9/14/20151 rtv 1335 getting started -- the project work
TRANSCRIPT
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RTV 1335Getting Started --
• The Project Work
• www.tonydemars.com
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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
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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?
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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
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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
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New storage options
HDD DVD / Blu Ray / Optical discs Flash memory (built in vs.
removable, like SD card) Cloud storage Still ‘video recording’
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Digital Recording
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
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Illusion of Movement
Persistence of vision 24 vs. 30 fps (transfers) ‘shutter speed’
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Time Code
Vital to videotape Important for timing / syncing SMPTE VITC vs. longitudinal ‘striping’ Time code vs. control track
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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.
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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.
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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.
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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
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Camera movements
Pan, tilt, truck, dolly, arc, zoom, boom/pedestal
DVE Crane, tracking, feather, 360 shot,
follow, swish pan, snap zoom
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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
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Foundation overview regarding content creation
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Review concepts 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 in visual storytelling.
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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?
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Review 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 -- see outline
Q&A in production vs. interviewing for sound bites
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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?
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Review audio basics News story style: narrator with
actualities (sound bites) and some 'wild sound' (nat sound).
Production basics: still a lead (intro/open), a beginning / middle / end structure, inverted pyramid style?
Still conversational writing -- simple sentences (SV, SVO), active voice, present tense verbs, contractions, sentence fragments.
For radio--how do you 'draw mental pictures'? more expressive language and voice
style.
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Review audio basics
Documentary style: adds musical elements, longer segments, greater variety of voices heard, transitions. Also takes on different documentary forms.
Terms: music bed, establish, hold under, fade, cross fade, stinger, jingle, voice over, mixing
Narration vs. dialogue PSA / promo / commercial copy types --
straight copy, hard sell, soft sell, spokesperson, humorous
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Audio production
Mixer / Stereo recording / multi-track Pots / slide faders EQ Pan pot Effects: phase, reverb, double-tracking... Production Effects - Lasers, stingers,
sweepers, swooshes, stagers ... Sources of music & sfx Music / Voice / SFX
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Review copyright
What can and what can we NOT put into our production?
What is 'fair use'? 'public domain'? 'creative commons'?
How challenging are copyright issues? (Harry Fox Agency, Tony Orlando example / see show credits)
Performance licensing (ASCAP, SESAC, BMI)
Blanket license vs. needle drop
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Review copyright
Digital Millennium Copyright Act Sound Exchange Synchronization license Master use license Criminal and civil issue
cease and desist vs. settlement vs. court ruling
How do you assert copyright?
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Bottom line
If you don’t own it or it’s not public domain, you can’t put it into a production
“Royalty Free Loops” www.royaltyfreemusic.com
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