ce noo TUMeio JIM OWENSTelevision Production Gain the skils you need to succeed in the television industry and master the production process, from shooting and producing, to editing and distribution. This new and updated 17th edition of Television Production offers a thorough and practical guide to professional TV production techniques. Leam how to anticipate and quicly overcome commonly encountered problems in | ‘television production as author Jim Owens detais each role and proces, including the secrets of top-grade camerawork, persuasive lighting techniques, and effective sound treatment, as wel as the subtle processes of scenic design, directing, and the art of video editing, Updated throughout, containing a range of new figures and dagrams, the 17th edition of ths classic text includes: + A discussion of the changing definition of “television” and how new technology alters viewing habits, + Interviews with professionals in the industry about the challenges they face during the production process and the advice they ‘would give to those tng to breck into the production and television industries +A review of production practices and teehiques for VR: + A description ofthe latest cameras and equipment, incluing LED fighting and remote production: + Guidance and teemiques for low-budget DIY-syle productions, + A comprehensive resource page for instructors, containing slides and testing materials to aid in the leaming process can be found at wowwrouiedgecorvewiowens. Jim Owens has worked and taught inthe video and television industry for over 30 years. As an Emmy Award-winsng producer, he has worked on local, regional, and national productions. Owens’ intemational television work has included 15 Olympic ‘broadcasts and has taken him to over 25 countries. He is the author of Video Production Handbook, Television Production, and Television Spots Production (al published by Routledge), and has had over 30 articles published in television and broadcast magazines in the United States and Europe. He served as the curator of the History of Olympic Broadcasting exhibition at the Olympic Museum in Lausanne, Switzerland. Owens is Dean of the School of Communication Arts at Asbury University in Wilmore, Kentucky, where he has taught since 1981Television Production 17th Edition Jim Owens Asbury UniversitySeventeenth edtion publshed 2020 by Rowledge 52 Vanderbt Avenue, New York, NY 10017 1d by Rowtedge 2 Pak Square, Miton Park, Abingdon, Oxon, OXI4 ARN Rave on imp of the Taylor & Francs Group, an infra buses © 2020 Tayor & Francs The night of jm Owens to be identified as athor ofthis work hasbeen asserted by him in accordance with sections 77 and 78 of the Copy ‘Desgns and Patents Act 1988 [Al e@htsreseved. No put of ths book may be reprinted or reproduced (oF utlved in any form or by any electronic, mechanical, or other means ‘now known or hereufter invented, incudng photocopying and recording, ‘oF in any information storage or retrieval system, without pemisuon vweting fom the publishers. Trodemork note: Product or corporate rames may be trademarks or repstered trademarks, and ae used only for identification and expanaton without intent to nfinge. Frat edtion publshed by Foal Press 1963 Sxteeth edition publshed by Focal Press 2016 Lary of Congress Cotangn Publeaton Dato Names Owens jm 1957~ author Tie: Television production / jm Owens. Description: I7thedtion | New York : Routledge. 2020 | Indudes index Idertiiers: LCCN 2019016495 | ISBN 9780367136321 (hardback) | '18BN 9780367136338 (pbk) | ISBN 978042902758 (e-book) Subjects UCSH: Teevsion—Producton and drecton ‘Cassfeaton LCC PNI99275 MS 2020 | DDC 791.450032—de23 UC record avaiable at tpsfeenlocgov2019016495, {SBN: 978-0-367-13632+1 (tk) ISBN. 978-0367.13633-8 (04) ISBN: 978-0429-07758.1 (eb) Typeset in Gil Sars and Avenie by Apex CoVantage LLC Vist the companion website wiv rowledgecom/ewowensDedicated to my wife, Lynn, and my daughter, SarahCHAPTER | CHAPTER 2 CHAPTER 3 CONTENTS AN OVERVIEW OF TELEVISION PRODUCTION What Is Television? The Second Screen Television Production Equipment Has Become Simpler to Use The Illusion of Reality Its All About How You Do It Techniques Will Tell Having the Edge Overview Organization Television, Video, or Film? Television Versus New Media The Equipment Is Always Chonging Todays Equipment The Production Team The Hidden Factors of Production Interview with a Professional: Vicky Collins Review Questions THE PEOPLE WHO MAKE IT HAPPEN The Production Crew ‘Members of the Production Crew The Freelance Crew What Do You Wear? What Do You Bring with You? Interview with a Professional: Taylor Vinson Interview with a Professional: Phil Bowdle Review Questions THE TELEVISION PRODUCTION FACILITY Production Methods The Venue 15 16 7 7 7 a7 28 29 29 30 31 3viii Contents CHAPTER 4 The Television Studio Remote Production Facilities The Production Switcher The Wipe Chromakey Synchronized Movements with the Virtual Set Digital Video Effects Interview with a Professional: Bryan Jenkins Review Questions THE PRODUCTION PROCESS The Production Process Stage |: Planning and Preparation Why Plan? The Idea: Starting with @ Concept Setting the Goals and Objectives The Target Audience The Budget Limitations/Restrictions The Production Plan Production Methods Schedule Building a Program Outline Research Coverage Thinking through the Shots Treatment Breakdown Developing the Camera Plan Storyboards Production Aspects The Production Meeting Remote Location Surveys (Recce) Setup The Rehearsal Stage 2: The Production The Director during the Production The Producer during the Production Greating the Show The Tools Selective Techniques The Screen Transforms Reality Interpretative Production Techniques Stage 3: Postproduction Interview with a Professional: James Stuart Review Questions 4 40 42 2 oo "4 "4 43 16 47 48 48 9 9 9 SI a SI SI 4 55 5S 5S 5S 56 i] 58 58 59 60 60 60 62 62 a a a2 3 3 a “4 64Contents ix CHAPTER 5 THE SCRIPT AND PRODUCTION PLAN 65 The Script's Purpose 6 The Production Plan 66 The Unscripted Production Plan 66 The Outline Script: Semi-Scripted Praduction 66 Fall Scripted Shows 68 When Is It Necessary to Fully Script « Production? 68 Script Stages 0 Basic Script Loyout Formats 7 Suggestions for Scriptwriting B Be Visual 3 Pacing the Program B Style 7m Hints on Developing the Script 1% Scripting Tools 7 Storyboards 7 ‘Additional Production Plan Information 2 Interview with a Professional: Andrea Nasfell 83 Interview with a Professional: Hakem Dermish 4 Review Questions 84 CHAPTER 6 WHAT THE CAMERA CAN DO 85 Television Cameras 86 Types of Cameras 87 Camcorders 87 Studio Comeras 88 ‘Miniature or Pointof View Cameras 88 Camera Basics 89 The Viewfinder 90 The Camera's Controls 7 The Camera Lens 98 Lens Angle 98 ‘Medium Angle Lens ” Telephoto Lens 9 Wide-Angle Lens tor Supplementary Lenses 103 Lens Controls 103 Types of Lenses 104 Zoom Lens 104 Zoom Lens Controls 104 Zoom Lens Advantoges 106 Zoom Lens Disadvantages 106 Zooming the Lens versus the Dolly Shot 106 Focusing los Focusing Methods 109 Focusing the Zoom Lens 110 ‘Adjusting the Zoom’s Back Focus Wmx Contents CHAPTER 7 Lens Aperture (F-Stop) F-Stops (F-Numbers) Exposure ‘Automatic tis ‘Manual Iris Adjustment Remote tis Contra! Shutter Speeds ISO (Video Gain) Adjustments Camera Lens Filters Neutral-Densiy Fiers Color Temperature Fiters Stor Filters Diffsion Disks UV (Hoze) Fiters Polarizing Filters Graduated Fiters Gomera Fiter Wheel Supporting the Camera What Type of Support? The Handheld Camera Camera Stabilizers The Pan-ond-Titt Heod Interview with a Professional: Nathan White Review Questions USING THE CAMERA Standard Shots Selecting the Shot Checking the Shot Camera Operation Focusing Camera Moves Production Format Styles The Single-Camera Shoot The Multi-Comera Shoot The Camera Operator in a MultiCamera Production Preparing for Rehearsals The Camera Operator during the Production Production Techniques That Impact the Camera Operator After the Show Interview with a Professional: Thomas Crescenzo Interview with a Professional: Jon Lord Review Questions ut wm 12 Wz 413 3 113, 114 W114 us us us 5 us 5 us 16 6 116 “7 7 125 127 127 128 29 129 130 130 130 130 131 131 131 132 135 136 137 137 138 138 139CHAPTER 8 CHAPTER 9 THE PERSUASIVE CAMERA Shooting Style Screen Size Selecting the Shot The Extreme Long Shot (ELS or XLS) The Long Shot (LS) ‘Medium Shots (MS) The Close-Up (CU) The Extreme Close-Up (XCU or ECU) Large Depth of Field (Deep-Focus) Techniques Shallow Depth of Field (Shollow-Focus) Techniques Moving the Camera Head Ponning the Comera Tiking the Camera Head Comera Height Extreme Camera Angles Moving the Camera The POV Shot: Subjective Camera Treatment Imitative Comera Movement ‘Movement Using the Zoom Lens Interview with a Professional: Matt Grimm Review Questions CREATING AN EFFECTIVE IMAGE Behind the Picture Composing the Picture Practical Composition The Director and Composition Composition Principles The Effect of the Picture Frame Froming Pictorial Balance Unity (Order) Visual Patterns Leading Lines Rule of Thirds Context Scale Subject Prominence Impressions of the Subject Composition and Color Composition and Motion ‘A Theory of Dynamic Composition Using Dynamic Composition Crossing the Line Contents xi 140 141 141 142 142 142 142 143 143 146 147 148 148 149 150 152 152 153 154 154 Iss. 155 156 157 157 158 158 159 159 159 160 161 164 164 164 166 168 168 168 170 170 m 173 174xii Contents Anticipating Editing Continuity Improving Editing Flexibility Interview with a Professional: Keith Brown Review Questions CHAPTER 10 TELEVISION GRAPHICS Television Graphic Goals Types of Graphics Forms of Graphics Animated Graphics Interactive Graphics Specialty Graphics Designing Graphics Backgrounds for Graphics Graphic Equipment Interview with a Professional: Scott Rogers Review Questions CHAPTER II LIGHTING FOR TELEVISION The Goals of Lighting Why Is Lighting Necessary? Technical Reasons Anistic Reasons The Nature of Light Light Intensity The Color Quality of Light Light Dispersion Spotlights The Direction of the Light Three-Point Lighting Bosic Guidelines for Lighting People Lighting Groups of People Lighting Areas of the Scene Light Sources Lighting Instruments Camera Light Fresnel Spotlights Elipsoidl Spotights Portable Spotlight Flood Light Soft Light Gyclorama Light Flexible Matt Lighting Reflectors 174 174 76 176 7 179 180 lar 182 183 193 1a3 183 186 187 te te 189 190 190 190 191 192 192 193 194 194 196 196 198 198 198 198 200 200 200 202 202 202 202 204 204 204Contents xiii Light Supports 207 Grip Clamps 207 Light Stonds 207 Studio Celling Supports 207 Portable Light Kits 207 Controlling the Lights 209 ighting Plan 21 ‘What Is Going to Happen? QI The Lighting Plot 212 Lamp Care and Sofety 212 Lighting and Comera Rehearsal 24 Lighting on Location 214 Interview with a Professional: Tommy Brown 214 Review Questions 215 CHAPTER 12 BACKGROUNDS AND SETS 217 The Influence of the Television Background 218 Basic Organization 219 The Studio Plan 20 The Floor Plan 20 Lighting Plot 20 Design Considerations 20 Real and Unreal Backgrounds 220 The Neutral Background 24 Economical Sets 26 Semipermanent Sets 227 Pictorial Backgrounds 27 Chromakey/Matting 230 Viral Sets 232 Outside/Backlot Sets 232 The Location as 0 Background 234 Miniatures 236 ‘Set Components 236 Set Considerations 240 Camera Height 240 Foreground Pieces 240 Creating Depth 240 Versions of “Realty” 240 What Can We Do about the Background? 241 Rearranging the Background 242 Altering the Background 22 Portial Settings 242 Typical Examples of Partial Settings 243xiv Contents CHAPTER 13 CHAPTER 14 Facing Reality Set Problems What Con You Shoot? Interview with a Professional: John DeCuir Review Questions MAKEUP AND COSTUMES Forms of Makeup Stroight Mokeup Corrective Mokeup Character Mokeup Conditions of Television Makeup Comera Rehearsal Makeup Treatment Principles of Makeup Hair Hair Alteration Costumes (Wardrobe) Interview with a Professional: Review Questions AUDIO FOR TELEVISION The Audio System Acoustics Mono Sound Stereo Sound Surround Sound Immersive Sound Microphone Characteristics ‘Microphone Care Directional Features of Microphones ‘Microphone Pickup Methods Types of Microphones Camera Microphones Handheld Microphone Shotgun Microphone Lavalier (Lopel or Cip-On) Microphone Boundary or PZM Microphone Surround Sound Microphone Suggestions for Using 0 Surround Sound Microphone Wireless Microphones Hidden Mics Microphone Stands and Mounts 244 245 245 245 246 247 248 248 248 248 248 249 250 250 250 250 251 252 253 254 255 256 258 258 258 259 259 260 261 261 262 262 262 263 265 267 268 269 270 am 27CHAPTER I5 CHAPTER 16 Controlling Dynamics Dynamic Range ‘Automatic Control for Audio ‘Manual Control ‘Monitoring the Audio The Audio Mixer Using the Audio Mixer Natural Sound Anticipation Fitered Sound Reverberation Building the Soundtrack Types of Program Sound Program Music Sound Effects Anticipating Sound Editing ‘Audio Sweetening Copyright Interview with a Professional: Bryant Falk Review Questions RECORDING THE STORY Video Resolutions Standard-Defintion Television High-Definition Television 4K Television 8K Television 3D Television Virtual Reality (VR) Television Future Television? Video Recording Media Flash Memory Hard Disk Drivellnternal Memory External Camera Hard Drives Hard Disk Recorders Recording Media Core Video Recording Suggestions Interview with a Professional: Ryan Hammer Review Questions EDITING THE PRODUCTION Editing Techniques in Television Editing Basics Editing Decisions Editing Possibilities Contents xy 2m 22 22 273 274 24 276 278 278 279 280 280 280 281 281 282 282 282 283 284 285 286 286 286 287 287 289 289 289 290 290 292 292 293 293 293 293 294 295 296 297 297 297xvi Contents ‘The Mechanics of Editing 298 Editing In-Camera as Production Switcher (Vision Mixer) ee Linear Editing ie Nonlinear Editing 299 Postproduction Logging et The Art and Techniques of Editing: Multiple Cameras ond Postproduction Bo How to Use Transitions a Cuse-Effect Relationships a ‘Montoge a Duration of Shots 310 Priority: Video or Sound? 31 Good DirectinglEditing Techniques 31 Anticipating Editing 32 Interview with a Professional: Scott Powell 34 Interview with a Professional: Julia Lambert 34 Review Questions 3s CHAPTER 17 PRODUCTION PRACTICES 316 Production Pressures 317 Shooting Styles 37 Single-Camera Techniques 37 Single-Camera Setups 318 Shooting Uncontrolled Action 318 ‘Shooting Controlled Action 319 Segmented Shooting 320 Multi-Camera Techniques 320 Visual Variety 32 Crossing the Axis of Action Line 323 Organizing the Angles 325 Program Opening 328 Focusing Audience Attention 329 Shifting Visual Interest BI Creating Tension 32 Pace 32 Timing ae Visual Clarity 334 Viewing Angle a4 Distractions 334 Confusing and Frustrating Subject Treatment 34 The Visual Problem 34 The Illusion of Time me Time Lapses 336 Flashbacks 336 Cutaway Shots (Insert Shots) a Reaction Shots/PartialsiCut-In Shots atThe Recorded Insert Stock Shots (Library Shots) Interview with a Professional: David Nixon Interview with a Professional: Vada Bennett Review Questions CHAPTER 18 THE STUDIO PRODUCTION Unrehearsed Formats ‘Advance Rehearsals Studio Rehearsal Rehearsal Procedures The Floor Manager Rehearsal Recording! Transmission Guiding the Talent Cueing Methods of Cueing Prompting the Talent Production Timing Recording the Production Liveto-TopelRecorder Basic Retokes Shooting out of Order Isolated Camera (ISO) Single-Comera Recording Interview with a Professional: Fiona Catherwood Interview with a Professional: Lauren Claus Review Questions CHAPTER 19 DIRECTING TALENT Talent Importance of People in the Scene Presenting the Information Selecting Talent The Challenges of Working with Talent Inexperienced Talent The Host The Off-Camera Host When There Are Problems Research What Should Talent Wear? Interview with a Professional: Sarah Hogencamp Contents xvii 337 337 337 338 339 340 341 341 342 346 347 47 449 449 350 351 351 354 354 354 354 354 355 355 355 356 356 357 358 360 361 361 362 363 363 363 363 365 365 366xviii Contents Interview with a Professional: Morgan Schutters, 36 Review Questions a CHAPTER 20 PRODUCTION STYLE es Visual Style a ‘Appropriateness ys Routines ae ‘Ambience on The iusion of Truth BY Pictorial Function a Picture Applictions pi Production Rhetoric in Audio Style 7 Imaginative Sound BG Sound Elements an Sound Emphasis in Sound Applications aN Off Screen Sound a Substituted Sound ies Controling Sound Treatment in The Effect of Combining Sounds on Selective Sound 3 AudioVideo Relationships 376 Interview with a Professional: Dave Greider 376 Interview with a Professional: Jeremy Rauch a Review Questions a CHAPTER 21 REMOTE PRODUCTION on What Is a Remote Production? 5 Remote Production versus Studio Production a Shooting on Location aaa The Single Camera on Location as Typical Setups 380 Power Supplies 380 Single-Camera Shooting 3e1 Handling the Camera 381 Lens Angles 383 ‘Automatic Controls 384 Audio 304 Storing the Gear 304 Multi-Camera Remote Production 384 ‘Mult.Comera Plonning and Preparation 384 Remote Production Vehicles 386 Remote Production Truck/OB Van 387Live Transmission Event Coverage Sports Action sw with a Professional: Tom Cavanaugh 2w with a Professional: Cindy Pennington Inter Inter Review Questions CHAPTER 22 DISTRIBUTING YOUR PRODUCTION Glossary Index Non-Live Distribution Online Distribution Festivals and Competitions Live Distribution (or Mostly Live - Live Online Distribution Pv 3GI4G Transmission Summary Interview with a Professional: Tripp Crosby Review Questions xix 388 388 388 391 392 392 393 394 394 395 397 397 397 399 399 401 402 403 413CHAPTER | AN OVERVIEW OF TELEVISION PRODUCTION “I believe that good television can make our world a better place.” Christiane Amanpour, CNN Reporter “Any program, at any time, on any device, at any location." —Frank Beacham, Director and Producer TERMS VE: Digtal video effect equipment, working withthe switcher, is used to create special effects between video images. [A DYE could also refer to the acual effect. DSLR: A stl camera (dgtal single len reflex camera) that shoots video, allowing the photographer to see the image through the lens that will capture the image. : The copying, oF dubbing, of segments from the master recording (raitionlly tape) to another recorder in sequental order. Nonlinear editing: The process in which the recorded video is transferred onto a computer. Then the footage can be arranged and rearrange, special effects and graphics can be added, and the audio can be adjusted using editing sofevare. Prosumer equipment: Prosumer equipment, sometimes known as indusval equipment sa tle heavierduy and sometimes employs a few professional features (Such as interchangeable lenses on a camera), but may still have many ofthe automatic features that are included on the consumer equipment. Second sereen: Today’ television audience isnot just watching television; they are also on a computer of some type, ‘often called the “second screen”. ‘Smartphones: Smartphones have become the video camera of choice for amateurs. As the image quality has grown, smarephones have been adopted by news stations, documentary producers, and other professionals asa backup Switcher (vision mixer): Used to switch between video inpus (cameras, graphics, video players, et).2 An Overview of Television Production “The definition of television is changing. When you put Video on any device, it becomes a television. I's because of the programming, i's the quality i's the story line. It’s all those things we associate with television programming. ‘Television’ was never the box—it was the programming that was on the box.” Chris Pizzuro, Head of Business Development, Canoe Ventures and former Vice President, Digital News Media, Turner Entertainment WHAT IS TELEVISION? ‘The 2018 Emmy Awards were a perfect example of television’ transition to the Internet. Online Netix (online) and HBO (on-cable and online) each won 23 Emmys, NBC led the broadcast networks by winning five Emmy Awards. Defining television can be quite dificult. t used to be easy, television directors and producers knew that their final program would be generaly viewed on a 19-inch television set located in a home, As you know, that is no longer the case, Television's definition now also embraces technologies such as large-screen televisions, computers, the Internet, tablets, and smartphones. These changes have brought many new players into the television industry. ‘Online networks now create programming that is as high ‘quality as what we have seen in the past on the broadcast networks and cable. With their lower cost overhead and ‘monthly subscription income, they increasingly have the money and audience to pul in some of the best program creators. Today's viewing audience Ives in a hyperconnected word. ‘They do not distinguish between programming as being on television or onine; they are looking for qualty content that is accessible wherever and whenever they want it Bottom line, television has to create the best possible experience forthe greatest number of consumers in the widest viewing ‘envronment—in the Kitchen, bedroom, ling room, on laptops, and mobile devices, as well as inthe home theater What a challenge! The Second Screen ‘Today's television audience is not just watching television; they are aso on a computer or smartphone of some type, often called the “second screen” One of Nielsen's studies shows that more than 85 percent of mobile and computer users access the Web while watching TV. However, only 24 pércent ‘were actually locking at content related to the TV program, while others used it to text family and fiends (66 percent), vist social networks (40 percent), and browse unrelated content (37 percent). Those satis are of great interest to television executives who are looking for ways to integrate social media with television programming For example, in New Zealand, TVNZ has launched a youth channel that has created an interactive ‘entertainment show that features chat and commentary driven, by Facebook Viewers can give ther opinions using polling write comments, and even include their profile photos, which are shown on the actual program, Robin Sloan, from Twitter's media partnership team, thinks there is defintely an appetite for more integration. “People lke to tak about the programming as it is happening.” he said. "At ths stage, they [TV executives] are primarily using Twitter ‘10 engage their existing audience and give them something to talk about. Our goa isto get Twitter integrated into TV shows. tt means that people thik about Twitter as a source of realy great content, and frankly it means that Twitter gets in front ofa realy big audience” "Social TV is a modem version ofthe old days of gathering round the TV to watch a variety show on a Saturday night.” said Regge james, managing director of marketing agency Digital Carty. TELEVISION PRODUCTION ‘Athough the television medium has experienced transforming ‘technical changes inthe past decade, it is important to keep int rind that the key to great television is stil storyteling. As equipment and means of transmission have evolved and become increasingly affordable and adaptable, production techniques have aso evohed in order to take advantage of these new opportunites. Equipment Has Become Simpler to Use ‘Youve probably deady dscovered how even inexpensive ‘consumer camcorders or even smartphones can produce extremely detailed images under a wide range of conditions. (Figure 1.1), Camera circuitry automatically adjusts and compensates to give you a good picture. A photographer reeds to do litle more than point the camera, follow the subject, and zoom in and out.To pick up audio, we can simply ip a small lavaliere microphone onto a person's jacket, give him or her a handheld microphone, or just use theFIGURE 1.1 In 2018 Steven Soderbergh shot the fm Unsane using an Phone 7 Pls. He sod tht "selecting an iphone to shoot the film was a leptimate creative choke for thot style of film” Seurce: Photo by jm Ones. microphone buit into the camera. As for lighting today’ cameras are so sensitive that they work in daylight oF whatever artical ight happens to be around. So where’ the mystery! Why do we need to study television/video techniques’ Today. anyone can get results The Illusion of Reality “You must use the camera and microphone to produce what the brain perceives, not merely what the eye sees. ‘Only then can you create the illusion of reality.” —Roone Arledge, Former Producer, ‘ABC Television (One of the basic truths about photography, television, and firm is that the camera always lis. On the face of it, reasonable to assume that if you simply point your camera and rmicrophone at the scene, you will convey an accurate record ofthe action to your audience. Bu, if we are honest the camera and microphone inherently transform "real ‘There can be considerable differences between what is actualy happening, what your viewers are seeing, and what they think they are seeing, How the aucience interprets space, mension, atmosphere, time, and s0 on will depend on a umber of factors, such as the cameras postion the lens Selection, ighting, editing, the accompanying sound, and of ours, their own personal experience. ‘An Overview of Television Production 3 We can use this gap between the actual and the apparent to our advantage. t allows us to deliberately select and arange each shot to affect an audence in a specif way. fives us the opportunity to devise diferent types of persuasive and econerrical production techniques. Ifa. scene looks “eal” the audience wil invariably accept it as such. When watching a fim, the audience wil stil respond by sting on the edge of thei seats to dramatic situations Even though they know thatthe character hanging from the ifs really safe and is accompanied by a nearby production crew, it does not overide ther suspended dsbefet Even if you put together a disjointed series of totaly Unrelated shots, your audience wal stil attempt to rationale and interpret what they are seeing (music videos and ‘experimental films rely heavy on tis fact to sustain interest). If you use a camera casual, the images wil stil unpredictably influence your audience. Generally speaking, careless or inappropriate production techniques will usualy confuse, puzzle, and bore your ausence. The show wil lack a lopeal and consistent form. Systematic techniques are a must if you want to catch and hold audience attention and interest. It’s All About How You Do It ‘At first thought, leaming about television production would seem to be just a matter of mastering the equipment. But let's think for a moment. How often have you heard two people play the same piece of music yet achieve entirely diferent results! The first instrumentalist may hit all the right notes but. the performance may sound dull and uninteresting The second ‘musician's more sensitive approach stirs our emotions with memorable sound. (Of course, we could simply assume that the second ‘musician had greater talent. But this “talent” generally comes from painstaking study and effective techniques. Experience alone is not enough—especaly if it perpetuates incomect ‘methods. Even quite subtle diferences can influence the ‘qualty and impact of a performance. Youll find parle! situations in television production practices. Techniques Will Tell I's common for three directors to shoot the same action, and yet produce quite diverse resus + Ina "shooting by numbers” approach, the fist director may show us everything that's going on, but follow a dull routine: the same old wide shot to begin with, folowed by close-up shots of whoever is speaking, with intercut “reaction” shots ofthe listeners.‘> 4 An Overview of Television Production + The second director may worry so much about getting “unusual shots that he or she actualy ends up distracting Us from the subject ist, + The third director's smooth sequence of shots somehow manages to create an interesting attention grabbing story “The audience feels involved in what is going on leat, i's not simply a matter of pointing the camera and: staying in focus Similar two diferent people can light the same setting “The fist person ilerinates the scene dearly enough, but the second somehow manages to buld a persuasive atmospheric effect that enhances the show's appeal These are the kinds of subtleties you wil lam about as we explore techniques. Having the Edge ‘Working conditions have changed considerably over the years. Earlier equipment often required the user to have deep ‘technical understanding to operate t effectively and keep it ‘working, Some of the jobs on the production crew, such as ‘camera, audio, lighting video recording operation, and editing, ‘were all handled by engineers who specialized in that specific area. In todays highly competitive industry, in which equipment is increasingly relable and operation is simplified, there is a ‘growing use of multitasking, Individuals need to acquire a variety of skill, rather than specialize in one specific sill or craft. Also, instead of permanent in-house production crews ‘the trend is to use freelance personnel on short-term contracts for maximum economy and flexibiity. Today, ‘companies often send a single person out on location with @ lightweight camera to record the images and sound, use a FIGURE 1.2 This edtor for Sports Istrated is cutting 0 vdeo together in the pressroom atthe Indonapols Motor Speedway on her laptop. laptop computer system to edit the results, and retum with a complete program ready to put on the air (Figure 12) ‘The person with greater know-how and adaptabilty has an ‘edge. Job opportunities vary considerably, The person who specializes in a singe crat can develop specific aptitudes in ‘that field, However, the person who can operate a camera today, light a set tomorrow, and subsequently handle the sound has more opportunities in today’s market, ‘Athough a single person can accomplish many roles, television stil rees on teamwork Resuts depend not only on cach person knowing his or her own job, but aso on his or her understanding of what others are tring to accomplish, ‘Studying this book wil ve you a number of major advantages + By taking the trouble to understand the fundamentals of the equpment that you ae using, youll be able to rapidly assimilate and adapt when new gear comes along, After that its just a matter of dscovering any operational