Test Bank for Television Production Handbook, 11th Edition
Product details:
- ISBN-10 ‏ : ‎ 0495898848
- ISBN-13 ‏ : ‎ 978-0495898849
- Author: Herbert Zettl
In Herbert Zettl’s field-defining text TELEVISION PRODUCTION HANDBOOK, the author emphasizes how production proceeds in the digital age — from idea to image — and how it moves through the three major phases, from preproduction to production to postproduction. In this context, you will learn about the necessary tools, examine what they can and cannot do, and explore how they are used to ensure maximum efficiency and effectiveness. This edition also features the latest digital equipment and production techniques, including HDV and HDTV.
Table contents:
Introduction: Process And System:
Television production process:
What television production is all about
Three production phases:
Preproduction
Production
Postproduction
Production model:
Effect-to-cause model
Medium requirements
Process message shaping medium requirements
Production people:
Nontechnical production personnel
Technical personnel and crew
News production personnel
Technical production systems
Basic television system:
How a program host appears on the television receiver
Expanded television system:
Multicamera studio system
Field production systems:
ENG system
EFP system
Major equipment:
Camera
Audio
Lighting
Switcher
Video recorder
Postproduction editing
Preproduction:
Producer in preproduction
What producing is all about
Preproduction planning: from idea to script:
Generating program ideas
Evaluating ideas
Program proposal
Preparing a budget
Writing the script
Preproduction planning: coordination:
People and communication
Facilities request
Production schedule
Permits and clearances
Publicity and promotion
Ethics
Information resources, unions, and ratings
Information resources
Unions and legal matters:
– Unions
Copyrights and clearances
Other legal considerations
Audience and ratings:
Target audience
Ratings and share
Script
Basic scripts formats
Single-column drama script
Two-column A/V script:
Fully scripted A/V format
Partial two-column A/V script
News script
Show format
Fact sheet
Dramatic structure, conflict, and dramaturgy
Structural components
Conflict and classical dramaturgy:
types of dramatic conflict
Classical dramaturgy
Event order
Nondramatic story structure:
Goal-directed programs
From Idea To Process Messages: Feature story
From Idea To Process Message: Goal-directed program
Director in preproduction
How a director prepares
What the show is all about:
Process message
Production method
Script analysis:
Locking -in point and translation
Visualization and sequencing:
Formulating the process message
Determining the medium requirements
Preparing for the show:
Interpreting a floor plan
Interpreting a location sketch:
Using a story board
Marking the script
Communication and scheduling
Support staff:
Floor manager
Production assistant
Associate or assistant, director
Facilities requests, schedules, and communication:
Facilities request
Production schedule
Time line
Director’s communication
Production:
Analog and digital television
Analog and digital processes
What digital is all about:
Why digital?
Difference between analog and digital:
Digitization process
Benefits of digital television:
Quality
Computer compatibility and flexibility
Signal transport
Compression
Aspect ratio:
4 X 3 aspect ratio
16 X 9 aspect ratio
Mobile media aspect ratios
Digital scanning standards
Scanning systems
Basic image creation
Basic colors of the video display
Interlaced and progressive scanning:
Interlaced scanning
Progressive scanning
Retrace and blanking
Digital scanning systems:
480 system
720p system
1080i system
1080p system
Maintaining quality
Flat-panel displays:
Plasma display panel
Liquid crystal display
Television camera:
How television cameras work
Parts of the camera
From light to video signal:
Imaging device
Beam splitter and color filter array
Camera chain:
Camera control unit
Sync generator and power supply
Types of cameras:
Studio cameras
EFP cameras
ENG/EFP camcorders
Digital cinema cameras
Electronic features:
Imaging device
Scanning
Resolution
Aspect ratio and essential area
Gain
Electronic shutter
White balance
Audio channels
Operational features:
Power supply
Cables and connectors
Filter wheel
Viewfinder and monitor
Tally light and intercom
Resolution, contrast, and color
Image resolution:
Spatial resolution
Temporal resolution
Image contrast:
Contrast ratio
Contrast control
Color basics:
Color attributes
Color mixing
Luminance and chrominance channels:
Luminance channel
Chrominance channel
Lenses:
What lenses are
Type of zoom lenses:
Studio and field lenses
Zoom range
Prime lenses
Lens format
Optical characteristics of lenses:
Focal length
Focus
Light transmission: Iris, aperture, and f-stop
Depth of field
Operational controls:
Zoom control
Focus control
What lenses see
How lenses see the world:
Wide-angle lens
Normal lens
Narrow-angle, or telephoto, lens
Image stabilization:
Image stabilizer
Camera operation and picture composition:
Working the camera
Standard camera movements
Camera supports:
Monopod
Tripod and tripod dolly
Studio pedestal
Mounting (pan-and-tilt) heads
Special camera mounts
Working the camcorder and the EFP camera:
Some basic camera “don’ts”
Before the shoot
During the shoot
After the shoot
Working the studio camera:
Before the show
During the show
After the show
Framing effective shots
Screen size and field of view:
Screen size
Field of view
Framing a shot: standard TV and HDTV aspect ratios:
Dealing with height and width
Framing close-ups
Headroom
Noseroom and leadroom
Closure
Depth
Screen motion
Audio: sound pickup:
How microphones hear
Microphone types by how they hear:
Sound-generating elements
Pickup patterns
Microphone features
Microphone types by how they are used:
Lavalier microphones
Hand microphones
Boom microphones
Headset microphones
Wireless microphones
Desk microphones
Stand microphones
Hanging microphones
Hidden microphones
Long-distance microphones
How microphones work
Sound-generating elements:
Dynamic microphones
Condenser microphones
Ribbon microphones
Sound quality
Specific microphone features:
Impedance
Frequency response
Balanced and unbalanced mics and cables, and audio connectors
Mic setups for music pickup:
Microphone setup for singer and acoustic guitar
Microphone setup for singer and piano
Microphone setup for small rock group and direct insertion
Microphone use specific to ENG/EFP
Audio: sound control:
Sound controls and recording:
Major audio production equipment:
Audio console
Audio mixer
Patchbay
Tapeless audio-recording systems
Tape-based audio-recording systems
Basic operation for studio audio:
Audio control booth
Basic operation for field audio:
Keeping sounds separate
Using the AGC in GNG and EFP
Using and XLR pad
ENG/EFP mixing
Stereo, surround sound, and sound aesthetics
Stereo and surround sound:
Stereo sound
Surround sound
Basic aesthetic sound factors:
Environment
Figure/ground
Perspective
Continuity
Energy
Lighting:
Lighting instruments and lighting controls:
Studio lighting instruments:
Spotlights
Floodlights
Field lighting instruments:
Portable spotlights
Portable floodlights
Diffusing portable spotlights
Camera lights
Lightening control equipment:
Mounting devices
Directional controls
Intensity controls: instrument size, distance, and beam
Basic principle of electronic dimmers
Lighting intensity, lamps, and color media
Light intensity:
Foot-candles and lux
Incident light
Reflected light
Calculating light intensity
Operating light level: baselight:
Baselight levels
Color temperature
Types of lamps:
Incandescent
Florescent
HMI
LED
Color media:
How to use color media
Mixing color gels
Techniques of television lighting:
Lighting in the studio
Safety
Quality of light:
Directional light and diffused light
Color temperature
Lighting functions:
Terminology
Specific functions of main light sources
Photographic principle: triangle lighting
Specific lighting techniques:
High- and low-key lighting
Flat lighting
Continuous-action lighting
Large-area lighting
High-contrast lighting
Cameo lighting
Silhouette lighting
Chroma-key-area lighting
Controlling eye and boom shadows
Contrast:
Contrast ratio
Measuring contrast
Controlling contrast
Balancing light intensities:
Key-to-back-light ratio
Key-to-fill-light ratio
Light plot
Operation of studio lights:
Preserving lamps and power
Using a studio monitor
Lighting in the field
Safety:
Electric shock
Cables
Fires
Location lighting:
Shooting in bright sunlight
Shooting in overcast daylight
Shooting in indoor light
Shooting at night
Location survey:
Power supply
Video-recording and storage systems:
Tape-based and tapeless video recording
Recording systems:
Tape-based systems
Analog and digital systems
Tapeless systems
Taped-based video recording:
How videotape recording works
Operational controls
Time based corrector and framestore synchronizer
Tapeless video recording:
Hard drives
Read/write optical discs
Memory cards
Electronic features of video recordings:
Composite and component systems
Sampling
Compression
How video recording is done
Uses of video recording and storage:
Building a show
Time delay
Program duplication and distribution
Record protection and reference
Video-recording production factors:
Recording preparations
Production procedures
Switching, or instantaneous editing
How switcher work
Basic switcher functions:
Monitor display
Simple switcher layout:
Program bus
Mix buses
Preview bus
Effects buses
Multifunction switchers
Additional switcher controls
Large production switchers
Other switchers:
Portable switchers
Switching software
Routing switchers
Master control switchers
Genlock
Electronic effects and switcher functions
Standard video effects:
Superimposition
Key
Chroma key
Digital video effects:
Image size, shape, light, and color
Motion
Multi-images
Additional switcher functions
Design:
Designing and using television graphics
Specifications of television graphics:
Scanning and essential areas
Out-of-aspect-ration graphics
Matching STV and HDTV aspect ratios
Information density and readability:
Information density
Readability
Color:
Color aesthetics
Style
Synthetic images
Scenery and props
Television scenery:
Standard set units
Hanging units
Platforms and wagons
Set pieces
Properties and set dressings:
Stage props
Set dressings
Hand props
Prop list
Elements of scene design:
Floor plan
Set backgrounds
Virtual sets
Television talent:
Television performers and actors
Performance techniques:
Performer and camera
Performer and audio
Performer and timing
Floor manager’s clues
Prompting devices
Continuity
Acting techniques:
Audience
Blocking
Memorizing lines
Timing
Maintaining continuity
Director/actor relationship
Auditions
How to do makeup and what to wear
Makeup:
Materials
Application
Technical requirements
Clothing and costuming:
Clothing
Costuming
Director in production:
Multicamera control room directing
Director’s roles:
Director as artist
Director as psychologist
Director as technical adviser
Director as coordinator
Director’s terminology
Multicamera directing procedures:
Directing from the control room
Control room intercom systems
Directing rehearsals:
Script reading
Dry run, or blocking rehearsal
Walk-through
Camera and dress rehearsals
Walk-through/camera rehearsal combination
Directing the show:
Standby procedures
On-the-air procedures
Controlling clock time:
Schedule time and running time
Back-timing and front-timing
Converting frames into clock time
Single-camera and digital cinema directing
Single-camera directing procedures:
Visualization
Script breakdown
Rehearsals
Video recording
Directing multicamera digital cinema:
Directing from the studio floor
Directing on-location
Field production and big remotes:
Field production
Electronic news gathering
ENG production features:
Satellite uplink
Electronic field production:
Preproduction
Production preparation
Production: Equipment check
Production: Setup
Production: Rehearsals
Production: Video recording
Production: Strike and equipment check
Postproduction
Big remotes:
Remote survey
Equipment setup and operation
Production: Floor manager and talent procedures
Covering major events
Sports remotes
Location sketch and remote setups:
Reading location sketches
Production requirements for public hearing (indoor remote)
Production requirements for parade (outdoor remote)
Communication systems:
ENG communication systems
EFP communication systems
Big-remote communication systems
Signal transport:
Microwave transmission
Cable distribution
Communications satellites
Postproduction:
Postproduction editing: how it works
How nonlinear editing works
Nonlinear editing:
Difference between linear and nonlinear editing
Nonlinear editing system:
Computer hardware and software
Source media
Audio/video capture
Exporting the final edit
Pre-edit phase:
Thinking about shot continuity
Recordkeeping
Reviewing and ordering the source footage
Preparation phase:
Time code
Logging
Capture
Audio transcription
Editing Phase: Video
Editing video to audio
Editing audio to video
Transitions and effects
Editing Phase: Audio:
Linear audio editing
Nonlinear audio editing
Condensing
Correcting
Mixing
Controlling quality
Automated dialogue replacement
How linear editing works
Basic and expanded linear editing systems:
Single-source system
Multiple-sources system
AB-roll editing
Time code and window dub
Control track and time code editing:
Control track editing
Time code editing
Assemble and insert editing:
Assemble editing
Insert editing
Linear off- and on-line editing:
Off-line edit
On-line edit
Editing functions and principles:
Continuity editing
Editing functions:
Combine
Shorten
Correct
Build
Editing for continuity:
Story continuity
Subject continuity
Vectors and mental map
Screen position continuity
Motion continuity
Light and color continuity
Sound continuity
Complexity editing
Transitions in complexity editing:
Cut
Dissolve
Fade
Wipe
Animated transitions
Crossing the vector line:
Background shift
Position shift
Motion vector reversal
Special complexity effects:
Flashback and flashforward
Instant replays
Multiple screens
Montage:
Filmic shorthand
Complexity
Meaning
Structure
Ethics
Epilogue
Glossary
Index
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