Web Links | p. 479 |
Index | p. 489 |
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