Part IV: Applying the Principles
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Roger Singleton-Turner
Abstract
This chapter bridges more advanced student work and some challenges of the professional world. The reformatting, including re-editing, and conversion of original content is the province of specialists. By 2009, it appeared to be a growing sector in television production. It is not necessary for everyone to understand the fine detail, but professional production teams should allow for multimedia outputs as they plan their content. 360-degree television (3DTV) gives an image perceived in three dimensions. Early 3D rigs were two HD cameras bolted together; this was problematic because differences within the stereoscopic image are more obvious than small differences between consecutive 2D images. 3DTV can produce headaches and nausea in the viewer. Its techniques work best when used subtly.
Abstract
This chapter bridges more advanced student work and some challenges of the professional world. The reformatting, including re-editing, and conversion of original content is the province of specialists. By 2009, it appeared to be a growing sector in television production. It is not necessary for everyone to understand the fine detail, but professional production teams should allow for multimedia outputs as they plan their content. 360-degree television (3DTV) gives an image perceived in three dimensions. Early 3D rigs were two HD cameras bolted together; this was problematic because differences within the stereoscopic image are more obvious than small differences between consecutive 2D images. 3DTV can produce headaches and nausea in the viewer. Its techniques work best when used subtly.
Kapitel in diesem Buch
- Front matter i
- Contents v
- List of illustrations xi
- List of tables xvii
- Preface xix
- Acknowledgements xxi
- List of abbreviations xxiii
- 1 Introduction xxvii
- Part I: Safety and Good Practice 1
-
PART II: INTRODUCTION TO THE STUDIO
- 2 Basics 19
- 3 Working with cameras 29
- 4 Lenses and shooting conventions 49
- 5 The studio production team 62
- 6 Technical jobs in the studio 81
- 7 Design and sets 103
- 8 The job of Script Supervisor and multi-camera paperwork 120
- 9 Camera scripts, camera cards etc. and creating them in MS Word (with a note on Autocue) 134
- 10 In the studio 160
- 11 Lighting for video cameras 172
- 12 Microphones and sound 199
-
PART III: CONTENT
- 13 Interviews, discussion and chat 217
- 14 Demonstrations and movement 251
- 15 Having ideas 265
- Part IV: Applying the Principles 287
- 16 Getting it all together 293
- 17 Drama 325
- 18 Music 367
- 19 Shooting action 387
- 20 Afterword 398
- Appendix I 400
- Appendix II 408
- Select videography 412
- Bibliography and references 428
- Suggested further reading 433
- Index 434
Kapitel in diesem Buch
- Front matter i
- Contents v
- List of illustrations xi
- List of tables xvii
- Preface xix
- Acknowledgements xxi
- List of abbreviations xxiii
- 1 Introduction xxvii
- Part I: Safety and Good Practice 1
-
PART II: INTRODUCTION TO THE STUDIO
- 2 Basics 19
- 3 Working with cameras 29
- 4 Lenses and shooting conventions 49
- 5 The studio production team 62
- 6 Technical jobs in the studio 81
- 7 Design and sets 103
- 8 The job of Script Supervisor and multi-camera paperwork 120
- 9 Camera scripts, camera cards etc. and creating them in MS Word (with a note on Autocue) 134
- 10 In the studio 160
- 11 Lighting for video cameras 172
- 12 Microphones and sound 199
-
PART III: CONTENT
- 13 Interviews, discussion and chat 217
- 14 Demonstrations and movement 251
- 15 Having ideas 265
- Part IV: Applying the Principles 287
- 16 Getting it all together 293
- 17 Drama 325
- 18 Music 367
- 19 Shooting action 387
- 20 Afterword 398
- Appendix I 400
- Appendix II 408
- Select videography 412
- Bibliography and references 428
- Suggested further reading 433
- Index 434
