Rent 9780534260583 | Television Production Handbook

Summary Table of Contents

Thousands of students have learned the basics of television production techniques with Herbert Zettl's pace-setting, best-selling Television Production Handbook. In this Sixth Edition, you'll learn about the latest equipment and techniques that are changing the face of the industry. Whether you're a novice or have prior exposure to television production, you'll find this handbook's two-tier organization helpful in directing you to topic coverage that's appropriate for your level of knowledge. This book covers all aspects of television production, from cameras, lighting, and audio to editing, visual effects, and every stage of production. In this edition you'll find the latest information on such topics as lighting techniques, the newest small digital camcorders, nonlinear editing, desktop production, and other uses of the computer in postproduction. And the book's numerous illustrations and photographs give you a clear view of the world of television production.

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Photo Credits	p. xxi
About the Author	p. xxiii
Preface	p. xxiv
The Television Production Process	p. 2
What Television Production Is All About	p. 4
The Basic Television System	p. 4
The Expanded Studio and Electronic Field Production Systems	p. 5
System Elements of Studio Production	p. 5
The Studio System in Action	p. 7
System Elements of Field Production	p. 7
Production Elements	p. 8
The Camera	p. 8
Lighting	p. 10
Audio	p. 11
Videotape Recording	p. 13
The Switcher	p. 14
Postproduction Editing	p. 14
Special Effects	p. 15
Studios, Master Control, and Support Areas	p. 17
The Television Studio	p. 17
Physical Layout	p. 17
Major Installations	p. 18
The Studio Control Room	p. 19
Program Control	p. 20
Image Control	p. 21
Audio Control	p. 21
Lighting Control	p. 21
Master Control	p. 22
Program Input	p. 22
Program Storage	p. 23
Program Retrieval	p. 23
Studio Support Areas	p. 23
Scenery and Properties	p. 23
Makeup and Dressing Rooms	p. 24
Analog and Digital Television	p. 26
Analog and Digital Television	p. 28
Basic Image Creation	p. 28
Basic Colors of the Video Display	p. 30
What Digital is all About	p. 30
Why Digital?	p. 30
The Difference Between Analog and Digital	p. 30
The Process of Digitization	p. 30
Benefits of Digital Television	p. 32
Quality	p. 32
Computer Compatibility and Flexibility	p. 33
Signal Transport	p. 33
Compression	p. 33
Aspect Ratio	p. 34
The 4 [times] 3 Aspect Ratio	p. 34
The 16 [times] 9 Aspect Ratio	p. 34
DTV Scanning Systems	p. 36
Progressive and Interlaced Scanning	p. 36
The Progressive Scanning System	p. 36
The Interlaced Scanning System	p. 37
DTV Systems	p. 37
The 480p System	p. 38
The 720p System	p. 38
The 1080i System	p. 38
Flat-Panel Displays	p. 38
Plasma Display Panel	p. 38
Liquid Crystal Display	p. 38
The Television Camera	p. 40
How Television Cameras Work	p. 42
Parts of the Camera	p. 42
From Light to Video Signal	p. 43
The Beam Splitter	p. 44
The Imaging Device	p. 44
The Camera Chain	p. 45
The Camera Control Unit	p. 45
The Sync Generator and Power Supply	p. 46
Types of Cameras	p. 46
Analog and Digital Cameras	p. 46
Studio Cameras	p. 47
ENG/EFP Cameras and Camcorders	p. 48
Consumer Camcorders	p. 49
Electronic Characteristics	p. 50
Aspect Ratio	p. 50
Resolution	p. 50
Light Sensitivity and Operating Light Level	p. 52
Gain	p. 53
Video Noise and Signal-to-Noise Ratio	p. 54
Image Blur and Electronic Shutter	p. 54
Smear and Moire	p. 54
Contrast	p. 54
Operational Characteristics	p. 55
Operational Items and Controls: Studio Cameras	p. 55
Operational Items: ENG/EFP Cameras and Camcorders	p. 57
Operational Controls: ENG/EFP Cameras and Camcorders	p. 59
From Light to Video Image	p. 61
The CCD Process	p. 61
The Nature of Color	p. 62
Color Attributes	p. 62
Color Mixing	p. 62
Chrominance and Luminance Channels	p. 62
Chrominance Channel	p. 62
Luminance Channel	p. 63
The Encoder	p. 63
Lenses	p. 64
What Lenses Are	p. 66
Types of Zoom Lenses	p. 66
Studio and Field Lenses	p. 66
Zoom Range	p. 66
Lens Format	p. 68
Optical Characteristics of Lenses	p. 69
Focal Length	p. 69
Focus	p. 70
Light Transmission: Iris and f-stop	p. 71
Depth of Field	p. 73
Operational Controls	p. 74
Zoom Control	p. 75
Digital Zoom Lens	p. 76
Focus Control	p. 76
What Lenses See	p. 78
How Lenses see the World	p. 78
The Wide-Angle Lens	p. 78
The Normal Lens	p. 81
The Narrow-Angle, or Telephoto, Lens	p. 82
Camera Mounting Equipment	p. 86
Standard Camera Mounts and Movements	p. 88
Basic Camera Mounts	p. 88
The Handheld and Shoulder-Mounted Camera	p. 88
The Monopod and Tripod	p. 89
The Studio Pedestal	p. 90
Camera Mounting (Pan-And-Tilt) Heads	p. 92
Fluid Heads	p. 92
Cam Heads	p. 93
Plate and Wedge Mount	p. 93
Camera Movements	p. 94
Special Camera Mounts	p. 97
Special Mounting Devices	p. 97
High Hat	p. 97
Bean Bag	p. 97
Steadicam	p. 98
Short and Long Jibs	p. 98
Studio Crane	p. 99
Robot Pedestals and Mounting Heads	p. 100
Camera Operation and Picture Composition	p. 102
Working the Camera	p. 104
Working the Camcorder and EFP Camera	p. 104
Some Basic Camera "Don'ts"	p. 105
Before the Shoot	p. 105
During the Shoot	p. 106
After the Shoot	p. 109
Working the Studio Camera	p. 109
Before the Show	p. 110
During the Show	p. 110
After the Show	p. 112
Framing Effective Shots	p. 113
Screen Size and Field of View	p. 113
Screen Size	p. 114
Field of View	p. 114
Framing A Shot	p. 115
Dealing With Height and Width	p. 115
Close-ups	p. 117
Headroom	p. 118
Noseroom and Leadroom	p. 118
Closure	p. 119
Depth	p. 122
Screen Motion	p. 123
Lighting	p. 126
Lighting Instruments and Lighting Controls	p. 128
Studio Lighting Instruments	p. 128
Spotlights	p. 128
Floodlights	p. 131
Field Lighting Instruments	p. 134
Spotlights	p. 134
Floodlights	p. 137
Handheld Lights	p. 138
Lighting Control Equipment	p. 139
Mounting Devices	p. 139
Directional Controls	p. 143
Intensity Controls: Diffusers and Reflectors	p. 144
Intensity Controls: Electronic Dimmers	p. 145
Color Temperature	p. 148
How to Control Color Temperature	p. 149
Light Intensity, Lamps, and Color Media	p. 151
Light Intensity	p. 151
Lux and Foot-candles	p. 151
Incident Light	p. 152
Reflected Light	p. 152
Calculating Light Intensity	p. 153
Operating Light Level: Baselight	p. 153
Baselight Levels	p. 154
Types of Lamps	p. 154
Incandescent	p. 155
Quartz, or Tungsten-Halogen	p. 155
HMI	p. 155
Fluorescent	p. 155
Color Media	p. 155
How to Use Color Media	p. 155
Mixing Color Gels	p. 155
Techniques of Television Lighting	p. 158
Lighting in the Studio	p. 160
Types of Light	p. 160
Main Light Sources	p. 161
Types of Lighting Instruments	p. 161
Functions of Main Light Sources	p. 161
The Photographic Principle, or Triangle Lighting	p. 165
Specific Lighting Techniques	p. 166
Continuous-Action Lighting	p. 166
Large-Area Lighting	p. 168
Cameo Lighting	p. 168
Silhouette Lighting	p. 169
Chroma-Key Area Lighting	p. 169
Controlling Eye and Boom Shadows	p. 170
Contrast	p. 172
Contrast Ratio	p. 172
Shading	p. 172
Auto-Iris	p. 173
Measuring Contrast	p. 173
Limiting Contrast	p. 173
Balancing Intensities	p. 173
Key-to-Back-Light Ratio	p. 174
Key-to-Fill-Light Ratio	p. 174
The Light Plot	p. 175
Operation of Studio Lights	p. 176
Safety	p. 176
Preserving Lamps and Power	p. 176
Using a Studio Monitor	p. 176
Lighting in the Field	p. 178
Eng Lighting	p. 178
Shooting in Outdoor Light	p. 179
Shooting at Night	p. 180
Shooting in Indoor Light	p. 181
Efp Lighting	p. 183
Safety	p. 184
Power Supply	p. 184
Location Survey	p. 184
Lighting Setup	p. 186
Audio: Sound Pickup	p. 190
How Microphones Hear	p. 192
Electronic Characteristics of Microphones	p. 192
Sound-Generating Element	p. 192
Pickup Patterns	p. 193
Special Microphone Features	p. 195
Operational Characteristics of Microphones	p. 195
Lavaliere Microphones	p. 195
Hand Microphones	p. 198
Boom Microphones	p. 200
Headset Microphones	p. 204
Wireless Microphones	p. 204
Desk Microphones	p. 206
Stand Microphones	p. 208
Hanging Microphones	p. 209
Hidden Microphones	p. 210
Long-distance Microphones	p. 211
How Microphones Work	p. 213
Sound-Generating Elements	p. 213
Dynamic Microphones	p. 213
Condenser Microphones	p. 214
Ribbon Microphones	p. 214
Sound Quality	p. 214
Special Microphone Features	p. 214
Impedance	p. 214
Frequency Response	p. 218
Balanced and Unbalanced Mics and Cables, and Audio Connectors	p. 218
Mic Setups for Music Pickup	p. 218
Microphone Setup for Singer and Acoustic Guitar	p. 218
Microphone Setup for Singer and Piano	p. 219
Microphone Setup for Small Rock Group and Direct Insertion	p. 219
Microphone Use Specific to Eng/Efp	p. 219
Microphone Use Specific to the Studio	p. 221
Audio: Sound Control	p. 224
Sound Controls and How to Use Them	p. 226
Audio Control Areas: Studio	p. 226
Audio Control Booth	p. 226
Audio Production Room	p. 227
Audio Production Equipment: Studio	p. 228
Audio Console	p. 228
Patchbay	p. 232
Audio Recording Systems	p. 234
Analog Recording Systems	p. 234
Digital Recording Systems	p. 235
Audio/Video Postproduction	p. 238
Audio Production Equipment: Field	p. 239
Mixer	p. 239
Mixing and Sound Aesthetics	p. 241
Basic Audio Operation	p. 241
Volume Control	p. 241
Live and Postproduction Mixing	p. 243
Live Studio Mixing	p. 243
Live Mixing in ENG/EFP	p. 244
Postproduction Mixing	p. 245
Controlling Sound Quality	p. 245
Aesthetic Factors	p. 246
Environment	p. 246
Figure-ground	p. 246
Perspective	p. 246
Continuity	p. 247
Energy	p. 247
Surround Sound	p. 247
Switching, or Instantaneous Editing	p. 250
How Switchers Work	p. 252
Basic Switcher Functions	p. 252
Simple Switcher Layout	p. 253
Program Bus	p. 253
Mix Buses	p. 253
Preview Bus	p. 254
Effects Buses	p. 254
Multifunction Switchers	p. 254
Basic Switcher Operation	p. 256
Cut or Take	p. 256
Dissolve	p. 258
Super	p. 259
Fade	p. 259
Additional Special-Effects Controls	p. 259
What Switchers Do	p. 262
Switcher Types and Functions	p. 262
Production Switchers	p. 262
Postproduction Switchers	p. 263
Master Control Switchers	p. 263
Routing Switchers	p. 264
Electronic Designs	p. 264
Composite and Component Switchers	p. 264
Analog and Digital Switchers	p. 264
Audio-Follow-Video Switchers	p. 265
Video-Recording and Storage Systems	p. 266
How Video Recording Works	p. 268
Tape-and Disk-Based Recording Systems	p. 268
Analog and Digital Systems	p. 268
Linear and Nonlinear Systems	p. 269
Composite and Component Systems	p. 269
Compression	p. 270
Tape-Based Recording and Storage Systems	p. 271
How Videotape Recording Works	p. 271
Operational Controls and Electronic Features	p. 273
Major Analog Videotape Recorders	p. 275
Major Digital Videotape Recorders	p. 277
Disk-Based Recording and Storage Systems	p. 280
Hard Disk Systems	p. 280
Read/Write Optical Discs	p. 281
Data Transfer	p. 281
How Video Recording Is Done	p. 283
Uses of Video Recording and Storage	p. 283
Building a Show	p. 283
Time Delay	p. 284
Program Duplication and Distribution	p. 284
Record Protection and Reference	p. 284
Operational Video-Recording Systems	p. 284
Quality Choice	p. 284
Operational Video Recorder Systems	p. 284
Video-Recording Production Factors	p. 286
Preproduction	p. 286
Production	p. 288
Postproduction Editing	p. 294
How Postproduction Editing Works	p. 296
Editing Modes: Off- and On-Line	p. 297
Basic Editing Systems	p. 297
Linear Systems	p. 297
Nonlinear Systems	p. 297
Editing Principle	p. 298
Linear Editing Systems	p. 298
Single-Source System	p. 298
Expanded Single-Source System	p. 299
Multiple-Source Systems	p. 301
Linear Editing Features and Techniques	p. 302
Assemble and Insert Editing	p. 302
Control Track and Time Code Editing	p. 303
Control Track, or Pulse-Count, Editing	p. 304
Time Code Editing	p. 305
AB Rolling and AB-Roll Editing	p. 306
AB Rolling	p. 306
AB-Roll Editing	p. 307
Nonlinear Editing Systems	p. 308
Nonlinear Editing Features and Techniques	p. 309
Digitizing Information	p. 309
Compression	p. 309
Storing Information	p. 309
Juxtaposing and Rearranging Video and Audio Files	p. 309
Preediting Phases	p. 310
Shooting Phase	p. 310
Review Phase	p. 311
Decision-Making Phase	p. 314
Operational Phase	p. 315
Making Editing Decisions	p. 318
Editing Functions	p. 318
Combine	p. 318
Trim	p. 319
Correct	p. 319
Build	p. 319
Basic Transition Devices	p. 319
The Cut	p. 319
The Dissolve	p. 320
The Wipe	p. 320
The Fade	p. 320
Major Editing Principles	p. 320
Continuity Editing	p. 322
Complexity Editing	p. 328
Context	p. 328
Ethics	p. 329
Visual Effects	p. 332
Electronic Effects and How to Use Them	p. 334
Standard Analog Video Effects	p. 334
Superimposition	p. 334
Key	p. 335
Chroma Key	p. 337
Wipe	p. 339
Digital Video Effects	p. 341
Computer-Manipulated Effects	p. 341
Image Size, Shape, Light, and Color	p. 342
Motion	p. 344
Multi-Images	p. 346
Computer-Generated Effects	p. 347
Nonelectronic Effects and How to Use Them	p. 349
Optical Effects	p. 350
Television Gobos	p. 350
Reflections	p. 350
Star Filter	p. 351
Diffusion Filters	p. 351
Defocus	p. 352
Mechanical Effects	p. 352
Rain	p. 352
Snow	p. 352
Fog	p. 352
Wind	p. 352
Smoke	p. 353
Fire	p. 353
Lightning	p. 353
Explosions	p. 353
Design	p. 354
Designing and Using Television Graphics	p. 356
Specifications of Television Graphics	p. 356
Aspect Ratio	p. 357
Scanning and Essential Areas	p. 357
Out-of-Aspect-Ratio Graphics and Moving Images	p. 358
Information Density and Readability	p. 361
Color	p. 362
Style	p. 365
Graphics Equipment	p. 365
Character Generator	p. 365
Graphics Generator	p. 366
Scenery and Props	p. 370
Television Scenery	p. 370
Standard Set Units	p. 370
Hanging Units	p. 372
Platforms and Wagons	p. 373
Set Pieces	p. 374
Properties and Set Dressings	p. 375
Stage Props	p. 375
Set Dressings	p. 375
Hand Properties	p. 376
Prop List	p. 376
Elements of Scene Design	p. 376
The Floor Plan	p. 377
Set Backgrounds and Platforms	p. 379
Studio Floor Treatments	p. 379
Production People	p. 382
What Production People Do	p. 384
Production (Nontechnical) Personnel	p. 384
Technical Personnel and Crew	p. 386
News Production Personnel	p. 387
Television Talent	p. 389
Performance Techniques	p. 389
Performer and Camera	p. 390
Performer and Audio	p. 391
Performer and Timing	p. 392
Performer and Postproduction	p. 392
Floor Manager's Cues	p. 392
Prompting Devices	p. 397
Acting Techniques	p. 399
Audience	p. 399
Blocking	p. 400
Memorizing Lines	p. 400
Timing	p. 400
The Actor and Postproduction	p. 400
The Director/Actor Relationship	p. 401
Auditions	p. 401
How to Do Makeup and What to Wear	p. 403
Makeup	p. 403
Technical Requirements	p. 404
Materials	p. 404
Techniques	p. 405
Clothing and Costuming	p. 405
Clothing	p. 405
Costuming	p. 406
Producing	p. 408
What Producing Is All About	p. 410
Preproduction Planning: From Idea to Script	p. 410
Program Ideas	p. 411
Production Models	p. 412
Writing the Program Proposal	p. 413
Preparing a Budget	p. 415
Presenting the Proposal	p. 419
Writing the Script	p. 419
Preproduction Planning: Coordination	p. 419
People	p. 419
Facilities Request	p. 420
Schedules	p. 421
Permits and Clearances	p. 421
Publicity and Promotion	p. 421
Production: Host and Critical Observation	p. 422
Playing Host	p. 422
Watching the Production Flow	p. 422
Evaluating the Production	p. 422
Postproduction Activities	p. 422
Postproduction Editing	p. 422
Evaluation and Feedback	p. 422
Recordkeeping	p. 423
Dealing With Schedules, Legal Matters, and Ratings	p. 424
Production Schedule	p. 424
Information Resources	p. 425
Program Types	p. 426
Unions and Legal Matters	p. 426
Unions	p. 426
Copyrights and Clearances	p. 426
Other Legal Considerations	p. 427
Audience and Ratings	p. 427
Target Audience	p. 427
Ratings and Share	p. 428
The Director in Preproduction	p. 430
How a Director Prepares	p. 432
The Director's Roles	p. 432
Director as Artist	p. 432
Director as Psychologist	p. 433
Director as Technical Adviser	p. 433
Director as Coordinator	p. 433
Preproduction Activities	p. 433
Process Message	p. 434
Production Method	p. 434
Production Team and Communication	p. 434
Scheduling	p. 434
Script Formats	p. 434
Script Marking	p. 436
Floor Plan and Location Sketch	p. 445
Facilities Request	p. 446
Support Staff	p. 446
Floor Manager	p. 446
Assistant, or Associate, Director	p. 448
Production Assistant	p. 449
Moving from Script to Screen	p. 450
Visualization and Sequencing	p. 450
Formulating the Process Message	p. 451
Medium Requirements	p. 451
Interpreting the Floor Plan and Location Sketch	p. 457
Script Analysis	p. 459
Locking-In Point and Translation	p. 459
The Storyboard	p. 460
The Director in Production and Postproduction	p. 464
Multicamera Studio Directing	p. 466
The Director's Terminology	p. 466
Multicamera Studio Directing	p. 467
Directing from the Control Room	p. 470
Rehearsals	p. 473
Time Line	p. 478
Directing the Show	p. 480
Controlling Clock Time	p. 482
Schedule Time and Running Time	p. 483
Clock Back-Timing and Front-Timing	p. 483
Converting Frames into Clock Time	p. 484
Controlling Subjective Time	p. 484
Studio Intercom Systems	p. 484
Single-Camera Directing	p. 487
Single-Camera Directing Procedures	p. 487
Visualization	p. 487
Script Breakdown	p. 488
Rehearsals	p. 488
Videotaping	p. 488
Postproduction Activities	p. 490
Field Production and Big Remotes	p. 492
ENG, EFP, and Big Remotes	p. 494
Electronic News Gathering	p. 495
ENG Production Features	p. 495
SNG Production Features	p. 496
Electronic Field Production	p. 496
Preproduction	p. 497
Production: Equipment Check	p. 497
Production: Setup	p. 499
Production: Rehearsals	p. 499
Production: Videotaping	p. 500
Production: Strike and Equipment Check	p. 500
Postproduction	p. 500
Big Remotes	p. 500
Preproduction: The Remote Survey	p. 501
Production: Equipment Setup and Operation	p. 503
Production: Floor Manager and Talent Procedures	p. 508
Covering Major Events	p. 511
Sports Remotes	p. 511
Location Sketch and Remote Setups	p. 518
Reading Location Sketches	p. 518
Production Requirements for Public Hearing (Indoor Remote)	p. 521
Production Requirements for Parade (Outdoor Remote)	p. 521
Communication Systems	p. 522
ENG Communication Systems	p. 524
EFP Communication Systems	p. 524
Big-Remote Communication Systems	p. 524
Signal Transport	p. 524
Microwave Transmission	p. 524
Communication Satellites: Frequencies, Uplinks, and Downlinks	p. 526
Cable Distribution	p. 527
Epilogue	p. 530
Glossary	p. 531
Selected Reading	p. 554
Index	p. 556
Table of Contents provided by Syndetics. All Rights Reserved.

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