VIDEO PRODUCTION LAB

PAPER CODE: BA(JMC)253

FAIRFIELD INSTITUTE OF MANAGEMENT AND TECHNOLOGY

Under the guidance of:

MS. PARUL BHATIA
Submitted by: MANDEEP KATYAL
BA(JMC)-3Rd semester
Enrollment No. : 00890102421
ACKNOWLEDGEMENT
I'd like to express my heartfelt gratitude to my teacher, MS.PARUL
BHATIA, for providing me with the wonderful opportunity to work
on this wonderful project on video production, which also allowed
me to do a lot of research and learn a lot of new things. I'm grateful
to her. Second, I'd like to express my gratitude to my parents and
friends for their assistance in completing this project within the time
constraints.
 CERTIFICATE

This is to certify that MANDEEP KATYAL of class Sem-3 has successfully completed her project on
the topic VIDEO PRODUCTION as prescribed by PARUL BHATIA MA’AM during the academic year
2022-23 as per the guidelines given by Fairfield Institute of Management Studies
 OBJECTIVE
1. Use video Camera, lights and sound for studio and
location shooting.

2. Demonstrate proficiency of skills to operate and handle

video system.
Operating and handling video camera

EXPOSURE
Shutter speed, lens aperture, and scene luminance control the amount of
light per unit area (image plane illuminance times exposure time) reaching a
frame of photographic film or the surface of an electronic image sensor in
photography. Exposure is expressed in lux seconds and can be calculated
using the exposure value (EV) and scene luminance in a given area.
A single shutter cycle is referred to as a "exposure." A long exposure, for
example, is a single, long shutter cycle used to gather enough weak light, but a
multiple exposure is a series of shutter cycles used to overlay a number of images
into one image. The accumulated photometric exposure (Hv) is the same so long
as the total exposure time is the same. In a scene with strong or harsh lighting, the
ratio between highlight and shadow luminance values may well be larger than the
ratio between the film's maximum and minimum useful exposure values. In this
case, adjusting the camera's exposure settings (which only applies changes to the
whole image, not selectively to parts of the image) only allows the photographer
to choose between underexposed shadows or overexposed highlights; it cannot
bring both into the useful exposure range at the same time. Methods for dealing
with this situation include: using what is called fill lighting to increase the
illumination in shadow areas; using a graduated neutral- density filter, flag, scrim,
or gobo to reduce the illumination falling upon areas deemed too bright; or
varying the exposure between multiple, otherwise identical, photographs
(exposure bracketing) and then combining them afterwards in an HDRI process.
WHITE BALANCING
White balance is the worldwide adjustment of color intensity in photography and image
processing (typically red, green, and blue primary colors). One of the main goals of this
adjustment is to appropriately represent specified colors, particularly neutral hues. As a
result, the process is also known as gray balance, neutral balance, or white balance.
White balancing is a color correcting technique that alters the overall mixing of colors
in an image. White balance is used to rectify colors that aren't neutrals or to adjust
them for effect in generalized versions. Image data collected by sensors – whether film
or electronic image sensors – must be changed from acquired values to new values
suitable for color reproduction or presentation. Several aspects of the acquisition and
display processes necessitate color correction, including the fact that the acquisition
sensors do not match the sensors in the human eye, the properties of the display
medium must be taken into account, and the acquisition and display viewing conditions
differ. White balance procedures in common picture editing software normally work
directly on the red, green, and blue channel pixel values, regardless of color sensor or
reproduction type.
DEPTH OF FIELD

Depth of field (DOF) is the distance between the closest and farthest objects in
a picture that are in acceptable sharp focus for many cameras. Focal length,
distance to subject, permissible circle of confusion size, and aperture can all be
used to compute depth of field. For technical or artistic reasons, a specific
depth of field can be set. Depth of field limitations can occasionally be
circumvented using a variety of techniques and equipment. The effect of
aperture on blur and depth of field. Points in focus project points onto the
picture plane, but points at varying distances project hazy images, or rings of
confusion. By reducing the aperture size, the blur spots for points not in the
focal plane shrink in size, making the blurring undetectable and all points within
the DOF."Acceptably sharp focus" is defined using a property called the circle
of confusion.
FILTERS
(EXTERNAL AND INTERNAL)

Filters are typically composed of high-quality glass (or resin) and are used to
block (filter) specific colors or types of light entering the camera when
mounted to the front of the lens. Some filters (for example, ND filters) are
designed to reduce the amount of light entering the camera. Filters, in
general, have lost favor in the modern digital age since many people assume
that the effects can be achieved simply by using editing software in
post-production. While this is true in certain cases (Adobe Lightroom, for
example, allows you to apply a 'graduated' filter to your photographs, which
is quite useful! ), many effects, such as those achieved by a polarizing filter
(see below), simply cannot be replicated digitally.
CAMERA MOUNTS
To connect a lens to a camera, many mechanical mounting mechanisms are
utilized, assuring both good focus and image stability. The mechanical depth of
the mechanics, as well as its diameter and thread pitch, characterize the mount.
It's critical that the lens flange focal distance and the camera mount flange
distance are identical, else focusing problems may occur. The existence of a
threaded mechanism allows for modest rear focal distance adjustment if
necessary. A tripod is a piece of photographic equipment that is used to
stabilize and elevate a camera, a flash unit, or other photographic gear. All
tripods for photography include three legs and a mounting head for attaching
to a camera. A thumbscrew that mates to a female threaded receptacle on the
camera, as well as a mechanism to spin and tilt the camera while it is mounted
on the tripod, are commonly included in the mounting head.Tripod legs are
usually made to telescope, in order to save space when not in use. Tripods are
usually made from aluminum, carbon fiber, steel, wood or plastic. Tripods are
used for both still and motion photography to prevent camera movement.
CAMERA SHOTS
From the time the camera starts rolling until it
stops, a camera shot is made up of a series of
frames filmed in a continuous sequence.
Camera shots are an important part of
filmmaking and video production because
they allow filmmakers to stress distinct
emotions, ideas, and movement for each
scene by combining different types of views,
angles, and camera movements.
 Close-up
A close-up shot is a shot taken of a person or object at a close range, in order to
capture the minute details of the subject. This shot is tightly framed and takes up
most of the screen, as it is usually used to frame a character’s face in order for the
audience to see what type of emotion is being conveyed. In addition to serving as a
tool used to evoke a character’s emotional state of mind, the close up shot is also
used to reveal details or information about objects or the setting the film is set in.
For example, close-up shots are often used to indicate to the audience that they
should pay attention to a certain motif or symbol that is being carried throughout
the film.
Medium Shot
A medium shot, or waist shot, indicates that it was captured at a medium distance
from the subject. It is often used for back and forth dialogue within a scene as it
allows the viewer to have a solid view of each character within a film. This shot is
known as the ‘sweet spot’ shot, as it allows for both the details of your subject to be
seen in addition to the surrounding setting the scene is taking place in.
CAMERA MOVEMENTS
Camera movement is one of the most
useful tools in a filmmaker’s armory.
It can be used to reveal information
to the audience, or move closer to the
subject, providing clearer visual
information. It’s basically a
filmmaking technique that causes a
change in frame or perspective
through the movement of the camera.
Camera movement allows
cinematographers and directors to
shift the audience's view without
cutting.
COMPOSITION AND IT STYLE
Composition encompasses not only the visual arts, but
also music, dance, literature, and almost every other kind
of art. This term may not be as often used in some areas,
such as writing, but it is still legitimate. The term
"composition" has two distinct but related meanings in
general. To begin with, "composition" refers to the
arrangement of related objects and elements in a piece of
art. A nice composition is one with just the right amount
of detail. Too few elements are undesirable because they
deprive the work of art of crucial detail that allows for
accurate interpretation. It also throws off the image's
equilibrium. Furthermore, having too many pieces might
be quite distracting. A strong composition necessitates a
good sense of proportion.
1.RULE OF THIRDS
So, after telling you that there are no hard and fast
rules when it comes to composition, the first thing
I write about the "rule of thirds." To be fair, I
wasn't the one who came up with the name. The
Rule of thirds is a basic concept. As shown below,
you divide the frame into 9 equal rectangles, three
across and three down. In reality, several camera
makers have integrated the option to observe this
grid in live view mode. Check your camera's
handbook for instructions on how to activate this
feature. The goal is to place the important
element(s) in the scene along one or more of the
lines or where the lines meet. We have a natural
tendency to desire to place the primary subject in
the middle.
 2.CENTERED AND SYMMETRY
Incorporating some foreground interest into a
the subject is a terrific way to give it more depth.
By their very nature, photographs are two
dimensional. One of several strategies for
giving the picture a more 3D impression is to
include front interest in the frame. Get low and
near to attractive foreground components for
your landscape shots if you really want to wow
visitors. You'll notice that foregrounds give
your compositions more depth and serve to
draw the viewer's eye into the picture. With a
wide-angle lens, I came very near to an
appealing ice pattern, highlighting the
foreground and making the shot more
aesthetically compelling with the use of
converging leading lines.
TYPES OF LIGHTS
INDOOR LIGHT
Indoor photography is a great activity to do on a wet day
to keep you and your camera dry, or if you're stuck at
home for the day. Indoor photography also gives you a
comfortable environment in which to try your hand at
portrait photography without worrying about the wind, as
well as photograph trinkets and still life photographs in
the comfort of your own home.
OUTDOOR LIGHT
LIGHT BY DEGREES
Some of the most ethereal photographic compositions are created early in the
morning. This New York cityscape was captured during blue hour, just as the
sun started rising. At this moment, there is a beautiful blue and purple light.
The coolness of the light contrasts nicely with the warmly illuminated
interiors of the buildings. As light passes through the particles, atmospheric
circumstances make the scene even more intriguing. Experiment with longer
shutter speeds and a tripod to achieve greater depth of focus while utilizing a
tiny aperture. Within the transitions between day and night, blue hour exists
in a variety of lights. It is commonly referred to as part of magic hour
because it is computed in degrees in respect to the horizon. Blue Hour occurs
right after civil darkness and before golden hour, which occurs after the sun
rises.
SINGLE POINT LIGHTING
FoxFury traveled to Iowa last year for a daring photo and video shoot. With
only a month to prepare, we devised various filming settings that featured
genuine nighttime circumstances that first responders face. FoxFury scene
lights would be used in all of these scenarios to assist responders in
protecting and serving the public. A wilderness search and rescue (seen
below), a suspect chase, a DUI checkpoint, a car extrication, and a mass
casualty incident were all part of this. We decided to do it again because
last year's shoot was so fulfilling. We gave ourselves five months to plan
this time. We named the shoot Epic Iowa Shoot because it was supposed to
be bigger and better. We're shooting additional situations, working with
hundreds of volunteers from over ten agencies, tackling more locations,
and have a larger production crew because we're shooting more scenarios.
All of this takes place over the course of eight days, with film shot from
the ground.
USE OF FILTERS
Filters are underappreciated, and now that they
can be applied in Photoshop, many photographers
are hesitant to use them. Filters, on the other hand,
continue to play a vital part, and if you
understand how they operate and what they may
be used for, you will be able to capture images in
ways you never thought. Photographers utilize a
variety of filters most of the time, and
combinations of several filters are occasionally
employed to achieve the desired look. The
diameter of the lens determines the size of the
filters, which are typically 49mm, 52mm, 55mm,
67mm, 77mm, and so on. The UV filter is the
most popular filter, because it blocks dangerous
rays while also protecting your lens
 •Neutral Density Filters: These filters reduce the amount of light entering the
camera which gives you the benefit of taking a longer exposure; it is good if
you want to take a picture of flowing water like waterfalls, or streams, the
resulting image will make the water very smooth. These filters come in 0.3,
0.6, and 0.9, which lowers the f-stop by 1, 2, and 3 respectively.
•Warming and Cooling Filters: These filters were more useful with film
cameras; however, with digital cameras, the use of these filters has
become somewhat redundant because you can alter the white balance to
your needs and that takes care of the warmth or cool. Enhancement
Filters: These come in three colors: red, blue, and green, and they
enhance the color of your choice. There is also a sepia filter, which
gives images an aged appearance; however, this filter is no longer
necessary because sepia can be added using image enhancement
software or even your digital camera. Many photographers, however,
prefer the natural effect of using a filter over software. Graduated Color
Filters: These filters can enhance the beauty of landscape images by
making the skies bluer or adding a wonderful golden glow to a sunset or
sunrise. These filters are available in a range of colors.
USE OF REFLECTORS
A reflector is an improvised or specialized reflective surface used to guide light
onto a certain subject or scene in photography and filmmaking. Reflectors come in
a wide range of sizes, colors, reflectivity, and portability. Small mirrors and
cardboard are frequently used in tabletop still life photography to reduce lighting
contrast and generate highlights on reflecting things like glassware and jewelry.
Larger-scale items, such as automobiles, necessitate the use of massive "flats,"
which are frequently positioned with the use of specialized motorized winches.
Location photography necessitates the use of considerably more portable
equipment, and a wide range of lightweight, foldable reflectors in a variety of
colors are commercially available. Photographers make regular use of walls,
ceilings and even entire rooms as reflectors, especially with the interior of
buildings which may lack sufficient available light. Often known as "bounce flash"
photography, but equally common with Tungsten lights in cinematography, this
technique was pioneered by Subrata Mitra in 1956.The area to be photographed is
lit by walls off-camera, which then provide illumination similar to that of a large
window.
USE OF GELS
A color gel or color filter also known as lighting gel or simply gel, is a
transparent colored material that is used in theater, event production,
photography, videography and cinematography to color light and for
color correction. Modern gels are thin sheets of polycarbonate, polyester
or other heat-resistant plastics, placed in front of a lighting fixture in the
path of the beam. Gels have a limited life, especially in saturated colors
(lower light transmission) and shorter wavelength (blues). The color will
fade or even melt, depending upon the energy absorption of the color,
and the sheet will have to be replaced. In permanent installations and
some theatrical uses, colored glass filters or dichroic filters are used. The
main drawbacks are additional expense and a more limited selection.
There are also gels for color correction, such as CTB (color temperature
blue) and CTO (color temperature orange). Color correction gels alter or
correct the color temperature of a light to more closely match the color
temperature of a film negative or the white balance of a digital imager.
AUDIO CONTROL IN VIDEO
CAMERA
The sound quality that is captured at the moment of recording will be critical
to the majority of the important videos that you will ever create in your life.
Whether it's crucial dialogue, a significant selling point, a memorable
quotation, or simply the mood of the event, sound will be crucial. You should
thoroughly organize your sound acquisition before departing for your area to
ensure that you achieve a wonderful result. Camera Menu Settings- You
should become familiar with all of your camera's audio recording options, as
each one must be configured appropriately. Internal Microphone/XLR
Connections- Selects whether to use the internal or built-in microphone, or to
use the XLR inputs to input audio.
Unfortunately, this process does not account very well for the dynamic nature of
dialogue, and provides a strange sounding result. If you are unable to get
satisfactory results by manually setting the gain
control, or are not in a situation to constantly
monitor and adjust levels, this may be a last
option. Inconsistent levels are better dealt with
in post-production.
Noise Reduction
Noise reduction is a basic equalization (EQ) tool
designed to reduce constant noise such as mains
power hum (A/C).
TYPES OF MICROPHONES
1. UNIDIRECTIONAL
MICROPHONE
Unidirectional microphones are those that only
pick up sound from one side or direction with a
high gain. If a user is speaking into a
unidirectional microphone, he must speak into
the correct side of the microphone, which is
usually referred to as the voice side, in order to
receive good gain on the recording.
Omnidirectional microphones, on the other hand,
gather up sound equally from all directions of
the microphone.
 OMNI-DIRECTIONAL
Omnidirectional microphones are those that
gather up sound from all sides or directions of
the microphone with equal gain. This means
that regardless of whether a user speaks into
the microphone from the front, back, left, or
right, the signals will be recorded with equal
gain. Unidirectional microphones, on the
other hand, pick up sound with high
BIDIRECTIONAL MICROPHONE sensitivity just from one direction.
Bidirectional microphones pick up sound well (high
sensitivity) from the front and rear but poorly (low
sensitivity) from the sides. In situations where sound is
recorded from the front and rear of the microphone but not
from the sides, bidirectional microphones are employed. A
Q&A lecture or presentation is an example of this, in which
a lecturer delivers a lecture to an audience and takes
questions from the audience.
Public service
message
Topic- Child Sexual Abuse
Childhood, the time of sunshine and stardust when a broken toy feels like the end of
the world but for the many childhood is the chilling experience one that scars them
deeply. One in five children sexually abused before the age of 18 and not just girls but
boys are too equally addressed. As adults we need to know that it can happen even to
our children almost 90% of the abuses are not strangers but are people that child
knows, trusts and loves. So why are children unable to tell us if they have been
abused. Most often they scared that they will not believe, the fear of further harm is a
real threat, the shame and guilt keeps many from talking open. So how can we protect
our children, we can educate ourselves, we can remove the shame and stigma, we
can believe our child and we must have courage to report. For support and assistance
call Child Advocacy Centre: 1098
CONCLUSION
1. We learned a lot about video camera,
way of shooting video.

2. Get to know about camera

accessories.
BIBLIOGRAPHY
1. FIMT notes
2. Magazine's
3. Websites- www.camfury.com