1. 10/16/20151 RTV 420 Importance and basics of video production and visual storytelling Interactive Media

2. 10/16/20152 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. 10/16/20153 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. 10/16/20154 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. 10/16/20155 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 (COFDM)

6. 10/16/20156 New storage options HDD DVD / Blu Ray / Optical discs Flash memory (built in vs. removable, like SD card)  Solid state Still ‘video recording’—magnetic, electrical process

7. 10/16/20157 Digital Video 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 Move to 4K / UltraHD

8. 10/16/20158 Illusion of Movement Persistence of vision 24 vs. 30 fps (transfers) ‘shutter speed’

9. 10/16/20159 Time Code Vital to videotape Important for timing / syncing SMPTE VITC vs. longitudinal BUT, for digital, still critical to timing and sync

10. 10/16/201510 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. 10/16/201511 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. IS vs. actually stable

12. 10/16/201512 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. 10/16/201513 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. 10/16/201514 Camera movements Pan, tilt, truck, dolly, arc, zoom, boom/pedestal DVE Crane, tracking, feather, 360 shot, follow, swish pan, snap zoom

15. 10/16/201515 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. 10/16/201516 Concept 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 – and connection of meaning to the audience.

17. 10/16/201517 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")

18. 10/16/201518 How do we create visual content? CREATIVITY – the technique plus the unique quality of this one production What are the standard techniques for shooting b-roll, interviews, and dramatic scenes? But then how do we do it so it’s not cliché? Visual storytelling--does what you have: drive the story?  Build characters?  keep the audience connected?  accomplish the communication goal?

19. So the key to video… The language of visual storytelling shooting video in sequences Capturing and controlling light Correct manipulation of the tool you are using  Cinematographer  Gaffer  Production designer 10/16/201519

20. 10/16/201520 Good 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 -- Q&A in production vs. interviewing for sound bites

21. 10/16/201521 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?

22. Dramatic scenes All these issues in production Difference in talent vs. the announcer style of VO ### 10/16/201522