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RTV 420

RTV 420. Importance and basics of video production and visual storytelling. Interactive Media. 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

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RTV 420

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  1. RTV 420 Importance and basics of video production and visual storytelling Interactive Media

  2. 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. 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. 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. 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. 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. 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. Illusion of Movement • Persistence of vision • 24 vs. 30 fps (transfers) • ‘shutter speed’

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

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

  15. 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. 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. 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. 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

  20. 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. 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 • ###

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