Television Production & Broadcast Journalism, 2nd Edition Page 14 (14 of 539)

14
Preview Monitor . . . . . . . . . . . . . . . . 449
Cut Bar. . . . . . . . . . . . . . . . . . . . . . . . 449
Chapter 23
Electronic Special
Effects
SEG Effects . . . . . . . . . . . . . . . . . . . . . . .456
Wipes . . . . . . . . . . . . . . . . . . . . . . . . . .456
Mixes . . . . . . . . . . . . . . . . . . . . . . . . . .458
Keys . . . . . . . . . . . . . . . . . . . . . . . . . . .460
Pixels and Digital Video . . . . . . . . . . . . . .463
Digital Video Effects. . . . . . . . . . . . . . 464
Chapter 24
Video Editing
Editing Systems . . . . . . . . . . . . . . . . . . . . 470
Linear Editing Systems . . . . . . . . . . . .470
Non-Linear Editing Systems . . . . . . . .471
Program Editing Basics . . . . . . . . . . . . . . 472
Previewing the Raw Footage . . . . . . . .472
Time Code. . . . . . . . . . . . . . . . . . . . . . .473
Screen Time . . . . . . . . . . . . . . . . . . . . .473
Editing and Action. . . . . . . . . . . . . . . .474
Editing and Audio . . . . . . . . . . . . . . . .475
Editing Transitions. . . . . . . . . . . . . . . .475
Cutaways and B-Roll . . . . . . . . . . . . . .476
Video and Audio Delay Edits. . . . . . . .477
Non-Linear Editing . . . . . . . . . . . . . . . . . . 477
Capturing Recorded Footage . . . . . . . .478
Timeline Creation. . . . . . . . . . . . . . . . 480
Trimming . . . . . . . . . . . . . . . . . . . . . . 480
Correction. . . . . . . . . . . . . . . . . . . . . . .481
Audio Editing. . . . . . . . . . . . . . . . . . . .482
Effects and Transitions . . . . . . . . . . . . .482
Titles. . . . . . . . . . . . . . . . . . . . . . . . . . .483
Exporting . . . . . . . . . . . . . . . . . . . . . . .483
Producing Quality Programs. . . . . . . . . . .483
Chapter 25
Getting Technical
Analog Television . . . . . . . . . . . . . . . . . . .488
Developing the Technology. . . . . . . . . .489
Frames and Fields. . . . . . . . . . . . . . . . .490
Sync . . . . . . . . . . . . . . . . . . . . . . . . . . .490
Monitoring Video Signal Quality . . . . . . . . 491
Digital Television Technology . . . . . . . . . .493
Video Format . . . . . . . . . . . . . . . . . . . .493
Progressive Scan. . . . . . . . . . . . . . . . . .495
Image Defi nition. . . . . . . . . . . . . . . . . .496
Video Recording Options . . . . . . . . . . .497
Digital Televisions. . . . . . . . . . . . . . . . . . .497
LCD Televisions . . . . . . . . . . . . . . . . . .498
Plasma Televisions . . . . . . . . . . . . . . . .499
DLP Televisions . . . . . . . . . . . . . . . . . 500
OLED Televisions . . . . . . . . . . . . . . . .501
Appendix A,
That’s A Wrap. . . . . . . . . . . . . 505
Appendix B,
Talent Information Sheet . . . . 509
Glossary . . . . . . . . . . . . . . . . . . . 512
Index . . . . . . . . . . . . . . . . . . . . . . 530

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Extracted Text (may have errors)

14
Preview Monitor . . . . . . . . . . . . . . . . 449
Cut Bar. . . . . . . . . . . . . . . . . . . . . . . . 449
Chapter 23
Electronic Special
Effects
SEG Effects . . . . . . . . . . . . . . . . . . . . . . .456
Wipes . . . . . . . . . . . . . . . . . . . . . . . . . .456
Mixes . . . . . . . . . . . . . . . . . . . . . . . . . .458
Keys . . . . . . . . . . . . . . . . . . . . . . . . . . .460
Pixels and Digital Video . . . . . . . . . . . . . .463
Digital Video Effects. . . . . . . . . . . . . . 464
Chapter 24
Video Editing
Editing Systems . . . . . . . . . . . . . . . . . . . . 470
Linear Editing Systems . . . . . . . . . . . .470
Non-Linear Editing Systems . . . . . . . .471
Program Editing Basics . . . . . . . . . . . . . . 472
Previewing the Raw Footage . . . . . . . .472
Time Code. . . . . . . . . . . . . . . . . . . . . . .473
Screen Time . . . . . . . . . . . . . . . . . . . . .473
Editing and Action. . . . . . . . . . . . . . . .474
Editing and Audio . . . . . . . . . . . . . . . .475
Editing Transitions. . . . . . . . . . . . . . . .475
Cutaways and B-Roll . . . . . . . . . . . . . .476
Video and Audio Delay Edits. . . . . . . .477
Non-Linear Editing . . . . . . . . . . . . . . . . . . 477
Capturing Recorded Footage . . . . . . . .478
Timeline Creation. . . . . . . . . . . . . . . . 480
Trimming . . . . . . . . . . . . . . . . . . . . . . 480
Correction. . . . . . . . . . . . . . . . . . . . . . .481
Audio Editing. . . . . . . . . . . . . . . . . . . .482
Effects and Transitions . . . . . . . . . . . . .482
Titles. . . . . . . . . . . . . . . . . . . . . . . . . . .483
Exporting . . . . . . . . . . . . . . . . . . . . . . .483
Producing Quality Programs. . . . . . . . . . .483
Chapter 25
Getting Technical
Analog Television . . . . . . . . . . . . . . . . . . .488
Developing the Technology. . . . . . . . . .489
Frames and Fields. . . . . . . . . . . . . . . . .490
Sync . . . . . . . . . . . . . . . . . . . . . . . . . . .490
Monitoring Video Signal Quality . . . . . . . . 491
Digital Television Technology . . . . . . . . . .493
Video Format . . . . . . . . . . . . . . . . . . . .493
Progressive Scan. . . . . . . . . . . . . . . . . .495
Image Defi nition. . . . . . . . . . . . . . . . . .496
Video Recording Options . . . . . . . . . . .497
Digital Televisions. . . . . . . . . . . . . . . . . . .497
LCD Televisions . . . . . . . . . . . . . . . . . .498
Plasma Televisions . . . . . . . . . . . . . . . .499
DLP Televisions . . . . . . . . . . . . . . . . . 500
OLED Televisions . . . . . . . . . . . . . . . .501
Appendix A,
That’s A Wrap. . . . . . . . . . . . . 505
Appendix B,
Talent Information Sheet . . . . 509
Glossary . . . . . . . . . . . . . . . . . . . 512
Index . . . . . . . . . . . . . . . . . . . . . . 530

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15
From the Author
Television Production & Broadcast Journalism grew out of a need to
provide my students with an up-to-date high school textbook on the subject
of television production. After trying to fi nd such a textbook for several years,
I fi nally decided to write one myself. This text is fundamentally a written
version of my lecture notes, combined with information from trade magazines,
over 34 years of my experiences as a videographer and instructor, and interac-
tion with other broadcasting, communications, and television production
instructors as a consultant, workshop leader, and convention speaker.
This book could not have been written without considerable help from
many people. I must thank all of my students for their ideas, suggestions,
and consideration, as they were the guinea pigs with my draft of the fi rst
edition of this text.
I must thank my good friends Dick Blocher and Brian Franco for their
patient willingness to answer any technical question I put to them. Chapter 25,
Getting Technical has been extensively revamped thanks to their technical
knowledge. They have helped me explain digital video in clear and correct
terms.
Carol Knopes, of the Radio Television Digital News Foundation,
strongly urged me to include broadcast journalism in the second edition
and has been encouraging and supportive throughout the entire project.
Janet Kerby is an educational consultant/trainer for high school
broadcast journalism. Her extensive teaching experience includes high
school and graduate-level courses for broadcast journalism teachers. She
is my good friend and partner in www.video-educator-training.com. She
has had a profound impact on this book and I can’t thank her enough.
When I fi rst presented her with the idea of adding broadcast journalism to
a television production textbook, she was a bit uncertain it could be done.
I knew it was possible because she is the living, successful example of the
two disciplines being combined, as they often are in high school classes.
And, that is exactly how she teaches. She provided me with invaluable
insight into and advice on the world of broadcast journalism. The chapters
specifi cally devoted to broadcast journalism would not exist without her
input and editing.
Eric Drucker, a lighting expert from Lowel-Light, helped me revamp
Chapter 15, Lighting to include the new generation of fl uorescent lighting
instruments and the technique of lighting with these instruments.
Randy Jacobson (digital photography instructor at Fairfax Academy
for Communications and the Arts) and his students provided an enormous
amount of the photography work.
Adam Goldstein, Broadcast Attorney Advocate for the Student Press
Law Center, graciously donated an entire morning to my queries on every-
thing in Chapter 12, Legalities: Releases, Copyrights, and Forums. I compiled
dozens of questions and scenarios concerning releases, copyrights, music, and
forums posted by teachers on the Radio Television Digital News Foundation

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13
Chapter 19
Production
Staging and
Interacting with
Talent
Areas on a Set . . . . . . . . . . . . . . . . . . . . . 376
Camera Staging . . . . . . . . . . . . . . . . . . . .377
Vector Line . . . . . . . . . . . . . . . . . . . . . .380
Cutaways and B-Roll . . . . . . . . . . . . . .381
Jump Cuts and Errors in
Continuity . . . . . . . . . . . . . . . . . . .382
Production Equipment in
the Shot. . . . . . . . . . . . . . . . . . . . . .385
Talent Placement . . . . . . . . . . . . . . . . . . .385
Interviews. . . . . . . . . . . . . . . . . . . . . . .387
Dramatic Programming . . . . . . . . . . . .390
Non-Dramatic Programming. . . . . . . .390
Staff and Talent Interaction. . . . . . . . . . . .393
Managing Guest Talent . . . . . . . . . . . .393
Working with Non-Professional
Talent . . . . . . . . . . . . . . . . . . . . . . .394
Headphone Etiquette . . . . . . . . . . . . . .395
Chapter 20
Directing
The Director’s Role in Pre-Production . . . .400
Script Breakdowns . . . . . . . . . . . . . . . 400
Marking the Script . . . . . . . . . . . . . . . 404
Set Design . . . . . . . . . . . . . . . . . . . . . 406
Auditions . . . . . . . . . . . . . . . . . . . . . . .407
Pre-Production Meeting. . . . . . . . . . . 408
The Director’s Role in Production. . . . . . .409
Multiple Takes . . . . . . . . . . . . . . . . . . .410
The Director’s Role in Post-Production . . . 412
Being an Effective Director . . . . . . . . . . . . 413
Starting Something You Can
Actually Finish. . . . . . . . . . . . . . . .413
Chapter 21
Makeup
Application
and Costume
Considerations
Why is Makeup Necessary?. . . . . . . . . . . 418
Makeup Styles . . . . . . . . . . . . . . . . . . . . . 419
Applications . . . . . . . . . . . . . . . . . . . . .420
Makeup Products . . . . . . . . . . . . . . . . . . . 421
Crème Makeup . . . . . . . . . . . . . . . . . . .422
Pancake Makeup . . . . . . . . . . . . . . . . .423
Makeup Application . . . . . . . . . . . . . . . . .423
First Makeup Layer . . . . . . . . . . . . . . .423
Second Makeup Layer . . . . . . . . . . . . .423
Third Makeup Layer . . . . . . . . . . . . . .426
Fourth Makeup Layer. . . . . . . . . . . . . .427
Makeup Removal . . . . . . . . . . . . . . . . . . .428
Makeup Application Considerations . . . . .429
Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . .429
Skin Sensitivity or Allergies. . . . . . . . 430
Men and Makeup. . . . . . . . . . . . . . . . .431
Costume Selection . . . . . . . . . . . . . . . . . .431
Appropriate Clothing . . . . . . . . . . . . . .432
Planning for Productions. . . . . . . . . . . . . .432
Makeup, Clothing, and the News . . . . . . .434
Chapter 22
Video Switchers
and Special
Effects
Generators
The Video Switcher . . . . . . . . . . . . . . . . .438
Video Switcher Controls. . . . . . . . . . . .438
Video Switcher Operation . . . . . . . . . 440
Production Switcher. . . . . . . . . . . . . . 442
The Special Effects Generator (SEG) . . . .442
Components of a SEG. . . . . . . . . . . . . 444
Banks . . . . . . . . . . . . . . . . . . . . . . . . . .447
Black Video. . . . . . . . . . . . . . . . . . . . . 449

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