Video Production

Daylight to Tungston

Tungsten to Daylight

Creates the illusions that lighting is coming from actual light sources in the setting or location-Realistic Impact

Little or no real life referent-emotional impact

Precise beam that causes harsh shadows

causes more general illumination, diffused light spreads out easy and its difficult to control. Results in soft or no shadows.

• How much light falls onto an object
• Can be read by a light meter

• Reads Foot candle (fc) 1 candlepower of light (called a lumen)
• that falls on 1 square foot area located 1 foot away from the light source

European equivalent is the lux- one luman of light on a surface of 1 square meter that is 1 meter away from the light source

Refers to the general illumination or the overall light intensity

• Measured by pointing light meter from the illuminated object or a scene toward the camera
• overall light intensity

• If insufficient light even at maximum aperture (lowest f stop) you need to activate gain circuits of the camera
• -consumer recorders do this automatically
• -Gain will boost the weak video signal electronically if too much will produce color specks

What inserts the lense or what comes from a specific instrument

Book def: light that strikes the object directly from its source. To measure incident light, point the light meter at the camera lens or into the lighting measurements

• Bouncing off the lighted object
• Meter reading gives an average of all the light being reflected from a subject (or more so the whole scene)

Book def: light that is bounced off the illuminated object. To measure reflective light, point the light meter close to the object from the direction of the camera

• Measure the difference btw bright and dark things/one will blackout
• -Video Cameras record contrast ratio 30:1
• -Film can go 100:1

OIRE-Black ------ 100IRE=overexposed

stripes can be set to appear around 95% IRE (or other levels) so the DP knows to use a higher f stop

• -Move lighting instrument away from the subject
• -Closing down the Iris
• -Adding diffusion

Overexpose=overly high contrast ratios

For colors, and objects

Allows camera to shoot in lower light

• Fixed to the object surface/shape and texture helps
• Cannot be seen separate from the object
• Attached shadows define shape, texture (without them things look smoother)

• produced by an object and thrown onto a surface
• can be seen independent of the object causing them
• Ex: telephone pole

• brightness contrast between light and shadows sides of an object
• Indicates the degree of change from light to shadow-specifically the speed which light areas turn into shady areas

Hard directional light

very gradual change from light area to shadow

Means there is no contrast btw light and dark; all surfaces are lit evenly

• Ellipsoidal spotlight-used for special effects. sharp, high intensity beam
• Strip, or cyc, light-illuminate cycloramas (the seamless background curtain that stretches along studio or stage walls
• Small EFP floodlight-

• Flood lights have no lens and use large, relatively low powered lamps-highly diffused non directional
• -Scoop-scooplike reflector, old-faishoned useful
• -Softlight-long tubelike lamps whose light bounces off with a curved, light-diffusing reflector
• -Flourescent Bank-row of flourescent tubes (early days of television)
• -Portable Floodlights- produce general nondirectional illumination and cause slow falloff

• To flood (spread) the beam put the lamp toward the lens
• To spot (focus) the beam put the lamp reflector away from the lens

• 3 primary light colors RGB Addictive primary colors
• Bluish color temp higher the color temp higher the Kelvin (k)
• Indoor lighting is more reddish

By mixing red green blue all other colors can be achieved

CRT cathode ray tube- color television receiver has three electron guns in the neck of the puncture tube that shot their beams at myriad red green blue dots or rectangles on the inside of the tv screen

• Measured in Kelvin degrees
• Measures the relative reddishness or bluishness of white light
• Red white light-has a low color temp
• Blue white light has a high color temp \

White light is composed of equal amounts of all colors in the visible spectrum but the light sources with different color temp emit different amounts of color wave length (red, green, blue)

• If shot has to much blue reduce blue
• If shot has to much red reduce red
• You should white balance again every time you change lights, gels, or location

5600 degrees Kelvin

• directional
• more or less defined beam
• illuminates a specific area
• cause harsh dense shadows

spotting=harder=harsher shadows

Flooding=softer=softer shadows

Wattage and is written on the light Example 1K

Produce a great amount of non directional, diffused light that yields transparent shadows

Ideal for lighting large areas with relatively even light, old-fashioned but highly used

relatively large, long tubelike lamps whose light bounces off with a curved, light-diffusing reflector

consists of a series of fluorescent tubes; produces very soft light with slow fall off

floodlight covered with diffusing material and delivers extremely diffused light. It causes very slow falloff and renders shadows virtually invisible

Chinese lanterns

• last longer
• generate less heat
• expensive

• used for special effects, produces high sharp beam/either rectangular or triangular
• Can hold a cookie pattern

Illuminates cycloramas (background curtain along studio or stage walls), drapes, or large areas of scenery

runs off ordinary household current and can be used to illuminate small areas

reveals the basic shape

which fills in the shadows if they are too dense

which separates the object from the background and provides some sparkle

• Bright
• diffused
• slow-falloff or flat lighting

• Few spotlights to create selective lighting with fast falloff attached shadows and prominent cast shadows
• Background typically dark, dramatic

rough sketches to indicated light and directions

How microphones change sound waves into sound signals

Transduce sound waves into electric energy-the audio signal

territory around the microphone within which the mic can hear well

the 2-dimensional representation of the microphone pickup pattern

Hears well from all directions

Mic is designed to hear especially well from one direction to the front

Heart shaped pickup pattern of a unidirectional microphone

narrow unidirectional pickup pattern with a long reach. The mic is also sensitive to sounds coming directly from the back

most rugged you can take it outside in all kinda weather, and it can even withstand occasional rough handling

• many dynamic microphones have pop filters
• Eliminates the breath pops that occur when someone speaks into the microphone at very close range

are generally used for critical sound pickup indoors/but occasionally in the field

Made of acoustic foam rubber or other synthetic material

a fuzzy cloth resembling a mop that can be pulled over the windscreen

audio-recording studios as for critical music pickup for television

short very small, rugged, omnidirectional microphone

devices that change one form of energy into another

• rapidly expanding and contracting particles of air move through space in a relatively straight line
• Microphone converts these vibrations into electrical current

mic is sensitive to sounds from two directions

• unidirectional
• long reach allow them to produce sounds that seem close even though the sound source might be far away

• Pick up pattern
• Sound generating element (transducer)
• How it must be ised in conjunction with the camera

durable, less susceptible to wind noise and relatively inexpensive but will not provide the quality of sound that ribbon and condenser mics do

• Delicate expensive
• pref by radio and tv announcers
• smooth bass accentuated

• require a preamplifier powered by a battery in the mic handle (phantom power) that must be turned on and off to boosts signal
• Sensitive-windscreen necessary

• Small rugged
• omnidirectional (dynamic or condenser)
• clipped to clothing 6-8 inches

hypercardioid shotgun mic suspended from a boom pole

• always record 30 sec to a minute
• each locaction (or each scene)
• -critical for editors
• verbally slate each recording of a room tone

• auto adjusts to sounds
• -drawback it picks up all sound

• Channel 1 external mic
• channel 2 recording ambient sound with camera mic

amplifies weak signals that come from the microphones and or other sound sources and lets you control the sound volume and mix (combine) two or more sound imputs

3-4 inputs and one output

• 2 outputs one for the left channel and another for the right
• -Rotary Pot/Fader-Volume control that works by sliding a button horizontally along a specific scale
• A socket or receptacle for a connector
• Volume unit VU meter

for weak audio signals, such as those coming from a microphone

Relatively strong audio signals

• Riding gain
• to keep sound level
• needle between 60-100 percent when recording analog sound
• LED meters change color when the sound is overmodulated

• a way to prevent high volume distortion in digital sound
• A connector with wich you can join two balanced audio cables

When the sound signals go through a mixer or the console before reaching the camcorder or the audio recording device

high quality reel to reel audiotape recorders (ATRs) use various tape widths, depending on the number of audio tracks recorded on them

• -sweetening
• -mixing various tracks
• -creating new ones
• room contains sound equipment the digital audio workstation

Graphic representation of the dynamics of various sounds as they progress in time, it facilitates sound editing

once sounds are in digital form, the computer can manipulate them. Create-synthesize-its own sounds

• 1.context
• 2. figure/ground
• 3. sound perspective
• 4.continuity
• 5. energy

a moplike cover over windscreen to further reduce wind noise

acoustic foam rubber that is put over the entire microphone to cut down wind noise

measures volume units, the relative loudness of amplified sound

method of organizing details for moving from an original idea to a finished product

• desired effect of our finished program on the viewer, allow us to determine the medium requirements necessary to produce the intended Communication effect
• Ex: Do we shoot film or video? Widescreen or Academy? Handheld or tripod?

message the audience perceives

• from which to approach the project
• Specific approach to the movie
• the point of view

• Feature films
• Television Series
• Miniseries
• Made for TV movies
• Interactive games

• Documentaries
• News Programs
• Commercials
• Corporate videos
• Educational and training videos

must think visually in terms of settings, concrete actions, specific dialogue

• A statement that describes the basic idea of the story
• One or more paragraphs that describe the basic story line of the film

• written in 3rd person narrative summary of basic story lines. Should be highly readable and exciting portrayal of the story. 20-70 pages
• Proposal
• Rough draft
• Final Draft
• Shooting script

Most narrative films use in which a single column is devoted to visuals and audio

commercials and other non-fiction productions

often used for talk shows and game shows and is based around the runtimes of segments

• Opening////climax\\\\Resolution
• 3 act structure with a series of rising and falling actions that culminate in a climax and resolution

• Dramatic Tension must increase as the story progresses
• Character tries to solve problem easily, with unexpected results
• As problems progress the character's actions become increasingly desperate

• Acts
• Sequences
• Scenes
• Beats

Difference between actual screen time and the supposed story time devoted to specific events

Difference between the actual order of presentation of events in a film and the historical chronology of events

is an unseen person who presents the story when no character takes responsibility for it

• Plot-telling of specific actions or events that unfold to create a story
• Characterization- development of strong, believable, interesting characters through scripting their actions and words
• Themes

• Protagonist
• Antagonist

allies to the central protagonist and antagonist

help create situations that provoke conflict but they are contributors to rather than initiators of, major action

First person or third person

• includes all the planning and coordination of details before the actual production begins
• Develop program idea, define the program objective, select the people and equipment, production plan, production budget

starts when the process of shooting begins

involves editing the content generated during production into a finished product

as the logistical and personnel requirements for the production

• generating production funding
• managing the budget
• coordinating with investors or corporate management

• day to day workings of production
• production crew
• technical and non-technical production elements

• Assists the producer in all production matters
• telephoning talent
• ensuring all dead lines are met

• assists the director
• assistant director
• and producer during production
• typically multiple production assists on set

In charge of directing talent and transforming the script into a visual message/in charge of how the picture looks and gets the talent to give the proper performances

Runs the set and ensures the production schedule is met

refers to all performers and actors who appear in the film or video

writes the script for the production and may be present during shooting to amend scenes as per the directors wishes

is in charge of all creative design elements of the production (set design, location, graphic design, wardrobe)

• music coordinator
• movements of dancers, fight scenes

responsible for translating the directors vision into images through camera operation and lighting

Assists the director of photography in camera operation

responsible for implementing the director of photography's lighting design

is responsible for the recording of all sound during the shoot

keeps notes about individual camera takes and ensures continuity between shots

• develop an idea for the project and plan on its production
• -Producers, writer, and director