ADVP - VIDEO PRODUCTION COURSE
Rule of thirds or Golden Mean:
A video image should appear balanced. Mentally draw three horizontal and three vertical lines on your screen to divide it into nine equal sections. When composing, keep important elements near the outer FOUR intersections of these lines. For example, if you focus on a subject’s eyes, keep them just below the top one-third (section) of the image. Avoid placing the subject right in the center of the middle section.
Human figures through a video camera & grammar of TV production
BBCU=BIG BIG CLOSE UP
BCU=BIG CLOSE UP
CU=CLOSE UP
MCU=MEDIUM CLOSE UP
MS=MID SHOT
MLS=MEDIUM LONG SHOT
LS=LONG SHOT
ELS=EXTRA LONG SHOT
OS=OVER THE SHOULDER
POV=POINT OF VIEW
CA=CUT AWAY
INSERT
TOP SHOT
LOW ANGLE
Three types of sound tracks:
VOICE OR NARATION
EFFECTS
MUSIC
MIXED OR MARRIED TRACK
Three point lighting and others types:
KEY LIGHT
BACK LIGHT
FILL LIGHT
BACKGROUND LIGHT
KICKER LIGHT
GLOSSARY:
Aspect ratio The ration between the vertical and horizontal dimensions of the viewing area. This is typically 4:3 on a television screen.
Bit depth The number of bits used to store colour information. Measured in bits per pixel (bpp). Digital video has a bit depth of 24bpp, enabling 16.7 million colours; 1bpp is black and white.
CCIR 601 Standard defining the video resolution of the TV picture.
PAL = 720*576 pixels,
NTSC = 720*480 pixels.
Encoding Converting a file into a compressed, streaming format. For example, you can encode WAV files as RealAudio.
Hi8 Sony’s improved Video-8 format. An analogue recording standard with increasing luminance resolution. Signals are recorded in S-Video format (similar to S-VHS).
JPEG Joint Photographic Experts Group - A still image compression format used for reducing the file size of still images on computers.
Master The original tape or file from which copies are made.
NLE Non-linear editing - Manipulating digitised video in a similar way to text in a word processor. The required file segments can be cut, pasted and copied anywhere in the timeline of your project.
NTSC National Television System Committee - The American television format, comprising 525 scan lines at 60 Hz.
PAL Phase Alternation Line - the major European television format, using 625 scan lines at 50 Hz.
Preroll The name given to buffering that occurs at the start of a presentation. Typically, preroll should not be more than 15 seconds.
Post production After the original has been shot, post production is the stage during which editing, encoding and authoring occurs.
RGB A three-signal output specific to computers, in which each colour (red, green and blue) is separate and individually controllable.
Sampling Typically used to describe capturing video or sound for digital conversion.
S-VHS Extended standard using a specific video-cassette-tape, writing a S-Video signal, providing higher quality than VHS.
Timecode Typically specified in hours:minutes:seconds:frames as a time locator on a video stream. HH:MM:SS:FF = 00:00:00:00
VHS Video Home System - Devised by JVC and Matsushita, VHS is now the predominant format for domestic video recorders.
Video 8 Sony’s format competing VHS
The major production elements are the:
CAMERA,
LIGHTING,
AUDIO,
VIDEOTAPE RECORDING,
SWITCHING,
POSTPRODUCTION EDITING, AND
SPECIAL EFFECTS.
Contrast is the difference between the brightest and darkest spot in a scene. The maximum contrast ratio for television cameras is 40:1, which means that the brightest spot in the scene can only be forty times brighter than the darkest one.
All studio lighting is accomplished by a variety of spotlights and floodlights.
The most prevalent studio spotlights are the Fresnel spot and the ellipsoidal spot. The follow spot is a special-effects spotlight.
ENG lighting Is often done with small, versatile lights that are mounted on the camera or handheld.
The best outdoor shooting light is an overcast day. If the weather is sunny, try to place the talent in the shadow rather than the sun.
Audio is the sound portion of a television show. Audio transmits specific information (such as a news story), helps to establish the specific locale and time of the action, contributes to the mood, and provides continuity for the various picture portions.
The three major types of microphones are dynamic, condenser, and ribbon. Each type has a different sound-generating element that converts sound waves into electric energy-the audio signal.
The lavaliere microphone, or lay for short, is the most commonly used in small studio operations. It is usually clipped to clothing. Although it is extremely small, it provides quality sound reproduction.
Long-distance mics are shotgun or parabolic reflector mics that pick up sound over relatively great distances.
When doing the final mix, always listen to the audio track in relation to the video.
Aesthetic Factors
When dealing with television sound, you should pay special attention to these five basic aesthetic factors:
ENVIRONMENT,
FIGURE-GROUND,
PERSPECTIVE,
CONTINUITY, AND
ENERGY
There are tape-based and disk-based recording systems. Some disk-based systems record and store their information in analog form (such as a home VCR); others record and store in digital form.
All tape-based systems are linear. Disk-based systems are nonlinear and allow random access.
Digital tape-based systems translate the analog audio and video signals Into digital on/off pulses (ones and zeros) and put the digital information on videotape similar to the analog system.
The advantage of digital recording is that the image quality does not deteriorate during subsequent dubbing.
The basic operational controls of all VTR models are play, stop, record, fast-forward, rewind, eject, and an audio volume control.
Almost all television programs are edited in some way, either during or after the actual production (the shooting and recording of the event). When editing is done after (post in Latin), it is known as postproduction editing.
The four basic editing functions are:
combining program segments by hooking together the various videotaped pieces in the proper sequence;
trimming to make the program fit a given time slot and to eliminate extraneous material;
correcting mistakes by cutting out bad portions of a scene and replacing them with good ones;
and building a show from a number of prerecorded takes (shots).
Linear systems are all tape-based and do not allow random access of information. Nonlinear systems are all disk-based and allow random access.
The four major editing principles arecontinuity, complexIty, context, and ethics.
The two types of electronic visual effects are standard electronic (analog) effects and digital video effects (DVE).
The four standard electronic effects are superimposition, key, chroma key, and wipe.
In fact, design, or the lack of it, permeates everything a station shows on the air and off. It sets the style of the video presentation, if not of the production company as a whole.
Aspect ratio is the relationship between width and height-the shape of the television frame. The proportions of the television screen are 4:3; that is, its borders are four units wide and three units high, regardless of whether the units are inches or feet. Anything that appears on-screen must obviously fit this aspect ratio
Aliasing means that horizontal or curved lines displays “jaggies,” a stairstep-like line instead of one with smooth edges. High-end graphics generators employ antialiasing circuits that create a smooth line.
Makeup and clothing (or costuming) are important aspects of the talent’s preparation for on-camera work.
Makeup is used for three basic reasons: to enhance, to correct, and to change appearance.
The techniques of television makeup do not differ drastically from applying ordinary makeup, especially If the purpose is to enhance or correct appearance.
The two principal methods of television directing are multicamera and single-camera directing.
SIngle-camera field directing involves a detailed production schedule, a thorough familiarity with the location and its potential video and audio obstacles, proper visualization of each shot, walk-throughs with talent and crew, rehearsal of each take, and the videotaping process itself.
As a producer you have to wear many hats, sometimes all at once.
Steps involved in a TV Programme production starting:
Idea develops in our mind
We write it down as one liner or a small story
Then it is converted into a script and written in two columns. Usually left is action or video and right column indicates narration or audio, sound etc
Next a storyboard is drawn as rough sketches to have a better idea for shooting or filming etc
It is followed by engaging required equipment and staff or crews and the shooting begins
Shooting is logged so that all correct or GOOD shots are identified and NOT GOOD are marked
Next is editing using any method - conventional using VCR etc., or PC and NLE. Here we add graphics, titles and credits
Next is mixing of all three tracks i.e. voice, effects and music
The final is copied or exported to tape or CD
M A I N P 0 I N I S
• Producing means seeing to it that a worthwhile idea gets to be a worthwhile television show. The producer manages a great number of people and coordinates an even greater number of activities and production details.
• The cause-to-effect production model moves from idea to production and finally to the distribution of the program to the audience. The content expert and the producer remain largely uninvolved in each other’s activities.
• The effect-to-cause model starts with the idea, then defines the desired audience effect-the process message. The definition will determine the medium requirements: content elements, production elements, and people. The closer the actual process message (actual effect) matches the defmed one, the more successful the communication. The content expert becomes part of the production team.
• The program proposal normally contains the following minimum Information: program title, objective, target audience, show treatment, distribution channels and time, and tentative budget.
~ The program budget is generally divided into preproduction, production, and postproduction costs. It must include all major and minor expenses, unless they are absorbed by the overall production budget.
• Preproduction coordination involves selecting and coordinating the above-the-line people and crew, deciding on facilities and production locations, and scheduling all production activities.
The actual production process involves coordinating above- and below-the-line personnel, various production conferences, checking on deadlines, completing the facilities request, providing Information for daily logs and publicity; and supervising rehearsals and performance.
• Postproduction activities include scheduling post-production facifities and people, supervising the editing, handling solicited and unsolicited feedback, a final evaluation of the program, and record keeping.
Three stages of programme production
PRE PRODUCTION
PRODUCTION
POST PRODUCTION
EFP Setup
Again, tell the crew what is going on and the aim of the production. Go through the production schedule and the rundown sheet of the major locations and taping sessions. Once everyone knows what is supposed to happen, the setup will be relatively smooth and free of confusion.
Although as a director you may not be responsible for the setup, you need to have everything in place before you start taping. Walk through the production areas and look at the location as though through a camera.
When shooting indoors, will the lights be out of camera range? Are they far enough away from combustible material (especially curtains) or properly insulated (with aluminum foil, for example)?Are the back lights high enough so that they will be out of the shot? Is there a window in the background that might cause lighting problems? Does the room look too cluttered? Too clean? Any particular audio problems you can foresee? If the talent wears a wired lavaliere mic ((neck mic), does the mic cord restrict talent mobility? if you use a shotgun mic, can the mic operator get close enough to the talent and, especially, move with the talent without stumbling over furniture? Do pictures hang so that the camera can see them? Look behind the talent to see whether the background will cause any problems (such as lamps or plants seeming to extend from the talent’s head).
When outdoors, check for obvious obstacles that may be in the way of the camera, mic operators, and talent. Look past the shooting location and see whether the background fits the scene. Are there bushes, trees, or telephone poles that may, again, appear to extend out from the talent’s head? Large billboards are a constant background hazard. What are the potential audio problems? Although the country road maybe quiet now, will there be traffic at certain times? Are there any factory whistles that may go off right in the middle of your scene?
POSTPRODUCTION ACTIVITIES
Your postproduction activities depend on how complex the postproduction editing promises to be. If extensive postproduction is required, you are generally still in charge of the major editing and sound-mixing decisions. Relatively simple editing tasks are handled by the videotape editor, with a minimum of supervision (or, as editors like to call it, “interference”) by the director. Nevertheless, it is a good idea for you as a director to work with the editor until the completion of postproduction. Actually, there is little difference from a directing point of view whether you tell the TD to take 2, or tell the editor to edit this shot to that. In any case, try to work with, not against, the editor. An experienced editor can help you greatly in the sequencing process. But do not be afraid to assert yourself, especially if you feel strongly about a certain editing decision.
Before the actual editing begins, make protection copies of every usable take. You can do this while the tapes are window-dubbed for off-line editing (keying the time code over the pictures of the off-line dub-see chapter 12). If you use a nonlinear editing system, you can digitize the videotape footage from a single VTR and then create a VTR log and various files for the footage. When creating such files, mark them in such a way that you can easily locate them again. For example, you may want to put all motorcycle shots in one bin (ifie), and all the interior shots of the motorcycle shop in another.
You can either do the off-line editing yourself or do a paper-and-pencil editor a rough-cut and then hand it over to the editor (see chapter 12). When editing, your major concern is no longer the visualization, but the sequencing, of the various shots. In the postproduction process, you realize the value of your awareness of continuity and your cutaway shots during the production.
You should also supervise the audio sweetening, especially if you have extensive audio postproduction. When finished, check the entire off-line edit for serious technical and aesthetic discrepancies. Even a good editor might not see an unwanted jump cut until the final screening of the tape. When everything looks right, you can have an edit master tape produced on-line.
M A I N P 0 1 N I S
O The two principal methods of television directing are multicamera and single-camera directing.
* Multicamera directing Involves the simultaneous use of two or more cameras and Instantaneous editing with a switcher. It is done from the control room. In single-camera directing, each take is recorded separately. The takes are often shot oUt of sequence for postproduction.
* The various rehearsals include script reading; dry run, or blocking rehearsal; technical and talent walk-throughs; camera and dress rehearsals; and walk-through/camera rehearsal combination.
Directing from the control room requires adhering to a precise production schedule for rehearsals and on-the-air performance and following clear standby and on-the-air procedures.
• SIngle-camera field directing involves a detailed production schedule, a thorough familiarity with the location and its potential video and audio obstacles, proper visualization of each shot, walk-throughs with talent and crew, rehearsal of each take, and the videotaping process itself.
* The director is responsible for major editing and audio-mixing decisions in postproductlon. Less complex postproduction is often done by the editor only, in which case the director may do the Initial paper-and-pencil editing or an off-line rough-cut before handing It over to an editor for the final on-line edit.
Epilogue
You are now in command of one of the most powerful means of communication and persuasion. Use it wisely and responsibly. Treat your audience with respect and compassion. Whatever role you play in the production process-pulling cables or directing a network show-you influence many people. Because they cannot communicate back to you very readily, they must-and do-trust your professional skills and judgement. Best of luck. (Teacher)
