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Overview of Video Production

Dive into all aspects of video production from camera basics to visual storytelling and professional skills development. Learn to create compelling visual content, understand media creation, and communicate effectively to target audiences. Discover the art of editing, shooting techniques, and modern equipment usage. Develop your skills in handling cameras and producing sound, plan and organize video productions, and understand the changing landscape of video consumption. Enhance your knowledge through hands-on projects and assessments while exploring different types of video productions and communication strategies.

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Overview of Video Production

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  1. Overview of Video Production TURN OFF AND PUT AWAY ALL ELECTRONIC DEVICES

  2. Class Content • FCP X Training & Use • Basic camera training and use • Understanding media content creation • Visual storytelling • Communicating an effective message to a target audience • Professional skills development

  3. Grading • Grade evaluation:Sections & Mid Term …........3 /100 pts. each • Final Exam .....................................200 points • Participation, Class Involvement….100 points • Class Quiz Average……….............100 points • Project Work Grade ………….........300 points PENALTIES • Late work = C as best possible course grade • Technology use during class…...... -100 • Food / drinks in edit room............... -100

  4. Textbook • Free online video textbook • Selected other readings • Quizzes over each day’s reading • 50 question exam about each week • Content, study materials, assignments and reading on course outline

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

  6. Who can paint artistically? • Oil on canvas • Portraits, landscapes, abstract, etc. • Materials – ‘media’ • What about photography skills? • Relationships to video communication?

  7. Know how to handle the equipment properly and achieve proper effects of various controls (iris, white balance, focus, etc.) • Develop the skills underlying good camerawork and sound production • Convey ideas convincingly and use the medium persuasively • Organize systematically: Apply practical planning, preparation, and production

  8. ‘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?

  9. Video productions can be shown on many different media • Cameras that now have built-in projectors, graphics abilities • Cameras that save files ‘in the cloud’ • ‘iPhone movies’

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

  11. 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

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

  13. ONE fundamental purpose for video equipment: To enable users to communicate their ideas to an audience. “It is foolish to learn the how without the why” ..George Lucas The question is – how do you edit the content? Live, live to tape, single camera This class: shooting & editing ‘film style’

  14. Sit-coms, TV dramas, live events – sports, certain reality programs; game shows, soap operas, newscasts, interview shows, demonstration shows, podcasts, movies, training videos… Why shoot & edit vs. multi-camera? What kinds of productions:

  15. What is involved in communication? 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 --UGC versus ‘professional content’ 15

  16. Effective Visual Storytelling? Critique this production: Promotional Video Critique this production: Multicam field Critique this production: Multicam Studio Critique this production: Game Show 16

  17. Starting to plan... Train for and apply skills for Final Cut Pro X: provided with script and raw footage, edit a TV News PKG Note: Reserve edit station, use only your station and sign in, no food or drinks in any equipment areas Start learning operations and build skills with field cameras. Develop your own script for a final production: TV News PKG or Promotional Video See course outline—start reading. Now, more specifics… 17

  18. Camera BasicsTheory

  19. 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.

  20. 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

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

  22. 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?

  23. Shot Sequence

  24. WS / MS / CU

  25. Chest Shot, Waist Shot

  26. Interview: 2-shot, look space, eye line

  27. Worship and Music: shot sequences

  28. Picture Composition • Action Safe and Title Safe Areas • Essential area – TV cutoff • Field or angle of view • Eye level, high angle, low angle • Objective, subjective, presentational • Content identification • Framing

  29. Action Safe & Title Safe Areas

  30. 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

  31. Field or Angle of View Identification • M.L.S. • Medium long shot • Head to mid leg • Person: full shot • M.S. • Medium shot • Waist shot • How’s the head room?

  32. Field or Angle of View Identification • M.C.U. • Medium Close-up • Shoulders shot / chest shot • Close-up • E.C.U. • Extreme Close-up

  33. Content Identification • 1 Shot • 2 Shot • 3 Shot

  34. Content Identification Group shot, crowd shot, one-shots

  35. Axis of Action • An imaginary line of action or line of conversation • The 180 line • Crossing the line

  36. 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 • False reverse • Cover it how?

  37. FramingGood framing is the responsibility of the camera person • Rule of thirds • Headroom • Vertical framing • Horizontal framing • Frame cutting points • Position of subjects and objects • X (hor.), Y (vert.) and Z (depth) axis

  38. As noted: We use cameras as the tool to create an image with line, shape, form, texture, space, value and color.

  39. 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 2/3 up from bottom

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

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

  42. Frame Cutting Points Correct Incorrect • Frame people at intermediate points between joints • Avoid framing at the natural joints • Chest shot, waist shot, knee shot • Cut off lines • Headroom & eye line issue

  43. 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 – Z axis

  44. Technical AspectsWhat 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? • Photography: The art of capturing and controlling light. Dark? You cannot shoot it. • Does camera placement work with the set design and action? • Ultimately, there are trade offs in many areas.

  45. 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

  46. BUT… • The MONITOR may not be set correctly • For AUDIO, we measure levels with _______ (what?) (not the monitor) • For VIDEO, we measure the chroma with a Vectorscope and the luma with a Waveform Monitor

  47. Matching Cameras • Camera video levels should match • White levels • Black levels • Color balance • Chroma levels

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

  49. Tools: Waveform monitor Faces properly exposed fall between 50 and 80 units IRE-Institute of Radio Engineers

  50. Tools: Vectorscope Vectorscope displays chroma phase and intensity

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