1. Production Techniques – Film and TV

2. Coverage
The following techniques may be helpful in providing the editor with sufficient footage.
Master shot.
Establishing shot.
Focus on talking characters.
Reaction shots.
Noddies.
Cutaways.

3. The Take
Once you have everything planned and set up, you are ready for the take.
Definition: A take is a continuous
recording of a scene or shot. It begins
with the following calls made by the
assistant director (AD).
Things to consider:
Last looks
Sound
Camera
Action
Cut

4. Jump cuts
Editing requires cutting between lots of different shots of a character or scene.
A jump cut occurs when a cut is made from one shot to another of the same subject without any real change in camera position or shot size.
It is called a jump cut because the result is usually a perceptible jump that breaks the sense of continuity.
These are mostly avoided, but can be effective when used appropriately, particularly in contemporary film and television

5. Avoiding jump cuts and the 30 degree rule continued
Classical Hollywood editing style suggests that the camera should be moved at least 30 degrees away from its previous position when shooting the same subject to avoid a jump cut and appear seamless
Some editors also demand that the camera should change shot size, for example from a mid-shot to a close-up.

6. Documentaries and vox pop
Vox pops are quick reaction comments from people in the street.
The balance of opinions the audience sees on screen should be broadly representative of those actually expressed when people were asked.

7. Indoor location
Consider the following when shooting indoors: • Space for shooting. • Lighting. • Sound. • Mise-en-scène.

8. Outdoor location
Consider the following when shooting outdoors: • Backgrounds • The public • Security. • Equipment leftovers • Lighting • Sound

9. Studio locations
Consider the following when shooting in a (school) studio: • Green screen reflection • Clothing choices • Sound

10. Three point lighting
Key light
Fill light
Back light

11. Recording sound All sound recorded on set or on
location is called production sound.
Live production sound is always the
most realistic.
Omnidirectional microphones
Good for
recording situations in which a group of actors are delivering dialogue while standing close together.
recording atmospheric or ambient sound from all around.
Not good for
picking out the sound of one person's voice when there is a lot of surrounding sound.

12. Recording sound cont… Unidirectional microphones.
Sometimes called shotgun
microphones because they often
have a long, thin shape like a rifle barrel.
Good for:
situations where you need to focus on one sound source to the exclusion of all others —for example, when a character is talking and you need to focus only on them. A unidirectional
cutting out traffic sounds or other loud noises near where someone is speaking.
Not good for
multiple sound sources. They do not work well if a group of people are speaking, unless you move the microphone towards each one as they speak.

13. Recording sound cont… Cardioid microphones.
It is a kind of unidirectional microphone but with broader pick-up area.
good compromise between omni- and unidirectional mikes.
Good for
general use.

14. Techniques for recording
Things to consider:
Using headphones
Sound levels
Placing microphones
Atmos track
Room tone track
Recording narration

15. Activity
Describe the locations for your production and discuss the considerations for those locations.
Complete two short scenes – one where you create jumpcuts and one where you avoid them.
Describe three filming situations where you would use the following microphones:
Omnidirectional
Unidirectional
Cardioid