Video Production Handbook
Sixth Edition
Jim Owens
Asbury University
Sixth edition published 2017 by Routledge
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First edition published by Focal Press 1987
Fifth edition published by Focal Press 2011
Library of Congress Cataloging in Publication Data
Names: Owens, Jim, 1957–author.
Title: Video production handbook / Jim Owens.
Description: Sixth edition. | New York, NY : Routledge, 2017. | Earlier editions by Gerald Millerson. | Includes bibliographical references and index.
Identifiers: LCCN 2016035203 (print) | LCCN 2016035648 (ebook) | ISBN 9781138693487 (hardback : alk. paper) | ISBN 9781138693494 (pbk. : alk. paper) | ISBN 9781315530574 (e-book : alk. paper) | ISBN 9781315530574 (Master)
Subjects: LCSH: Video recording. | Video recordings—Production and direction.
Classification: LCC TK6655.V5 M55 2017 (print) | LCC TK6655.V5 (ebook) | DDC 777—dc23 LC record available at https://lccn.loc.gov/2016035203
ISBN: 978-1-138-69348-7 (hbk)
ISBN: 978-1-138-69349-4 (pbk)
ISBN: 978-1-315-53057-4 (ebk)
Typeset in Giovanni and Franklin Gothic by Florence Production Ltd, Stoodleigh, Devon, UK
Visit the companion website at www.routledge.com/cw/owens
ACKNOWLEDGMENTS.
INTRODUCTION.
CHAPTER
1 Overview of Video Production.
1
1.1What Is Video Production?.................................................1
1.2Defining the New Media.....................................................2
1.3Understanding the Field of Video Production........................2
1.4Remember the Purpose.....................................................3
1.5Is There a Right Way?........................................................3
1.6The Production Approach...................................................4
1.7Equipment.......................................................................5
1.8It’s Designed for You.........................................................7
1.9Learning Basics................................................................8
1.10What Equipment Is Needed?..............................................8
1.11Equipment Performance....................................................9 INTERVIEW: Ben Brown, Media Executive.............................9
CHAPTER 2 Production Crew. .
11
2.1Production Crew Size.......................................................11 VIDEO PRODUCTION CREW JOB DESCRIPTIONS.................12
2.2Producer........................................................................12
2.3Assistant Producer or Associate Producer..........................12
2.4Director..........................................................................13
2.5Assistant Director or Associate Director.............................13
2.6Production Assistant........................................................14
2.7Floor Manager or Stage Manager......................................14
2.8Technical Director or Vision Mixer.....................................14
2.9Makeup Artist.................................................................15
2.10Graphic Designer/Operator...............................................15
2.11Lighting Director/Vision Supervisor....................................16
2.12Videographer/Camera Operator/Photographer.....................16
2.13Camera Assistant............................................................16
2.14Audio Mixer/Sound Mixer/Sound Supervisor........................17
2.15Boom Operator or Audio Assistant.....................................18
2.16Engineer........................................................................18
CHAPTER 3
the Production.
4.4The Illusion of Reality.......................................................58
4.5The Camera’s Role..........................................................59
4.6The Camera as an Observer.............................................61
4.7The Persuasive Camera...................................................62
4.8How Do You Visualize Something That Does Not Exist?.......63 INTERVIEW: Scott Rogers, Sports Producer........................64
CHAPTER 5 Writing for Video. .
67
5.1The Script’s Purpose........................................................67
5.2The Outline Script...........................................................69
5.3Basic Script Formats.......................................................69
5.4The Full Script................................................................71
5.5The Drama Script............................................................73 SUGGESTIONS ON SCRIPTWRITING...................................73
5.6Visual Storytelling............................................................74
5.7Style..............................................................................75
5.8 Script Processes.............................................................75
5.9 Scriptwriting Basics.........................................................75
5.10 Script Questions.............................................................76 INTERVIEW: Robyn Sjogren, Writer....................................76
CHAPTER 6 Directing.
6.1 The Director...................................................................79
6.2 Selective Techniques.......................................................80
6.3 Communication..............................................................80
6.4 Guiding the Viewer Through the Scene..............................81
6.5 Organizing the Angles......................................................82
6.6 Visual Variety..................................................................83
6.7 Focusing Audience Attention............................................83
6.8 Shooting Controlled Action...............................................85
6.9 Segmented Shooting with a Single Camera........................86
6.10 Multicamera Techniques..................................................86
6.11 Directing Talent...............................................................87
INTERVIEW: Doug Smart, Director.....................................88
CHAPTER 7 The Camera.
91
7.1A Variety of Cameras.......................................................92
7.2Cameracraft...................................................................94 CAMERA FEATURES.........................................................96
7.3Main Camera Features....................................................96
7.4Lenses...........................................................................98
7.5Focal Length and Lens Angle............................................99
7.6The Prime lens or Fixed Lens..........................................100
7.7The Zoom Lens.............................................................100
7.8The Aperture of the Lens................................................102
7.17The
8.23Watch the Background..................................................137
8.24The Rule of Thirds.........................................................138
8.25Shooting from Different Angles.......................................138
8.26Showing Scale..............................................................139
8.27Framing the Subject......................................................139
8.28Leading Lines...............................................................140
8.29Headroom....................................................................140
8.30Changing the Perspective...............................................141
8.31Distortions....................................................................141
8.32What Does a Filter Do?..................................................142 ANTICIPATING EDITING..................................................143
8.33Continuity.....................................................................143
8.34Shooting to Improve Editing............................................144
INTERVIEW: Nathan White: Videographer.........................145
CHAPTER 9 Shooting People and Objects.
9.1The Single Person.........................................................148
9.2Arranging People Shots..................................................149
9.3Effective Shots..............................................................150
9.4Selecting the Right Shot................................................151
9.5Single-Camera Interviews...............................................152
9.6Editing Continuous Interviews.........................................153
9.7Shooting Groups...........................................................154
9.8Car Interviews...............................................................155
9.9Walking Interviews.........................................................156 SHOOTING INSTRUCTIONAL PRODUCTIONS.....................158
9.10Typical Instructional Productions.....................................158
9.11Approaches to Instruction..............................................158
9.12Advance Planning..........................................................158
9.13Creating the Instructional Program..................................159
9.14Shooting Objects...........................................................160
INTERVIEW: Sarah Hogencamp, Director/Videographer......162
CHAPTER 10 Working with the Talent.
10.1Talent..........................................................................163
10.2Talent and Production Styles..........................................166
10.3The Interview: Go Beyond the Obvious.............................168
10.4Selecting Talent............................................................168
10.5Inexperienced Talent.....................................................169 THE ACTOR’S CRAFT......................................................170
10.6The Host......................................................................170
10.7The Off-Camera Host.....................................................171
10.8Presenting the Information.............................................171
10.9Importance of People in the Scene.................................172
12.8The LED Light...............................................................206
12.9The Spotlight (Hard Light)..............................................206
12.10The Floodlight (Soft Light)..............................................208
12.11Lighting Contrast...........................................................209
12.12Three-Point Lighting.......................................................209
12.13Color Temperature Compensation...................................210
12.14Shooting in Daylight......................................................211
12.15Using Reflectors............................................................212
12.16Bounce Light................................................................213
LIGHTWEIGHT LIGHT SUPPORTS.....................................213
12.17Grip Clamps.................................................................213
12.18Light Stands.................................................................214 LIGHTING INSTRUMENTS...............................................215
12.19Camera Light................................................................215
12.20Soft Light Panel............................................................216
12.21Cyc Lights....................................................................217
12.22Fresnel Spotlights.........................................................217
12.23Small Portable Spotlights...............................................218
12.24Flexible Mat Lighting......................................................218
INTERVIEW: Tommy Brown, Lighting................................219
CHAPTER 13 The Background.
221
13.1The Importance of the Background.................................222
13.2Real and Unreal Backgrounds.........................................223
13.3Set Components...........................................................224
13.4The Neutral Background................................................227
13.5Economical Sets...........................................................227
13.6Semipermanent Sets.....................................................228
13.7Chroma-Key Sets..........................................................230
13.8Virtual Sets..................................................................231
13.9Outside/Back-Lot Sets...................................................231
13.10The Location.................................................................232
13.11Watch the Background..................................................233
13.12Foreground Pieces........................................................234
13.13Versions of “Reality”......................................................235
13.14What Can We Do About the Background?........................235
13.15Rearranging the Background..........................................236
13.16Partial Settings.............................................................237
13.17Typical Examples of Partial Settings.................................238
13.18Facing Reality...............................................................239
INTERVIEW: John DeCuir, Jr., Production Designer............240
CHAPTER 14 Television Graphics.
14.1The Goals of Television Graphics.....................................244
14.2Types of Graphics..........................................................245
14.3Designing Television Graphics.........................................245
GLOSSARY. .
INDEX.
17.5Internet Protocol Television (IPTV)...................................280
17.63G/4G Transmission......................................................280
17.7Festivals and Competitions.............................................282
INTERVIEW: Chad Crouch: CEO, The Creative Group..........282
Acknowledgments
So many people and organizations contributed to this project. I have listed some of these contributors below. Of special note is Asbury University, my school, which has allowed me the flexibility to stay involved in professional television production around the world.
The editors at Focal Press have been encouraging and helpful in many ways: Emily McCloskey and Elise Poston.
The following video/television professionals agreed to be interviewed for this book: Ben Brown, Keith Brown, Tommy Brown, Chad Crouch, Noel Dannemiller, John DeCuir, Ryan Hammer, Sarah Hogencamp, Kristin Ross Lauderbach, Tommy Mitchell, Lou Moore, Scott Rogers, Robin Sjogren, DT Slouffman, Brock Smith, and Nathan White.
Contributors of photographs, illustrations, and advice: 09 Rentals, Will Adams, Alfacam, Apple, Apogee, Arri, Asbury University, Atomos, Audio-Technica, Avanti Group, Avid, Dennis Baxter, BBC, Frank Beacham, Bodelin Technologies, K. Brown, Canon, Chyron, Cinevate Duzi, David Clement, Chad Crouch, Compix, Sabastian Corbascio, Countryman Associates, Trip Crosby, Dalis, Doremi, Paul Dupree, David Eubank, EVS, Fifteenhundred, Firestore, Flick Rocket, Focus Enhancements, FX Group: www.fxgroup.tv, GoPro, Grass Valley, Jon Greenhoe, David Grosz, Tyler Hoff, Sarah Hogencamp, Holophone, Tyler Horn, Imagine Products, iSlate, Russ Jennisch, Chris Jensen, JVC, KOMO-TV, Kara Laufenberger, LDG, Litepanels, Light and Motion, LiveU, Manfrotto, Mevo/Livestream, Don Mink, Shannon Mizell, MLB, MoleRichardson, Brady Nasfell, NBC, NHK, Katie Oostman, Lynn Owens, Sarah Owens, Panasonic, Periscope, Lee Peters, PGA, Phil Putnam, Steve Rehner, Rig Wheels, Rosco, Samsung, SanDisk, Shure, Skype, Doug Smart, Sony, Source four/ETC, Sports Video Group (SVG), Steadicam, Mark Stokl, Storyboard Quck, Ben Taber, Josh Taber, Tektronix, Tiffen, Trip and Tyler, VFGadgets, Videosmith, Vimeo, Taylor Vincent, Nathan Waggoner, Luke Wertz, Wescott, WLEX-TV, WOOD TV, YouTube, Tyler Young, Adam Wilson, and Zeiss.
The unwavering support of my wife, Lynn, and daughter, Sarah, has been incredible throughout the writing process.
CHAPTER 1 Overview of Video Production
Please answer the TV set. I am watching the phone.
Stefan Kurten, Director of Operations, European Broadcast Union
1.1 WHAT IS VIDEO PRODUCTION?
The differences between “video production” and “television production” have blurred over the years. Most video productions are created for nonbroadcast. Video productions are generally distributed with nonlinear accessibility such as online, mobile phones, or via DVDs. Although video productions are generally made with a lower budget, it does not mean that fewer people see them. A simple tour of YouTube will show that millions of people are looking at video productions every day (Figure 1.1).
Television productions, on the other hand, were historically shown to a public audience by broadcast or cable transmission in a linear fashion. Television broadcast transmissions are required to conform to closely controlled technical standards established by the Federal Communications Commission (FCC). However, television productions may be considered to be a type of video production once they are distributed in a nonbroadcast method such as online. As you can see, the definitions can be blurry.
With the high quality of consumer and prosumer equipment, video productions can be made with equipment ranging from the most sophisticated professional broadcast/cinema standards to low-cost consumer items (Figure 1.2). There is no intrinsic reason, though, why the final video productions should differ in quality, style, or effectiveness as far as the audience is concerned. Video programs range from ambitious presentations intended for mass distribution to economically budgeted programs designed for a specific audience. This book will help you, whatever the scale of your production.
FIGURE 1.1
YouTube is a collection of both high-budget and low-budget video productions that millions of viewers watch online. Note that the video shown has been seen by close to 5 million viewers.
FIGURE 1.2
High-quality consumer equipment allows professional results—if you understand how to use it effectively.
(Photo courtesy of SVG)
1.2 DEFINING THE NEW MEDIA
There is always a question about what “new media” is and how it fits in with television and video production. “New media” is a term often used to describe a new distribution method. When the European Broadcast Union recognized that its members did not understand the definitions, it worked with those members to define the term. The organization’s basic question was, how can we distinguish broadcast television from any of the new means of distribution? The organization adopted two basic terms: linear service and nonlinear service.
Television is considered a linear service—that is, the broadcasting of a program where the network or station decides when the program will be offered, no matter what distribution platform is used. Although there are many new distribution platforms (Internet, smart phones, tablets, satellite), if television uses the platform, it is a linear service.
On the other hand, the nonlinear services (traditionally called “video”) equal the new media, which means making programs available for on-demand delivery. It is the demand that makes the difference.
1.3 UNDERSTANDING THE FIELD OF VIDEO PRODUCTION
Video production appears deceptively simple. After all, the video camera gives us an immediate picture of the scene before us, and the microphone picks up the sound of the action. Most of us start by pointing our camera and microphone at the subject but find the results unsatisfying. Why? Is it the equipment or us? It may be a little of both. But the odds are that we are the problem.
As you may have already discovered, there is no magic recipe for creating attractive and interesting programs. All successful production emerges from a knowledge base of the equipment, production techniques, and video production process:
1. Knowing how to organize systematically. Applying practical planning, preparation, and production.
2. Knowing how to use the equipment effectively. Developing the skills underlying good camerawork and sound production. Understanding the effects of the various controls.
3. Knowing how to convey ideas convincingly and how to use the medium persuasively.
As you work through this book, the knowledge you develop will soon become a natural part of your approach to creating a production. Knowing what the equipment can do will enable you to select the right tools for the job and use them in a way that effectively communicates your story.
1.4 REMEMBER THE PURPOSE
If we simply produce a flow of TV images for mobile phones, then probably we shall simply say, “Well, this is just a gadget.” But, on the contrary, if we create formats, which are specific to this new platform, then we shall be able to meet [or exceed] the consumers’ expectations. Patrick Chene, Former Head of Sport for France Televisions
There is no shortcut to experience. The more time you work with the equipment, the more it becomes natural. After a while, you don’t think as much about the equipment, allowing you to think more about the content of the production. Some new camera operators have tried to show how good they are by quick moves, fast zooms, and attention-getting composition—where an experienced camera operator would have avoided these distractions and held a steady shot, letting the subject work to the camera instead. Smooth, accurate operation is important, but appropriateness is even more desirable. In the end, it is audience impact that really counts—the effect the chosen camera treatment has on the viewer.
1.5 IS THERE A RIGHT WAY?
Creating a video production is a subjective process. It is often pretty easy to learn the basic mechanics of the equipment, but learning how to use that same equipment to persuade an audience and influence their reactions is another matter entirely. Some “creative” or “original” production styles can be a pain
FIGURE 1.3
There are many different ways to present your content. We have listed some of the most popular production formats here. A combination of these approaches is often used to best communication to the audience.
to watch, such as a rapid succession of unrelated shots or fast cutting between different viewpoints. Amateurs who use these techniques hope to create an illusion of excitement for a dull subject. After a while, however, these techniques only succeed in annoying, confusing, or boring the audience.
You can learn a lot by studying videos, television shows, and films, particularly those covering the topics you are interested in emulating. Review them over and over, and you will see that while some approaches are little more than stereotyped routines, others have an individuality and flow that is appropriate for the subject matter. Adjust your own approach to fit the situation rather than imitating the way things have always been done. If your production does not have the impact you are aiming for, you need to do it differently (see Figure 1.3).
1.6 THE PRODUCTION APPROACH
If content is king, then content delivery is the power behind the throne. Reaching the audience requires knowledge of not just what they are watching, but how and where.
Chris Purse, HD magazine
When you are preoccupied with ideas about how the subject should be covered, it’s easy to overlook some of the issues that need to be thought about, such as budgets, availability of facilities, labor, materials, scheduling, safety issues, weather conditions, transportation, accommodations, legalities, and so on. Again, a lot is going to depend on the desired program. At the same time, the production will inevitably be affected by the expertise and experience of the production crew, the program budget, the equipment being used, the time available, and similar factors (see Figure 1.4). With a little imagination and ingenuity, you can often overcome limitations or at least leave your audience unaware that there were any. Later we will explore typical strategies that enable you to do just that.
