Video production handbook / Jim Owens.

Format:

Book

Author/Creator:

Owens, Jim, 1957- author.

Language:

Egyptian

Subjects (All):

Video recording.

Video recordings--Production and direction.

Video recordings.

Physical Description:

1 online resource (320 pages)

Edition:

7th ed.

Place of Publication:

New York, NY : Routledge, Taylor & Francis Group, [2023]

Summary:

This brand new edition 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, the book demonstrates the fundamental principles needed to create good video content on any kind of budget.

Contents:

Cover

Half Title

Title

Copyright

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 The Equipment is 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 Covering the Subject

3.10 Production Methods

3.11 The Empirical Approach

3.12 The Planned Approach

3.13 Storyboards

3.14 Why Plan?.

3.15 The Three Stages of Production

3.16 Coverage

3.17 Building a Production Outline

3.18 Broad Treatment

3.19 Production Research

3.20 Remote Surveys (Recce)

3.21 Freedom to Plan

3.22 Single-Camera Shooting

3.23 Multicamera Shooting

3.24 Budgeting

3.25 Copyright

3.26 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 Camera's Role

4.5 The Camera as an Observer

4.6 The Persuasive Camera

4.7 How Do You Visualize Something That Does Not Exist?

4.8 The Illusion of Reality

Interview: Scott Rogers, Sports Producer

Chapter 5 Writing for Video

5.1 Storytelling Models

5.2 The Script's Purpose

5.3 The Outline Script

5.4 Basic Script Formats

5.5 The Full Script

5.6 The Drama Script

Suggestions on Scriptwriting

5.7 Visual Storytelling

5.8 Style

5.9 Script Processes

5.10 Scriptwriting Basics

5.11 Script Questions

Interview: Robyn Sjogren, Writer

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 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 Audio

Controlling the Camera.

7.13 Handling the Camera

7.14 Supporting the Camera

7.15 Handheld Cameras

7.16 The Pan Head (Panning Head or Tripod Head)

7.17 Using a Tripod

7.18 The Monopod

7.19 Jib Arms

7.20 Camera Slider

7.21 Specialty Camera Mounts

7.22 Camera Care

Interview: Keith Brown, Videographer

Chapter 8 Using the Camera

8.1 Don't 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 Filming 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 Informational Programs

9.10 Typical Informational Productions.

9.11 Approaches to Effective Learning

9.12 Advance Planning

9.13 Creating the Instructional Program

9.14 Shooting Objects

Interview: Sarah Hogencamp, Director of Photography

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, 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

11.7 Immersive Sound

Microphones

11.8 It Begins with the Microphone

11.9 Directional Features

11.10 Dynamic and Condenser Microphones

Types of Microphones

11.11 Camera Microphones

11.12 The Handheld Microphone

11.13 The Shotgun Microphone

11.14 Lavalier (Lapel or Clip-On Mic) Microphones

11.15 Boundary or PZM Microphone

11.16 Hanging Microphone

11.17 Surround Sound Microphone

11.18 Wireless Microphone

11.19 Hidden Mics

11.20 Microphone Stands and Mounts

Controlling Audio

11.21 Automatic Gain Control (AGC) for Audio

11.22 Manual Control

11.23 Monitoring the Audio

11.24 The Audio Mixer

11.25 Using the Audio Mixer

11.26 Preparing for Audio

Production Sounds

11.27 Natural Sound

11.28 Program Music

11.29 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

Lighting Instruments

12.15 Camera Light

12.16 Fresnel and Ellipsoidal Spotlights

12.17 Small Portable Spotlights

12.18 Flexible Mat Lighting

12.19 Using Reflectors

12.20 Bounce Light

12.21 Low Budget Lighting

Lightweight Light Supports

12.22 Grip Clamps

12.23 Light Stands

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

14.1 The Goals of Television Graphics

14.2 Types of Graphics

14.3 Designing Television Graphics

14.4 Animated Graphics

14.5 Backgrounds for Graphics

14.6 Graphics Equipment

Interview: Lou Moore, Television Graphics Operator

Chapter 15 Recording the Video

The Video Image

15.1 High Dynamic Range (HDR)

15.2 High-Definition Television (HDTV or HD)

15.3 4K Television

15.4 8K Television

15.5 Virtual Reality (VR)

Video Recording Media

15.6 Videotape

15.7 Flash Memory

15.8 XDCAM Disk

15.9 External Camera Hard Drives

15.10 Hard Drive Server Recorders

15.11 Recording Media Care

15.12 Video Recording Suggestions.

Interview: Ryan Hammer, Atlas Digital.

Notes:

Includes index.

Previous edition: 2017.

<P>1. Overview of Video Production 2. Production Crew 3. Organizing the Production 4. Production Techniques 5. Writing for Video 6. Directing 7. The Camera 8. Using the Camera 9. Filming People and Objects 10. Working with the Talent 11. Audio for Video 12. Lighting for Video 13. The Background 14. Television Graphics 15. Recording the Video 16. Editing 17. Distributing Your Production</P>

Description based on print version record.

Other Format:

Print version :

ISBN:

1-000-85370-5

1-00-325132-3

1-003-25132-3

1-000-85368-3

9781003251323

OCLC:

1374425744