A-B roll linear editing, 165
Actor-director relationship, 131
Advanced Television Systems Committee-Digital Television (ATSC-DTV), 22
AGCs (automatic gain controls), 10
ALCs (automatic level controls), 10
Amplitude, 8–9
Analog video recording, 48–49
Aperture, 32–33
Art, planned vs. unplanned, 3
Aspect ratio, 134–135
ATSC-DTV (Advanced Television Systems Committee-Digital Television), 22
Audio
amplitude, 8–9
cables, 68–69
choice of channel, 76
connectors, jacks and plugs, 56–57, 68–69
consumer model recorders, 62–63
editing, 162–163
frequency, 6–7
measuring, 10–11
microphones. See Microphones
non-miked sources, 76
recording considerations, 76–77
setting up, 124–125
signal
amplitude, 8–9
frequency, 6–7
Automatic gain controls (AGCs), 10
Automatic level controls (ALCs), 10
Back focus, 32
Barrel, 58
Bars/gain selector, 38
“Bayonet Naval Connector,” 58, 59
Beta Home System (BHS), 26
BHS (Beta Home System), 26
“Blooming,” 114
Body mounts, 44
Boom mics, 124
Bust shot, 132
CA (continuity assistant), 148
Cameras
accessories, 36
aperture, 32–33
chips, 28–29
controls, 38–42
depth of field, 30
focal length, 30–31
hand-holding cameras, 46–47
in-camera effects, 152–155
lenses and optics, 30
aperture, 32–33
chips, 28–29
depth of field, 30
filters. See Filters
focal length, 30–31
F-stops, 32–33
tubes, 28–29
zooms. See Zooms
movement of, 140–141
supports, 42–46
setting up, 106–107
tubes, 28–29
Camera-recorder combinations, 66, 67
Cathode ray tubes (CRTs), 18
CCDs (charge-coupled devices), 12, 28–29
CD (compact disc) decks, 54
Central processing unit (CPU), 60
Charge-coupled devices (CCDs), 12, 28–29
Chiaroscuro, 120
Close-up (CU), 132
Closure theory, 133
Color bars, 36
Color temperature, 82–83
control, 38–39
controlling, 110–111
Color video, 18–19
Compact disc (CD) decks, 54
Compensating lens filters, 111
Computer cable jack, 62
Condenser mic, 70–71
Connector panel
attached units, 66–67
consumer model recorders,62–63
professional model recorders,64–65
separate units, 66–67
Connectors
consumer model recorders,62–63
video, 58–59
Consumer model recorders, 62–63
Continuity
editing, 146
records, 156–157
types of, 148–149
Continuity assistant (CA), 148
Continuity of action, 148, 149
Continuity of direction, 148, 149
Continuity of location, 148, 149
Contrast range, 114–115
Contrast ratio, 84–85
Controller, 164
Controls, camera, 38–42
Control track (CT) editing, 162
Cover shots, 150–151
CPU (central processing unit), 60
Crab dollies, 44
Cranes, 44
Creative editing, 176–177
Creative lighting, 120–121
“Creepy-peepy,” 27
Critical area, 136
Cross-key light, 118
CRTs (cathode ray tubes), 18
CT (control track) editing, 162
CU (close-up), 132
Cues and signals, 128–129
“Cuts,” 128
Cycle, 6
Decibels (dBs), 8
Demodulator, 58
Depth of field (DOF), 30, 34–35
Digital broadcasting standards,14–15
Digital audio signal, analog signal converted to, 11
Digital cinema accessories, 36
Digital Subscriber Line (DSL), 60
Digital tape cassettes, 52, 53
Digital VHS (D-VHS) circuits, 60, 61, 62
Digital video disc (DVD) decks, 54
Digital video recording, 50–51
Digital video signal
measuring, 20
standards, 22–23
Dimmers, portable, 113
DIN connectors, 56
Directing talent, 130–131
Director-actor relationship, 131
Distortion
audio, 8
video, 12
DOF (depth of field), 30, 34–35
Dollies, 44
Dominant movement, 139
Drag, 42
DSL (Digital Subscriber Line), 60
DVB-T (Terrestrial Digital Video Broadcasting), 22
DVD (digital video disc) decks, 54
D-VHS (Digital VHS) circuits, 60, 61, 62
Dynamics, 10
ECU (extreme close-up), 132
Edge attraction theory, 136
Edge bleed area, 136
Edit decision list (EDL), 170
Editing
audio sources, 162–163
continuity aspect, 146
controller, 164
creative methods, 176–177
efficient editing, 170
electronic aspect, 146
function of, 162–163
linear editing
A-B roll linear editing, 165
operating methods, 168–169
systems, 162
nonlinear editing, 172–173
operating methods, 174–175
patterns, 147
practical aspect, 146
shooting with editing in mind, 146–147, 149
steps, 170–171
video sources, 164
Editor, 164
EDL (edit decision list), 170
EIAJ format, 26
Electrons, light into, 12–13
Ellipsoidal spot pattern, 121
Emotional performances, 130
Equalization, 6
Equipment. See also specific equipment
field equipment considerations, 106–107
historical developments, 26–27
limitations on, 4
organizing on site, 102–103
setting up, 106–107
EWS (extreme wide shot), 132
Extra close-up (XCU), 132
Extra wide shot (XWS), 132
Extreme close-up (ECU), 132
Extreme wide shot (EWS), 132
digital signals, 60
Field equipment considerations, 106–107
Field of view, 12
Filters
camera controls, 38–39
color temperature, 110–111
Filter selector, 38–39
FireWire connectors, 60, 61, 62
Five-point lighting, 117
Fixed-focus instruments, 78–79
“Flaring,” 114
Flat-panel viewfinder, 37
color temperature, 82, 83, 110
compensating lens filter, 111
Focal length, 30–31
Focal point, 32
Four-point lighting, 117
Framing, 132–133
aspect ratio, 134–135
critical area, 136
edge attraction theory, 136
lead room, 137
principles of, 134–137
Frequency, 6–7
Fresnel lens, 78
Front focus, 32
F-stops, 32–33
Gaffer, 80
Gain (white level), 21
Gen-locking, 164
Gobos, 80
Hand cues, 129
Handheld cameras, 46–47
Hand props, 122–123
HD productions. See High-definition (HD) productions
HDTV. See High-definition television (HDTV)
Head shot, 132
High-definition (HD) productions
lighting preparation, 108
sets and props, 122
High-definition television (HDTV)
color video, 16
digital video recording, 50
international standard, 16
High hat, 44
Human senses, superiority of, 5
IEEE 1394 connectors, 60, 61, 62
Impedance, 70
In-camera effects, 152–155
Incident light, 84
Intensity of light, 84–85
controlling, 112–113
Internal gain controls, 154
International digital signal standards, 22, 23
Interpersonal communication, 130
Intervalometer, 154
Inverse square law, 113
Iris, 32
Iris fades, 152
Iris instrument control, 40
Iris mode control, 40
ISDB-T (Terrestrial Integrated Services Digital Broadcasting), 22
Jacks. See also Connector panel
audio, 56–57
consumer model recorders, 62–63
digital, 60–61
video, 58–59
Kicker, 118
LANs (local area networks), 60
LCDs (liquid crystal displays), 18
Lenses and optics, 30
aperture, 32–33
chips, 28–29
depth of field, 30
filters. See Filters
focal length, 30–31
F-stops, 32–33
tubes, 28–29
zooms. See Zooms
Light and lighting
color temperature, 82–83
control, 38–39
controlling, 110–111
contrast range, 114–115
contrast ratio, 84–85
controlling light, 80
creative lighting, 120–121
cross-key light, 118
for date, 120
electrons, changing light into, 12–13
five-point lighting, 117
fixed-focus instruments, 78–79
fluorescent lighting. See
Fluorescent lighting
four-point lighting, 117
gathering of light, by camera, 30–31
high-definition (HD) productions, 108
instruments, 78–79
intensity, 84–85
controlling, 112–113
kicker, 118
lighting ratio, 84
for location, 120
mood lighting, 120
moving subjects, 118
multiple subjects, 118
night lighting, 114
Ohm’s Law, 81
plot and shot rundown, 127
power sources, 80
preparation, 108–109
set lights, 118
three-point lighting, 116–117
plot with measuring positions, 85
for time, 120
Lighting ratio, 84
Linear audio tracks, 51
Linear editing
A-B roll linear editing, 165
operating methods, 168–169
systems, 162
Liquid crystal displays (LCDs), 18
Local area networks (LANs), 60
Location planning, 100–101
Location release, 99
Location scouting, 98–99
Logging, 156–157
Loudness, 8–9
cycle and loudness curves, 11
Luminance value, 21
MCU (medium close-up), 132
Media stock, 52–53
Medium close-up (MCU), 132
Medium shot (MS), 132
Metal oxide semiconductor chip, 12, 26
Microphones
element (transducer) construction, 70–71
impedance, 70
mounting of, 74–75
pickup patterns, 72–73
setting up, 124
types of, 70–71
Microplugs, 56–57
Mixers, 124
Modulator, 58
Mood lighting, 120
Movement
camera movement, 140–141
dominant movement, 139
subject movement, 118, 138–139
through zooms, 140
Z-axis movement, 138, 139, 142–143
MS (medium shot), 132
“Muddy” areas, 114
National Television Standards Committee (NTSC)
color video, 18
digital signal standards, 22
scanning system, 14
Nat sound, 72
Neutral density filters, 111
Night lighting, 114
Noise
audio, 8
video, 12
Nonlinear editing, 172–173
operating methods, 174–175
Notan lighting, 120
NTSC. See National Television
Standards Committee
(NTSC)
Ohm’s Law, applied to lighting, 81
Optical viewfinder, 37
Optics. See Lenses and optics
OS (over-the-shoulder) shot, 132
Overlapping shots, 146
Over-the-shoulder (OS) shot, 132
PAL system, 22
Pan, 42
PCM audio tracks, 51
PDPs (plasma display panels), 18
Pedestal controls, 154
Phone plugs, 56–57
Pitch, 6
Plano-convex lens, 78
Plasma display panels (PDPs), 18
Player, 164
Plugs. See also Connector panel
audio, 56–57
digital, 60–61
video, 58–59
Point-of-view (POV) shot, 132
Polarity, reversing, 154–155
Portable dimmers, 113
POV (point-of-view) shot, 132
Power selector switch, 40
Preproduction planning, 88
proposal, 88
sample format, 89
scene script, 90
shooting script, 90–91
treatment, 90
sample format, 91
Professional model recorders, 64–65
Professional tape decks, 54, 55
Prompting, 124–125
Proposal, 88
sample format, 89
Props, 122–123
Pulling focus, 34
Quantization, 10
Rack focus, 152
Radiofrequencies (RFs), 6
RCA color video system, 18
RCA plugs
video, 58
Recorder deck, 164
Recorder log, 157
Reflected light, 84
Reflectors, 80
Rehearsals, 126–127
cues and signals, 128–129
Return video control, 41
Reversing polarity, 154–155
digital signals, 60
RFs (radiofrequencies), 6
Riding gain, 10
Robinson-Dadson loudness curves, 8, 9
Rolling focus, 34
Sampling, 10
Scanning systems, 14–15
Scene script, 90
Scouting for location, 98–99
Script
double-column format, 94–95
scene script, 90
shooting script, 90–91
single-column format, 92–93
Script supervisor, 148
SECAM (Sequential Color With Memory), 22
Sequential Color With Memory (SECAM), 22
Set lights, 118
Set pieces, 122–123
Sets, 122–123
Setting up audio, 124–125
Setting up equipment, 106–107
Setup (black level), 20
Shooting list, 100–101
Shooting location
planning, 100–101
release, 99
scouting for, 98–99
Shooting scenes, 128–129
with editing in mind, 146–147, 149
and framing, 132–133. See also Framing
Shooting script, 90–91
Shot framing, 133
Shot names, 132
Shot rundown, 127
Shot sheet, 100–101
Site survey, 100–101
SMPTE time code source, 54
Solarization, 154
Source deck, 164
Stock, 52–53
Storyboards, 96–97
Strike list, 159
Striking, 158
Subject movement, 118, 138–139
Supports, camera, 42–46
S-VHS plug
video signals, 58
Swish zooms, 152
Synchronization process, 16–17
Talent
directing, 130–131
preparation of, 126–127
Tape stock, 52–53
TBCs (time base correctors), 16, 162
TC (time code) editing, 162
Technology, importance of, 2
Television optical systems, 19
Tents, 80
Terrestrial Digital Video Broadcasting (DVB-T), 22
Terrestrial Integrated Services Digital Broadcasting (ISDB-T), 22
Three-point lighting, 116–117
plot with measuring positions, 85
Three shot, 132
Tilt, 42
Timbre, 6
Time base correctors (TBCs), 16, 162
Time code (TC) editing, 162
Tone, 6–7
Treatment, 90
sample format, 91
setting up, 106–107
Tubes, 28–29
Two shot, 132
Van, with microwave dish and studio camera, 27
Variable gain controls, 154
VCR (video cassette recorder) operation, 54–55
Verbal cues, 129
VHS (Video Home System), 26
Video
analog recording, 48–49
color, 18–19
connectors, jacks and plugs, 58–59
digital recording, 50–51
editing, 164
measuring, 20–21
signal, 12–13
analog recording, 48–49
Video camera accessories, 36
Video cassette recorder (VCR) operation, 54–55
Video Home System (VHS), 26
Videotape recorder (VTR), 26
return control, 41
start switch, 40
Videotape stock, 52–53
Volume, 8
VTR. See Videotape recorder (VTR)
Waist shot, 132
“Walking shots,” 46
White balance, 40–41
Wide shot (WS), 132
Wild sound, 72
WS (wide shot), 132
X-axis, 30
XCU (extra close-up), 132
XWS (extra wide shot), 132
Y-axis movements, 138
Yottahertz, 6
Z-axis, 30
Z-axis movement, 138, 139, 142–143
Zoom(s)
lens control, 40
mode control, 40
movement through, 140
swish zooms, 152