Video Production Handbook / Edition 5

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Overview

Techniques matter! Great ideas don't automatically translate into great programs. It's not enough simply to show what is going on. The way you present your subject will influence how your audience responds. You need to choose your picture and sound carefully, to convey your ideas in an interesting, persuasive way. This book will show you how.

Video Production Handbook shows the full production process, from inception of idea to final distribution. The book focuses especially on why each step occurs as it does and provides guidance in choosing the simplest methods of creating the shots you want in your video project. 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.

Suitable for students and beginning videographers, the new edition of this classic text retains its clarity and directness but has been completely revised and updated.

This practical sourcebook has been specially prepared to give you an at-a-glance guide to quality video program-making on a modest budget. Emphasis throughout is on excellence with economy; whether you are working alone or with a small multi-camera group. The well-tried techniques detailed here will steer you through the hazards of production, helping you to avoid those frustrating, time-wasting problems, and to create an effective video program.

* Highly visual: more than 450 full color photos and illustrations demonstrate techniques
* Modern: Revised by Jim Owens, who brings a wealth of hands-on experience to the text; up-to-date information on current equipment, techniques, and new distribution outlets such as the Web and mobile phones
* A complete resource: Detailed teaching ancillaries are available for instructors, including instructor's manual, test bank, sample syllabi, image collection, video content, and more
* Brand new coverage of contemporary distribution methods
* Interviews featuring industry professionals provide students with inside knowledge of the industry
* Sidebars featuring new coverage of topics such as shooting for 3D, shooting with HDSLRs for video, and much more!

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Editorial Reviews

From the Publisher
"This comprehensive guide to beginning video production provides detailed instruction for amateur videographers on many aspects of developing, producing and distributing films using the latest accessible technologies. Topics covered include writing for video, pre-production preparations, crew development, camera technologies and techniques, working with actors, audio for video, lighting, editing, post-productions effects and distribution. This fifth edition is fully updated to reflect current technologies and includes color photographs and illustrations throughout. Chapters include side bars, important tips, interviews with professionals, and discussions of additional online resources."—SciTech Book News

"The reader can discern that the concepts they are reading about are tried and true professional practices-not just something a scholar has dreamt up on his own."
Dr. Joey Goodsell, University of Alabama, USA

"This is the ideal book for the 21st century."
Dr. Osabuohien P. Amienyi, Arkansas State University, USA

"Overall the information relating to television production contained in the handbook is spot-on, good, valid information clearly presented with plenty of relevant pictures and illustrations. I particularly like the broadening of the information to embrace webcasts, streaming, etc... Also, I enjoyed the inclusion of quotes from a variety of sources within the industry (especially well-known/famous names) which both enlivens the text and broadens the interest generated for each subject."
Tony Grant, Producer/Director, Director of Photography, Lighting Camera, UK

"The textbook provides an exceptional analysis of the art and craft of television and video production.Its real strength is in its excellent practical advice on how to actually create video productions."
Steven Keeler, Division Chair, Cayuga Community College, USA

"This is well-written to appeal to a new student of production. The language is simple and direct, and any "jargon” is clearly defined right away."
Phil Hoffman, University of Akron, USA

"The text reads well. Simple short paragraphs that do not fill the page with superfluous details."
Frederick P. Burger, Monroe Community College, USA

"Jim Owens and Gerald are to be commended on a very thorough explanation of the entire production industry. I don't think any stone has been left unturned. I'll wager there is more information in this book than a student would get in four years of school. It really is well done. In fact, it should be required reading even a lot of people who already 'work' in the industry."
Doug Jensen, Vortex Media, USA

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Product Details

  • ISBN-13: 9780240522203
  • Publisher: Taylor & Francis
  • Publication date: 7/4/2011
  • Edition description: New Edition
  • Edition number: 5
  • Pages: 416
  • Sales rank: 337,153
  • Product dimensions: 7.50 (w) x 9.10 (h) x 1.10 (d)

Meet the Author

Jim Owens has worked and taught in the video and television industry for over 30 years. He has worked on local, regional and national productions. Owens' international television work has included eleven Olympic broadcasts and has taken him to over twenty-five countries. He is the author of the Video Production Handbook, Television Production, and Television Sports Production (all published by Focal Press), and has had over thirty articles published in television and broadcast magazines in the United States and Europe. Owens is Dean of the School of Communication Arts at Asbury University in Wilmore, Kentucky, where he has taught since 1981.

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Table of Contents

INTRODUCTION
CHAPTER 1 Overview of Video Production
1.1 What is video production?
FIRST STEP IN VIDEO PRODUCTION
1.2 Defining the new media
1.3 Distribution
1.4 Understanding the field of Video Production
1.5 It's designed for you
1.6 Learning basics
1.7 Remember the purpose
1.8 Equipment
Sidebar: Versatility of Video
1.9 What equipment is needed?
1.10 Is there a right way?
Interview: Ben Brown, Media Executive
1.11 The production approach
TECHNICALITIES
1.12 Equipment performance

CHAPTER 2 Production Crew
2.1 Production crew size
VIDEO PRODUCTION CREW JOB DESCRIPTIONS
2.2 Producer
2.3 Assistant producer or associate producer (AP)
2.4 Director
2.5 Assistant director or associate director (AD)
2.6 Floor manager (FM) or stage manager (SM)
2.7 Production assistant (PA)
2.8 Technical director (TD) or vision mixer
2.9 Makeup artist
2.10 Graphic designer/operator
2.11 Lighting director/vision supervisor
2.12 Camera operator
2.13 Camera assistant
2.14 Audio mixer/sound mixer/sound supervisor
2.15 Stereographer
Interview: Tommy Mitchell, Crewer for productions
2.15 Boom operator or audio assistant
2.16 Engineer
2.17 Writer
2.18 Editor
Sidebar: The Crew
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

CHAPTER 3 Organizing the Production
3.1 Art conceals craft
3.2 Shot selection
3.3 The problem of familiarity
3.4 The problem of quality
3.5 The problem of "bigger and better”
3.6 Communication can be elusive
3.7 Start with an idea (concept)
Interview: DT Slouffman, Producer
3.8 Goals and objectives
3.9 Target audience
3.10 Research
3.11 Covering the subject
3.12 Production methods
3.13 The empirical approach
3.14 The planned approach
3.15 Storyboards
3.16 Why plan?
3.17 The three stages of production
3.18 Coverage
3.19 Building an outline
3.20 Broad treatment
3.21 Production research
3.22 Remote surveys (recce)
3.23 Freedom to plan
3.24 Single camera shooting
3.25 Multicamera shooting
3.26 Budgeting
3.27 Copyright
3.28 Contracts

CHAPTER 4 Production techniques
4.1 Single- and multicamera production
Sidebar: 3D Shot Selection
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 Beginning and ending
4.9 Production methods
4.10 How do you visualize something that does not exist?
Interview: Scott Rogers, Sports Producer

CHAPTER 5 Writing for Video
5.1 The script's purpose
5.2 Is a script needed?
5.3 Basic script formats
Interview: Robyn Sjogren, Writer: CNN & TruTV
5.4 The full script
TIPS: Tips for writing better dialog: keeping it brief
5.5 The drama script
5.6 Suggestions on scriptwriting
5.7 Be visual
5.8 Assimilation
5.9 Relative pace
5.10 Style
TIPS: Tips on developing the script

CHAPTER 6 The Camera
6.1 A range of models
6.2 Cameracraft
CAMERA FEATURES
6.3 Main features
Sidebar: The DSLR (Pros and Cons)
6.4 The lens system
6.5 Focal length and lens angle
6.6 The prime lens
6.7 The zoom lens
6.8 Zoom lens remote controls
6.9 The aperture of the camera
6.10 Lens accessories
Interview: Keith Brown, Videographer
6.11 The image sensor
6.12 Sensitivity
6.13 The viewfinder
6.14 Indicators
6.15 Audio
6.16 Power
CONTROLLING THE CAMERA
6.17 Handling the camera
6.18 Supporting the camera
6.19 Handheld cameras
6.20 The monopod
6.21 The pan head (panning head or tripod head)
6.22 Using a tripod
6.23 The rolling tripod/tripod dolly
6.24 The pedestal
6.25 Gorilla Pod
6.26 Beanbag
6.27 Jib arms
6.28 Specialty camera mounts
6.29 Handling care

CHAPTER 7 Using the Camera
7.1 Just point and shoot
7.2 What gets on the screen?
7.3 How close should you get?
Sidebar: Camera Shots
Sidebar: Shooting for the Internet
7.4 How much can we see?
7.5 Lens angles
7.6 So why move around?
7.7 The zooming process
CONTROLLING THE ZOOM
7.8 Focusing
7.9 Auto-focus
Interview: Nathan White: Videographer
7.10 Depth of field
7.11 Maximum sharpness?
7.12 Difficult to focus?
7.13 Prefocusing the zoom lens
Sidebar: Prefocusing the Zoom
EXPOSURE
7.14 What is "exposure”?
7.15 Underexposure and overexposure
7.16 Automatic exposure
7.17 Camera adjustments
7.18 Practical solutions
Sidebar: Ten Commandments of Shooting Video
HANDLING THE CAMERA
7.19 Panning and tilting
7.20 Following moving subjects
7.21 Framing movement
7.22 Walking
7.23 Shooting from vehicles
THE BASICS OF SHOOTING
7.24 Practical conditions
Sidebar: Shooting in 3D
7.25 Selecting the right shots
7.26 Persuasive shots
7.27 Guiding the viewer through the scene
7.28 Clutter
7.29 I can't see it properly
COMPOSING PICTURES
7.30 Composition rules and guidelines
7.31 The brief shot
7.32 "Boring” is in the mind
7.33 Shots that are different
7.34 Fitting the frame
Sidebar: Framing People
7.35 Watch the background
7.36 Dividing the image into thirds
7.37 Shooting from different angles
7.38 Showing scale
7.39 Framing the subject
7.40 Leading lines
7.41 Headroom
7.42 Good balance
7.43 Changing the perspective
7.44 Grouping (unity)
7.45 Camera viewpoint
7.46 Distortions
ANTICIPATING EDITING
7.47 Continuity
7.48 Improving editing flexibility
Sidebar: Common Faults While Shooting
7.49 What does a filter do?
7.50 Crossing the line

CHAPTER 8 Shooting People and Objects
SHOOTING PEOPLE
8.1 The single person
8.2 Arranging people shots
8.3 Effective shots
8.4 Selecting the right shot
8.5 Single-camera interviews
Interview: Sarah Leckie, International Documentary Director/Videographer
8.6 Editing continuous interviews
8.7 Shooting groups
8.8 Car interviews
8.9 Walking interviews
Sidebar: Shooting an Effective Interview
SHOOTING INSTRUCTIONAL PRODUCTIONS
8.10 Typical instructional productions
8.11 Approaches to instruction
8.12 Advance planning
8.13 Creating the instructional program
8.14 Shooting objects

CHAPTER 9 Working with the Talent
9.1 Talent
Sidebar: High-Definition Makeup
9.2 Talent and production styles
9.3 The interview: go beyond the obvious
9.4 Selecting talent
Sidebar: Working with New Talent
9.5 Inexperienced talent
9.6 The host
9.7 The off-camera host
Interview: Kristin Ross Lauterbach, Director
9.8 Presenting the information
9.9 Importance of people in the scene

CHAPTER 10 Audio for Video
10.1 The essential component
10.2 Acoustics
10.3 Stereo sound
Sidebar: First Surround Sound
10.4 Surround sound
Interview: Noel Dannemiller, Sound Mixer
10.5 Microphone care
10.6 Directional features
10.7 Popular types of microphone
SUPPORTING THE MICROPHONE
10.8 Camera microphones
10.9 The handheld microphone
10.10 The shotgun microphone
10.11 Using the shotgun microphone
10.12 The shotgun and the boom pole (fishpole)
10.13 Lavalier (lapel or clip-on mic) microphones
10.14 Boundary or PZM microphone
10.15 Hanging microphone
10.16 Surround sound microphone
10.17 Microphone stands and mounts
10.18 Wireless microphone
10.19 Hidden mics
CONTROLLING DYNAMICS
10.20 Dynamic range
10.21 Automatic control for audio
10.22 Manual control
10.23 Monitoring the audio
10.24 The audio mixer
10.25 Using the audio mixer
10.26 Natural sound
10.27 Anticipation
10.28 Anticipating sound editing
10.29 Filtered sound
10.30 Reverberation
10.31 Program music
10.32 Sound effects

CHAPTER 11 Lighting for Video
11.1 Lighting for the scene
11.2 The camera does not compensate
11.3 The key factors
11.4 The light's intensity
11.5 If there is not enough light
11.6 If there is too much light
11.7 Hard light quality(spotlight)
Interview: Tommy Brown, Lighting
11.8 Soft light quality (floodlight)
11.9 Lighting contrast
Sidebar: Lighting Direction Exercise
11.10 Three-point lighting
11.11 Color temperature compensation
11.12 Using colored light
11.13 Shooting in daylight
11.14 Using reflectors
11.15 Bounce light
11.16 Do we really need to light it?
11.17 Lighting options
11.18 Existing light
LIGHTWEIGHT LIGHT SUPPORTS
11.19 Grip clamps
11.20 Light stands
Sidebar: Lighting Safety
LIGHTING INSTRUMENTS
11.21 Camera light
11.22 Scoop
11.23 Broad
11.24 The portable soft light
11.25 Multilamp sources
11.26 Open face adjustable light
11.27 Fresnel spotlights
PRACTICAL LIGHTING
11.28 The general approach to lighting
11.29 Using one light
11.30 Using multiple lights

CHAPTER 12 The Background
12.1 The importance of the background
12.2 The impact of the background
Sidebar: Backgrounds (sets) are a Matter of Taste
12.3 Real and unreal backgrounds
12.4 Set components
12.5 Set design for 16:9
12.6 The neutral background
12.7 Economical sets
12.8 Semipermanent sets
12.9 Chroma-key/matting
12.10 Virtual sets
12.11 Outside/back-lot sets
12.12 The location as a background
12.13 Watch the background
12.14 Foreground pieces
12.15 Versions of "reality”
12.16 What can we do about the background?
Interview: John DeCuir, Designer
12.17 Rearranging the background
12.18 Partial settings
12.19 Typical examples of partial settings
12.20 Facing reality

CHAPTER 13 Television Graphics
13.1 The goals of television graphics
13.2 Types of graphics
13.3 Designing graphics
Sidebar: The Graphic Operator
13.4 Animated graphics
Interview: Lou Moore, Graphic Operator
13.5 Backgrounds for graphics
13.6 Graphics equipment

CHAPTER 14 Recording and Viewing the Video
RECORDING THE VIDEO
14.1 High-definition television (HDTV or HD)
14.2 Videotape
14.3 Analog and digital
14.4 Tape formats
Interview: Ryan Hammer, Atlast Digital
14.5 Flash memory
14.6 Hard disk drive (HDD) (internal hard drive)
14.7 External camera hard drives
14.8 Hard drive server recorders
14.9 Recordable DVD
14.10 XDCAM disk
14.11 Recording media care
14.12 Video recording suggestions
VIEWING THE VIDEO
14.13 How we see color
Sidebar: Health Risks & 3DTV?
14.14 How the camera sees color
14.15 Monitors and receivers

CHAPTER 15 Editing
15.1 Editing goals
15.2 Shooting order versus running order
Sidebar: Editing in 3D
15.3 Editing video and audio
15.4 Logging
15.5 An overview of the nonlinear process
Interview: Brock Smith, Editor
Sidebar: Habits of a Highly Effective Editor
15.6 Editing equipment
15.7 Organization
15.8 Editing begins
15.9 Selecting required sections
15.10 The order of shots
15.11 Where should the edits be made?
15.12 Transitions
Sidebar: Common Transitions
15.13 Good continuity
15.14 Editing priorities
15.15 Good editing techniques
15.16 Anticipating editing

CHAPTER 16 Distributing Your Production
16.1 Traditional broadcast distribution
16.2 Traditional non-broadcast distribution
16.3 Distributing hard copies of the production
16.4 Online distribution
16.5 Live online distribution
Interview: Chad Crouch: CEO, The Creative Group
16.6 IPTV
GLOSSARY
INDEX

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  • Anonymous

    Posted September 28, 2012

    SUkc

    this book wasnt even fun to read, no storyline and anticlimactic. -10/5 stars

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