HOME > Detail View

Detail View

Television production handbook 7th ed., Instructor's ed

Television production handbook 7th ed., Instructor's ed (Loan 5 times)

Material type
단행본
Personal Author
Zettl, Herbert.
Title Statement
Television production handbook / Herbert Zettl.
판사항
7th ed., Instructor's ed.
Publication, Distribution, etc
Belmont, CA :   Wadsworth Pub.,   c2000.  
Physical Medium
xxvi, 566 p. : ill. ; 27 cm.
ISBN
0534559891
Bibliography, Etc. Note
Includes bibliographical references (p. 554-555) and index.
Subject Added Entry-Topical Term
Television -- Production and direction -- Handbooks, manuals, etc.
000 00805camuu2200241 a 4500
001 000000722517
005 20011019104935
008 990323s2000 caua b 001 0 eng
010 ▼a 99025663
020 ▼a 0534559891
040 ▼a DLC ▼c DLC ▼d YDX ▼d UKM ▼d 211009
049 1 ▼l 111198083
050 0 0 ▼a PN1992.75 ▼b .Z4 2000
082 0 0 ▼a 791.45/0232 ▼2 21
090 ▼a 791.45 ▼b Z61t7
100 1 ▼a Zettl, Herbert.
245 1 0 ▼a Television production handbook / ▼c Herbert Zettl.
250 ▼a 7th ed., Instructor's ed.
260 ▼a Belmont, CA : ▼b Wadsworth Pub., ▼c c2000.
300 ▼a xxvi, 566 p. : ▼b ill. ; ▼c 27 cm.
504 ▼a Includes bibliographical references (p. 554-555) and index.
650 0 ▼a Television ▼x Production and direction ▼v Handbooks, manuals, etc.

No. Location Call Number Accession No. Availability Due Date Make a Reservation Service
No. 1 Location Main Library/Western Books/ Call Number 791.45 Z61t7 Accession No. 111198083 Availability Available Due Date Make a Reservation Service B M
No. 2 Location Sejong Academic Information Center/Humanities 2/ Call Number 791.450232 Z61t7 Accession No. 151088091 Availability Available Due Date Make a Reservation Service
No. Location Call Number Accession No. Availability Due Date Make a Reservation Service
No. 1 Location Main Library/Western Books/ Call Number 791.45 Z61t7 Accession No. 111198083 Availability Available Due Date Make a Reservation Service B M
No. Location Call Number Accession No. Availability Due Date Make a Reservation Service
No. 1 Location Sejong Academic Information Center/Humanities 2/ Call Number 791.450232 Z61t7 Accession No. 151088091 Availability Available Due Date Make a Reservation Service

Contents information

Author Introduction

허버트 제틀(지은이)

샌프란시스코주립대학 방송커뮤니케이션예술학과 교수로 40년간 재직했다. 그의 주 연구 분야는 영상 미학과 방송 제작이다. 샌프란시스코 국제미디어커뮤니케이션연구소(IIMC) 소장을 지내며 미 국무부와 샌프란시스코 외교위원회의 후원으로 해외 방문 학자를 지원하기도 했다. 영상커뮤니케이션학회의 창립 회원이며, 1966년 캘리포니아 주정부의 교육 부문 우수상, 2004년에는 방송교육협회의 우수교육자상을 수상했다. 교수가 되기 전에는 샌프란시스코 CBS 자회사인 KPIX에서 프로듀서 겸 연출자로 재직하면서 CBS와 NBC 텔레비전 프로그램을 다수 제작했다. 국립 텔레비전미학학술원의 명예회원이다. 캐나다 몬트리올에 있는 콘코디아대학교, 독일 하이델베르크대학교, 프리토리아 남아프리카대학교의 방문교수를 지냈다. 방송 전문가로서 세계 각국 방송학회의 자문을 담당했다. 미국뿐 아니라 아시아, 아프리카, 유럽의 여러 대학과 방송국에서 영상 미학과 텔레비전 제작 자문역을 맡기도 했다. 다중 화면 드라마, 귀납적 내러티브 표현 기법 등과 같은 다양한 실험적 제작 기법에 관해 많은 논문을 발표하고, 해외 각국의 언어로 번역 출판했다. 텔레비전 제작과 미학에 관한 저서로는 널리 알려진 <텔레비전제작론(Television Production Handbook)>과 <텔레비전 제작 실무(Television Production Workbook)>, <영상 제작 기초(Video Basics)>, <영상 제작 기초 실무(Video Basics Workbook)>, <영상 미학(Sight Sound Motion)> 등이 있다. 출판 관련 권위 있는 상들을 수상하게 한 인터랙티브 DVD-ROM <제틀의 비디오랩 4.0(Zettl’s Video Lab 4.0)>은 카메라, 조명, 오디오, 스위칭, 편집 분야의 인터랙티브 영상 제작 실습을 컴퓨터를 통해 가능하게 한 것이다.

Information Provided By: : Aladin

Table of Contents


CONTENTS

Photo Credits = xxi

About the Author = xxiii

Preface = xxiv

CHAPTER 1 The Television Production Process = 2

 Section 1.1 What Television Production Is All About = 4

  THE BASIC TELEVISION SYSTEM = 4

  THE EXPANDED STUDIO AND ELECTRONIC FIELD PRODUCTION SYSTEMS = 5

   System Elements of Studio Production = 5

   The Studio System in Action = 7

   System Elements of Field Production = 7

  PRODUCTION ELEMENTS = 8

   The Camera = 8

   Lighting = 10

   Audio = 11

   Videotape Recording = 13

   The Switcher = 14

   Postproduction Editing = 14

   Special Effects = 15

 Section 1.2 Studios, Master Control, and Support Areas = 17

  THE TELEVISION STUDIO = 17

   Physical Layout = 17

   Major Installations = 18

  THE STUDIO CONTROL ROOM = 19

   Program Control = 20

   Image Control = 21

   Audio Control = 21

   Lighting Control = 21

  MASTER CONTROL = 22

   Program Input = 22

   Program Storage = 23

   Program Retrieval = 23

  STUDIO SUPPORT AREAS = 23

   Scenery and Properties = 23

   Makeup and Dressing Rooms = 24

CHAPTER 2 Analog and Digital television = 26

 Section 2.1 Analog and Digital Television = 28

  BASIC IMAGE CREATION = 28

  BASIC COLORS OF THE VIDEO DISPLAY = 30

  WHAT DIGITAL IS ALL ABOUT = 30

   Why Digital? = 30

   The Difference Between Analog and Digital = 30

   The Process of Digitization = 30

  BENEFITS OF DIGITAL TELEVISION = 32

   Quality = 32

   Computer Compatibility and Flexibility = 33

   Signal Transport = 33

   Compression = 33

  ASPECT RATIO = 34

   The 4×3 Aspect Ratio = 34

   The 16×9 Aspect Ratio = 34

 Section 2.2 DTV Scanning Systems = 36

  PROGRESSIVE AND INTERLACED SCANNING = 36

   The Progressive Scanning System = 36

   The Interlaced Scanning System = 37

  DTV SYSTEMS = 37

   The 480p System = 38

   The 720p System = 38

   The 1080i System = 38

  FLAT-PANEL DISPLAYS = 38

   Plasma Display Panel = 38

   Liquid Crystal Display = 38

CHAPTER 3 The Television Camera = 40

 Section 3.1 How Television Cameras Work = 42

  PARTS OF THE CAMERA = 42

  FROM LIGHT TO VIDEO SIGNAL = 43

   The Beam Splitter = 44

   The Imaging Device = 44

  THE CAMERA CHAIN = 45

   The Camera Control Unit = 45

   The Sync Generator and Power Supply = 46

  TYPES OF CAMERAS = 46

   Analog and Digital Cameras = 46

   Studio Cameras = 47

   ENG/EFP Cameras and Camcorders = 48

   Consumer Camcorders = 49

  ELECTRONIC CHARACTERISTICS = 50

   Aspect Ratio = 50

   Resolution = 50

   Light Sensitivity and Operating Light Level = 52

   Gain = 53

   Video Noise and Signal-to-Noise Ratio = 54

   Image Blur and Electronic Shutter = 54

   Smear and Moir$$e'$$ = 54

   Contrast = 54

  OPERATIONAL CHARACTERISTICS = 55

   Operational Items and Controls : Studio Cameras = 55

   Operational Items : ENG/EFP Cameras and Camcorders = 57

   Operational Controls ENG/EFP Cameras and Camcorders = 59

 Section 3.2 From Light to Video Image = 61

  THE CCD PROCESS = 61

  THE NATURE OF COLOR = 62

   Color Attributes = 62

   Color Mixing = 62

  CHROMINANCE AND LUMINANCE CHANNELS = 62

   Chrominance Channel = 62

   Luminance Channel = 63

   The Encoder = 63

CHAPTER 4 Lenses = 64

 Section 4.1 What Lenses Are = 66

  TYPES OF ZOOM LENSES = 66

   Studio and Field Lenses = 66

   Zoom Range = 66

   Lens Format = 68

  OPTICAL CHARACTERISTICS OF LENSES = 69

   Focal Length = 69

   Focus = 70

   Light Transmission : Iris and f-stop = 71

   Depth of Field = 73

  OPERATIONAL CONTROLS = 74

   Zoom Control = 75

   Digital Zoom Lens = 76

   Focus Control = 76

 Section 4.2 What Lenses See = 78

  HOW LENSES SEE THE WORLD = 78

   The Wide-Angle Lens = 78

   The Normal Lens = 81

   The Narrow-Angle or Telephoto Lens = 82

CHAPTER 5 Camera Mounting Equipment = 86

 Section 5.1 Standard Camera Mounts and Movements = 88

  BASIC CAMERA MOUNTS = 88

   The Handheld and Shoulder-Mounted Camera = 88

   The Monopod and Tripod = 89

   The Studio Pedestal = 90

  CAMERA NOUNTING(PAN-AND-TILT) HEADS = 92

   Fluid Heads = 92

   Cam Heads = 93

   Plate and Wedge Mount = 93

  CAMERA MOVENENTS = 94

 Section 5.2 Special Camera Mounts = 97

  SPECIAL MOUNTING DEVICES = 97

   High Hat = 97

   Bean Bag = 97

   Steadicam = 98

   Short and Long Jibs = 98

   Studio Crane = 99

  ROBOT PEDESTALS AND MOUNTING HEADS = 100

CHAPTER 6 Camera Operation and Picture Composition = 102

 Section 6.1 Working the Camera = 104

  WORKING THE CAMCORDER AND EFP CAMERA = 104

   Some Basic Camera "Don'ts" = 105

   Before the Shoot = 105

   During the Shoot = 106

   After the Shoot = 109

  WORKING THE STUDIO CAMERA = 109

   Before the Show = 110

   During the Show = 110

   After the Show = 112

 Section 6.2 Framing Effective Shots = 113

  SCREEN SIZE AND FIELD OF VIEW = 113

   Screen Size = 114

   Field of View = 114

  FRAMING A SHOT = 115

   Dealing With Height and Width = 115

   Close-ups = 117

   Headroom = 118

   Noseroom and Leadroom = 118

   Closure = 119

  DEPTH = 122

  SCREEN MOTION = 123

CHAPTER 7 Lighting = 126

 Section 7.1 Lighting Instruments and Lighting Controls = 128

  STUDIO LIGHTING INSTRUMENTS = 128

   Spotlights = 128

   Floodlights = 131

  FIELD LIGHTING INSTRUMENTS = 134

   Spotlights = 134

   Floodlights = 137

   Handheld Lights = 138

  LIGHTING CONTROL EQUIPMENT = 139

   Mounting Devices = 139

   Directional Controls = 143

   Intensity Controls : Diffusers and Reflectors = 144

   Intensity Controls : Electronic Dimmers = 145

  COLOR TEMPERATURE = 148

   How to Control Color Temperature = 149

 Section 7.2 Light Intensity, Lamps, and Color Media = 151

  LIGHT INTENSITY = 151

   Lux and Foot-candies = 151

   Incident Light = 152

   Reflected Light = 152

  CALCULATING LIGHT INTENSITY = 153

  OPERATING LIGHT LEVEL BASELIGHT = 153

   Baselight Levels = 154

  TYPES OF LAMPS = 154

   Incandescent = 155

   Ouartz, or Tungsten-Halogen = 155

   HMI = 155

   Fluoresent = 155

  COLOR MEDIA = 155

   How to Use Color Media = 155

   Mixing Color Gels = 155

CHAPTER 8 Techniques of Television Lighting = 158

 Section 8.1 Lighting in the Studio = 160

  TYPES OF LIGHT = 160

  MAIN LIGHT SOURCES = 161

   Types of Lighting Instruments = 161

   Functions of Main Light Sources = 161

  THE PHOTOGRAPHIC PRINCIPLE, OR TRIANGLE LIGHTING = 165

  SPECIFIC LIGHTING TECHNIQUES = 166

   Continuous-Action Lighting = 166

   Large-Area Lighting = 168

   Cameo Lighting = 168

   Silhouette Lighting = 169

   Chroma-Key Area Lighting = 169

   Controlling Eye and Boom Shadows = 170

  CONTRAST = 172

   Contrast Ratio = 172

   Shading = 172

   Auto-Iris = 173

   Measuring Contrast = 173

   Limiting Contrast = 173

  BALANCING INTENSITIES = 173

   Key-to-Back Light Ratio = 174

   Key-to-Fill Light Ratio = 174

  THE LIGHT PLOT = 175

  OPERATION OF STUDIO LIGHTS = 176

   Safety = 176

   Preserving Lamps and Power = 176

   Using a Studio Monitor = 176

 Section 8.2 Lighting in the Field = 178

  ENG LIGHTING = 178

   Shooting in Outdoor Light = 179

   Shooting at Night = 180

   Shooting in Indoor Light = 181

  EFP LIGHTING = 183

   Safety = 184

   Power Supply = 184

   Location Survey = 184

   Lighting Setup = 186

CHAPTER 9 Audio : Sound Pickup = 190

 Section 9.1 How Microphones Hear = 192

  ELECTRONIC CHARACTERISTICS OF MICROPHONES = 192

   Sound-Generating Element = 192

   Pickup Patterns = 193

   Special Microphone Features = 195

  OPERATIONAL CHARACTERISTICS OF MICROPHONES = 195

   Lavaliere Microphones = 195

   Hand Microphones = 198

   Boom Microphones = 200

   Headset Microphones = 204

   Wireless Microphones = 204

   Desk Microphones = 206

   Stand Microphones = 208

   Hanging Microphones = 209

   Hidden Microphones = 210

   Long distance Microphones = 211

 Section 9.2 How Microphones Work = 213

  SOUND-GENERATIN6ELEMENTS = 213

   Dynamic Microphones = 213

   Condenser Microphones = 214

   Ribbon Microphones = 214

   Sound Quality = 214

  SPECIAL MICROPHONE FEATURES = 214

   Impedance = 214

   Frequency Response = 218

   Balanced and Unbalanced Mics and Cables and Audio Connectors = 218

  MIC SETUPS FOR MUSIC PICKUP = 218

   Microphone Setup for Singer and Acoustic Guitar = 218

   Microphone Setup for Singer and Piano = 219

   Microphone Setup for Small Rock Group and Direct Insertion = 219

  MICROPHONE USE SPECIFIC TO ENG/EFP = 219

  MICROPHONE USE SPECIFIC TO THE STUDIO = 221

CHAPTER 10 Audio : Sound Control = 224

 Section 10.1 Sound Controls and How to Use Them = 226

  AUDIO CONTROL AREAS : STUDIO = 226

   Audio Control Booth = 226

   Audio Production Room = 227

  AUDIO PRODUCTION EQUIPMENT : STUDIO = 228

   Audio Console = 228

   Patchbay = 232

   Audio Recording Systems = 234

   Analog Recording Systems = 234

   Digital Recording Systems = 235

   Audio/Video Postproduction = 238

  AUDIO PRODUCTION EQUIPMENT FIELD = 239

   Mixer = 239

 Section 10.2 Mixing and Sound Aesthetics = 241

  BASIC AUDIO OPERATION = 241

   Volume Control = 241

  LlVE AND POSTPRODUCTION MIXING = 243

   Live Studio Mixing = 243

   Live Mixing in ENG/EFP = 244

   Postproduction Mixing = 245

   Controlling Sound Quality = 245

  AESTHETIC FACTORS = 246

   Environment = 246

   Figure-ground = 246

   Perspective = 246

   Continuity = 247

   Energy = 247

   Surround Sound = 247

CHAPTER 11 Switching, or Instantaneous Editing = 250

 Section 11.1 How Switchers Work = 252

  BASIC SWITCHER FUNCTIONS = 252

  SIMPLE SWITCHER LAYOUT = 253

   Program Bus = 253

   Mix Buses = 253

   Preview Bus = 254

   Effects Buses = 254

   Multifunction Switchers = 254

  BASIC SWITCHER OPERATION = 256

   Cut or Take = 256

   Dissolve = 258

   Super = 259

   Fade = 259

   Additional Special-Effects Controls = 259

 Section 11.2 What Switchers Do = 262

  SWITCHER TYPES AND FUNCTIONS = 262

   Production Switchers = 262

   Postproduction Switchers = 263

   Master Control Switchers = 263

   Routing Switchers = 264

  ELECTRONIC DESIGNS = 264

   Composite and Component Switchers = 264

   Analog and Digital Switchers = 264

   Audio Follow-Video Switchers = 265

CHAPTER 12 Video-Recording and Storage Systems = 266

 Section 12.1 How Video Recording Works = 268

  TAPE-AND DISK-BASED RECORDING SYSTEMS = 268

   Analog and Digital Systems = 268

   Linear and Nonlinear Systems = 269

   Composite and Component Systems = 269

   Compression = 270

  TAPE-BASED RECORDING AND STORAGE SYSTEMS = 271

   How Videotape Recording Works = 271

   Operational Controls and Electronic Features = 273

   Major Analog Videotape Recorders = 275

   Major Digital Videotape Recorders = 277

  DISK-BASED RECORDING AND STORAGE SYSTEMS = 280

   Hard Disk Systems = 280

   Read/Write Optical Discs = 281

   Data Transfer = 281

 Section 12.2 How Video Recording Is Done = 283

  USES OF VIDEO RECORDING AND STORAGE = 283

   Building a Show = 283

   Time Delay = 284

   Program Duplication and Distribution = 284

   Record Protection and Reference = 284

  OPERATIONAL VIDEO-RECORDING SYSTEMS = 284

   Quality Choice = 284

   Operational Video Recorder Systems = 284

  VIDEO-RECORDING PRODUCTION FACTORS = 286

   Preproduction = 286

   Production = 288

CHAPTER 13 Postproduction Editing = 294

 Section 13.1 How Postproduction Editing Works = 296

  EDITING MODES OFF-AND ON-LINE = 297

  BASIC EDITING SYSTEMS = 297

   Linear Systems = 297

   Nonlinear Systems = 297

   Editing Principle = 298

  LINEAR EDITING SYSTEMS = 298

   Single-Source System = 298

   Expended Single-Source System = 299

   Multiple-Source Systems = 301

  LINEAR EDITING FEATURES AND TECHNIQUES = 302

   Assemble and Insert Editing = 302

  CONTROL TRACK AND TIME CODE EDITING = 303

   Control Track or Pulse-Count Editing = 304

   Time Code Editing = 305

  AB ROLLING AND AB-ROLL EDITING = 306

   AB Rolling = 306

   AB-Roll Editing = 307

  NONLINEAR EDITING SYSTEMS = 308

  NONLINEAR EDITING FEATURES AND TECHNIQUES = 309

   Digitizing Information = 309

   Compression = 309

   Storing Information = 309

   Juxtaposing and Rearranging Video and Audio Files = 309

  PREEDITING PHASES = 310

   Shooting Phase = 310

   Review Phase = 311

   Decision Making Phase = 314

   Operational Phase = 315

 Section 13.2 Making Editing Decisions = 318

  EDITING FUNCTIONS = 318

   Combine = 318

   Trim = 319

   Correct = 319

   Build 319

  BASIC TRANSITION DEVICES = 319

   The Cut = 319

   The Dissolve = 320

   The Wipe = 320

   The Fade = 320

  MAJOR EDITING PRINCIPLES = 320

   Continuity Editing = 322

   Complexity Editing = 328

   Context = 328

   Ethics = 329

CHAPTER 14 Visual Effects = 332

 Section 14.1 Electronic Effects and How to Use Them = 334

  STANDARD ANALOG VIDEO EFFECTS = 334

   Superimposition = 334

   Key = 335

   Chroma Key = 337

   Wipe = 339

  DIGITAL VIDEO EFFECTS = 341

   Computer Manipulated Effects = 341

   Image Size Shape Light and Color = 342

   Motion = 344

   Multi-Images = 346

   Computer Genereted Effects = 347

 Section 14.2 Nonelectronic Effects and How to Use Them = 349

  OPTICAL EFFECTS = 350

   Television Gobos = 350

   Reflections = 350

   Star Filter = 351

   Diffusion Filters = 351

   Defocus = 352

  MECHANICAL EFFECTS = 352

   Rain = 352

   Snow = 352

   Fog = 352

   Wind = 352

   Smoke = 353

   Fire = 353

   Lightning = 353

   Explosions = 353

CHAPTER 15 Design = 354

 Section 15.1 Designing and Using Television Graphics = 356

  SPECIFICATIONS OF TELEVISION GRAPHICS = 356

   Aspect Ratio = 357

   Scanning and Essential Areas = 357

   Out-of Aspect Ratio Graphics and Moving Images = 358

   Information Density and Readability = 361

   Color = 362

   Style = 365

  GRAPHICS EQUIPMENT = 365

   Character Generator = 365

   Graphics Generator = 366

 Section 15.2 Scenery and Props = 370

  TELEVISION SCENERY = 370

   Standard Set Units = 370

   Hanging Units = 372

   Platforms and Wagons = 373

   Set Pieces = 374

  PROPERTIES AND SET DRESSINGS = 375

   Stage Props = 375

   Set Dressings = 375

   Hand Properties = 376

   Prop List = 376

  ELEMENTS OF SCENE DESIGN = 376

   The Floor Plan 377

   Set Backgrounds and Platforms = 379

   Studio Floor Treatments = 379

CHAPTER 16 Production People = 382

 Section 16.1 What Production People Do = 384

  PRODUCTION(NONTECHNICAL) PERSONNEL = 384

  TECHNICAL PERSONNEL AND CREW = 386

  NEWS PRODUCTION PERSONNEL = 387

  TELEVISION TALENT = 389

  PERFORMANCE TECHNIQUES = 389

   Performer and Camera = 390

   Performer and Audio = 391

   Performer and Timing = 392.

   Performer and Postproduction = 392

   Floor Manager's Cues = 392

   Prompting Devices = 397

  ACTING TECHNIQUES = 399

   Audience = 399

   Blocking = 400

   Memorizing Lines = 400

   Timing = 400

   The Actor and Postproduction = 400

   The Director/Actor Relationship = 401

  AUDITIONS = 401

 Section 16.2 How to Do Makeup and What to Wear = 403

  MAKEUP = 403

   Technical Requirements = 404

   Materials = 404

   Techniques = 405

  CLOTHING AND COSTUMING = 405

   Clothing = 405

   Costuming = 406

CHAPTER 17 Producing = 408

 Section 17.1 What Producing Is All About = 410

  PREPRODUCTION PLANNING : FROM IDEA TO SCRIPT = 410

   Program Ideas = 411

   Production Models = 412

   Writing the Program Proposal = 413

   Preparing a Budget = 415

   Presenting the Proposal = 419

   Writing the Script = 419

  PREPRODUCTION PLANNING : COORDINATION = 419

   People = 419

   Facilities Request = 420

   Schedules = 421

   Permits and Clearances = 421

   Publicity and Promotion = 421

  PRODUCTION : HOST AND CRITICAL OBSERVATION = 422

   Playing Host = 422

   Watching the Production Flow = 422

   Evaluating the Production = 422

  POSTPRODUCTION ACTIVITIES = 422

   Postproduction Editing = 422

   Evaluation and Feedback = 422

   Recordkeeping = 423

 Section 17.2 Dealing With Schedules, Legal Matters, and Ratings = 424

  PRODUCTION SCHEDULE = 424

  INFORMATION RESOURCES = 425

  PROGRAM TYPES = 426

  UNIONS AND LEGAL MATTERS = 426

   Unions = 426

   Copyrights and Clearances = 426

   Other Legal Considerations = 427

  AUDIENCE AND RATINGS = 427

   Target Audience = 427

   Ratings and Share = 428

CHAPTER 18 The Director in Preproduction = 430

 Section 18.1 How a Director Prepares = 432

  THE DIRECTOR'S ROLES = 432

   Director as Artist = 432

   Director as Psychologist = 433

   Director as Technical Adviser = 433

   Director as Coordinator = 433

  PREPRODUCTION ACTIVITIES = 433

   Process Message = 434

   Production Method = 434

   Production Team and Communication = 434

   Scheduling = 434

   Script Formats = 434

   Script Marking = 436

   Floor Plan and Location Sketch = 445

   Facilities Request = 446

  SUPPORT STAFF = 446

   Floor Manager = 446

   Assistant, or Associate, Director = 448

   Production Assistant = 449

 Section 18.2 Moving from Script to Screen = 450

  VISUALIZATION AND SEQUENCING = 450

   Formulating the Process Message = 451

   Medium Requirements = 451

   Interpreting the Floor Plan and Location Sketch = 457

  SCRIPT ANALYSIS = 459

   Locking-in Point and Translation = 459

   The Storyboard = 460

CHAPTER 19 The Director in Production and Postproduction = 464

 Section 19.1 Multicamera Studio Directing = 466

  THE DIRECTOR'S TERMINOLOGY = 466

  MULTICAMERA STUDIO DIRECTING = 467

   Directing from the Control Room = 470

   Rehearsals = 473

   Time Line = 478

   Directing the Show = 480

  CONTROLLING CLOCK TIME = 482

   Schedule Time and Running Time = 483

   Clock Back-Timing and Front-Timing = 483

   Converting Frames into Clock Time = 484

  CONTROLLING SUBJECTIVE TIME = 484

  STUDIO INTERCOM SYSTEMS = 484

 Section 19.2 Single-Camera Directing = 487

  SINGLE-CAMERA DIRECTING PROCEDURES = 487

   Visualization = 487

   Script Breakdown = 488

   Rehearsals = 488

   Videotaping = 488

  POSTPRODUCTION ACTIVITIES = 490

CHAPTER 20 Field Production and Big Remotes = 492

 Section 20.1 ENG, EFP, and Big Remote = 494

  ELECTRONIC NEWS GATHERING = 495

   ENG Production Features = 495

   SNG Production Features = 496

  ELECTRONIC FIELD PRODUCTION = 496

   Preproduction = 497

   Production : Equipment Check = 497

   Production : Setup = 499

   Production : Rehearsals = 499

   Production : Videotaping = 500

   Production : Strike and Equipment Check = 500

   Postproduction = 500

  BIG REMOTES = 500

   Preproduction : The Remote Survey = 501

   Production : Equipment Setup and Operation = 503

   Production : Floor Manager and Talent Procedures = 508

 Section 20.2 Covering Major Events = 511

  SPORTS REMOTES = 511

  LOCATION SKETCH AND REMOTE SETUPS = 518

   Reading Location Sketches = 518

   Production Requirements for Public Hearing (Indoor Remote) = 521

   Production Requirements for Parade(Outdoor Remote) = 521

  COMMUNICATION SYSTEMS = 522

   ENG Communication Systems = 524

   EFP Communication Systems = 524

   Big-Remote Communication Systems = 524

  SIGNAL TRANSPORT = 524

   Microwave Transmission = 524

   Communication Satellites Frequencies Uplinks and Downlinks = 526

   Cable Distribution = 527

Epilogue = 530

Glossary = 531

Selected Reading = 554

Index = 556



New Arrivals Books in Related Fields

Lapointe, Tanya (2021)
이동규 (2021)
Tarkovskiĭ, Andreĭ Arsenʹevich (2021)
Wilson, Jeffrey R (2021)