2. Overview of Video Production Be sure you are in Practicum TURN OFF AND PUT AWAY ALL ELECTRONIC DEVICES 1

3. Class Content Overview of multi-camera video production TV studio focus Interview show Demonstration Infommercial Newscast segment 2

4. Grading Section and Mid Term Exams...... (3 @ 100 points each)..........300 points Final Exam………………………….200 points Production Projects……… (3 @ 100 points each)……......300 points Quizzes, Attendance, Participation..100 pts Studio Crew, Participation, Practical...100 pts GRADE REQUIREMENTS: Points required for: "A"—900+ "B"— 800-899 "C"— 700- 799 "D"— 600-699 ( 90 /80 / 70 / 60)

5. Textbook Free online video textbook Selected other readings Quizzes over each week’s reading 50 question exam each four weeks 4

6. To get started… ‘Art’ of video production 5

9. The path of a moving point at the edge of a flat shape, or outline of a solid object. It is longer than it is wide. Types of line refers to straight, curvy, horizontal, vertical, diagonal, zigzag, implied, and angular. Direction pertains to the movement that a line may have or seem to indicate. Location refers to the placement of a line.

10. Shape is a two-dimensional area made by connecting lines that establish the contour of an object. Shapes may be positive or negative, biomorphic or geometric. Shapes may stand out also by a difference of value, color, or texture.

11. The three dimensional projection of a shape: it has volume, dimension, appears to have mass. This element is frequently used in sculpture. It may also refer to the overall organization of the work of art, as a second meaning.

12. The appearance of lights and darks found in a work of art. These range from black to white with numerous shades of gray in between. (greyscale)

13. The character of a surface created by the response of vision to the wavelength of light reflections. It identifies objects, creates moods, and affects emotions. (warm, cool, primary, secondary, intermediate, analogous, and complementary).

14. The roughness or smoothness of a surface. Texture can be real, tactile (sandpaper), or illusion (looks soft, but not).

15. Interval of measurable distance between pre- established points. Space can be limited or shallow, or extended or deep in design. Two- dimensional space has height and width. Three-dimensional space has height, width, volume, and time. Deep--foreground, middle ground, background. Shallow--foreground and background.

16. We use cameras as the tool to create an image with line, shape, form, texture, space, value and color. 15

17. Know how to handle the equipment properly and the effects of various controls 16 Develop the skills underlying good camerawork and sound productionDevelop the skills underlying good camerawork and sound production Convey ideas convincingly and use the medium persuasivelyConvey ideas convincingly and use the medium persuasively Organize systematically: Apply practical planning, preparation, and productionOrganize systematically: Apply practical planning, preparation, and production

18. ‘Smart phones,’ tablet computers, and computers are changing the way the audience watches television. Social media and apps are changing how people use and share information What’s next? -- ‘streams everywhere’? -- connected device? -- ubiquitous wireless? 17

19. Video productions can be shown on many different media + Cameras that now have built-in projectors + Cameras that save files ‘in the cloud’ 18

20. Shooting circumstances will determine some of the camera mounts. In this situation, the production is being shot from a dolly. Is this a single camera or multi-camera production? 19

21. The flexibility of video equipment allows you to arrange it in many different ways from acquisition (the camera) to homes (the television) Modern equipment continues to eliminate position needs 20

22. But remember this: 21 There is ONE fundamental purpose for video equipment:

23. But remember this: 22 There is ONE fundamental purpose for video equipment: To enable users to communicate their ideas to an audience The question is – how do you edit the content? Live, live to tape, single camera This class: live, live to tape – multi-camera

24. What kinds of productions: 23 Typical sit-coms, live events – sports, certain reality programs, game shows, soap operas, newscasts, interview shows, demonstration shows…

25. What is involved in communication? 24 Sender -- receiver -- channel -- meaning -- feedback Meaning: action, emotion, intent, character, organization Visual communication: line, depth, color, shape, size, meaning, connotation and denotation, sequencing of ideas, fundamentals of language Ideological battles: high culture vs. popular culture, profits versus art, power and manipulation

26. Effective Visual Storytelling? 25 Critique this production: Promotional Video Promotional VideoPromotional Video Critique this production: Multicam field Multicam fieldMulticam field Critique this production: Multicam Studio Multicam StudioMulticam Studio Critique this production: Game Show Game ShowGame Show

27. Starting to plan... 26 Demonstration done as an infommercial Interview that you script and direct Learning each TV studio crew position and ability to direct Learning camera, lights, CG, switcher, audio, server and prompter in the TV studio Incorporate basics of shooting & editing See course outline—start reading

28. RTV 332 Multi-camera Production Class 2

29. Multi Camera Basics Theory

30. If we shoot Missions Fest

31. Plenary Sessions

34. Interviews

35. Worship and Music

36. Course Basics Element 1 THEORY Element 2 HANDS- ON Overview / Review Picture composition and terminology Technical Aspects Picture and signal assessment Switcher basics and operation Production Aspects Directing 101 Production Issues Then… Hands-on operation with personnel rotation through various equipment stations while doing three types of productions

37. Picture Composition Action Safe and Title Safe Areas Field or angle of view Content identification Framing

38. Action Safe & Title Safe Areas

39. Field or Angle of View Identification E.L.S. Extreme long shot Establishing shot L.S. or W.S. Long or wide shot Area of action

40. Field or Angle of View Identification M.L.S. Medium long shot Head to mid leg M.S. Medium shot Head to waist shot

41. Field or Angle of View Identification M.C.U. Medium Close-up Head and shoulders Close-up E.C.U. Extreme Close-up

42. Content Identification 1 Shot 2 Shot 3 Shot

43. Framing Good framing is the responsibility of the camera person Rule of thirds Headroom Vertical framing Horizontal framing Frame cutting points Position of subjects and objects

44. Headroom Defined as the amount of picture between to the top of the subject’s head and the top of frame Subject’s eyes placed at approx 1/2 to 2/3 up from bottom

45. Vertical Framing Avoid too much or too little headroom Place eyes at 1/2 to 2/3 up from bottom

46. Horizontal Framing Place people in the frame with adequate looking room Place objects in slightly off vertical or horizontal axis

47. Frame Cutting Points Frame people at intermediate points between joints Avoid framing at the natural joints Correct Incorrect

48. Positioning of Subjects and Objects Avoid straight line arrangements Place objects in a triangular grouping Place subject in a setting where there are objects in the foreground, middle ground and background

49. Technical Aspects What are some of them? Is the picture quality good and matched? Is the audio quality clear and at a good level? Is the lighting even, sufficient and color balanced? Does camera placement work with the set design and action? Ultimately, there are trade offs in many areas.

50. Can you believe what you are seeing? Check and adjust all monitors with good video signal -e.g. color bars (from switcher or camera) Output picture monitor should be the guide

51. Matching Cameras Camera video levels should match 1. White levels 2. Black levels 3. Color balance 4. Chroma levels

52. Tools: Waveform monitor Waveform monitor displays luminance levels 100 60 20 0

53. Faces properly exposed fall between 50 and 80 units Tools: Waveform monitor

54. Tools: Vectorscope Vectorscope displays chroma phase and intensity

55. Tools: Vectorscope

56. Tools: Proc Amp (processing amplifier) 1st: Color balance camera and set iris and gain 2nd: Use Proc Amp

57. Tools: Switcher wipe Check picture color balance,levels and timing with a switcher wipe between sources.

58. Video Switchers

59. Switcher Routes signals to aux, preview & output busses Switching multiple input sources on busses: -cameras, VTRs, computer graphics, etc Transitions: -cuts, dissolves, fades, wipes, DVEs -digital video effects Keying: luminance key, linear key, and chroma key,

60. Video Flow Chart

61. VT4 Video Switcher

62. VT4 Components Switcher Input Buses Key Bus  Main Bus  Preview Bus 

63. VT4 Components Background transition and key control Down Stream Keyer (DSK) BG Fader Bar Auto Transition Effects for BG

64. Cut/Key source: the white image Fill source: image that fills the cut source shape Key source Fill source Composite Luminance Key

65. Linear Key Alpha channel is one way to make graphics with variations of transparency The alpha channel specifies how the pixel's colors should be merged with another pixel when the two are overlaid, one on top of the other. CG graphic with alpha channel Composite

66. Chroma Key Green background image has been cut and replaced. Blue or green usually chosen as BG color Why not other colors? Key source Fill source Composite

67. Production Aspects Directing 101 Production: general concerns Production meetings Pre-production Roles and responsibilities Showtime

68. Directing 101 Choice of Camera Cameras placed left to right: Cam 1, Cam 2, Cam 3 Cameras truck, dolly, pedestal, zoom to get alternate shots

69. Directing 101 Choice of Objective or Subjective Camera Cam 1 Partially subjective shot Cam 1 Subjective shot Cam 2 Objective shots

70. Directing 101 Choice of Field (Angle) of View Cam 1 Over the shoulder (OTS) Cam 1 Close-up (CU) Cam 1 Extreme close-up (ECU) -very dramatic Cam 2 - establishing shot -2 shot -profile shot

71. Sample Interview at Missions Fest

72. Directing 101 When and when not to cut Cut on action. During, not before or after. Don’t cut from a moving image a stationary one. Moving to moving OK. Don’t over cut. Cut on motivation Don’t cut to identical shots Don’t cut to mismatched shots Don’t cut across the axis of action

73. Directing 101 Mismatched Shots Cutting from Cam 1 to Cam 3 causes subject B to jump to the opposite side of the screen. Insert Cam 2 shot in between Cam 1 and Cam 3

74. Directing 101 Mismatched Shots

75. Directing 101 Axis of Action An imaginary line of action or line of conversation

76. Directing 101 Axis of Action & Placement of Cameras Cameras to be placed on one side of the line to avoid reversed shots As direction of action reverses, viewers become disoriented and confused

77. Directing 101 Choice of Transition Take or cut: Used when action is continuous in time and place. Cuts must be motivated. For music, cuts must be determined by the pace of music. D issolve or mix: Used for a minor discontinuity in time or place. Used to smoothly join different actions. Fade up or down to black: Indicates a major discontinuity in time or place. Indicates a start or end in segment or program. DVE - Digital Video Effect: Used for special effects: “page turns” to and from graphics. Not for use with people. Too often over used.

78. Directing 101 Director Cues for Camera and Switcher “ Ready to fade in from black on GFX…….Up” “Ready camera 1……..Take 1” “Ready camera 2………2” “Standby to key name………take key” “Ready to loose key………….loose key” “Standby on DVD………….roll DVD, mix” “Standby for PowerPoint……..go PowerPoint” “Ready black…………………...black”

79. This seminar discusses coverage of live events Basically we follow the bouncing ball. Take cues from presenters TV is best when it brings subjects close TV production is a whole team effort Work within your limitations –equipment, experience and staffing KISS Choose shots based on motivation Support action with other media when available Production Aspects General Concerns

80. Production Meetings Create a Lineup: Order of Service Announcements: script, graphics, and name keys as required Worship: lyrics for PowerPoint or Easy Worship, vocals, instrumentals, interludes, note solos, name keys Sermon: topic title, name keys, script, supporting material (PowerPoint, video)

81. Pre-production Graphic requirements - style and type -title keys, announcement graphics, name keys, visuals. Supporting media (video, boards,etc) Mark line-up and scripts

82. Showtime

83. Camera Person’s Role Correctly frames subjects Follows the action: pans, tilts, trucks, pedestals, dollys, zooms Listens to cues for director or AD Provides hand cues to on-stage performers Shops for good shots when not live Talks on intercom only as needed

84. Switcher’s Role Cuts the visual portion of the program Fades up from and down to black at start and end of program Uses transitions as requested by director Uses keys and supers as requested Helps director if his/her attention is called away Notes technical problems: video, sound, lighting levels and quality

85. Assistant Director’s Role Pre-production (assembles gfx, video, music, etc. as required) Times to the start and end of program Alerts director about up coming events in lineup Times segments and inserts in the show

86. Director’s Role Must know all the workings of the facilities Controls and cues all aspects of production and remains calm and efficient Encourages crew to do a good job Knows the material. Not completely focused on looking at the script Gives orders clearly and confidently Is prepared for emergencies

87. Director’s Role Watches program on the output monitor objectively Calls the events that go to air Sets up future camera shots and watches for good shots Follows script and checks time left in show Listens to program sound: balance of dialogue, level of music and overall sound Cues entire crew by intercom.

88. Multi Camera Basics Hands On

89. Multi Camera Basics Class 2 Hands On Pick area of interest: 3 camera positions (2 fixed cameras, 1 roving camera) 1 audio person, 1 switcher, 1 assistant director, 1 director Production meeting - write lineup, set start time Become comfortable with the equipment Produce the 5 minute show Quick feedback session Rotate positions and repeat the sequence two additional times. Each session allotted 15 minutes.

90. Multi Camera Basics Class 2 Hands On 1. Seated interview with participants addressing each other and audience 2. Introduction with presenter at lectern or mic 3. Introduction with presenter roaming during presentation Each session allotted 15 minutes Multi Camera Basics Class 2 Hands On

91. Intercom Belt Pack Microphone on/off switch Headset volume control Signal lamp Button for signaling Microphone on/off switch Headset volume control Signal lamp Button for signaling

92. Closed Headset Soft ear-cups with good noise attenuation The 270º rotation of the microphone boom to be worn on either left or right side.

93. Open Headsets Light weight One ear free to listen to ambient sound The 270º rotation of the microphone boom allows unit to be worn on either left or right side.

94. Intercom Etiquette Key the mic only when needing to talk Be concise Be polite as possible and try not use inappropriate language