1. 9/14/20151 RTV 1335 Getting Started -- The Project Work www.tonydemars.com

2. 9/14/20152 Film vs. Video Film  a thin flexible strip of plastic or other material coated with light- sensitive emulsion for exposure in a camera, used to produce photographs or motion pictures  Responds to light Video  magnetic tape for recording and reproducing visual images and sound.  Responds to electrical current

3. 9/14/20153 Film vs.Video Film stock is the imaging device for motion picture film -- chemical reaction to light CCD or CMOS is the imaging device for video -- a transducer Future for film?

4. 9/14/20154 Film 8 mm, 16mm, 35mm, 70mm Super 16 and 35 mm Film stock--costs and processing  Film stock types: b/w or color, negative or reversal, fast or slow, tungsten or daylight 24 fps Sprocket holes, audio recording

5. 9/14/20155 Magnetic Videotape Now only Digital -- Not ‘filming’ Interlaced or Progressive DVCam, DVCPro, MiniDV  Variety of digital tape formats Standard or High Def 4:3 or 16:9 Digital Compression Codecs  H.264 dominant now  Dominant companies (Microsoft.wmv)  Open source / licensed

6. 9/14/20156 New storage options HDD DVD / Blu Ray / Optical discs Flash memory (built in vs. removable, like SD card) Cloud storage Still ‘video recording’

7. 9/14/20157 Digital Recording 480 vs. 720 vs. 1080 Contrast ratio Megapixels I vs. P Lossy or Lossless codecs Color sampling: relationship of chroma to luma Bit depth: the number of individual 0s and 1s sampled

8. 9/14/20158 Illusion of Movement Persistence of vision 24 vs. 30 fps (transfers) ‘shutter speed’

9. 9/14/20159 Time Code Vital to videotape Important for timing / syncing SMPTE VITC vs. longitudinal ‘striping’ Time code vs. control track

10. 9/14/201510 Lenses Camera body vs. lens Zoom or fixed (prime) -- critical focus Optical vs. Digital zoom Diaphragm / aperture -- f-stops / t-stops / number means what? Manual vs. autofocus  Sharp focus, Selective focus, follow focus, rack focus, soft focus, swimming focus Depth of field is affected by focal length, aperture, and the distance of objects from the camera.

11. 9/14/201511 Camera mounts Tripod and pedestal  Friction head / Fluid Head Crane vs. jib Dolly / track SteadiCam vs. Handheld  Image stabilization Robotics, follow me, Segue, ‘copter, cable mount, etc.

12. 9/14/201512 Shot Composition Rule of Thirds Point of View Angle  High angle, low angle, high level, low level, bird’s eye view, canted / Dutch angle Cut off lines, look space, lead room, head room, eye line Terms: WS, OTS, 2/S, etc.

13. 9/14/201513 Transitions What is a shot? Fade / cut / Diss / Wipe / DVE Changing shots in a continuous shot Multi cam shoots vs. film style Real time to Filmic time Invisible / seamless edits Sequences Master Shot / cover shot Jump cuts / pop cuts

14. 9/14/201514 Camera movements Pan, tilt, truck, dolly, arc, zoom, boom/pedestal DVE Crane, tracking, feather, 360 shot, follow, swish pan, snap zoom

15. 9/14/201515 Technical vs. aesthetics What kind of camera? What kind of lighting? What kind of lens? Consumer vs. Prosumer vs. professional cameras (reading next week) How the story is told? ‘Language’ of visual storytelling -- Hollywood style, home movies style, new media style, NPPA / news style

16. 9/14/201516 Foundation overview regarding content creation

17. 9/14/201517 Review concepts of visual storytelling: Stages of production, roles of crew positions, differences in producers and directors by types of production, sequences, rule of thirds, continuity, jump cuts, pacing, motivated pans and zooms, creativity in visual storytelling.

18. 9/14/201518 How do we create visual content? B-roll with nat sound, interviews, Voice overs, dramatic scenes. How do we 'create' b-roll when then is no event to shoot? ("The Ken Burns Effect") What are the standard techniques for shooting b-roll, interviews, and dramatic scenes? Visual storytelling--does what you have: drive the story? Build characters? keep the audience connected? accomplish the communication goal?

19. 9/14/201519 Review interviewing Interviews: remember camera point of view (objective, subjective, presentational) Formats -- scripted, semi-scripted, ad-lib. Information, personality, opinion Types of questions -- primary & follow- up; open-ended and closed-ended. Principles of Interviewing -- see outline  Q&A in production vs. interviewing for sound bites

20. 9/14/201520 Talking Heads Why is this a dominant content item in many visual production? How do we keep it from becoming negative, static, boring? What production issues are there vs. quality of content issues?  How do we shoot interviews?

21. 9/14/201521 Review audio basics News story style: narrator with actualities (sound bites) and some 'wild sound' (nat sound). Production basics: still a lead (intro/open), a beginning / middle / end structure, inverted pyramid style? Still conversational writing -- simple sentences (SV, SVO), active voice, present tense verbs, contractions, sentence fragments. For radio--how do you 'draw mental pictures'?  more expressive language and voice style.

22. 9/14/201522 Review audio basics Documentary style: adds musical elements, longer segments, greater variety of voices heard, transitions. Also takes on different documentary forms. Terms: music bed, establish, hold under, fade, cross fade, stinger, jingle, voice over, mixing Narration vs. dialogue PSA / promo / commercial copy types -- straight copy, hard sell, soft sell, spokesperson, humorous

23. 9/14/201523 Audio production Mixer / Stereo recording / multi-track Pots / slide faders EQ Pan pot Effects: phase, reverb, double-tracking... Production Effects - Lasers, stingers, sweepers, swooshes, stagers... Sources of music & sfx Music / Voice / SFX

24. 9/14/201524 Review copyright What can and what can we NOT put into our production? What is 'fair use'? 'public domain'? 'creative commons'? How challenging are copyright issues? (Harry Fox Agency, Tony Orlando example / see show credits) Performance licensing (ASCAP, SESAC, BMI) Blanket license vs. needle drop

25. 9/14/201525 Review copyright Digital Millennium Copyright Act Sound Exchange Synchronization license Master use license Criminal and civil issue  cease and desist vs. settlement vs. court ruling  How do you assert copyright?

26. 9/14/201526 Bottom line If you don’t own it or it’s not public domain, you can’t put it into a production “Royalty Free Loops” www.royaltyfreemusic.com ###