1.
PETIT GLOSSAIRE FRANCO-AMERICAIN
camcorder
shooter
focus
length
long
shot, wide shot, (cover shot)
medium
shot
(extreme)
close up
reverse
shot (reaction shot)
lens
brightness
hue
washed
blooming
key
frame
depth
of field
rack
focus
follow
focus
panning
tilting
crabbing
(trucking)
dolly
in (out) [dolly shot]
tête
fluide
script
air
dessus (devant)
ligne
du regard
Production
en studio
Reportage
cutting
in the camera
cutting
on the beat
cut
in shot
dissolve
cross
fade
cross
cut
drop
out
jump
cut
2. PORTABLE
VIDEO
TYPES
Personal video : video amateur
Independent video production, educational and industrial : video institutionnelle
Broadcast uses : production professionnelle
ENG (Electronic News Gathering : reportage)
EFP (Electronic Field Production : régie mobile)
PRODUCTION
ORGANIZATION
Producer : producteur
camera operator (shooter) : opérateur de prises de vues
videotape editor : monteur
THE
CAMERA
the image
: lines fields, frames (interlaced scanning) 525 lines (NTSC)
the four
part television signal
1. luminance
2. chrominance
3. timing and blanking pulses
4. the monaural or stereo audio signal importance of timing of scanning
:
filter
wheel
white balance (automatic or manual) color bars
camera mounting equipment shoulder mount
tripod, friction or fluid head spreader and dolly steadicam
LENSES
focal length
- wide angel telephoto, zoom, zoom ring, electronic zoom
focus ring - how to focus, auto focus systems, depth of field (affected
by amount of light, focal length)
aperture ring - iris control, auto light meters
other - lens hood (prevents lens flare), lens cap, macro lever
THE
RECORDING SYSTEM
tape transport
controls
eject, play. stop, fast forward, rewind, pause, record, audio dub,
forward and reverse search (scan)
audio and video inputs and outputs
camera input, video in and out, audio in and out, power in direct
(DC) or alternating (AC) meters, warning lights, tape counters
battery meter, VU meter, dew lamp tape counters (numerical and real
time frame counters)
other controls
input selector (camera or line), tracking, speed control (SP or EP),
audio monitor control ( ch l, 2 or both), color lock, remote controls
VIDEOTAPE
types - 2 inch, 1 inch, 3/4 inch (reg and mini), Beta, Betacam, VHS,
M-format, VHS C, S-VHS, 8 mm, HI 8
care of videotape:
never touch with bare hands
avoid temperature and humidity extremes avoid dust and smoke
store on end, rather than flat drop outs
Small Format
audio mini jack, audio phone( 1/4"), audio and video RCA. video
BNC, video VHF, RF, twin lead adapters
field monitors
carrying equipment carrying case, shoulder strap
VIDEOTAPE
RECORDING
component
recording - as in Betacam and RECAM, the luminance and chrominance
components of the signal are recorded on different tracks
VISUALIZATION
AND COMPOSITION
screen
size and aspect ratio
focus draws attention to certain areas
focus and depth
framing
headroom
noseroom (leading looks)
foreground and background to express depth, Z axis
framing and balance - symmetrical balance and asymmetrical balance
(Small format)
camera
movement
pan, tilt, zoom, doll, truck and held vs. tripod
180 degree
rule
shooting
for depth
try for distinct foreground, middleground and background place subjects
and different distances from camera
bring action toward or away from camera (Z axis)
1. Clearly
understand what you want to say (think of each shot as a statement)
.
2. Establish a single center of interest
shooting
to edit:
shoot establishing shots
cover the action - try to identify the principal events
repeat the action if possible (shoot from different angles)
shoot essential details - cut ins and cut aways
shoot material for transitions
shoot segments long enough for editing
shoot shots that utilize matched camera movements
interviews : shoot focused on subject, vary zoom at appropriate points
; after interview is over shoot
several over the shoulder shots as reaction shots, re-ask questions
LIGHTING
color temperature
- degrees Kelvin
white balance
gels and dichroic filters
equipment:
quartz bulbs
spotlights and flood lights, fixed and variable beam spotlights, soft
lights, battery powered lights
light quality - hard and soft light
barn doors, scrims, diffusers, reflectors, flags
floor stands, camera mounts, hand held
power requirements
Safety :
1. Don't overload electrical circuits
2. Keep fingers off quartz lamps
3. Make sure lights are securely mounted
4. Keep light a safe distance away from any flammable surface
5. Carry insulated electrician's gloves.
LIGHTING
AESTHETICS
modeling
- process of creating the illusion of three dimensional space
three point lighting - key, fill, back
motivated and unmotivated light
Ughting for texture
background shadows
GRAPHICS
unity.
clarity. style
essential area. safe title area
keying titles
SOUND
amplitude
- loudness (db) frequency - pitch (Hz)
microphone characteristics:
pickup pattern - omnidirectional, unidirectional, bidirectional, shotgun
types - dynamic, condenser, electret condenser
frequency response
Impedance - all professional mics are low impedance
camera mounted microphones - built in and attachable advantage: convenience,
useful for one person shooting disadvantage: distance of mic from
principal sound source
external
mics
hand held, lavaliere (tie tack), shot gun, contact mics
mounting devices
desk stands, floor stands, fishpoles, booms
wired and wireless mics
balanced and unbalanced lines
in balanced lines 2 wires carry the signal and a third acts as a shield
against outside interference, unbalanced lines contain 2 wires
recording sound:
input levels - mic and line (mic levels weak- line levels amplified)
automatic and manual gain control, VU meters
limiters
headphones
countdown stand ups and voice overs
use identification slates, audio and video
test recording and field checks
hints
for recording good sound:
microphone
selection microphone placement
signal recording
location acoustics (low cut filters) wind noise (wind screen) ambient
noise
SOUND
AESTHETICS
types of
sound
voice - dialogue, narration, voice over (off camera narration), sound
on tape (on camera narration)
natural sound
music
sound effects
sound perspective
- perspective of sound should match perspective of visuals
sound presence - quality of sound that usually differs with distance
constructing the audio portion of the program narrator vs. no narrator
on-camera and off-camera questions question re-asks
natural sound
music and sound effects, sound bites
visual impact of microphones
EDITING:
AESTHETIC FACTORS
the creative
and the technical editor
TYPES
OF EDITING
continuity
editing - smoothly move action along without any discontinuous
jumps in time or place
establishing shots cut in and cut out
jump cuts and matched cuts
clean entrances and exits
use eyeline to establish direction of view
maintain continuity in the direction of action - characters moving
in one shot should continue to move in the same general direction
in the next shot
use shot content to motivate cuts
dynamic
editing - tends to be more complex than continuity editing and
frequently uses visual material to create an impact, rather than simply
to convey literal meaning
manipulating
the time line - parallel cutting, flashback or forward
editing rhythm - editing to music, timed cut
transitions - cut, fade, dissolve, wipe, DVE, compressional
sound
in editing
crossfade
both edit - an edit that effects bath audio and video
split edit- edit is made first on sound (or pic) than on pic
(or sound) sound layering, mix
editing guidelines:
1. Avoid cutting from a stationary camera shot to a moving shot or
vice versa
2. Whenever possible, cut on subject movement.
3. Never make an edit without appropriate motivation.
4. Cut away from a scene the moment the visual statement is complete
5. The real story is in the B-roll. In other words the supplementary
footage like reaction shots. inserts and cutaway shots becomes crucial.
MECHANICS
OF EDITING
physical editing
electronic editing
assemble editing - stationary erase head
insert editing - flying erase head
need for control track - color bars or video black (crystal black)
video black vs. no signal
components: playback VCR record VCR monitors controller
CONTROL
TRACK EDITING search wheel
setting edit points. trim
backspacing - tapes must have at least 5 seconds of continuous video
information and control track before the edit point
accuracy
- control track editors are not frame accurate. The more times you
preview an edit the greater the chance of an error.
videotapes - you need at least 2: the original or source material
plus the edit master tape
editing
leader
color bars with tone at 0 db slate (program ID) countdown leader program
start
30 sec
10 sec 10 sec
editing
strategy
setting edit points
setting exit points (overlapping edits) avoid overuse of pause mode
performing an inset edit
1. Select
type of insert edit you want (video, audio l, audio 2)
2. enter the edit IN points on both tapes
3. Locate the critical out point of the edit? Is it on the source
or record tape? Enter accordingly or no end point at an.
4. Preview edit if desired
5. Perform edit
6. Stop both VCRs and review edit
manipulating audio
patch panels and mixing boards monitoring audio while editing
ADDITION
AL PRODUCTION COMPONENTS
production
switcher
external sync
time base corrector (TBC)
program buses
switcher transitions: fades. wipes
keys - internal external. chroma. downstream
character
generators
film transfer
A/B Roll Editing
PRODUCTION
PLANNING
PREPRODUCTION
PLANNING program conceptualization and design
subject - content and organization of material
treatment - way in which the program will be presented
preinterview
remote survey - technical and aesthetic assessment of remote location
technical factors: lighting, power, sound
legal and safety factors
aesthetic factors
access to location
conducting
the remote survey
survey under conditions similar to the shoot
bring viewer, tape measure, checklist, Polaroid or camcorder making
parking arrangements
consider crowd control
arrange for food for cast and crew
formal
program proposal and shooting schedule treatment
outline of major elements
list of locations and setups
outline of proposed shooting schedule comments on technical feasibility
script
means of evaluation
budget
releases
and related legal issues
talent release
location releases
location safety
use of copyrighted music, film, or tape stock footage, sound effects,
and music
scripts
story outline script storyboard
full script
PRODUCTION
PLANNING
equipment needs crew assignments
shooting ratio
labeling tapes in the field
label tapes as they are shot
slate tapes
POSTPRODUCTION
PLANNING
logging tapes
rough cut or editing script
final edit
ONE
EDITING STRATEGY: LAYERING YOUR EDIT
1. Edit
together the framework of your program .Use audio as backbone. Do
not worry about visual inconsistencies at this point.
2. Go back
over program with a series of insert edits and cutaways. covering
and patching any rough spots.
3. Last
layer can spice up the sound track with music and effects.
EXAMPLE
Step
1 Preproduction Planning
Step 2 Shooting the interview. Set
up interview with expert in some subject or someone colorful, etc.
a. interview can be in studio or on location
b. decide if you want interviewer to appear in program
1) if so shoot cutaways of listening interviewer and re-asks
2)if not ask talent to speak in completed sentences
c. pre-interview can be helpful
Step
3 Shooting in the field. You need shooting strategy
a. by reviewing previous interview you can bring notes about what
kind of things to shoot
b. add more things to list. Is there a particular theme you wish to
bring out ? Get shots for supporting this "hook".
c. look for begining, middle and end shots
d. look for humorous shots
e. look for transition shots
f. get establishing shots - safety net
g. always pre-roll
h. index card system
Step
4 Putting it all together
a. prepare control track, put color bars, slate, title
b. lay in music and introductory narration
1) both can be done at same time
2) you have to decide whether to match picture to
narration or narration to picture
Step
5 The first layer
a. take the best parts of interviews and organize segments to tell
story with a beginning, middle and end
1) you can string together with little regard for visuals
2) edit between sentences or pauses so sound track flows smoothly
Step
6 The next layer
a. go back and cover rotten shots, jump cuts using video only insert
edits
1) coordinate appropriate shots with appropriate speech
2) sometimes inserts can be exactly what is being discussed, other
times more general or even opposite
b. after finishing inserts you must complete program with final narration,
visual collage, music/video collage, etc. and credit roll
Step
7 More layers
a. in some shows you might add a third layer, spicing up sound. You
could mix in background sounds or music
Everything so far would be only 2nd generation. If you had to shorten
or lengthen the program you could still move one more generation and
still be only 3rd generation.
KEY
- PLANNING !
