SECOND YEAR
III SEMESTER
TELEVISION AND RADIO PRODUCTION
Duration of Examination: 3 hrs
Maximum Marks: 100
Credits: 4
Objective: To provide students with tools to creatively respond to Documentary,
short film making in planning and production.
Unit 1:
Visualization, script writing basics, different script formats,
script writing for different media, developing concept, screenplay, storyboard.
Unit 2:
Camera operation, types of camera, video formats, camera movements, camera
techniques, lighting procedure, lighting equipment and techniques.
Unit 3:
Editing procedure, video editing, non-linear and linear editing,
types of editing modes, graphics and titling, special effects.
Unit 4:
Sound aesthetics, principles of design, sound equipment, and types
of mic, dubbing, and music and mixing, AM-FM, Satellite Radio – dubbing, Re-
Recording, Radio – News Production.
Unit 5:
Production process, planning and management, concept, budgeting,
casting, direction, post-production, marketing, distribution and exhibition.
References:
Millaerson,G.H.(1993),Effective TV
Production,Focal Press
Holland,P (1998).The Television
Handbook,Routledge.
UNDERSTANDING PRE-VISUALIZATION IN PHOTOGRAPHY AND VIDEOGRAPHY
Though we devote a lot of time to read reviews, compare and find the camera that is just right for us, it is not ultimately the camera that creates a beautiful picture. It is the person behind the camera. The photographer is the last word in creation. If you give the best available equipment to a person who does not have the basic idea of what a great photograph is, he will never be able to get one. But a person who can visualize what the photograph will be like can shoot a masterpiece even with an ordinary camera.
There are some levels of skill and aptitude that ultimately makes a good photographer. Though everybody may not become a great photographer or have the same level of skills, one can at least try improving and the result will always be satisfactory.
One of these skills that one can develop is the ability of pre-visualizing photograph. Pre-visualizing is thinking about situations, subjects, shooting techniques, etc. that one might get or need to produce a photograph. It is a mental plan of the photographs you are going to shoot. It is the mental picture of the final photograph and the mental list of the objects that you will need to produce it. Pre-visualization gives you direction. It allows you to focus on a particular pre-thought subject rather than trying to capture all that you can see. This focused attitude is good as it helps one to reach the goal faster.
Pre-visualization also depends on knowing a little about a place, event, or a person you are going to shoot. If it is a person and you are going to take his or her portrait then you should know something about the person as that will help you to bring out the personality. Also, when shooting events, a brief knowledge of the event helps you to capture the right moment and moods. You can then pre-visualize the moments and what you need to capture and how.
If you are on a vacation or going to some place you may not visit again then you should always try to pre-visualize so that no time is wasted and you can start getting good pictures from the very first shot.
SCRIPT WRITING BASICS
There are three bodies of a script: Headings, narrative and dialogue. Each of these has three points to remember.
Headings:
1. Master scene headings which include:
a) Camera location - EXT. (exterior or outside) or INT. (interior or inside)
b) Scene location (LOCAL RACE TRACK)
c) Time (DAY or NIGHT)
2. Secondary scene heading
3. “Special headings” for things such as montages, dream sequences, flashbacks, flash forwards, etc.
Narrative Description:
1. Action
2. Character and settings (visual)
3. Sounds
Dialogue:
1. The name of the person speaking appears at the top, in CAPS.
2. The actors direction (AKA parenthetical or wryly). Try to avoid these as much as possible. Both the director and actor will appreciate it.
3. The speech.
Putting all this together you should come up with something that looks like this:
DEVELOING CONCEPT (IDEA GENERATION)
Before I begin I would like to say that this is my thought process and ways of conceptualising images and ideas. You do not have to follow everything I say as these are guidelines to help you along the way and many other artists will have different ways and ideologies. With more experience concepts are easier to execute.
WHAT DOES CONCEPT MEAN?
Well basically it’s about an idea(s), thought(s) or feeling(s). Resolving or portraying them from your creative mind as best as you can make it your concept. An idea is only powerful unless it is expressed well and unless you wish to express a message. Without meaning or feeling it is not a concept. So just taking a snapshot photograph does not make it a conceptual piece. It’s when you put the concept to it that it becomes something more. The photo alone should speak for itself, even though it can sometimes be ambiguous. That’s where you take that challenge to direct the message in the path that you would like it to go.
I will try my best to help you in ways to develop concepts and get rid of those artist blocks that we all encounter.
If you still don’t understand what conceptual means fully, take a look at this ARTICLE for a clearer understanding. They are the definitions by some deviants.
BRAINSTORM AND DOCUMENT YOUR IDEAS
When coming up with concepts or if an idea just sparked, write it down! And even sketch it if you can. Think and brainstorm till no more ideas come, and note all your ideas down. It may be useful for another idea or even if a client asks you to create something that’s nearly along the same thought process as yours. Before you jump into research, approach your idea from every angle possible, from a perspective you wouldn’t ever consider trying. Then do some background research into what you plan to do. The reason I said research after is, so that your first ideas are not influenced by things that you will discover, this could limit your thought process. Your creative juices will become boosted; it’ll help you develop your concept(s) even more. Maybe even give you another idea for creating a different piece. So do not discard it.
WHAT’S YOUR TIME OF DAY?
You must wonder what kind of question is this? Well it’s not so freaky when you think about it. I am certain you get your ideas at one or maybe more times during the day. When you’re waking up, going to sleep, doing the laundry, cooking, or even taking a shower, some ideas pop into your mind. Well if you know when those times are that you are most creative, take advantage of it. Keep a notebook with you and write those ideas down. Most likely if you don’t, you may never get the same idea again or it might never come back the same.
ONE IDEA MAY NOT BE ENOUGH
Do not just rush into creating something because it’s an idea – it may not be your best...not just yet, take your time to develop it, look for alternatives. Sometimes better ideas come when you develop them, it helps you better understand it yourself.
WEIGH THE PROS AND CONS
Ask yourself these questions or rather, run the idea by someone who shares the same view point as you do if you are comfortable sharing it.
Will people get your message or will they interpret it as something else? Is there enough clarity?
What is it that you want to get out of it?
For people to stop and think?
For people to be disgusted but drop their jaw at the reality of your idea?
To influence someone positively? Or to just express a feeling or thought inside your mind?
Are you targeting the right audience?
KEEP AN OPEN MIND
There isn’t only one way of creating something and all styles and mediums may not well execute the idea you have in your mind. If you are trying to portray anger you aren’t going to use white or use a lady bug in your photograph. You would most likely use red or orange, you would use texture, and you would photograph clenched teeth or destruction. So think about how best you can use elements to create that umph to making your concept strong.
If an idea is about you, you don’t necessarily have to make a self portrait but rather something that expresses you. If it is driving, take some element from driving. If it is about a passion you have for something then use colours, use bold shapes, take what you feel and throw it out, the exact words that come to your mind or the images you see, note that down, it could be the ‘silliest’ things that might just be enough to get your message across. It does not always have to be literal. What if you put a twist on it and look at it from a whole new perspective? Don’t think too complex either. Remember Simplicity is more.
GO PHOTOGRAPH IT
Go over what you conceptualised, choose the best solution, even if it is a combination of more than one idea, if it’ll get your concept across then work with it. Included in this would be your subject/object, how you choose to photograph it, colours you would use, would it be portraiture, landscape? A collage of elements in a location? Will it be bright, high key, low key? Will it be saturated, de-saturated? You plan all that out and then you go take the photograph. You should feel confident and learn how to plan, ideas flow better, they come better and time isn’t wasted.
THE TITLE SAYS IT ALL
When you’ve finally got your concept out and think to yourself, this is it, this is what I want to say. Then post it, upload it and share it! But your title is as important as the photograph if it is going to accompany it. How you title it could change the whole impact and change the concept entirely. So also be selective of how you title your conceptual photographs. Choose the correct words; even if it takes you an hour...your title highlights the entire work process and message.
TALK ABOUT IT
Lastly say something about your piece, by now you must have tons of things you went through to get what you created. How was the discovery and conceptual development for you? You’ll also want to give the viewers a little idea about what it means to you and why you chose to do it. I am confident your explanation would draw viewers in even more, but do not over write or over explain. Keep it brief, 100 or even 50 words minimum. If you think the image is enough to get your message across then don’t say anything at all.
SOMETIMES IDEAS AREN’T ALWAYS SO PLANNED OUT
Yes I talked about planning but not all concepts are executed with so much thought like above as one might be on a spot where an idea just sparked and you jumped to go photograph it – because many people do come up with ideas on the spot, I have. Coming up with ideas on the spot isn’t always successful, meaning it might not get your message across clearly, or it might lack something. If you have been developing concepts for quite some time this would be for you, because you will know what works and what wouldn’t work. If you are new to conceptual photography, take some time to develop your ideas. If you are out taking nature shots and you see something that would be great for a feeling or thought that you have, then by all means photograph it. Just make sure it’s saying what you want it to say. Do not just look through old photos, title it and call it conceptual, conceptual photography is much more than that. The MESSAGE is the key.
So start thinking and conceptualizing.
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VIDEO PRODUCTION BASICS
- PRE PRODUCTION
The Key to finishing a quality video is to start with pre-production.
It is tempting to start shooting right away, but a little planning now will save you hours of frustration later on. It's a good idea to sit down and lay out your ideas with paper and pencil. This will help you formulate a clear idea of what your video is trying to communicate. To begin formulating these ideas a story, a script and a Storyboard are essential.
This is where it all begins. The first step is to understand what you are trying to communicate and what your intended message is. If you don't understand your message, no one will. Creating a script or storyboard will help ensure that you and your audience understand your intent.
Think of your video as a story. All good stories contain certain elements. When creating your story keep in mind the 5 W's; Who, What, When, Where, and Why. This will help you fill in the main body of your story. Additionally, there are some general terms that you should be familiar with; protagonist, antagonist, plot, setting, turning point, dialog, introduction, conclusion, narration, and points of view.There are two main styles for laying out your story - a storyboard or a script. They each have their pros and cons. Continue on to find which one best suits your needs.
As seen in the accompanying picture, a storyboard contains a rough sketch representation of the video. A storyboard is essentially a timeline going from top to bottom, with the top occurring first. Using a storyboard allows you to see what the scene will look like. This is one of the major advantages a storyboard has over a script. The storyboard method is also generally thought to provide a better overview than the scripting method. Find attached a blank storyboard form that can be printed for your use.
Script
The script style is similar to reading a book. It is very useful for dialog intense pieces. If you do have a piece with a considerable amount of dialog, use the video side to indicate who is speaking, or what reaction the character should have. This is more in line with a traditional play script. Often your talent will benefit more from this method than the storyboard, as they are more interested in their lines than creating a story. Find attached a blank script form which can be printed out for your use.
The storyboard and script methods should be used in conjunction with one another. Creating a storyboard allows you to refine and examine the overall story-line. Once completed turn the storyboard in to a script. The final script will provide the detail required for the actual shooting. It will also allow the talent to view and rehearse their lines.
The Plan
Now that you know how you are going to lay your story out (script orstoryboard), you need to plan ahead to decide what production elements your video should include, to help you better communicate your message.
Taking your script or storyboard and turning it into a video will require some planning. Video incorporates many different elements such as zooms, dissolves,crossfades, music, and titles. When used properly these elements can aid in telling your story. Putting them together however requires some planning. Before you can effectively use these production elements you must first understand them. Click any of the highlighted terms for a more through description.Production Elements
opening, closing
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Video
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Now that you understand the production elements, you might take a moment to review your script to see how these elements can aid in the telling of your story.
Checklist
Now that you created your script or storyboard and you know what elements you're going to include, you are well on your way towards fame and fortune in the world of video. But before you actually start the production phase, there are still a couple of things you need to check on to ensure that the rest of your production goes smoothly.
Sam has made the following checklist to help you as you prepare for production.
 Get props and costumes | Get tape log sheets |
| Get all equipment | Scout out sites |
| Choose talent, rehearse | Book studio time |
| Does all equipment work | Charge batteries |
| Choose a videotape format | Purchase video tapes |
Props (Properties):Smaller items on the set or used by the talent such as books, watches, silverware.
Talent: A generous term referring to actors or the 'in-front of camera' personnel.
Videotape formats: The standards for playback and recording used in conjunction with video tape equipment. Standards include, VHS,(video home system) Hi 8 (High-band 8mm), DV(Digitalm video), U-matic (three quarter inchtape), S-VHS,Super (video home system) to name but a few.
Tape log: The process of writing on paper the contents of a video tape and the corresponding time code or control track numbers. Additional information can be found in thetape logging section.
Scout: Searching for or evaluating a site before actual production begins.
By following through this checklist you've completed the Pre-Production Phase.
- PRODUCTION
Production is 50% knowing what you want to do and 50% knowing how to do it.
With your storyboard and equipment prepared, you're well on your way to creating a quality video. You now know what you want. This next section will guide you through the Production phase, help to show you how to get your ideas from paper to video tape. To begin the Production phase starts with Camera.
Camera
Good camera-work will allow your audience to see things from your perspective. From close-ups for detail and emotion, to long shots for perspective, camera angles, movement, and composition, will keep your project flowing. Poorly executed camera work can make the best scripts confusing and uninteresting. So, plan your shots and practice those camera moves.
Focusing
When focusing remember this rule. Zoom all the way in and focus on an area high in detail, such as the eyes. Then zoom out to your desired shot. Don't use the auto-focus if you can avoid using it. The auto-focus tends to focus on something other than your subject. You may also notice that it will change focus during a panor zoom. Anytime the distance between you and your subject change readjust your focus. Some lens have a "macro" setting. This setting is very useful when focusing on very small or very close objects. Shooting slightly out of focus can provide mysterious effects, but should be avoided as a general rule. To see an example of an out of focus blurry shot click here.
Keep your camera steady
Shaky camera work is a sure sign of an amateur production. Using a tripod is the key to creating steady shots. If you are unable to use a tripod, try using a tripod substitute like a desk, chair, or the top of a car. If you are going to hold the camera yourself, try bracing yourself against a wall or sitting to minimize body movement. If you're using a viewfinder avoid any contact between it and your eye. This will keep any head movement from shaking your camera. The more you zoom in, the more any camera movements or shakes will become apparent. Getting closer to your subject will allow you to zoom less, creating steadier shots. If your camera has image stabilization, turn it on. This option will help take some of the shake out of your camera work. For moving shots keep your knees bent and move slowly and smoothly.
What format tape to use
It depends on the level of quality you need and can afford. VHS is considered low quality. Its' picture does not have as much resolution as other videotape formatssuch as SVHS or Hi8. However VHS is very convenient, the tapes can be played back in a standard VCR. These tapes also cost about 1/3 as much as SVHS or Hi8. Newer formats such as DV (Digital Video) offer an even higher quality of recording that was until recently only available to the professionals.
White balance
White balancing is the setting that instructs the camera to analyze the proper color temperature of the light and set itself for the most pleasing results. Most cameras have what is called "auto-white balance" which instructs the camcorder to analyze the color temperature of the light and set itself for the most pleasing results. Auto white balance may work in two ways. Most consumer cameras white balance by simply choosing between preset outdoor and indoor white balance setting. Professional cameras auto-white balance continuously. The camera fine-tunes itself to compensate for color temperature changes. Failure to properly white balance can result in improper or unnatural colors. To see an example of picture that was not properly white balanced click here. To better understand how lighting can effect white balance continue on to the Lighting section.
Lighting
Lighting, when used properly, is an expressive and powerful tool. It can convey emotion, make a character appear evil, show contrast, or create a general mood. When used improperly, lighting can make it difficult for an audience to view or understand your intent. Understanding the concepts below will help you to use lighting properly and creatively.
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Don't mix different kinds of light.
Cameras are very similar to our eyes. One big exception is that cameras are much better at seeing different color temperatures than the human eye. If you're shooting in an area that has incandescent (indoor) light and natural sunlight, the resulting picture will have colors that look unnatural. The problem is that your camera can only white balance to one temperature or type of light (indoor or outdoor) at a time. So, if your camera white balances to the incandescent indoor lights anything illuminated by the hotter outdoor light will appear as a 'funny' or wrong color. To avoid this, close shades or shoot with your back towards the window. If there is too much sunlight coming through the window, close shades or move to a new, more hospitable location. It's best to stay away from windows altogether especially on a sunny day.
Three point lighting
If you have a portable light kit or are in a studio, take advantage of three point lighting. By using three different points of light (key, fill, and back) you can create pleasing results. The key light provides the main lighting on your subject. It is typically placed above and slightly to the side of your subject. The fill light will generally be a smaller light placed adjacent to the key light, and slightly below the subject. The back light is used on the background or area behind the subject. Using a back light helps create a sense of space and depth.
Watch out for shadows
If you are using a single light, be careful, it can create very hard shadows. Using more than one light source can help diffuse the light making it easier to avoid those hard shadows. Try to keep the light source (lamp) out of your shot. If you get the direct light in your shot it can be so bright as to cause the rest of your picture to look dark. The rule is the same whether the light is incandescent (indoor) or natural (outdoor). A bright or reflective background (such as white) can also cause your subject to become dark or create unwanted shadows.
Tip: If your camera doesn't have an accurate color viewfinder, try to bring a video monitor when you shoot. It is always better to find any color or light problems while you're shooting.
Audio is often overlooked by beginning videographers. As a result, amateur projects often have lots of ambience, noise, poor mic techniques, wide variations in levels, hiss and other annoying sound problems. One of the best ways to look like a pro is to sound like a pro.
Camera microphones
Most camcorders come with built in microphones. These camera mics are generally not the highest quality and have a tendency to pick up a lot of unwanted noise. They are, however, very convenient and easy to use. The camera mic is adequate in certain cases, but more pleasing results can be obtained using different microphones. The general rule is get the mic as close to the source as possible. The location where you are shooting is bound to have lots of unwanted noise (air-conditioner, traffic, street noise, noise from other people, planes.) Placing the microphone close to your subject will help decrease the amount of ambient noise that gets recorded.
There are several types of microphones, each one has certain characteristics which make it appropriate for specific applications. Continue reading to determine which microphone is most appropriate for your particular needs.
PICTURE
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MICTYPE
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CHARACTERISICS
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HOW & WHEN TO USE
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unidirectional, with a hyper cardioid pickup pattern, high output. Generally requiresphantom power.
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Works well if you are shooting alone - generally mounted on camera - picks up what it's aimed at - be careful where you aim- very good at rejectingambient noises.
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unidirectional, cardioidpickup pattern. For best results, keep the mic close to your source
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Typically used for news or ENG work - hold close to the audio source for best results.
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Omnidirectional orunidirectional. Generally requiresphantom power.
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Small mic usually clipped on clothing - talent doesn't have to hold the mic - it can easily be hidden from the camera.
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Pressure ZoneMicrophone.Omnidirectional. Generally requiresphantom power.
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Effective way to record many people using a single mic - picks up all noises so try to limit unwanted sounds - usually placed on a flat reflective surface (floor, table).
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Using the right mic is only part of what is involved in creating good audio. Continue reading for some additional tips for producing quality audio.
Roll-off
If your microphone has a roll-off filter, use it. The filter rolls off or cuts very low frequencies 80Hz and below. It is beneficial to cut those frequencies as they mainly contain low end rumble, wind noise, or noise from machinery. The human voice is not within this frequency range so you are not compromising the dialog but instead decreasing the noise that would cover your dialog. The pop filter or windscreen is an easy way to use a low end cut even if your mic doesn't have a low end roll off switch. A pop filter is simply a piece of foam that is placed over the mic. This foam helps cut down on low end noise as well as helping to control transient sounds produced when certain letters such as "B", "P", and "K", which generate more wind than others when spoken. These sound are sometimes referred to asplosives. Plosives are sometimes caused by placing the mic to close to the source.
VU Meters/ Headphones
If your camera has audio meters, take advantage of them. Meters can provide a good indication of whether you need to turn the gain up or down. While meters provide a general indication of audio levels let your ears be the final judge. Most cameras provide a headphone jack. Monitoring with headphones and watching the audio meters will let you know exactly what is going to tape.
Phase
When using multiple microphones you must be aware of phase relationships. If two mics are picking up the same source from two different location (at two slightly different times) the two signals can become out of phase, resulting in a loss of level and sound quality.
Tip: In a pinch you may use a sock or a nylon stocking as a pop/wind filter.
Techniques
Professor monkey has gotten tangled up quite a few times. Often it's the little things that can get you off course. Whether trying to set up and connect equipment, charging batteries, knowing what videotape format to use, or simply understanding those numbers that keep turning while you record, this section will help steer you back on course.
Video production requires the use of many different types of equipment. All this equipment must somehow connect together. The following list should help you better understand some of the connectors your likely to encounter, and how to use them.
PICTURE
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TYPE
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USE
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Audio: 3 pin connector, generally used to connect microphones carrying a balanced audio signal.
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1/4"
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Audio: 2 conductor mono (as shown) for mic inputs on some cameras, or the 3 conductor stereo version used for headphones generally.
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Phone
1/8"
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Audio: Same as 1/4" only smaller, mostly used in connecting mics to a camera or for smallerwalkman style headphones.
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RCA
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Audio/Video: Most commonly used as dub cables (A/V in/out) for consumer cameras and VCRs. Carries baseband signals.
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Video: Most commonly used on professional video equipment to carry baseband video. It provides a solid twist and lock styled connection.
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Tape practices
Video tape contains millions of tiny magnetic particles. Recording on a video tape causes these particles to move into a position. Upon playback these particles are read back by the VCR producing the video signal you see. The key here, is that these particles are magnetic. If they are placed on or near a magnet, those tiny particles are likely to be rearranged, thereby destroying the previously recorded material.
The video tape itself is somewhat sensitive and over time, the binding materials that hold those magnetic particles will begin to decay. Every time you play the tape, a certain amount of friction (from the video heads, rollers, audio heads, etc.) will cause the binding materials and magnetic particles to rub off. Excessive moisture should also be avoided, as it can cause residue, or, in extreme cases, mold to form on the tape.
All video tape is not created equal. Always purchase the highest quality tape possible (usually the most expensive). This is money well spent, as the higher quality tape provides more of those tiny magnetic particles and better binding materials. The increased number of magnetic particles provides more picture information resulting in better resolution. The superior binding materials help retain the magnetic particles resulting in a longer more stable tape life.
Many camcorders provide several choices for recording and playback speeds. VHS camcorders will often provide choices such as SP (Standard Play) LP (LongPlay) and EP (Extended Play). The main difference between these modes, is the rate or speed at which the tape passes over the video heads. SP records the fastest while EP records the slowest. The rule to remember is: increased tape speed causes the video heads to read more magnetic particles, resulting in more picture information and better video. Slow tape speed will not produce the same high level of quality but will provide more recording time. This means that a 120 minute tape is capable of recording 8 hours of video when set for EP speed. The EP video quality will be lower than that of a 120 minute video set for SP speed.
Tip: Avoid placing video tape on TV monitors, speakers, near magnets, in humid or extremely cold or warm areas - avoid pausing for long periods of time, always buy the best tape, and record at the highest speed possible.
Recording Practices
Start recording and wait several seconds before starting the scene. Many camcorder take a few seconds before they begin recording smoothly. It takes a certain amount of time for the tape to start and the record heads to engage. Beginning a scene before your camera is properly recording has its obvious problems. Even if your camcorder has flying erase heads and can begin recording quickly (often from pause) waiting can be beneficial. For example, VTRs will require several seconds to synch up before they can take and edit (usually a minimum of 5 seconds). So, be sure to record at least 5 seconds before you start your scene.
Record multiple takes. Even if you think it was a perfect take you can benefit from doing a few more. Often what first appears to be a perfect take will upon review show some kind of flaw. So, give yourself some more options in the editing room by shooting several takes of each scene - it will pay off during post production.
Keep track of what you've shot and what you need to shoot. It can get confusing, especially if you are shooting several scenes. Keeping notes during production can also pay off during post-production.
Exercise your Batteries. Most consumer and pro gear use rechargeable NiCad batteries. These NiCad batteries are susceptible to what is called memory condition. If you partially drain (use 70% of the battery) and then partially charge your batteries, the battery will in effect forget what its full charged capability is. The result is that a battery that used to last an hour, might only provide power for half that time. Running your batteries until they are dead and charging them fully will mitigate these memory problems. However, over charging can be just as detrimental, and in extreme cases can cause the battery to leak or even explode. So consult your manuals and stay within the recommended charging time.
Cold can negatively affect the performance of your batteries. Recording in the cold will put an extra strain on your batteries, causing them to drain faster. If you plan to record in the cold, bring extra batteries. You can increase the amount of time your batteries will perform by deselecting auto-features. Features such as auto-zoom, auto-iris, and auto-focus, require power to operate. Performing these functions manually will decrease the drain on you battery increasing its' time of operation.
Tip: To increase your batteries' life, fully charge and drain your batteries.
- POST PRODUCTION.
Difference between an amateur and a professional is that the amateur shows all his footage.
Now that you have your basic footage, you're ready to put it together in the post-production phase. This is where you will make the crucial decisions as to what stays and what goes. Also, you can add graphics which will give your video a polished and professional appearance. Begin the post-production phase by continuing on to tape logging.
Tape Logging
Professor Monkey knows just how tedious Tape Logging and creating an Edit Decision List (EDL) can be. He has tried to take some of the drudgery out of this process by supplying you with the proper forms. To better understand this process, continue reading about tape logging below.
Tape Logging
You're done shooting. Now you need to go back and log your footage. This is called tape logging. The more footage you shoot, the more critical this becomes. As you are reviewing the tape, write notes in the log. Notes can include; the scene name, time code or control track numbers, and comments (is the footage useful, sound problems, bad take, etc.) To start logging your tapes, print out a blank tape log. After logging the tape, you will be able to review the footage. This leads us to our next step, creating an Edit Decision List.
Edit DecisionList (EDL)
After you have completed your tape log, review it and select the shots that will be used. Then write these selected shots in your Edit Decision List. When you are finished, you will have created an EDL similar to the one on the right. This EDL is a paper representation of what the final edited video will look like. Using the EDL will enable you to make the appropriate edits, such as: Cuts,Dissolve, Wipe, which tapes to use, the in and out for each edit, and what kind of edit to take: Video, Audio, Both. A blank Edit Decision List can be printed.
Editing
When making an edit, avoid using similar shots. Editing shots that have similar content, framing, or angles often looks unnatural or jarring to the viewer. This is commonly referred to as a jump cut. To avoid creating jump cuts vary your shots. The general rule is: the more contrast between the two shots, the less you have to worry about creating a jump cut.
Depending on the type of piece you're putting together, your EDL will flow differently. For example, if you are trying to get the high energy feel of a rock video, you could include lots of edits to keep your shots changing to create a sense of excitement. A variety of video effects such as wipes, chroma key, and dissolves, can also help generate a feeling of excitement. After completing your EDL you can begin creating, titles and graphics.
Graphics
Graphics can allow you to accomplish several different objectives. Use graphics to break up your video and provide detailed information. They are also useful in demonstrating difficult concepts.
Big Graphics
When creating graphics, make them large enough to be viewed on smaller size monitors, or televisions. Keep in mind that the audience might also be viewing from far away from the screen.
Limit Information
Too much information on the screen can confuse your viewers. If you have a lot of information, break it up into several screens. Keep the info up long enough for your audience to digest, but not so long as to bore them.
The Safety Zone
Stay out of the safety zone at the edge of a shot. If you place graphics too close to the edge of the screen, you run the risk of having them cut off when viewed on different monitors.
Use safe colors
When creating graphics, be sure to use colors that are TV safe. High concentrations of chroma can result in colors bleeding into one another. It is noticed that reds can be particularly dangerous when highly saturated.
Sweetening
Before you finish, make sure your audio sounds as good as your video looks. Audio sweetening is the process of adding music, sound effects, dialog, and cleaning up any level, noise, or equalization problems.
Music
Adding music to a scene is a great way to help set the tone or provide non-verbal cues. When adding dialog and music in the same scene, keep the music at bed level, don't let the music over power the dialog. If you are having trouble hearing the dialog, this is a clear indication that the music is too loud. Keep in mind that you already know the dialog since you have written it and heard it played back several times. Close your eyes and try to listen with objective ears to make sure the first time listener will understand your script.
Sound Effects
Sound effects can provide a sense of realism for your project. If you have a scene with a gun shot, the addition of a loud bang when the gun is fired will make it much more realistic. Sound effects can also be used to make the setting more believable. If your video takes place in the woods at night, adding owls, crickets, and other night time sounds will make the scene more realistic. This realism will create a greater impact on your audience. If you doubt this, just try watching any movie without the audio.
Final adjustments
Before you finish, listen to the overall levels. Listen to make sure the levels are uniform throughout your piece. Your audience should not be expected to adjust the volume during the video. It is your job to make sure they don't have to. Listen for any noises, clicks, hum, or buzz that should be taken out. Most of the time, if you have hum or buzz on the tape, it is because you recorded poorly. If these noises are very apparent, think about re-recording. However, equalization often times can minimize bothersome noise (frequencies.) The general rule when equalizing is to try to decrease the offending frequencies first, then, if necessary, increase certain frequencies to provide intelligibility.
Sound creates expectations
Sound plays a strong role in setting the tone and expectation of the viewer. The following two videos provide examples of this. The video portion of these two pieces are identical up to the last edit. The music and sound effects however, are very different from each other. When viewing the following videos, pay particular attention to the audio. The audio can change your expectations, and it will affect the viewers in strange ways.
Congratulations!
You are well on your way to creating many more quality videos. Hopefully this tutorial has given you some new ideas and a better understanding of video production.
All Credits to http://www.sotherden.com/video101
GLOSSARY
A ratio of height to width of a viewable video screen. The aspect Ratio for a standard TV is 3:4. New standards such as HDTV are being introduced that have an Aspect Ratio of 3:5.
Measures the intensity of the sound. Usually quantified in decibels (dB). Meters with all lights lit or 'in the red,' are likely to produce distortion and very loud levels. Meters that are barely moving or have few lights lit, will produce very low volume and hiss when played back. To see an audio meter click here.
| B | Back Light
Light used on the background or from behind the foreground subject. It's primary function is to separate the subject from the background, thereby creating a sense ofdepth. Typically used in conjunction with a fill and key lights as part of three point lighting. To see an example of back light click here. For more on lighting see thelighting section.
Baseband A video signal that travels over a single cable in an unmodulated form.
A microphone pickup pattern in which sound is picked up by two sides of a microphone.
Black The appearance of a blank black video screen, often used for transitions from one program to the next, as in 'fade to black.'
BNC (Bayonet Fitting Connector)
Video connector generally used on professional video equipment. Provides a secure twist and lock connection. To see a picture of a BNC connector click here.
A microphone pickup pattern in which sound coming from the rear of the microphone is rejected. Called 'cardioid' because it has a similar shape to a heart. Also called unidirectional because it only picks up sound from one direction (front of mic.)
CG (Character Generator) A device that reproduces letters, symbols, numbers or other characters on a TV screen.
A video effect that replaces a (background) color (usually blue or green) with another video source. It is most commonly used for weather reporting. The weatherman stands in front of a blue or green screen, then that color is replaced with a video picture of a weather map. Chroma Key is commonly called the weatherman effect.
A shot that appears close to the subject. Commonly used to show emotion when focused on the subjects face. To see a close-up of your professor click here.
A test signal used when synching and phasing video equipment. It contains vertical strips or bars of various primary and secondary colors. To see a picture of color bars click here.
Measured in degrees Kelvin, color temperature measures the relative amount of reds or blues present in different types of light. Incandescent (indoor) lighting is generally at 3200 deg. K, natural (outdoor) lighting is hotter usually around 5600 deg. K. Additional information can be found in the lighting section.
The aesthetic choices made that result in the final onscreen picture. Choices such as framing, lighting, color textures, and any other factors that the makeup of the on screen picture.
A signal that is recorded on to video tape. This signal however is not seen but rather used to control and synchronize VTRs for playback and editing purposes.
You worked hard creating this video, so be sure to include a copyright notice. Copyrights typically come in the form of a graphic at the end of the video. It denotes ownership, requiring others to gain permission from you before they can legally use it. To see an example click here.
Typically titles that roll at the end of a video. These titles include the names and positions of individuals that contributed in the creation of the video. It is also a way of giving credit to those that contributed.
Something you can never get enough of; gaffer, cameraman, lighting designer, director, audio mixer, any and all behind the scenes help.
An audio transition during which one audio source fades in while one source fades out. A cross fade is the audio equivalent of a video dissolve.
Creating the illusion of three dimensions on a two dimensional video screen by employing techniques such as three point lighting and the rule of thirds.
Produced by bouncing or diffusing light. This allows the light to spread more evenly, reducing hard shadows.
A videotape format that stores video and audio information digitally (as 1's and 0's) rather than an analog signal. The digital tape format allows copies to be made with out generation loss when coping via digital protocols such as fire-wire.
The individual that is always yelling during production. The director is responsible for translating the storyboard in to video by specifying; camera angles, microphone techniques, lighting, and other production techniques.
Dissolve
A video edit/transition, from one shot to another that happens gradually. The two different shots will appear to melt or dissolve from one to the other. To see an example of a dissolve click here. Also see cross fade.
| E | Edit Controller
Used to control VTRs and place edit points for linear editing. To see a picture of and edit controller click here.
A paper representation of all the transitions and time code information for all the various footage that will be incorporated in to the final video. Go to the loggingsection for additional information. To view a blank EDL click here.
The part of post-production where the video is assembled according to the Edit Decision List. There are two many types of editing, linear and non-linear.
Video production that take place in the field using portable equipment and or a remote truck.
Increasing or decreasing specific audio frequencies to produce particular sonic qualities. Helpful in cutting offending noise such as hum.
EP (Extended Play) Slowest recording and playback possible for VHS videotape format. Also see LP, SP.
A gradual transition from black to full picture (fade in), or from full picture to black (fade out). To see an example of a fade click here.
Used to soften shadows and illuminate darker areas. The fill light is usually placed slightly below and to the side of the subject. Typically used in conjunction with akey and back lights as part of three point lighting. For more on lighting see the lighting section.
Floor Manager
The director's assistant during production. Acting as the go between for director and talent. The floor manager carries out the instruction of the director providing cues for the talent.
Erase heads that are not fixed, but rather rotate (fly) on the same drum as the video heads. This places the erase heads and video heads in close proximity to one another. This increased proximity allows for glitch free edits on cameras or VCRs. Flying erase heads provide a clean transition from pause to record creating instantaneous cut.
A complete picture or snapshot of video appearing as a still image. Frames occur approximately 30 times per second. When successive frames are played back at this rate the still images are not seen as still images, but rather blend together creating the illusion of motion.
The set up and placement of subject matter with in a video picture. Factors such as talk space, headroom, and how tight or lose the shot is are all parts of framing. The rule of thirds, provides general guidelines for framing. To see an example of framing click here.
Crew member responsible for placement and rigging of lighting instruments and other video equipment.
Degradation that occurs on a dubbed video tape when making analog copies. Each successive generation (copy of a copy) will produce less quality. Higher quality video tape formats incur less generation loss than cheaper formats. Using videotape formats such as DV it is possible to make digital to digital copies which don't incur any generation loss (the copy looks as good as the original).
Images such as titles, sketches, or pictures either hand drawn or created on computer, used in video program.
An 8mm videotape format used in consumer /pro-sumer video equipment. Hi 8 produces quality that is superior to VHS but similar to S-VHS.
A television standard providing greater resolution producing sharper images. HDTV also differs from the conventional TV standard in that it has an aspect ratio of 3: 5, providing a wider viewing area.
| I | Illumination See lighting section.
An option some cameras provide as a way to correct minor camera shaking that occurs from handheld camera work.
Light produced from man made sources such as florescent, or filament based lights. They emit cooler color temperatures than natural light (outdoor light). The lower color temperature causes a greater amounts of red to be present in incandescent light.
A video edit from one shot to another that seems jarring or unnatural. Edits between footage containing similar angles, composition, and subject matter can produce a jump cut. A jump cut can give the feeling of missing or deleted frames. To see an example of a jump cut click here.
A unit of measure used to determine the color temperature of different light sources.
The principal or primarily light used in illuminating the main subject or scene. The key light is generally placed slightly above the subject to mimic natural light. Typically used in conjunction with a fill and back light as part of three point lighting. For more on lighting see the lighting section.
| L | Lavalier Microphone A tiny microphone clipped to a tie or shirt of an individual. To see a picture of a lavalier click here.
A process of recording different segments on to a master tape from beginning to ending in a linear fashion. An edit controller is used to control the VTRs and place edit points. The process is similar to using a typewriter, in that it is difficult to add an extra paragraph (footage)in the middle of the document (video). Computer based non-linear editing is becoming the more popular method of editing.
The middle recording and playback speed used with VHS videotape format. Also see EP, and SP.
Used to show multiple subjects, to establish a scenes setting or location. Also see establishing shot. At the track Professor Monkey will occasionally bet on a long shot.
Electronically removing part of a picture or video and then replacing or filling that section with another picture or video. Most commonly used when adding or keying titles or graphics over video.
A shot including your subject from hips to head. Considered tighter than a long shot and loser than a close-up. To see and example of a medium shot click here.
Results when NiCad batteries are not fully charged or drained before recharging, causing the batteries to lose their charging potential. More information pertaining to batteries can be found here.
A self described video hack, that through years of hard work and patience has become a video professional. The Monkey is indigenous to the North End in Boston. His favorite food, Smart Food Popcorn.
| N | Natural light (outdoor light)
Light produced by the sun or other natural sources. Produces a higher color temperature then incandescent light (artificial/indoor light). The higher color temperature causes a greater amount blues to be present in natural light.
Battery used by most consumer video equipment. Susceptible to memory effect.
Any unwanted video audio such as snow, hiss, or buzz, that generally results from equipment malfunctions, poor production practices, or other environmental factors.
A computer based process in which footage is digital recorded (also called digitized) onto hard drives. Once on the hard drives the footage can be assembled in a nonlinear fashion. The process provides flexibility similar to that of creating a document in a word processor, allowing such functions as cut, copy, paste, drop. To see a picture of a nonlinear system click here.
Provides video standards used in the United States. NTSC video conforms to 525 lines and 30 frames per second.
| O | Omnidirectional
A microphone pickup pattern in which the microphone is equally sensitive to sounds from any direction.
Moving the camera angle on the horizontal axis left or right. It is similar to looking left and right when you turn your head.
48 volts of DC power used to power certain microphones, direct boxes, and other audio equipment.
Phone (1/8" or 1/4")
Used to connect audio inputs or outputs of audio gear such as microphones, headphone. To see a picture of a phone connector click here.
Phono (RCA)
Use to connect the inputs or outputs of either audio or video devices such as a CD player or camcorder. Used mainly in consumer level gear. To see a picture of a phono connector click here.
The microphones ability to pickup sound depending on the location of that sound relative to the microphone. Also see bi-directional, omnidirectional,unidirectional.
The smallest part of a video picture. The greater the number of pixels the greater the resolution and picture sharpness will be.
Sounds in speech such as "b, p" that generate a lot of wind noise when spoken, causing a pop sound if the microphone is to close. A windscreen can help avoid and minimize plosives.
A piece of video equipment used to control certain parts of the video signal, such as chroma, luminance, and sync.
The person that is always talking (usually on the phone). Its the person that gets the crew, talent, money, equipment, script, together.
Props (Properties) Smaller items on the set or used by the talent such as books, watches, silverware.
PZM (Pressure Zone Microphone)
A flat omnidirectional microphone usually placed on the floor or wall. It operates by sensing changes in air pressure between the mic element and the base. To see a picture of a PZM click here.
Amount of video information on a screen measured in lines and pixels. The more lines and pixel information the sharper the video image will appear.
Roll
Text or graphics that move across screen vertically. Rolls are most commonly used in credits at the end of a program.
A guideline for composing or framing shots. The rule suggests that by dividing the screen in thirds vertically and horizontally, and framing the main parts of the subject along those lines will create a sense of depth. To see an example of the Rule of Thirds click here.
Searching for or evaluating a site before actual production begins.
Script
The script is a paper version or outline of your video. It contains dialog characters, plot, and can be broken down into parts called, scenes or acts. To see an example of a script click here. To print a blank script for future use click here.
Shot Picture or video recorded by a camera. Long, medium, and close-up are a few examples of shots used when creating a video.
Highly unidirectional or hyper cardioid microphone. It is useful when recording audio from a source that is far away. To see a picture of a shotgun microphone clickhere.
Taking the video and slowing it by a specific amount. Many consumer VCRs have this feature however it will usually cause tracking lines to be seen upon playback. "The Knife" by professor Monkey, uses slow motion in several shots near the end. Click here to see.
An organization that creates many of the standards for video and audio such as time code.
Audio prerecorded or created live to provide a sense of realism and believability to the video.
SP (Standard Play) Fastest speed at which a VCR can record or playback. Other slower speeds include EP, LP.
Storyboard A storyboard provides sketches of frames or scenes, with accompanying information regarding dialog, setting, and or transitions. The strength of the storyboard lies in it ability to give a visual representation or overview of what the scene should look like (usually through cartoon or stick figure diagrams). To see an example of a storyboard click here. To print out a blank storyboard click here.
A videotape format similar but superior to VHS and VHS- C in that it contains more picture information, and increased resolution. S-VHS requires a special cable that carries chroma and luminance information on separate wires.
The process of adding sound effects, narration, music, equalization and other audio adjustments to the video program. Sweetening takes occurs during post-production. For more information go to the sweetening section.
Allows for switching between multiple video sources, such as cameras, time base correctors, character generators. Most switchers provide transition effects such asdissolves and wipes.
The process of writing on paper the contents of a video tape and the corresponding time code or control track numbers. Additional information can be found in thetape logging section. A blank tape log can be viewed and printed out here.
Basic lighting approach incorporating three lights; key, back, and fill. Proper use of this technique will result in even and natural illumination providing a sense ofdepth between the subject and the background.
Moving the camera angle on the vertical axis up or down. It is similar to looking up or down when you tilt your head.
An electronic device that corrects timing inconsistencies allowing un-syncable video sources such as (non-gen lockable or wild) cameras, and VTRs to synch up with other video equipment typically used in a TV studio.
Time Code
A standard of Synchronization created by SMPTE, which records a specific number on to each frame of video. Time code allows for frame accurate edits. To see an example of time code click here.
| U |U-matic (three quarter inch tape) An industrial level videotape format, used primarily by cable access studios.
A directional microphone pickup pattern, similar to that of a cardioid pattern, where sound to the rear of the microphone is rejected.
| V | Vectorscope
A video testing device that measures chroma, hue and other parts of a video signal. To see a picture of a vectorscope click here.
Half-inch videotape consumer level format used with VCRs.
A videotape format using many of the VHS standards. Allowing miniature (compact) cassettes to be played back on standard VHS equipment with the use of an adapter.
A consumer video recorder/player capable of playing VHS videotape format.
The standards for playback and recording used in conjunction with video tape equipment. Standards include, VHS, Hi 8, DV, U-matic, S-VHS, to name but a few.
Narration generally added during post-production. A person speaking dialog that aids in storytelling and or helps to explains the video portion of the program.
| W | White Balance
A camera adjustment which compensates for different light and color temperatures to provide accurate color information during recording. White balance is set automatically by some cameras or manually by aiming at white object and then white balancing. To an see example of video that was not properly white balanced click here.
A soft foam material used to cover a microphone to cut down on wind noise and plosives.
A video transition from one video source to another where the original source appears to be pushed (wiped) off and replaced by the new video source. To see an example of a wipe click here.
Operates by transmitting low power radio waves from the microphone to the microphone receiver. Allows for increased movement as the microphone does not require a cable to be attached.
| X | XLR
3 pin cannon style connector generally used in connecting microphones carrying a balanced audio signal. To see one click here.
A function some lenses provide. The appearance of getting closer to the subject (zoom in), or further away from the subject (zoom out), when in actual distance between lens and subject is unchanged.
All Credits to http://www.sotherden.com/video101
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