Book description
This new edition of the Video Production Handbook walks students through the full video production process, from inception of idea to final distribution. Concentrating on the techniques and concepts behind the latest equipment, this book demonstrates the fundamental principles needed to create good video content on any kind of budget. Ideal for students, the new edition features a new chapter on directing and updated information on the latest DSLR and cinema cameras, LED lighting and much more. A companion website with additional resources for professors rounds out this full-color, highly visual text to meet all of your video production learning needs.
Table of contents
- Cover
- Half Title
- Title Page
- Copyright Page
- Table of Contents
- Acknowledgments
- Introduction
-
Chapter 1 Overview of Video Production
- 1.1 What Is Video Production?
- 1.2 Defining the New Media
- 1.3 Understanding the Field of Video Production
- 1.4 Remember the Purpose
- 1.5 Is There a Right Way?
- 1.6 The Production Approach
- 1.7 Equipment
- 1.8 It’s Designed for You
- 1.9 Learning Basics
- 1.10 What Equipment Is Needed?
- 1.11 Equipment Performance
- Interview: Ben Brown, Media Executive
-
Chapter 2 Production Crew
- 2.1 Production Crew Size
- Video Production Crew Job Descriptions ....
- 2.2 Producer
- 2.3 Assistant Producer or Associate Producer
- 2.4 Director
- 2.5 Assistant Director or Associate Director
- 2.6 Production Assistant
- 2.7 Floor Manager or Stage Manager
- 2.8 Technical Director or Vision Mixer
- 2.9 Makeup Artist
- 2.10 Graphic Designer/Operator
- 2.11 Lighting Director/Vision Supervisor
- 2.12 Videographer/Camera Operator/Photographer
- 2.13 Camera Assistant
- 2.14 Audio Mixer/Sound Mixer/Sound Supervisor
- 2.15 Boom Operator or Audio Assistant
- 2.16 Engineer
- 2.17 Writer
- 2.18 Editor
- 2.19 Set Designer
- Professional Crew
- 2.20 Freelance Crew
- 2.21 Below-the-Line/Above-the-Line
- 2.22 The Structure of a Video Production Crew
- 2.23 What Do You Wear?
- 2.24 What Do You Bring with You?
- Interview: Tommy Mitchell, Crewer
-
Chapter 3 Organizing the Production
- 3.1 Art Conceals Craft
- 3.2 Shot Selection
- 3.3 The Problem of Familiarity
- 3.4 The Issue of Quality
- 3.5 “Bigger and Better”
- The Production Process
- 3.6 It All Starts with an Idea (Concept)
- 3.7 Goals and Objectives
- 3.8 Determining Your Audience
- 3.9 Research
- 3.10 Covering the Subject
- 3.11 Production Methods
- 3.12 The Empirical Approach
- 3.13 The Planned Approach
- 3.14 Storyboards
- 3.15 Why Plan?
- 3.16 The Three Stages of Production
- 3.17 Coverage
- 3.18 Building a Production Outline
- 3.19 Broad Treatment
- 3.20 Production Research
- 3.21 Remote Surveys (Recce)
- 3.22 Freedom to Plan
- 3.23 Single-Camera Shooting
- 3.24 Multicamera Shooting
- 3.25 Budgeting
- 3.26 Copyrights
- 3.27 Contracts
- Interview: DT Slouffman, Producer
-
Chapter 4 Production Techniques
- 4.1 Single- and Multicamera Production
- 4.2 Multicamera ISO
- 4.3 Multicamera Production Without a Switcher
- 4.4 The Illusion of Reality
- 4.5 The Camera’s Role
- 4.6 The Camera as an Observer
- 4.7 The Persuasive Camera
- 4.8 How Do You Visualize Something That Does Not Exist? .
- Interview: Scott Rogers, Sports Producer
- Chapter 5 Writing for Video
-
Chapter 6 Directing
- 6.1 The Director
- 6.2 Selective Techniques
- 6.3 Communication
- 6.4 Guiding the Viewer Through the Scene
- 6.5 Organizing the Angles
- 6.6 Visual Variety
- 6.7 Focusing Audience Attention
- 6.8 Shooting Controlled Action
- 6.9 Segmented Shooting with a Single Camera
- 6.10 Multicamera Techniques
- 6.11 Directing Talent
- Interview: Doug Smart, Director
-
Chapter 7 The Camera
- 7.1 A Variety of Cameras
- 7.2 Cameracraft
- Camera Features
- 7.3 Main Camera Features
- 7.4 Lenses
- 7.5 Focal Length and Lens Angle
- 7.6 The Prime lens or Fixed Lens
- 7.7 The Zoom Lens
- 7.8 The Aperture of the Lens
- 7.9 Lens Accessories
- 7.10 The Image Sensor
- 7.11 Gain: Sensor Sensitivity
- 7.12 The Viewfinder
- 7.13 Audio
- Controlling the Camera
- 7.14 Handling the Camera
- 7.15 Supporting the Camera
- 7.16 Handheld Cameras
- 7.17 The Pan Head (Panning Head or Tripod Head)...
- 7.18 Using a Tripod
- 7.19 The Monopod
- 7.20 Jib Arms
- 7.21 Camera Slider
- 7.22 Specialty Camera Mounts
- 7.23 Camera Care
- Interview: Keith Brown, Videographer
-
Chapter 8 Using the Camera
- 8.1 Just Point and Shoot
- 8.2 Shooting For the Screen
- 8.3 What Is the Best Shot?
- 8.4 Why Move the Camera?
- 8.5 Focusing
- 8.6 Depth of Field
- 8.7 Using Focus to Communicate
- 8.8 Focus Issues?
- Exposure
- 8.9 What Is “Exposure”?
- 8.10 Underexposure and Overexposure
- 8.11 Automatic Exposure
- 8.12 Exposure: Graduated Filters
- 8.13 Crossing the Line
- The Moving Camera
- 8.14 Following Moving Subjects
- 8.15 Framing Movement .
- Camera Moves
- 8.16 Moving Camera Mounts
- 8.17 Walking
- 8.18 Shooting from Vehicles
- The Basics of Shooting
- 8.19 Selecting the Right Shots
- 8.20 Persuasive Shots
- Composing Pictures
- 8.21 Composition Rules and Guidelines
- 8.22 Shots That Are Different
- 8.23 Watch the Background
- 8.24 The Rule of Thirds
- 8.25 Shooting from Different Angles
- 8.26 Showing Scale
- 8.27 Framing the Subject
- 8.28 Leading Lines
- 8.29 Headroom
- 8.30 Changing the Perspective
- 8.31 Distortions
- Lens Filters
- 8.32 What Does a Filter Do?
- Anticipating Editing
- 8.33 Continuity
- 8.34 Shooting to Improve Editing
- Interview: Nathan White: Videographer
-
Chapter 9 Shooting People and Objects
- Shooting People
- 9.1 The Single Person
- 9.2 Arranging People Shots
- 9.3 Effective Shots
- 9.4 Selecting the Right Shot
- 9.5 Single-Camera Interviews
- 9.6 Editing Continuous Interviews
- 9.7 Shooting Groups
- 9.8 Car Interviews
- 9.9 Walking Interviews
- Shooting Instructional Productions
- 9.10 Typical Instructional Productions
- 9.11 Approaches to Instruction
- 9.12 Advance Planning
- 9.13 Creating the Instructional Program
- 9.14 Shooting Objects
- Interview: Sarah Hogencamp, Director/Videographer.
-
Chapter 10 Working with the Talent
- 10.1 Talent
- 10.2 Talent and Production Styles
- 10.3 The Interview: Go Beyond the Obvious
- 10.4 Selecting Talent
- 10.5 Inexperienced Talent
- The Actor’s Craft
- 10.6 The Host
- 10.7 The Off-Camera Host
- 10.8 Presenting the Information
- 10.9 Importance of People in the Scene
- 10.10 Safety
- Interview: Kristin Ross Lauterbach, Director
-
Chapter 11 Audio for Video
- 11.1 The Essential Component
- 11.2 The Nature of Sound
- 11.3 Acoustics
- 11.4 Mono Sound
- 11.5 Stereo Sound
- 11.6 Surround Sound
- Microphones
- 11.7 It Begins with the Microphone
- 11.8 Directional Features
- 11.9 Dynamic and Condenser Microphones
- Types Of Microphones
- 11.10 Camera Microphones
- 11.11 The Handheld Microphone
- 11.12 The Shotgun Microphone
- 11.13 Lavalier (Lapel or Clip-on Mic) Microphones
- 11.14 Boundary or PZM Microphone
- 11.15 Hanging Microphone
- 11.16 Surround Sound Microphone
- 11.17 Wireless Microphone
- 11.18 Hidden Mics
- 11.19 Microphone Stands and Mounts
- Controlling Audio
- 11.20 Automatic Gain Control (AGC) for Audio
- 11.21 Manual Control
- 11.22 Monitoring the Audio
- 11.23 The Audio Mixer
- 11.24 Using the Audio Mixer
- 11.25 Preparing for Audio
- Production Sounds
- 11.26 Natural Sound
- 11.27 Program Music
- 11.28 Sound Effects
- Interview: Noel Dannemiller, Sound Mixer
-
Chapter 12 Lighting for Video
- 12.1 Lighting the Scene
- 12.2 Lighting Options
- 12.3 Existing Light
- 12.4 The Camera Does Not Compensate
- 12.5 The Key Factors
- 12.6 If There Is Not Enough Light
- 12.7 If There Is Too Much Light
- 12.8 The LED Light
- 12.9 The Spotlight (Hard Light)
- 12.10 The Floodlight (Soft Light)
- 12.11 Lighting Contrast
- 12.12 Three-Point Lighting
- 12.13 Color Temperature Compensation
- 12.14 Shooting in Daylight
- 12.15 Using Reflectors
- 12.16 Bounce Light
- Lightweight Light Supports
- 12.17 Grip Clamps
- 12.18 Light Stands
- Lighting Instruments
- 12.19 Camera Light
- 12.20 Soft Light Panel
- 12.21 Cyc Lights
- 12.22 Fresnel Spotlights
- 12.23 Small Portable Spotlights
- 12.24 Flexible Mat Lighting
- Interview: Tommy Brown, Lighting
-
Chapter 13 The Background
- 13.1 The Importance of the Background
- 13.2 Real and Unreal Backgrounds
- 13.3 Set Components
- 13.4 The Neutral Background
- 13.5 Economical Sets
- 13.6 Semipermanent Sets
- 13.7 Chroma-Key Sets
- 13.8 Virtual Sets
- 13.9 Outside/Back-Lot Sets
- 13.10 The Location
- 13.11 Watch the Background
- 13.12 Foreground Pieces
- 13.13 Versions of “Reality”
- 13.14 What Can We Do About the Background?
- 13.15 Rearranging the Background
- 13.16 Partial Settings
- 13.17 Typical Examples of Partial Settings
- 13.18 Facing Reality
- Interview: John DeCuir, Jr., Production Designer.
- Chapter 14 Television Graphics
-
Chapter 15 Recording the Video
- The Video Image
- 15.1 High-Definition Television (HDTV or HD)
- 15.2 4K Television
- 15.3 8K Television
- Video Recording Media
- 15.4 Videotape
- 15.5 Flash Memory
- 15.6 Hard Disk Drive (HDD) (Internal Hard Drive)
- 15.7 External Camera Hard Drives
- 15.8 Hard Drive Server Recorders
- 15.9 XDCAM Disk
- 15.10 Recording Media Care
- 15.11 Video Recording Suggestions
- Interview: Ryan Hammer, Atlas Digital
-
Chapter 16 Editing
- 16.1 Editing Goals
- 16.2 Shooting Order versus Running Order
- 16.3 Editing Video and Audio
- 16.4 Logging
- 16.5 An Overview of the Nonlinear Process
- 16.6 Editing Equipment
- 16.7 Organization
- Editing the Project
- 16.8 Editing Begins
- 16.9 Selecting the Shots
- 16.10 The Order of Shots
- 16.11 Where Should the Edits Be Made?
- 16.12 Transitions
- 16.13 Continuity
- 16.14 Good Editing Techniques
- 16.15 Anticipating Editing
- Interview: Brock Smith, Editor
- Chapter 17 Distributing Your Production
- Glossary
- Index
Product information
- Title: Video Production Handbook, 6th Edition
- Author(s):
- Release date: March 2017
- Publisher(s): Routledge
- ISBN: 9781315530550
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