1. Teamwork in production »Techniques vs. disciplines »Pitch ideas, writers, producers, etc. »Professional attitude & dependability »Newscast team--studio production  ENG team »Location crew--field production  EFP ( film vs. video ) »Film-style vs. multi-camera »Techniques vs. disciplines »Pitch ideas, writers, producers, etc. »Professional attitude & dependability »Newscast team--studio production  ENG team »Location crew--field production  EFP ( film vs. video ) »Film-style vs. multi-camera

2. Stages of Production »Pre-production »Rehearsal »Production »Post-production »Live? Live to tape? Film Style?  Single camera / multi-camera  Which do you edit? » interview / game show / newscast / live event / soap opera / reality show »Pre-production »Rehearsal »Production »Post-production »Live? Live to tape? Film Style?  Single camera / multi-camera  Which do you edit? » interview / game show / newscast / live event / soap opera / reality show

3. Crew Positions »Executive Producer, Producer, Supervising Producer, Associate Producer, Line Producer --Hyphenate »Director, Assoc. /Asst. / AD »Camera, Graphics, Prompter, TD, VTR, Audio, Floor Director/Stage Manager / LD, gaffer / PA s -- etc. »Above the line / Below the line »Cast / talent: anchors, performers, actors »Executive Producer, Producer, Supervising Producer, Associate Producer, Line Producer --Hyphenate »Director, Assoc. /Asst. / AD »Camera, Graphics, Prompter, TD, VTR, Audio, Floor Director/Stage Manager / LD, gaffer / PA s -- etc. »Above the line / Below the line »Cast / talent: anchors, performers, actors

4. Production Operations »Script / outline / planning  Field planning? Scout, materials, etc.  Studio planning? Reservation, set building, etc.  Pre-production – us, now, for interviews »Crew positions and director and talent »Camera shots, miking, lighting, set design »Sets and video space »Budget and production hours »Script / outline / planning  Field planning? Scout, materials, etc.  Studio planning? Reservation, set building, etc.  Pre-production – us, now, for interviews »Crew positions and director and talent »Camera shots, miking, lighting, set design »Sets and video space »Budget and production hours

5. Using the video camera

6. Video Technical Issues »Pixels / resolution »Persistence of vision -- frames »Capturing light »Focus »White balance »Aspect ratio »Essential area »Pixels / resolution »Persistence of vision -- frames »Capturing light »Focus »White balance »Aspect ratio »Essential area

7. Principles of video color »Light hits CCD (1 or 3 CCDs)  Or CMOS  Interlaced or progressive scan »Beam splitter splits into the 3 primary colors (electrical signals) »Other end--LCD, plasma, LED, DLP, etc. »3 attributes of color  Hue, saturation, luminance »Chrominance : hue & saturation »Measure video levels – as noted »Light hits CCD (1 or 3 CCDs)  Or CMOS  Interlaced or progressive scan »Beam splitter splits into the 3 primary colors (electrical signals) »Other end--LCD, plasma, LED, DLP, etc. »3 attributes of color  Hue, saturation, luminance »Chrominance : hue & saturation »Measure video levels – as noted

8. Color (cont.) »HUE... »Primary colors: RGB »Complementary colors  Cyan, magenta, yellow »White: all colors; Black: absence »HUE... »Primary colors: RGB »Complementary colors  Cyan, magenta, yellow »White: all colors; Black: absence

9. Color continued... »Saturation  Intensity or vividness of color »Hue & Saturation=chrominance »Luminance = brightness »Luma / chroma continued... »Saturation  Intensity or vividness of color »Hue & Saturation=chrominance »Luminance = brightness »Luma / chroma

10. Camera Lenses »Focal length…how wide or narrow »Fixed focal length (prime lens) »Zoom Lens  Distance from front to back glass »Focus: soft, sharp, selective »Depth of field / rack focus »Focal length…how wide or narrow »Fixed focal length (prime lens) »Zoom Lens  Distance from front to back glass »Focus: soft, sharp, selective »Depth of field / rack focus

11. Camera Lenses »Front focus to focus a zoom lens »Back focus : use macro flange at back of lens »F-stop aperture  F-22, 16, 11, 8, 5.6, 4 (double/half)  Don’t use to compensate for lighting »Front focus to focus a zoom lens »Back focus : use macro flange at back of lens »F-stop aperture  F-22, 16, 11, 8, 5.6, 4 (double/half)  Don’t use to compensate for lighting

12. CCU and Cameras »CCU for settings »Tally lights »Lighting & filters (later) »White balance »AGC / gain / decibels »CCU for settings »Tally lights »Lighting & filters (later) »White balance »AGC / gain / decibels

13. Camera Mounts & movements »Pedestal or tripod »Mounting head (types of friction) »Camera movements  Pan,  tilt,  truck,  dolly,  arc, zoom, boom,  crane, steady-cam, tracking, DVE, robotic control »Pedestal or tripod »Mounting head (types of friction) »Camera movements  Pan,  tilt,  truck,  dolly,  arc, zoom, boom,  crane, steady-cam, tracking, DVE, robotic control

14. Shot composition »Rule of thirds »Head room / eye line / cut off lines »Look space / lead room / nose room »Symmetrical / asymmetrical »Depth of field »Mass locations »Foreground / background »Rule of thirds »Head room / eye line / cut off lines »Look space / lead room / nose room »Symmetrical / asymmetrical »Depth of field »Mass locations »Foreground / background

15. Shot Composition »WS / MS / CU... ECU, MCU, etc. »1-shot, 2-shot, etc. »OTS, O/S »Eye level, high angle, low angle, low level, high level »POV: objective, subjective, presentational »WS / MS / CU... ECU, MCU, etc. »1-shot, 2-shot, etc. »OTS, O/S »Eye level, high angle, low angle, low level, high level »POV: objective, subjective, presentational

16. Video Switcher »Technical Director / Director »Inputs: Cameras, VTRs/server, CG, remote, weather graphics, etc. »Preview & Program »Monitors for each input + pre.&prog. »Multi-camera editing »Technical Director / Director »Inputs: Cameras, VTRs/server, CG, remote, weather graphics, etc. »Preview & Program »Monitors for each input + pre.&prog. »Multi-camera editing

17. Types of Switchers »Hardware vs. software »SEG »Master control »Routing switchers  No effects  Simple applications  Back up and master control here »Hardware vs. software »SEG »Master control »Routing switchers  No effects  Simple applications  Back up and master control here

18. Parts of the Switcher »Banks (sometimes called buses) »Preview, program, key -- all same »Fader bar, take button  Cuts, fades, dissolves, wipes, supers »Keys  DSK, chroma »Banks (sometimes called buses) »Preview, program, key -- all same »Fader bar, take button  Cuts, fades, dissolves, wipes, supers »Keys  DSK, chroma

19. What kinds of transitons? »Cut (take), Dissolve (lap), Fade »Wipe (variety) »DVE  Continuous image compression  Image expansion  Image stretching  Push off, page turn, video split  ###(interviewing) »Cut (take), Dissolve (lap), Fade »Wipe (variety) »DVE  Continuous image compression  Image expansion  Image stretching  Push off, page turn, video split  ###(interviewing)