1. 12/25/20151 RTV 151 Video & Cameras Remember to check www.tonydemars.comwww.tonydemars.com for course outline & reading every week; Remember: read the assigned reading, take notes, study material as we are going through it, ask questions in class. The goal is learning – your active participation leads to knowledge and good test grades; just coming to class will likely not. Remember to check www.tonydemars.comwww.tonydemars.com for course outline & reading every week; Remember: read the assigned reading, take notes, study material as we are going through it, ask questions in class. The goal is learning – your active participation leads to knowledge and good test grades; just coming to class will likely not.

2. 12/25/20152 ‘Active’ involvement Student leader – takes initiative Speakers invited to campus Tours arranged / attended Attendance of regional conference Submission of production to competition Participation in social, service, other student group activities No $ cost Student leader – takes initiative Speakers invited to campus Tours arranged / attended Attendance of regional conference Submission of production to competition Participation in social, service, other student group activities No $ cost

3. Right now SCBS conference City of Greenville tech internship IRTS application BEA Scholarship application SCBS conference City of Greenville tech internship IRTS application BEA Scholarship application 12/25/20153

4. Is this your career? Long time Hollywood talent and producer Marc Summers at the NBS- AERho 2014 convention said: “I don’t get up on any morning concerned with whether or not you have a job – your plans and future are up to you” News Director at NBS Regional meeting reminded students “We all have lives too” Long time Hollywood talent and producer Marc Summers at the NBS- AERho 2014 convention said: “I don’t get up on any morning concerned with whether or not you have a job – your plans and future are up to you” News Director at NBS Regional meeting reminded students “We all have lives too” 12/25/20154

5. And remember What we cover here is to supplement your reading and studying of material If you just come to class you probably won’t learn much. If you’re not making an active effort to learn, you probably won’t learn much. Exam Tuesday – ‘can you carry on a conversation about what we have covered?’ What we cover here is to supplement your reading and studying of material If you just come to class you probably won’t learn much. If you’re not making an active effort to learn, you probably won’t learn much. Exam Tuesday – ‘can you carry on a conversation about what we have covered?’ 12/25/20155

6. 6 Overview Visual program distribution Terrestrial NTSC: 4x3, 30 fps, interlaced, 525 scan lines ATSC: 16x9, I or P, 480 / 720 / 1080 No 1080p in ATSC system, now 720p or 1080i Cable, DBS, IPTV Geosynchronous satellites Fiber optic, streaming, virtual DVR Example: local cable headend picks up signals from --, distributes signals by -- DTV vs. digital cable, etc. Visual program distribution Terrestrial NTSC: 4x3, 30 fps, interlaced, 525 scan lines ATSC: 16x9, I or P, 480 / 720 / 1080 No 1080p in ATSC system, now 720p or 1080i Cable, DBS, IPTV Geosynchronous satellites Fiber optic, streaming, virtual DVR Example: local cable headend picks up signals from --, distributes signals by -- DTV vs. digital cable, etc.

7. 12/25/20157 Video Process The screen: Pixels (megapixels) Resolution Still images Standard film: 24 fps Persistence of vision NTSC 525 scan lines of dots (480 used) 4:3 aspect ratio 30 fps interlaced -- 60 fields The screen: Pixels (megapixels) Resolution Still images Standard film: 24 fps Persistence of vision NTSC 525 scan lines of dots (480 used) 4:3 aspect ratio 30 fps interlaced -- 60 fields

8. 12/25/20158 Video Process …..cont…. HDTV / DTV 480 720 1080 scan lines Interlaced or progressive scan 24, 30, or 60 frame rate 480p / 1080i DV: 720 x 480 aspect ratio / frame size …..cont…. HDTV / DTV 480 720 1080 scan lines Interlaced or progressive scan 24, 30, or 60 frame rate 480p / 1080i DV: 720 x 480 aspect ratio / frame size

9. 12/25/20159 Principles of video color Light hits CCD (1 or 3 CCDs) (or CMOS) Beam splitter splits into the 3 primary colors (electrical signals) Other end--CRT, LCD, LED, Plasma, DLP Transducer / encoding - decoding 3 attributes of video color Hue, saturation, luminance Chrominance : hue & saturation --> Light hits CCD (1 or 3 CCDs) (or CMOS) Beam splitter splits into the 3 primary colors (electrical signals) Other end--CRT, LCD, LED, Plasma, DLP Transducer / encoding - decoding 3 attributes of video color Hue, saturation, luminance Chrominance : hue & saturation -->

10. 12/25/201510 Color (cont.) HUE... Primary colors: RGB Complementary colors Cyan, magenta, yellow White: all colors; Black: absence HUE... Primary colors: RGB Complementary colors Cyan, magenta, yellow White: all colors; Black: absence

11. 12/25/201511 Color continued... Saturation Intensity or vividness of color Hue & Saturation=chrominance Luminance = brightness Luma & chroma continued... Saturation Intensity or vividness of color Hue & Saturation=chrominance Luminance = brightness Luma & chroma

12. 12/25/201512 Magnetic recording Analog vs. Digital Slant tracks for writing speed Analog vs. Digital Slant tracks for writing speed

13. 12/25/201513 Time Code Vital to videotape Important for timing / syncing SMPTE VITC vs. longitudinal ‘striping’ Vital to videotape Important for timing / syncing SMPTE VITC vs. longitudinal ‘striping’

14. 12/25/201514 Data file recording Digital Compression Codecs WMA QuickTime RealPlayer Flash plug-in HDD DVD / Blu Ray / Optical discs Flash memory (built in vs. removable, like SD card) Beyond flash memory Digital Compression Codecs WMA QuickTime RealPlayer Flash plug-in HDD DVD / Blu Ray / Optical discs Flash memory (built in vs. removable, like SD card) Beyond flash memory

15. 12/25/201515 Three ‘parts’ of the camera The camera body The lens The mount The camera body The lens The mount

16. 12/25/201516 Camera Lenses Focal length…how wide or narrow /‘long lens’ Fixed focal length / prime lens More common in film Zoom Lens Distance from front to back glass Optical zoom vs. digital ‘zoom’ More common in video Focus: soft, sharp Depth of field / rack focus / selective Depth of field is affected by focal length, aperture, and the distance of objects from the camera. Focal length…how wide or narrow /‘long lens’ Fixed focal length / prime lens More common in film Zoom Lens Distance from front to back glass Optical zoom vs. digital ‘zoom’ More common in video Focus: soft, sharp Depth of field / rack focus / selective Depth of field is affected by focal length, aperture, and the distance of objects from the camera.

17. 12/25/201517 Camera Lenses Front focus to focus a zoom lens Must ‘critical focus’ each time Back focus : use macro flange at back of lens F-stop aperture (iris opening) / diaphram F-22, 16, 11, 8, 5.6, 4 (double/half) Don’t use to compensate for bad lighting f-stops / t-stops / zoom vs. prime lens Manual vs. autofocus Sharp focus, selective focus, follow focus, rack focus, soft focus, swimming focus ** Photography is ** ---> the art of capturing and controlling light. Video, film, still images Front focus to focus a zoom lens Must ‘critical focus’ each time Back focus : use macro flange at back of lens F-stop aperture (iris opening) / diaphram F-22, 16, 11, 8, 5.6, 4 (double/half) Don’t use to compensate for bad lighting f-stops / t-stops / zoom vs. prime lens Manual vs. autofocus Sharp focus, selective focus, follow focus, rack focus, soft focus, swimming focus ** Photography is ** ---> the art of capturing and controlling light. Video, film, still images

18. 12/25/201518 CCU and Cameras Studio cameras vs. field CCU for settings Tally lights Lighting & filters White balance AGC / gain / decibels (video level) Studio cameras vs. field CCU for settings Tally lights Lighting & filters White balance AGC / gain / decibels (video level)

19. 12/25/201519 Camera Mounts & movements 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. (see online reading) Camera movements Pan, tilt, truck, dolly, arc, zoom, boom, crane, steady- cam, tracking, DVE 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. (see online reading) Camera movements Pan, tilt, truck, dolly, arc, zoom, boom, crane, steady- cam, tracking, DVE

20. 12/25/201520 Cameras -- composing shots Field of view -- rules of thirds LS/WS, est. shot, MS, CU, 2-shot, ots or o/s, head room, nose room, look space, cut-off lines, lead room, eye line Sequencing shots / sequence Depth composition (framing, focus) Angle : eye level /high / low / canted Symmetrical shots Point of view: objective, subjective, presentational Field of view -- rules of thirds LS/WS, est. shot, MS, CU, 2-shot, ots or o/s, head room, nose room, look space, cut-off lines, lead room, eye line Sequencing shots / sequence Depth composition (framing, focus) Angle : eye level /high / low / canted Symmetrical shots Point of view: objective, subjective, presentational

21. 12/25/201521 Illusion of Movement Composing individual ‘shots’ Editing shots together Persistence of vision Myth short-range apparent motion 24 vs. 30 fps (transfers) ‘shutter speed’ Demonstrated in the online reading Composing individual ‘shots’ Editing shots together Persistence of vision Myth short-range apparent motion 24 vs. 30 fps (transfers) ‘shutter speed’ Demonstrated in the online reading

22. 12/25/201522 Transitions What is a shot? Fade / cut / Diss / Wipe / DVE ‘Changing shots’ in a one-shot Multi cam shoots vs. film style Real time to Filmic time Invisible / seamless edits Sequences Master Shot / cover shot Crane, tracking, feather, 360 shot, follow, swish pan, snap zoom Jump cuts / pop cuts What is a shot? Fade / cut / Diss / Wipe / DVE ‘Changing shots’ in a one-shot Multi cam shoots vs. film style Real time to Filmic time Invisible / seamless edits Sequences Master Shot / cover shot Crane, tracking, feather, 360 shot, follow, swish pan, snap zoom Jump cuts / pop cuts

23. 12/25/201523 The Static Frame Visual storytelling involves interplay of blocking, lighting, costumes, and setting -- as captured by the camera Edge of the frame / off-screen space Visual storytelling involves interplay of blocking, lighting, costumes, and setting -- as captured by the camera Edge of the frame / off-screen space

24. 12/25/201524 Technical vs. aesthetics What kind of camera? What kind of lighting? What kind of lens? Consumer vs. Prosumer vs. professional cameras Film vs. video cameras How the story is told? ‘Language’ of visual storytelling -- Hollywood style, home movies style, new media style, NPPA / news style ### What kind of camera? What kind of lighting? What kind of lens? Consumer vs. Prosumer vs. professional cameras Film vs. video cameras How the story is told? ‘Language’ of visual storytelling -- Hollywood style, home movies style, new media style, NPPA / news style ###