1. Video production

2. OBJECTIVES Explore the elements of Visual Composition; Explore the elements of Visual Composition; Examine the Language Elements of moving pictures; Examine the Language Elements of moving pictures; Acquire knowledge to Compose an Entire Scene Seamlessly; Acquire knowledge to Compose an Entire Scene Seamlessly; Learn how to maintain Continuity, and avoid common mistakes in building Image Sequences. Learn how to maintain Continuity, and avoid common mistakes in building Image Sequences.

3. OBJECTIVES Introduce the Three Stages of Video Production: Introduce the Three Stages of Video Production: Preproduction, Production and Postproduction; Explore techniques for Developing Ideas and Program Concepts; Explore techniques for Developing Ideas and Program Concepts; Organize Strategically for writing effective Stories and Treatments; Organize Strategically for writing effective Stories and Treatments; Understand the Dramatic Structure; Understand the Dramatic Structure; Survey the Creative Process of writing Stories and Scripts. Survey the Creative Process of writing Stories and Scripts.

4. THE THREE STAGES OF THE PRODUCTION PROCESS Preproductio n Preproductio n Production Production Postproductio n Postproductio n

5. THE IDEA Personal Experience Personal Experience Monitor the News Monitor the News Adaptation Adaptation Composite Characters Composite Characters Copyrighted Material Copyrighted Material The Public Domain The Public Domain

6. THE CONCEPT Often called the “ log line ” Often called the “ log line ” For Example: Shakespeare struggles to overcome his writer ’ s block by seeking a muse and he discovers true love. The result: Shakespeare in Love

7. THE EARLY STAGES OF WRITING AND STORY DEVELOPMENT The Outline

9. THE EARLY STAGES OF WRITING AND STORY DEVELOPMENT The Scene Outline

11. THE EARLY STAGES OF WRITING AND STORY DEVELOPMENT Notebooks Bulletin Boards Notebooks Bulletin Boards

12. THE TREATMENT

14. Produced for Circulation Produced for Circulation Sales Tool Sales Tool Narrative version of your program that reads like a Short Story Narrative version of your program that reads like a Short Story

15. THE TREATMENT Use Visual and Descriptive Language Use Visual and Descriptive Language Get the reader Hooked and keep the reader Engaged Get the reader Hooked and keep the reader Engaged Written in the Present tense Written in the Present tense Single-Space format Single-Space format Place Line Breaks to denote Place Line Breaks to denote Changes in Time and Location

16. THE DRAMATIC STRUCTURE Exposition Exposition Inciting Incident Inciting Incident Complications Complications (Rising and Falling Action) Crisis Crisis Climax Climax Resolution Resolution

17. CHARACTERS Protagonist Protagonist Antagonist Antagonist Ensemble Cast Ensemble Cast Supporting Character Supporting Character

18. THE CREATIVE PROCESS OF WRITING Write your Ideas down Write your Ideas down How do they look after a few days? How do they look after a few days? Share your work with Share your work with Friends and Seasoned Writers Activate the imagination in Activate the imagination in Indirect Ways Music is a powerful tool Music is a powerful tool

19. COMPOSITION: THE FRAME

20. COMPOSITION: ASPECT RATIO

21. COMPOSITION: RULE of THIRDS

22. REPRESENTING THREE-DIMENSIONAL SPACE Depth and Perspective

23. Scale Scale Foreground and Background Foreground and Background Light and Shadow Light and Shadow Headroom and Noseroom Headroom and Noseroom Mise en Scene Mise en Scene Angle Angle REPRESENTING THREE-DIMENSIONAL SPACE Depth and Perspective

24. SHOT TYPES LONG SHOT (LS)

25. SHOT TYPES MEDIUM SHOT (MS)

26. SHOT TYPES CLOSE-UP (CU)

27. SHOT TYPES EXTREME CLOSE-UP (ECU)

28. MORE SHOT TYPES Medium Long Shot (MLS) Medium Long Shot (MLS) Medium Close-Up (MCU) Medium Close-Up (MCU) Two-Shot Two-Shot Three-Shot Three-Shot

29. MORE SHOT TYPES Objective Perspective Objective Perspective Subjective Perspective Subjective Perspective Point-of-view Shot Point-of-view Shot Over-the-shoulder Shots Over-the-shoulder Shots Overhead Shot Overhead Shot

30. MOVING SHOT TYPES An element in a motion picture can be defined by its location in Four Dimensions: its place in Width, Height, Depth, and Time.

31. MOVING SHOT TYPES Pan Pan Tilt Tilt Zoom Zoom Dolly Dolly Tracking (Trucking) Tracking (Trucking)

32. Frame Frame Shot Shot Scene Scene Sequence Sequence Act Act Feature, Episode, or Program Feature, Episode, or Program Season Season Series Series BUILDING BLOCKS OF VISUAL PROGRAMS

33. Cut Cut Fade – in Fade – in Fade – out Fade – out Dissolve Dissolve Wipe Wipe TRANSITIONS

34. THE MASTER SCENE METHOD Master Shot Captures all of the Relevant Action Gathers other shots to provide Variety Directs the audience ’ s Attention

35. THE MASTER SCENE METHOD

36. “ Photos Courtesy of William Olsen; Illustration by Jesse Knight ”

37. CONTINUITY Physical Continuity Continuity ErrorsContinuity Errors Script SupervisorScript Supervisor Temporal Continuity Overlapping ActionOverlapping Action Jump CutsJump Cuts Spatial Continuity Position JumpsPosition Jumps EyelinesEyelines

38. The Line CONTINUITY

39. HISTORY OF THE MOTION PICTURES Pre-Cinema Persistence of vision - 130 A.D Persistence of vision - 130 A.D Magic lantern -1600s Magic lantern -1600s Thaumatrope - 1825 Thaumatrope - 1825 Zoetrope -1834 Zoetrope -1834 Series photography – 1878 Series photography – 1878 Eadweard Muybridge

40. FILM 35mm film 35mm film 16mm 16mm 8mm 8mm Super-16 Super-16 Super-8 Super-8 70mm 70mm

41. VIDEO 1926 1926 First public demonstration of a video system 1927 1927 First video broadcast

42. VIDEO STORAGE: Videotape 2-inch reel-to-reel 2-inch reel-to-reel 1 ” 1 ” U-Matic U-Matic VHS VHS

43. VIDEO STORAGE: Videotape Digital Betacam Digital Betacam DVC-Pro DVC-Pro Mini-DV Mini-DV DVCam DVCam Digital-S Digital-S Digital-8 Digital-8

44. VIDEO STORAGE Drive and Optical Storage Memory cards Memory cards Hard drives Hard drives In-camera read-write media (DVD) In-camera read-write media (DVD)

45. VIDEO SYSTEMS NTSC (National Television Systems Committee) - “ Standard Television ” NTSC (National Television Systems Committee) - “ Standard Television ” 525 lines; 4:3 aspect ratio High-Definition Video – High-Definition Video – 1,080 lines; 16:9 aspect ratio PAL (Phase-Alternating Line) – PAL (Phase-Alternating Line) – 625 lines of horizontal resolution 24P – 24P – 24 frames per second using progressive scanning

46. THE CAMERA TEAM Director of photography (DP) Director of photography (DP) Camera operator Camera operator Focus puller Focus puller Clapper/Loader Clapper/Loader Dolly grip Dolly grip Second unit Second unit

47. DIGITAL VIDEO CAMERAS Imaging for Digital Video CCD – Charge-Coupled Device CCD – Charge-Coupled Device CMOS – Complementary CMOS – Complementary Metal-Oxide-Semiconductor Metal-Oxide-Semiconductor

48. DIGITAL VIDEO CAMERAS Lens Magnification: Compound Lenses (zoom lenses) Compound Lenses (zoom lenses) Prime Lenses Prime Lenses (fixed focal- length lenses) Wide-angle lens Wide-angle lens Telephoto lens Telephoto lens

49. DIGITAL VIDEO CAMERAS Lens Focus Focus Focal point Focal point Auto focus Auto focus Setting focus Setting focus Proper exposure Proper exposure Creative exposure Creative exposure Internal light meter Internal light meter Manual aperture overrides Manual aperture overrides

50. DIGITAL VIDEO CAMERAS Lens f-stops f-stops

51. DIGITAL VIDEO CAMERAS Lens Depth of field “ Courtesy of RiverDream Productions ”

52. DIGITAL VIDEO CAMERAS Lens Maximum sharpness setting Maximum sharpness setting Macro setting Macro setting Lens hood Lens hood

53. DIGITAL VIDEO CAMERAS The Camera Body Power switch Power switch Batteries and Batteries and A/C power Start/Stop Button. Start/Stop Button."REC."

54. DIGITAL VIDEO CAMERAS The Camera Body The Tally Light The Tally Light The Viewfinder The ViewfinderEyepiece View screen Microphone Microphone The Headphone Jack The Headphone Jack

55. DIGITAL VIDEO CAMERAS The Camera Body The Playback Control Buttons The Playback Control Buttons The Media Storage The Media Storage The Handgrip The Handgrip Time Code Indicator Time Code Indicator

56. DIGITAL VIDEO CAMERAS The Camera Body Shutter Speed Shutter Speed Gain Gain Aspect Ratio Aspect Ratio4:316:9 Image Stabilization Image Stabilization Backlight Feature Backlight Feature White Balance White Balance

57. TRIPODS

58. ADVANCED CAMERA SUPPORT SYSTEMS Steadycam Steadycam Jib arm Jib arm Camera cranes Camera cranes Vehicle mounts Vehicle mounts Marine housings Marine housings

59. APPROACHES IN CINEMATOGRAPHY AND VIDEOGRAPHY Determine the “ look ” of a project Four Distinct Approaches Realism Realism Expressionism and Film Noir Expressionism and Film Noir Impressionism Impressionism Surrealism Surrealism

60. APPROACHES IN CINEMATOGRAPHY AND VIDEOGRAPHY Realism Sharp focus Sharp focus Realistic lighting Realistic lighting

61. APPROACHES IN CINEMATOGRAPHY AND VIDEOGRAPHY Expressionism and Film Noir Dark in visual tone Dark in visual tone Stylized lighting cast from severe angles Stylized lighting cast from severe angles Bizarre and fantastic stories Bizarre and fantastic stories “ Film Noir ” “ Film Noir ”

62. APPROACHES IN CINEMATOGRAPHY AND VIDEOGRAPHY Impressionism “ Golden Age of Hollywood ” “ Golden Age of Hollywood ” Diffused images Diffused images Impression of some emotional state Impression of some emotional state Twinkling eyes and fog-filtered Twinkling eyes and fog-filtered A romantic memory A romantic memory

63. APPROACHES IN CINEMATOGRAPHY AND VIDEOGRAPHY Surrealism “ Beyond reality ” or “ above reality ” “ Beyond reality ” or “ above reality ” Concrete irrationality Concrete irrationality Psychoanalytic psychology; Dream analysis Psychoanalytic psychology; Dream analysis

64. EDITING IS SELECTING Shooting ratio Shooting ratio Shot log Shot log Taking out the mistakes Taking out the mistakes

65. EDITING STYLES V. I. Pudovkin V. I. Pudovkin Film is a “ plastic medium. ” Meaning created through editing. Sergei Eisenstein Sergei Eisenstein Meaning created in the juxtaposition of shots

66. ANALYTIC EDITING DeductiveSceneConstruction

67. SYNTHETIC EDITING InductiveSceneConstruction

68. MASTER SCENE METHOD Master Shot sets pace and continuity Master Shot sets pace and continuity Cut-ins Cut-ins Cut-aways Cut-aways

69. ELEMENTS OF EDITING ContinuityTime Real time Real time Dramatic time Dramatic time Flashbacks and Foreshadows Flashbacks and ForeshadowsPace Metric editing Metric editing Rhythmic editing Rhythmic editing Lyrical editing Lyrical editing Editing pace affects audience mood Editing pace affects audience moodSpace

70. CUTTING POINTS Need for a shift in attention Need for a shift in attention Cutting on action Cutting on action Leading the action Leading the action Following the action Following the action

71. MONTAGE Summarizes a passage of time Summarizes a passage of time Gives the audience an idea of the scope of an action Gives the audience an idea of the scope of an action Examines the dreams or internal turmoil of a character Examines the dreams or internal turmoil of a character

72. NONLINEAR COMPUTER-BASED EDITING Shots are digitized (or captured) Shots are digitized (or captured) Draft mode Draft mode Off-line editing Off-line editing On-line editing On-line editing

73. NONLINEAR EDITING USER INTERFACE Clips Clips Key frame Key frame Non-destructive editing Non-destructive editing Destructive editing Destructive editing Bins Bins Preview window Preview window Timeline window Timeline window

74. TRANSITIONS Fade Fade Dissolve Dissolve Wipe Wipe

75. MORE NON-LINEAR EDITING CONTROLS Titles Titles Special Effects Special Effects Rendering Rendering Audio Audio Peripherals Peripherals Backing Up Data Backing Up Data