TECNOLOGY 1 LUTFI DAGCI

ROLES AND JOBS OF A PRODUCTION CREW

FOR DIGITAL VIDEO
PRODUCER • DIRECTOR “THE DIRECTOR IS
PRIMARILY RESPONSIBLE
FOR OVERSEEING THE
GROUP LEADER SHOOTING AND ASSEMBLY

PROJECT MANAGER
• EXECUTIVE OF A FILM.” EDITOR
PRODUCER- - MANAGES
ALL ELEMENTS OF A VIDEO’S
  • THE EDITOR
THE PRODUCER
DEVELOPS THE PROJECT PRE- PRODUCTION, ORGANIZES
FROM THE INITIAL IDEA PRODUCTION AND POST- SCREENWRITER
THE FOOTAGE
PRODUCTION PROCESS, • IN ADDITION TO HELPING
WITH DIALOGUE THE AND
FINALIZES SCRIPTS INCLUDING PLANNING,
SCREENWRITER PUTS ARRANGES
ARRANGES THE SCHEDULING AND EDITING. TOGETHER THE SEQUENCE
OF EVENTS IN A FILM TO INDIVIDUAL
FINANCING ENSURE THAT ONE SCENE SHOTS INTO
TRANSITIONS TO THE NEXT
MANAGES THE SO THAT THE STORY WILL ONE
PRODUCTION TEAM UNFOLD LOGICALLY AND IN CONTINUOUS
THAT MAKES THE FILM AN INTERESTING WAY.
SEQUENCE.
 
 
 JOBS OF A PRODUCTION CREW FOR DIGITAL
VIDEO
CAMERA OPERATOR VIDEO ENGINEER AUDIO VISUAL
PRESENTER: TECHNICIANS:
AS PART OF THE
THE HOST OR VIDEO ENGINEERS ARE SETS UP, OPERATE, MAINTAIN
VIDEO CREW, THE RESPONSIBLE FOR THE AND REPAIR EQUIPMENT
METHOD OF INSTALLATION AND MAINTENANCE
VIDEO CAMERA USED TO ENHANCE LIVE
SHOWING THE OPERATOR IS
OF ALL OF THE VIDEO EQUIPMENT EVENTS, SUCH AS
IN A LOCATION, SUCH AS A
COMPLETED RESPONSIBLE FOR MOBILE FIELD UNIT OR MASTER
MICROPHONES, VIDEO
CONTROL SUITE. THIS CAN RECORDER S, PROJECTORS,
VIDEO. THE OPERATION OF LIGHTING AND SOUND
INCLUDE SWITCHERS, TAPE
DIGITAL VIDEO MACHINES, MONITORS, MIXING EQUIPMENT.
CHARACTER GENERATORS, RETRIEVED FROM: (AUDIO
CAMERAS DURING A
AMONG OTHER EQUIPMENT. ONCE VISUAL TECHNICIAN: JOB
LIVE PERFORMANCE, THE EQUIPMENT IS INSTALLED DESCRIPTION & CAREER
IN ADDITION TO THE AND WORKING, VIDEO ENGINEERS REQUIREMENTS, N.D.)
MAINTAIN THE EQUIPMENT.
MAINTENANCE AND RETRIEVED FROM: CHRONICLE
REPAIR OF RELATED ONLINE. (MCGINTY, N.D.)
EQUIPMENT.
 ROLES AND JOBS OF A PRODUCTION CREW
FOR MULTIMEDIA PROJECTS
LEAD ART
MULTIMEDIA WRITER DIRECTOR
PROGRAMMER
PROJECT MANAGER -THE
-THE SCRIPTWRITERS
THE ART
PROGRAMMERS/COMPILERS WILL WORK CLOSELY
SERVES AS A WITH THE CLIENT,
DIRECTOR IS
TASKS WILL OVERLAP THOSE
SPECIALIST TO PLAN, OF THE INTERACTIVITY PROJECT MANAGER, RESPONSIBLE FOR
DIRECT, SUPERVISE, DESIGNERS AND THEY WILL AND GRAPHIC THE FILM'S
WORK CLOSELY
AND COORDINATE ALL DESIGNER AND THE SETTINGS: THE
THROUGHOUT THE
PRODUCTION PROCESS. ENTIRE DEVELOPMENT BUILDINGS,
ACTIVITIES INVOLVED TEAM TO DEVELOP A LANDSCAPES AND
IN THE DEVELOPMENT -THE
WRITTEN PROJECT
INTERIOR DESIGNS.
PROGRAMMERS/COMPILERS
AND IMPLEMENTATION WILL TRANSFER EXISTING
SCRIPT.
THEY ARE ALSO
OF A COMPLEX DATA TO FILES FOR -THE SCRIPTWRITER
AUTHORWARE AS NEEDED,
RESPONSIBLE FOR
MULTIMEDIA PROJECT. WILL PERFORM
ASSEMBLE PARTS INTO ACQUIRING PROPS,
AUTHORWARE MOVIES (PUT PROJECT RESEARCH AS
MAY MANAGE MORE DECORATING SETS
THE PUZZLE TOGETHER). NEEDED AND WRITE
THAN ONE PROJECT AT THE SCRIPT FOR AND MAKING THE
 
A TIME. STORIES, DIALOGUES. SETTING APPEAR
BELIEVABLE.
 
 
 
 JOBS OF A PRODUCTION CREW FOR MULTIMEDIA
PROJECTS

AUDIO ENGINEERS
ANIMATORS RESEARCHER EDITOR
-AUDIO ENGINEERS WILL
-THE ANIMATORS PROVIDE AUDIO CONTENT
-THE ANIMATORS
-THE ANIMATORS
WILL WORK AS NEEDED. THIS WILL WORK
WILL WORK
CLOSELY WITH CLOSELY WITH CLOSELY WITH
INCLUDES SOUND EFFECTS,
THE GRAPHIC MUSIC, AND VOICE-OVERS THE GRAPHIC THE GRAPHIC
DESIGNERS AND AS NEEDED. THEY WILL DESIGNERS AND DESIGNERS AND
AUDIO PERFORM AUDIO EDITING, AUDIO AUDIO
TECHNICIANS TO EFFECTS, COMPRESSION, TECHNICIANS TO TECHNICIANS TO
DEVELOP
FORMAT TO INPUT TO DEVELOP DEVELOP
AUTHORWARE FOLLOWING ANIMATIONS
ANIMATIONS THE PARAMETERS
ANIMATIONS
(TITLES,
(TITLES, ESTABLISHED WITH THE (TITLES,
CHARACTERS,
CHARACTERS, TECHNICAL ENGINEER. CHARACTERS,
ETC.)
ETC.). ETC.)
 
BASIC CONCEPTS OF VIDEO FILMING

 COMPOSITION: THE ARRANGEMENT OF ALL THE

ELEMENTS OF A SHOT IN RELATION TO THE FRAME.
 PAN/TILTS: PAN IS HORIZONTAL CAMERA MOVEMENTS.
TILTS ARE VERTICAL CAMERA MOVEMENTS, I.E.
ADJUSTING THE
FRAMING UP AND DOWN.
 RATIO OF IMAGE TO FRAME: ASPECT RATIO IS THE
COMPARISON OF HEIGHT AND WIDTH OF A TWO
DIMENSIONAL SURFACE.
HOW MUCH SPACE IS AROUND YOU IMAGE.
 
 BASIC CONCEPTS OF VIDEO FILMING

• POSITION IN FRAME: THE LOCATION OF OBJECT IN THE PICTURE

• LINE OF GAZE: WHERE YOU ARE LOOKING, YOUR LINE OF SIGHT
• MOVEMENT: CHANGING THE FRAME OF THE SHOT BY PANNING, TILTING, AND OR ZOOMING
• PERSPECTIVE: IS A POINT OF VIEW SHOT, A PERSON SHOT OR A SHORT FILM SCENE THAT SHOWS
WHAT A CHARACTER IS LOOKING AT THROUGH THE CAMERA.
 
 BASIC CAMERA
TECHNIQUES
• FOCUS- THE PROCESS OF MAKING YOUR INTENDED IMAGE CLEAR
• ZOOM- THIS IS THE FUNCTION WHICH MOVES YOUR POINT OF VIEW CLOSER TO, OR FURTHER AWAY
FROM, THE SUBJECT. THE EFFECT IS SIMILAR TO MOVING THE CAMERA CLOSER
OR FURTHER AWAY.
• IRIS- THIS IS AN ADJUSTABLE OPENING (APERTURE), WHICH CONTROLS THE AMOUNT OF LIGHT COMING
THROUGH THE LENS (I.E. THE "EXPOSURE“.
• WHITE BALANCE- WHITE BALANCE MEANS COLOR BALANCE. IT'S A FUNCTION WHICH TELLS THE CAMERA
WHAT EACH COLOR SHOULD LOOK LIKE, BY GIVING IT A "TRUE
WHITE" REFERENCE.
 
 LIGHTING
TECHNIQUES

• KEY LIGHT- THE MAIN LIGHT ON THE SUBJECT, PROVIDING MOST OF THE ILLUMINATION AND
CONTRAST
• FILL LIGHT- A LIGHT PLACED TO THE SIDE OF THE SUBJECT TO FILL OUT SHADOWS AND
BALANCE THE KEY LIGHT.
• BACK LIGHT- A LIGHT PLACED AT THE REAR OF A SUBJECT TO LIGHT FROM BEHIND.

(Common Lighting Terminology n.d.)

BASIC VIDEO-
SHOTS
• LONG SHOT: (AKA WIDE SHOT) SHOWS THE SUBJECT FROM
TOP TO BOTTOM; FOR A PERSON, THIS WOULD BE HEAD TO
TOES, THOUGH NOT NECESSARILY FILLING THE FRAME.
• MEDIUM SHOT: (AKA 3/4 SHOT) INTERMEDIATE BETWEEN
FULL SHOT
AND MEDIUM SHOT. SHOWS SUBJECT FROM THE KNEES UP.
• EXTREME CLOSE: EMPHASIZES A SMALL AREA OR DETAIL OF
THE SUBJECT, SUCH AS THE EYE(S) OR MOUTH. AN
EXTREME CLOSE UP OF JUST THE EYES IS SOMETIMES
CALLED AN ITALIAN SHOT, GETTING ITS NAME FROM
SERGIO LEONE’S ITALIAN-WESTERN FILMS THAT
POPULARIZED IT.
 VIDEO FILE
FORMATS
• MPEG: IS A VIDEO FILE FORMAT THAT IS COMPRESSES USING EITHER MPEG 1 OR MPEG 2 COMPRESSION. THIS MAKES
THE FILE MORE POPULAR FOR ONLINE DISTRIBUTION. IT MAKES FOR EASY DOWNLOAD AND STREAM
• AVI: AVI FORMAT IS ONE OF THE OLDEST VIDEO FORMATS. IT IS SO UNIVERSALLY ACCEPTED. AVI FILES ARE ABLE TO RUN
ON A NUMBER OF DIFFERENT SYSTEMS LIKE WINDOWS, MACINTOSH, LINUX; IS ALSO SUPPORTED BY POPULAR WEB
BROWSERS. AVI FILES STORES DATA THAT CAN BE ENCODED IN A NUMBER OF DIFFERENT CODEC’S, ALTHOUGH MOST
COMMONLY WITH M-JPEG OR DIVX CODECS.
• MP4: MP4 IS AN ABBREVIATED TERM FOR MPEG-4 PART 14, A STANDARD DEVELOPED BY THE MOTION PICTURES
EXPERT GROUP WHO WAS RESPONSIBLE FOR SETTING INDUSTRY STANDARDS REGARDING DIGITAL AUDIO AND VIDEO,
AND IS COMMONLY USED FOR SHARING VIDEO FILES ON THE WEB.
• MOV: DEVELOPED BY APPLE. INC, THE QUICKTIME FILE FORMAT IS A POPULAR TYPE OF VIDEO SHARING AND VIEWING
FORMAT AMONGST MACINTOSH USERS. MOV FILES ARE MOST COMMONLY OPENED VIA THE APPLE QUICKTIME
PLAYER FOR THE MACINTOSH OPERATING SYSTEM. HOWEVER, MOV FILES ARE NOT JUST LIMITED TO BEING PLAYED ON
APPLE COMPUTERS, AS THERE IS A FREE VERSION OF THE QUICKTIME PLAYER AVAILABLE FOR THE WINDOWS
OPERATING SYSTEM AMONG MANY OTHER PLAYERS.
VIDEO MEDIA
TERMINOLOGY
• ANALOGUE: INFORMATION STORED OR TRANSMITTED AS A CONTINUOUSLY VARIABLE SIGNAL (AS OPPOSED TO
DIGITAL, IN WHICH THE ANALOGUE SIGNAL IS REPRESENTED AS A SERIES OF DISCREET VALUES). ANALOGUE IS OFTEN
TECHNICALLY THE MORE ACCURATE REPRESENTATION OF THE ORIGINAL SIGNAL, BUT DIGITAL SYSTEMS HAVE
NUMEROUS ADVANTAGES WHICH HAVE TENDED TO MAKE THEM MORE POPULAR
• DIGITAL: A SIGNAL WHICH CONSISTS OF A SERIES OF DISCREET VALUES
• CODEC: SHORT FOR COMPRESSOR/DECOMPRESSOR. A TOOL WHICH IS USED TO REDUCE THE SIZE OF A DIGITAL FILE.
CAN BE SOFTWARE, HARDWARE OR A COMBINATION OF BOTH.
• DROPOUT: LOSS OF PART OF A RECORDED VIDEO OR AUDIO SIGNAL, SHOWING UP AS GLITCHES ON PLAYBACK. CAN
BE CAUSED BY DAMAGED
RECORD HEADS, DIRTY TAPES OR HEADS, ETC
• RESOLUTION: THE AMOUNT OF DETAIL IN AN IMAGE OR SIGNAL. ON A COMPUTER SCREEN, THE RESOLUTION IS THE
NUMBER OF PIXELS. IN AN ANALOGUE VIDEO SIGNAL, THE RESOLUTION IS THE NUMBER OF HORIZONTAL LINES. IN
DIGITAL AUDIO, THE RESOLUTION IS THE NUMBER OF SAMPLES PER SECOND.
 LINEAR AND NONLINEAR
EDITING

• BOTH ARE TYPE/WAYS TO EDIT. LINEAR EDITING IS AN OLDER FORM OF EDITING THAT REQUIRED
EITHER CUTTING FILM AND/OR AUDIO TAPE AND STICKING THE PIECES TOGETHER MANUALLY IN THE
REQUIRED ORDER. NONLINEAR EDITING (NLE) , IS THE SOFTWARE, COMPUTER BASED EDITING
SYSTEMS USED TODAY FOR EDITING VIDEO OR AUDIO.
HOW TO OUTPUT ANALOG VIDEO TO
DIGITAL
 USE AN EXTERNAL VIDEO
CONVERTER — USUALLY A BOX
THAT CONNECTS TO YOUR
COMPUTER’S FIREWIRE PORT.
THE BOX INCLUDES ANALOG
INPUTS, SO YOU CAN
CONNECT AN ANALOG VCR OR
CAMCORDER TO THE BOX. THE
UNIT ITSELF CONVERTS
SIGNALS FROM ANALOG
MEDIA INTO DV-FORMAT
VIDEO, WHICH YOUR
COMPUTER THEN CAPTURES
— AND NOW YOU CAN EASILY
EDIT IT USING YOUR VIDEO-
EDITING SOFTWARE.
 CHROMA KEY

• IS THE USE OF A GREEN SCREEN FOOTAGE. SHOOTING WITH A GREEN SCREEN

ALLOWS YOU TO INSERT VIDEO OF AN OBJECT OR PERSON ON TOP OF
ANOTHER LAYER OF VIDEO – BASICALLY INSERTING THE PERSON INTO A
NEW SCENE.
 • FRAME : ONE COMPLETE VIDEO, TELEVISION
OR FILM PICTURE. IN VIDEO AND TELEVISION,
EACH FRAME IS DIVIDED INTO TWO
INTERLACED FIELDS.

• FRAMES PER SECOND (FPS) IS A UNIT THAT

MEASURES DISPLAY DEVICE PERFORMANCE.
IT CONSISTS OF THE NUMBER OF COMPLETE
SCANS OF THE DISPLAY SCREEN THAT OCCUR
EACH SECOND.
 

FRAME AND FPS

(Glossary of Audio & Video Media Terminology, n.d.)
CUTAWAY AND JUMP CUT

• JUMP CUT: A VIDEO TRANSITION IN WHICH ONE SHOT APPEARS TO "JUMP" TO ANOTHER SHOT WITH
VERY SIMILAR FRAMING. USUALLY CONSIDERED UNDESIRABLE BUT CAN BE USED FOR DRAMATIC
EFFECT.
• CUTAWAY SHOT IS THE INTERRUPTION OF A CONTINUOUSLY FILMED ACTION BY INSERTING A VIEW OF
SOMETHING ELSE.
PERSISTENCE OF
VISION AND RULE OF
THIRDS
• PERSISTENCE OF VISION WORKS BECAUSE
THE HUMAN EYE AND BRAIN CAN ONLY
PROCESS 10 TO 12 SEPARATE IMAGES PER
SECOND, RETAINING AN IMAGE FOR UP TO
A FIFTEENTH OF A SECOND. IF A
SUBSEQUENT IMAGE REPLACES IT IN THIS
PERIOD OF TIME IT WILL CREATE THE
ILLUSION OF CONTINUITY.

• THE RULE OF THIRDS INVOLVES MENTALLY

DIVIDING UP YOUR IMAGE USING 2
HORIZONTAL LINES AND 2 VERTICAL LINES.
YOU THEN POSITION THE IMPORTANT
ELEMENTS IN YOUR SCENE ALONG THOSE
LINES, OR AT THE POINTS WHERE THEY
MEET (RULE OF THIRDS, N.D.)