Television Production
Communication is simply the act of transferring information from
one place, person or group to another.
Every communication involves (at least) one sender, a message and a recipient. This may
sound simple, but communication is actually a very complex subject.
The transmission of the message from sender to recipient can be affected by a huge range of
things. These include our emotions, the cultural situation, the medium used to communicate,
and even our location. The complexity is why good communication skills are considered so
desirable by employers around the world: accurate, effective and unambiguous
communication is actually extremely hard.
Television
Television (TV), sometimes shortened to tele or telly, is a telecommunication medium used
for transmitting moving images in monochrome (black and white), or in color, and in two or three
dimensions and sound. The term can refer to a television set, a television show, or the medium of television
transmission. Television is a mass medium for advertising, entertainment, news, and sports.
Television (TV), the electronic delivery of moving images and sound from a
source to a receiver. By extending the senses of vision and hearing beyond the
limits of physical distance, television has had a considerable influence on society.
Conceived in the early 20th century as a possible medium for education and
interpersonal communication, it became by mid-century a vibrant broadcast
medium, using the model of broadcast radio to bring news and entertainment to
people all over the world. Television is now delivered in a variety of ways: ―over
the air‖ by terrestrial radio waves (traditional broadcast TV); along coaxial cables
(cable TV); reflected off of satellites held in geostationary Earth orbit (direct
broadcast satellite, or DBS, TV); streamed through the Internet; and recorded
optically on digital video discs (DVDs) and Blu-ray discs.
TELEVISION PROGRAMMES
1) FICTIONAL PROGRAMME
2) NON-FICTIONAL PROGRAMME
1) NON-FICTIONAL PROGRAMME
• Programmes have content that is reality based
• There is no fiction or epic
TYPES OF NON-FICTIONAL PROGRAMME
• News
• News Programme
• Documentary
• Reality Show
• Variety Show
• Live Show
NEWS
• Most common programme format in non-fictional category
• Supposed to be reality based.
• these days news channels are showing lots of content that is recreated with the help of
drama.
• For e.g. crime news originally narrates any real life event
• The main news channels are :DD News, Zee News, Star News, Aaj Tak, NDTV India and
IBN-7.
NEWS PROGRAMME
• News channels presents these kind of programmes
• Programmes based on discussion and debate
• All types of current affair programmes
• Nowadays news channels are experimenting with mixed formats which are difficult to put
into single category.
• For example, Janata ki Adalat, Hum Log, The Big Fight are the programs having unique
identity of their own
NEWS PROGRAMME
• Programmes based on contemporary issues in the form of talk show and chat show
• Talk Show is usually formal and on serious issues
• Chat Show is informal in its presentation and content.
• Discussion usually has an anchor along with two or many guests/experts.
• Discussion centre around a central theme or issue.
NEWS PROGRAMME
• Interview is kind of programme where one or two anchor interviews one or more guests.
• Like in Seedhi Baat on Aaj Tak, Prabhu Chawla interviews the guest every week
• News Magazine is a collection of in depth stories based on current news events
• Usually it is weekly and present four to five items.
• In news magazine a weekly roundup is show in a more detailed manner.
• The World This Week by Prannoy Roy was a popular weekly news magazine.
DOCUMENTARY
• This is another very common non fictional programme format
• All documentaries depict reality.
• Documentary may be related to tourism, environment, history, science, technology etc.
• Nowadays there are channels dedicated to documentaries only
• Like Discovery, National Geographic Channel, History Channel, Animal Planet
• There may be many kinds of documentaries based on the topic and treatment.
• All tourism documentaries have a travelogue format.
• History documentaries have to depend upon drama.
• Science documentaries rely on animation and computer graphics.
REALITY SHOW
• These days reality shows are new popular formats.
• There are two major sub categories in reality show.
• One is game show, for example Kaun Banega Karorpati
• Another is talent hunt show, for example Antaakshari, Sa Re Ga Ma, Indian Idol
VARIETY SHOWS
• These programs are a kind of mix variety entertainment
• i.e. music, interview, dance, humorous chat etc.
• demonstrated on a stage
• This kind of entertainment is basically a part of restaurants in some part of the world
• Later it was copied by the television producers
• In India, Shekhar Suman is a popular anchor of this format
LIVE SHOWS
• Television channels telecast sports and some important events live.
• Like Live News, live cricket Match, live Independence Day Parade in India
2) FICTIONAL PROGRAMME
• Programmes based on any story, play, novel or fictional work comes under this
category.
TYPES OF FICTIONAL PROGRAMME
• Soap opera
• Epic serial
• Sitcom
• Series
• Countdown show
• Tele Film
• Cartoon Show
• Advertisement
SOAP OPERA
• The most common fictional programme format is soap opera.
• India‘s first Soap Opera was Hum Log telecast on Doordarshan in 1984.
• Later many other serials were Buniyad, Khandan etc.
• Earlier, soap opera were telecast once or twice in a week but later on some daily soap opera
were also broadcast.
• In nineties, Shaanti and Swabhiman were beginners in daily soap opera.
EPIC SERIAL
• Serials based upon epics are epic serials. Ramayana and Mahabharta is classic example of
epic
SITCOM
• Situational comedy is format where humor is created by depicting amusing situations.
• In this format, the characters remain same but they create different story in each episode.
• Dekh Bhai Dekh, Tu Tu Main Main are typical example of sitcoms
SERIES
• In series the main character and environment of the theme remains same but in story
changes in every second or third episode.
• Usually this kind of programme is created around a profession.
• Tehkikat and CID are two popular series about detectives while Reporter is all about an
investigative journalist.
COUNTDOWN SHOW
• These were very popular during early nineties.
• Superhit Muqabala is one of the popular names.
• In this format, popular film songs are shown one by one according to their popularity just
and in between the anchor entertain the audience.
• In some shows small plays are also show in pieces.
TELE FILM
• Films specially made for television.
• Usually the duration of video films are of 90 minutes.
• Doordarshan telecast and finance tele films based upon developmental issues.
CARTOON SHOW
• Nowadays cartoon shows are very
• Popular among children. All cartoon show are based on
• Stories and basic difference is in terms of style of
• Presentation only
ADVERTISEMENT
• Most of the ads is fictional in nature as every ad has a story and fictional characters.
• Some ads i.e. tourism advertisement is made of real life footage without any drama in line
of documentary format does not come under this category
TELEVISION PRODUCTION
It is the techniques used to create a television program.
• The entire process of creating a program may involve developing a script, creating a budget, hiring
creative talent, designing a set, and rehearsing lines before filming takes place.
• After filming, the post-production process may include video editing and the addition of sound, music, and
optical effects.
• The creation of a television show begins with an idea for a program and the development of a script.
• A television network may also require a commitment from one or more well-known actors before
financially committing to film a show.
• Producing a show involves three main stages: pre-production, principle photography, and post-production.
COMMERCIAL TELEVISION / VIDEO – THE FIVE STAGES OF PRODUCTION:
The five stages of production for this service will be completed by DVI.
1.
Pre-Production:
(Planning)
Preparing a cover letter and request to be filled out by client interested in pursuing a video program. Creation of script, storyboard, rental agreement of all equipment, coordinating crew, tape, laser
print labels, hard shell cases, on location scouting and all other pre-production planning.
2.
Production:
(Shooting)
Set up of all production equipment two (2-3) hours prior to event start time. Test all equipment as per
plan of show. Videotape the event in real time (as it occurs). Two separate camera video sources will
be used to switch from. One source will the main camera. The second camera will be the reaction
camera. The switching unit will also be located nearby to direct the camera operator‘s where/what to
shoot. Audio feeds will be from lapel microphones on the talent themselves. If this is not possible,
shotgun and alternate directional microphone systems will be places near to receive a good ―sound‖
source. Lights will be strategically placed around the talent to create three point (three dimensional)
lighting, to create the best possible lighting set up. Crew will communicate with wireless intercom
systems, I will switch and direct event as it occurs. Break down of all equipment will take approximately 1 1/2 to 2 hours. We will need clearance to stay later to pack up.
3.
Post-Production:
(Editing)
The master footage (raw stock) will be edited together with some animation and many computer
graphics representing all the agreed upon information from the storyboard and script.
4.
Duplication:
(Copies)
This edited master represents the finished final product of the show. From this Sub-Master, all duplications created.
* All duplications are made during this process.
5.
Distribution:
(Delivery)
All tapes will be appropriately labeled and boxed in a hard shell case. Upon completion of this stage,
all tapes will be delivered via UPS ground or air by a predetermined date and time.
Video Production Process
Videos come in many shapes and sizes, from a simple iPhone video all the way up to major
Hollywood films. For most videos, there are too many moving parts to leave your process to
chance.
What is the video production process?
Video production is more than simply pressing the record button on your video camera.
The process of creating a video from concept to completion consists of three phases: PreProduction, Production and Post-Production. Phase one (Pre-Production) is where all the
planning and coordination happens, phase two (Production) is when you capture all the elements that will be in your final video and phase three (Post-Production) is where all the
elements get edited together and combined to create the final video.
Explaining the Video Production Process
Phase One: Pre-Production
The first step in the process of creating a video is all about preparation and setting the
groundwork. During this phase, it's essential to do the planning, research, problem-solving,
and organization necessary to set your video project up to be successful.
The pre-production phase includes:

Video strategy/goals

Budget/scope

Story selection

Project timeline

Script creation

Talent/characters

Production team/equipment needs

Location Scouting
It’s important to conduct a series of meetings. Again, this process will vary based on the
team and the scope of your project, but here are some basics to help you get started.
1.
Fact Finding: Bring your company stakeholders and our video production team together to discuss the
purpose, strategy, and goals for your video project and how it will be used after it is finalized. This is
the part of the process where you'll want to communicate things like branding, target audience, and the
tone and feel for the piece.
2.
Pre-Production Meeting: This meeting is typically held between our Multimedia Services team and
the primary point person for the project. Make sure to set the timeline, identify the characters, and finalize any location details. This meeting can be done over the phone or in person.
3.
Site Visit (Optional): Depending on the complexity of the shoot, it can be helpful to do a site visit to
your location, especially if neither the producer or videographer has seen it.
4.
Shoot Preparation: Prior to showing up on-site for filming, our team will ensure that scripts have been
reviewed and approved, interview questions discussed, characters are checked, schedule is finalized and
locations are confirmed. All these details will help ensure that the production phase goes smoothly.
Phase Two: Production
The meetings are over, the preparation is complete. Now, it's time to have some fun! The
production phase is where you capture all the interviews and footage for your video. This is
the part where the story begins to come to life.
The production phase is where all the raw materials for your video will be captured. If you
have specific visions, ideas, or visuals that you want to be included in the final product, be
sure that you have clearly communicated that with your producer before the end of the production phase.
The production phase includes:

Setting up the sound/lighting/video equipment

Conducting interviews

Recording voiceovers (if they are needed for your project)

Capturing b-roll (extra footage that is used to support your story)
Especially if you are using an external video team, we recommend the primary point person
is on location to act as the conduit between the video producer and your brand.
Phase Three: Post-Production
After the production phase is finished, the producer and editor go to work. During the postproduction phase, your video production team will begin the process to organize, plan, and
edit the actual video.
Your producer will carefully review all the footage and transcribe all of the interviews conducted. Then, they will assemble the story and the video editor does their magic to bring all
the pieces together.
The production phase includes:

Logging the interviews

Producing the final story

Music selection

Video editing

Reviews/approvals

Final Delivery
Your video production team will handle all the nuts and bolts of making your project come
to life. So, just sit tight and wait for the magic to happen. This process takes some time and
creativity, so don't expect that it will happen overnight.
Every production company will have different timelines for the post-production phase, but
you can plan for it to take approximately 6-8 weeks unless another timeline has been discussed.
Once our video team has created a draft of the video project, it'll be time for your project point person and key stakeholders to step back into the mix:

Initial approval and revisions: Once the initial version of the video is edited, it's time to review the work.
Assuming there are some changes that need to be made, the revision process can begin. If you are a working
with a video company, there may be a pre-defined number of revisions or hours set aside for revisions.

Final Delivery: Once the video is finalized and approved, it's time to export the video to its final format. All
platforms (YouTube, Facebook, etc) have slightly different specifications for optimal video playback. This
should be discussed thoroughly in the pre-production process.
Why is a video production process important?

Dependability: Whether you're shooting on location, in a studio, or in an office space there are a lot of
moving pieces that have to come together. Does the time and place work for all members involved? How
about actors or spokespeople? Identifying all of these details is crucial, and it is essential to do it in a logical,
systematic fashion.

Predictable Timeline: Video production takes time. For anything more than an iPhone video, you don't just
pick up a camera one day and have a video in your hands the next. So, how much planning time do you need
before the shoot and how much editing time afterward? It's only guesswork unless you have a real process.
An established and tested video process can help you go from an educated guess to an accurate prediction.

Fewer Revisions: When you nail down your objectives, discuss the details in pre-production, and then
execute to match your vision, you shouldn't end up with many revisions at the end of your project. On the
other hand, if you go through that whole project without a real process, you may end up with problems that
require extra editing and time to resolve.
A Video Production Process Example:
At Multimedia Services our process is as follows:

Research: Understand stories and objectives

Pre-Production Meeting: Key messaging, identify audience, set timelines

Strategic Vision: Story identification, storyboarding, planning and shoot prep

Newsgathering: Shoot interviews and b-roll video

Content Creation: Logging, scripting, producing and editing

Content Review: Edits, revisions, approvals
Film & TV Production Roles and Departments
KEY CREATIVE TEAM
Producer
The producer initiates, coordinates, supervises, and controls matters such as raising funding, hiring key personnel, contracting and arranging for distributors. The producer is involved throughout all phases of the process from development to completion of a project.
Director
The director is responsible for overseeing the creative aspects of a film, including controlling the content
and flow of the film's plot, directing the performances of actors, selecting the locations in which the film
will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the
timing and content of the film's soundtrack.
Screenwriter
Screenwriters or scriptwriters are responsible for researching the story, developing the narrative, writing the
screenplay, and delivering it, in the required format, to the Producers. They are almost always freelancers
who either pitch original ideas to Producers in the hope that they will be optioned or sold, or who are commissioned by a Producer to create a screenplay from a concept, true story, existing screenwork or literary
work, such as a novel or short story.
PRODUCTION DEPARTMENT
Executive Producer
An executive producer is usually an investor in the project or someone who has facilitated the funding of the
project. There may be multiple executive producers on a project, depending on the financing arrangements.
Line Producer
Typically, a line producer manages the budget of a film production. Alternatively, or in addition, they may
manage the day to day physical aspects of the film production.
Production Manager
The production manager supervises the physical aspects of the production including personnel, technology,
budget, and scheduling. It is the PM‘s responsibility to make sure the filming stays on schedule and within
its budget. The PM often works under the supervision of a line producer and directly supervises the Production Coordinator.
Production Coordinator
The production coordinator is the information nexus of the production, responsible for organising all the logistics from hiring crew, renting equipment, and booking talent. The PC is an integral part of film production.
Production Secretary
The Production Secretary provides administration assistance in the production office to the production coordinator and production manager.
Production Accountant
Production accountants are responsible for managing finances and maintaining financial records during film
production. They work closely with the Producer and the production office to manage the day-to-day accounting office functions, and report on the project‘s financial progress against the budgets (cost reporting).
Post-production Supervisor
Post-production supervisors are responsible for the post production process, during which they maintain
clarity of information and good channels of communication between the Producer, Editor, Supervising
Sound Editor, the Facilities Companies (such as film labs, CGI studios and negative cutters) and the Production Accountant.
First Assistant Director
The first assistant director (1st AD) assists the production manager and director. They oversee day-to-day
management of the cast and crew scheduling, equipment, script, and the set. They ensure the filming comes
in on schedule while maintaining a working environment in which the director, principal artists (actors) and
crew can be focused on their work.
Second Assistant Director
The second assistant director (2nd AD) is the chief assistant of the 1st AD and helps carry out those tasks
delegated to the 1st AD. The 2nd AD works closely with the Production Coordinator to create the daily Call
Sheets that let the crew know the schedule and important details about the shooting day.
Third Assistant Director
The third assistant director (3rd AD) works on set with the "First" and may liaise with the "Second" to move
actors from unit base, organise crowd scenes, and supervise one or more production assistants.
Production Assistant/Production Runner
The production assistant or runner assists the first assistant director with on-set operations. PAs also assist in
the production office with general tasks.
Script Supervisor
Also known as "continuity", keeps track of what parts of the script have been filmed and makes notes of any
deviations between what was actually filmed and what appeared in the script. They make notes on every
shot, and keep track of props, blocking, and other details to ensure continuity from shot to shot and scene to
scene.
Stunt Coordinator
Where the film requires a stunt, and involves the use of stunt performers, the stunt coordinator will arrange
the casting and performance of the stunt, working closely with the Director.
SCRIPT DEPARTMENT
Story Producer
The story producer has overall responsibility for the story across episodes. In reality TV, the story producer
is responsible for creating a story line via editing/producing the show's source footage. They may also be
responsible for writing the host‘s dialogue.
Script Editor
Provides a critical overview of the screenwriting process, using their analytical skills to help the screenwriter
identify problems and thereby help to strengthen and develop the screenplay.
Script Co-ordinator
The script coordinator is responsible for producing each draft of the script and annotating it for ease of use
for the production team.
LOCATION DEPARTMENT
Location Manager
The location manager is responsible for finding and securing locations to be used for the production and coordinating the logistics, permits and costs involved. They are also the face of the production to the community .
Location Assistant
Assists the location manager and is on-set before, during, and after the filming process. General responsibilities include arriving first at the location to allow the set dressers onto the set; maintaining the cleanliness of
the location areas during filming and fielding complaints from neighbors.
Location Scout
Responsible for the initial scouting of locations for the production, taking into account production logistics,
eg location fees and budgetary restrictions, local permitting costs and regulations, camera and lighting
requirements, convenience to other locations, production services, crew and unit parking.
CAMERA DEPARTMENT
Director of Photography/Cinematographer
The director of photography is the head of the camera and lighting department of the film. The DoP makes
decisions on lighting and framing of scenes in conjunction with the film's director.
Camera Operator
The camera operator operates the camera under the direction of the director of photography, or the film director, to capture the scenes on film. Depending on the camera format being used for filming (eg film or digital), a director of photography may not operate the camera, but sometimes these two roles are combined.
First Assistant Camera (Focus Puller)
The first assistant camera (1st AC) is responsible for keeping the camera in focus while it is shooting.
Second Assistant Camera (Clapper Loader)
The second assistant camera (2nd AC) operates the clapperboard at the beginning of each take and loads the
raw film stock into the camera magazines between takes. Also oversees the log books that record when the
film stock is received, used, and sent to the lab for processing.
Loader
The loader transfers the film from the manufacturer's light-tight canisters to the camera magazines for attachment to the camera by the 2nd AC. After filming, the loader then removes the film from the magazines
and places it back into the light-tight cans for transport to the lab.
Camera Production Assistant
Usually a trainee in the camera department, the camera PA assists the crew with menial details while learning the trade of the camera assistant, operator or cinematographer.
Digital Imaging Technician (DIT)
On digital productions the digital imaging technician is responsible for the coordination of the internal workings of the digital camera. Under the direction of the director of photography, the DIT will make adjustments to the multitude of variables available in most professional digital cameras to manipulate the resulting
image.
Data Wrangler
On digital productions the data wrangler is responsible for managing the transfer of data from the camera to
a computer and/or hard drive.
Steadicam Operator
The steadicam operator is someone who is skilled at operating a Steadicam (trademark for a camera stabilization rig).
Motion Control Technician/Operator
This technician operates a motion control rig, which essentially is a 'camera robot' able to consistently repeat
camera moves for special effects use.
Video Split/Assist Operator
A video split is used by directors to watch a monitor during each take. This is captured by special recorders
fitted to film cameras next to the eye piece.
SOUND DEPARTMENT
Production Sound Mixer (Sound Recordist)
The production sound mixer is head of the sound department on set, responsible for recording all sound
during filming. This involves the choice of microphones, operation of a sound recording device, and
sometimes the mixing of audio signals in real time.
Boom Operator (Boom Swinger)
The boom operator is responsible for microphone placement and movement during filming. The boom
operator uses a boom pole to position the microphone above or below the actors, just out of the camera's
frame.
GRIP DEPARTMENT
Grips are trained lighting and rigging technicians. Their main responsibility is to work closely with the electrical department to put in lighting set-ups required for a shot.
Key Grip
The key grip is the chief grip on a set, and is the head of the set operations department. The key grip works
with the director of photography to help set up the set and to achieve correct lighting and blocking.
Best Boy (Grip)
The best boy grip is chief assistant to the key grip. They are also responsible for organizing the grip truck
throughout the day.
Dolly Grip
The grip in charge of operating the camera dolly is called the dolly grip. They place, level, and move the
dolly track, then push and pull the dolly, and usually a camera operator and camera assistant as riders.
ELECTRICAL DEPARTMENT
Gaffer
The gaffer is the head of the electrical department, responsible for the design and execution of the lighting
plan for a production. Sometimes the gaffer is credited as "Chief Lighting Technician".
Best Boy (Electrical)
The best boy electric is the chief assistant to the gaffer.
Lighting Technician
Lighting technicians are involved with setting up and controlling lighting equipment.
ART DEPARTMENT
Production Designer
Responsible for creating the physical, visual appearance of the film - settings, costumes, props, character
makeup.
Art Director
Oversees the artists and craftspeople who give form to the production design as it develops.
Set Designer
The set designer is the draftsman, often an architect, who realizes the structures or interior spaces called for
by the production designer.
Illustrator
The illustrator creates visual representations of the designs to communicate the ideas imagined by the
production designer.
Set Decorator
The set decorator is in charge of decorating the set, including the furnishings and all the other objects that
will be seen in the film.
Buyer
The buyer locates, and then purchases or rents the set dressing.
Set Dresser
The set dressers apply and remove the "dressing", i.e., furniture, drapery, carpets—everything one would
find in a location, even doorknobs and wall sockets.
Props Master
In charge of finding and managing all the props used in the film. Usually has several assistants.
Standby Props
Work on set during the filming of a scene, overseeing the use of props, and monitoring their continuity. They
are able to respond quickly to requests for moving props and fixtures and to help position actors, crew and
equipment.
Props Builder
Props builders are technicians skilled in construction, plastics casting, machining & electronics.
Armourer
The armourer is a specialized props technician who deals with firearms.
Construction Coordinator/ Construction Manager
Orders materials, schedules the work, and supervises the construction crew of carpenters, painters and labourers.
Key Scenic
Responsible for the surface treatments of the sets, including special paint treatments such as aging and gilding, simulating the appearance of wood, stone, brick, metal, etc.
Greensman
Deals with the artistic arrangement or landscape design of plant material.
HAIR AND MAKE-UP DEPARTMENT
Make-up Artist
Make-up artists work with makeup, hair, prosthetics and special effects to create the characters look for anyone appearing on screen. Their role is to manipulate an actors on screen appearance.
Hairdresser
The hair stylist is responsible for maintaining and styling the hair of anyone appearing on screen. They work
in conjunction with the makeup artist.
WARDROBE DEPARTMENT
Costume Designer
The costume designer is responsible for all the clothing and costumes worn by the cast. They design and
plan construction of the garments down to the fabric, colours, and sizes.
Costume Supervisor
The costume supervisor works closely with the designer to supervise the creation or sourcing of garments,
hiring of support staff, budget, paperwork, and department logistics.
Costume Standby
The costume standby is present on set at all times to monitor the quality and continuity of the actors and actresses costumes before and during takes. They also assist the cast with dressing.
Art Finisher
An art finisher may be employed during pre-production to "break down" garments. This specialised job includes making new clothing appear dirty, faded and worn.
Buyer
On large productions a buyer may be employed to source and purchase fabrics and garments.
Cutter/Fitter
A costume technician who fits or tailors costumes, usually on-set. They can also be called seamstresses or
tailors.
POST PRODUCTION
Film Editor (Offline Editor for video productions)
Assembles the various shots into a coherent film, working closely with the director.
Assistant Editor
Assists the editor by collecting and organising all the elements needed for the edit.
Online Editor (for video productions)
When the offline edit is complete, adds visual effects, titles, and applies color correction. Also ensures that
the program meets the technical delivery specifications.
Colourist
Adjusts the colour of the film to achieve greater consistency
Negative Cutter
Cuts and splices the film. Provides assembled negative reels to the lab for prints to be made.
POST PRODUCTION - SOUND/MUSIC
Sound Designer
In charge of the post-production sound of a movie.
Dialogue Editor
Responsible for assembling and editing all dialogue in the soundtrack.
Sound Editor
Responsible for assembling and editing all sound effects in the soundtrack.
Re-recording Mixer
Balances the sounds prepared by the dialogue, music and effects editors.
Music Supervisor
Works with the composer, mixers and editors to create and integrate the film's music. Negotiates licensing
of the necessary rights for all source music used in a film.
Composer
The composer is responsible for writing the musical score for a film.
Foley Artist
Creates and records many of the sound effects for a film.
OTHER PRODUCTION CREW
Casting Director
Works closely with the Director and Producer to understand requirements, suggests artists for each role, as
well as arranging and conducting interviews and auditions.
Storyboard Artist
Visualises stories using sketches on paper. Quick pencil drawings and marker renderings are two of the most
common traditional techniques, although nowadays Flash, Photoshop and specialist storyboard software applications are being used more often.
Caterers
Catering is provided by specialist companies who drive catering trucks packed with food and a range of
equipment including ovens, gas and water to each Unit Base for filming.
Unit Nurse
Provides first aid cover and primary healthcare to the cast and crew on a film production. This includes ensuring that people are looking after their own health.
Unit Publicist
Responsible for Unit press and the publicity budget set by Producers. Work on a freelance basis, and are
hired only for the duration of each shoot, although may also be employed to handle distribution publicity in
the run-up to the film's release.
Stills Photographer
Stills Photographers usually work on set, recording scenes from the film, but they may also be required to
set up photographs in the style of the film in a studio environment.
INTERACTIVE MEDIA
Producer
Identifies and specifies the product‘s high-level requirements or purpose, ensuring that its business objectives and creative vision are understood and maintained by everyone involved in the project. This is a senior,
client-facing role that requires expertise in business, management, content, design and technical disciplines.
Designer
Creates the 'look and feel' of an interactive media product. Produces visuals of user interfaces, using software such as Adobe Photoshop or Illustrator. They usually follow a design brief that may be given as verbal
instructions, a written specification or 'wire–frame' diagrams.
Developer
Developers use authoring tools, mark-up languages and scripting languages to create the product. Sometimes this will be according to designs created by someone else (such as a Designer); other times the Developer may design the product as well.
Production Assistant
Contributes to the production of an interactive media product by helping other members of the team. Usually
works with the Designer and Developer or with a Web Editor. Often taken on as interns.
Studio Manager
Ensures the smooth running of an interactive media studio, managing the team, overseeing the work and liaising with other departments within the company. May also set up the studio and recruit staff
Project Manager
Plans, schedules and co-ordinates interactive media development projects, ensuring they run smoothly, on
time and within budget. Focuses on the mechanics of running the project rather than creative requirements.
Account Manager
Develops, maintains and improves relationships with existing clients, ensuring their needs are met, and obtaining repeat business from them.
New Business Developer
Generates business for the interactive organisation or agency.
Content Strategist
Scopes and plans interactive media product‘s content and determines its overall style - what to say, how to
say it effectively, when and where to say it.
Information Architect
Interprets high-level requirements in order to design the overall user experience of an interactive media
product.
Web Editor
Plans and oversees the on-going management of a web site and the publication of content to it. This may involve writing copy from scratch, or coordinating and editing contributions from others.
SEO Specialist (Search Engine Optimisation)
Optimises a web site or pages to make them as visible as possible to Internet search engines, in order to
maximise traffic to them.
Programmer
Produces computer software in order to give a product its functionality. Similar to the Developer role but is
usually more purely technical and focuses on high-level programming rather than scripting – although they
often overlap. It does not usually involve visual or interface design, but may include technical design, such
as devising systems or databases.
Usability Specialist
Ensures an interactive media product meets the needs of its intended audiences through analysis, evaluation
and testing of the user experience. This is very much a research-led role, but it may sometimes also require
technical skills.
TV Production Team
What is script writing?
Script writing (or screenwriting) is the process of writing stories in the screenplay medium.
Script writing is writing down the movement, actions, expression and dialogue of the characters in screenplay, in screenplay format. The process of writing a novel, a poem, or essay, is
entirely different than script writing. In order to express yourself effectively for the screen,
particular formatting methods are required. Screenplay format is used to express the story
visually. Scriptwriters or screenwriters write for film, television, video games, and now even
online web series. Script writing can be done for hire or on speculation in hopes to sell their
screenplay or find an agent.
What Are the Parts of a Video Camera?
Video cameras can vary from Web cams for computers to small hand-held camcorders to
large cameras used in film and television, but they all share a number of important parts.
Each of these parts is needed for the camera to function properly, just like the human body, a
car or any other complex machine.
Lens
The lens on a video camera serves as the same function as a still camera's lens. It draws in
light and captures the image at which the camera points. This telescopic piece can have
multiple lenses within it. A number of dials on the tube will shift the lens positions by
turning them, and this controls how the lenses focus the light they receive to clarify the
picture.
Viewfinder
The viewfinder is directly connected to the lens and is meant to provide access to the image
for the user. This can be a simple eye-sized window, or it may be a small pixel screen that
folds into the camera when not in use; many models have both versions. Viewfinders also
double as a video screens for playing back the recorded image.
Microphone
The lens picks up only the visual images for the camera, meaning this alone would create a
silent picture. Video cameras, therefore, also include microphones that record sound in the
area. The microphone is usually mounted next to the lens and pointing in the same direction
so the audio and video are closely in sync.
Recorder
The recorder processes the images received by the lens and the sound from the microphone
and records them to memory. On older analog cameras, this would record the image onto a
magnetic tape within a cassette. Some cameras would take full VCR tapes, but others require
miniature versions of these cassettes or other formats like Hi8. Digital cameras eliminate the
need for cassettes. The camera instead records the image as a computer video file. In most
cases, this file is in JPEG format.
Controls
The camera's main controls include the Power switch and the Record button. It will also
include playback buttons such as Play, Stop, Rewind, Fast Forward and Pause. The controls
also include output ports to connect the camera for playback. All cameras should include the
basic red/white/yellow RCA cables to connect to any playback machine, but they can also
include USB or FireWire controls for connection to a computer.
Battery
Battery power is essential for camera use. Every camera is equipped with a rechargeable
battery. Most batteries are lithium-ion based, and each is made and designed to work
specifically with its camera model only. A full battery charge can usually take 12 hours,
meaning an overnight charge will suffice.
20 Types of Shots, Camera Angles, and Movements All Videographers Should Know
It‘s not that easy being creative, having to spend each day figuring out how to
make your ideas come to life. As important as imagination is, you‘ll need a solid
technique to materialize your thoughts. Few things are as frustrating as not being
able to get the results you‘re aiming for. Before you start dreaming about reaching millions of visitors on your website or shooting an Academy Award–winning
film, you‘ll need to master the basics.
The way in which you capture a scene has a dramatic impact on how it is perceived. How you frame the subject, how far they are from the camera, the perspective from which they are seen, the movement that reveals their actions…
every single detail counts when it comes to video. Failing to control these elements will likely result in unusable footage or, even worse, a beautiful video that
tells a completely different story than the one you wanted to create. Whether
you‘re a beginner or just looking to brush up your video making skills, this collection of types of shots, camera angles, and movements will help you bring your
ideas to life.
01. Establishing shot
The establishing shot is a very wide shot used at the start of a sequence. It‘s used
to introduce the context in which the action takes place. Aerial shots are usually
the preferred pick for these scenes, as they offer an unparalleled view of locations.
Bonus point: this type of shot makes for the perfect videographer portfolio background.
02. Long shot
A long shot captures the subject within a wide view of their surroundings. This
type of camera shot is commonly used to set the scene. It gives viewers a sense
of perspective as they can see how the subject relates to their environment. A
closer version of the long shot is known as a full shot. In a full shot, the subject
fills the frame. This captures the subject‘s general appearance, while still
showing the scenery surrounding them.
03. Medium shot
The medium shot is used to reveal more details on the subject, capturing them
from the waist up. As it includes the subject‘s hands and part of their
surroundings, it‘s the best way to capture actions in detail, while maintaining a
general view. This is why the medium shot is one of the most popular types of
shots.
There are two main variants of this shot: medium long shot and cowboy shot.
The medium long shot sits halfway between long and medium shots. It frames
the subject from the knees up. The cowboy shot, which cuts the frame at midthigh, was widely used in western movies in order to show gun holsters on
cowboys‘ hips.
04. Medium close-up shot
The medium close-up shot frames the subject from the chest up. It is generally
used to capture enough detail on the subject‘s face, while still keeping them
within their surroundings. During conversations, medium close-up shots are used
to keep some distance between the characters.
05. Close-up shot
A close-up shot tightly frames the subject‘s face in order to focus on their
emotions. These types of shots are great to connect with the audience, as there
are no elements distracting them from the subject‘s gestures and reactions.
06. Extreme close-up shot
In an extreme close-up shot, a detail of the subject fills the whole frame. It is
used to emphasize certain features or actions. The most common use of this shot
will capture a character‘s eyes, mouth, or fingers performing a critical action.
07. Two shot
A two shot includes two subjects in the frame. They don‘t necessarily have to be
next to each other, nor given equal treatment. In many examples of a two shot,
one subject is placed in the foreground and the other, in the background.
08. Bird’s-eye view
Bird‘s-eye view is the name given to the type of shot taken from an elevated
point. As its own name indicates, it offers a perspective similar to that which
birds see while flying. This camera angle is used to magnify the scale and
movement.
What used to be limited to a few selected filmmakers is now available to videographers of any level thanks to the popularity of drones. In fact, this type of camera shot will be one of the biggest video trends of 2019.
09. High angle
A high angle shot is taken pointing the camera down on the subject. As a result,
the subject is perceived as vulnerable and powerless. In this type of shot, the
camera angle can be anywhere from directly above the subject to just above the
subject‘s line of sight.
10. Eye level
The eye level shot is considered the most natural camera angle. Capturing the
shot at eye-level offers a neutral perception of the subject. Because it is the way
in which we usually see people, this camera angle can help the audience connect
with the subject.
11. Low angle
A low angle shot is taken from below the subject‘s eye line, pointing upwards.
This camera angle makes a subject look powerful and imposing. This angle can
create a visual distortion in types of shots closer to the subject, as it‘s not a
common point-of-view. Because of this, a low angle is commonly used with
wider frames such as medium or medium close-up shots.
12. Worm’s-eye view
The worm‘s-eye view camera angle looks at an object or subject from below. It is
commonly used to capture tall elements in the scene, such as trees or skyscrapers,
and put them in perspective. This type of camera shot is mostly taken from a
subject‘s point of view.
13. Over the shoulder
An over the shoulder framing captures the subject from behind another character.
Typically, the shot will include the second character‘s shoulder and part of their
head. This camera angle is primarily used during conversations, as it maintains
both characters in scene while focusing on one at a time.
14. Point of view
A point of view shot shows what the character is looking at. It is used to highlight
specific details or actions, such as being threatened or seeing their reflection in
the mirror. This type of shot allows the audience to put themselves in the shoes of
the subject. As a result, it strengthens their connection with the subject and scene.
15. Pan
Panning is the action of moving the camera horizontally on a fixed axis. During a
pan shot, the camera turns from side to side without changing its position. This
type of camera shot is commonly used to follow an action or to allow viewers to
get a sense of location in the sequence.
16. Tilt
Tilting is a type of shot in films in which the camera is moved vertically on a
fixed base. It is normally used to reveal the identity of new characters or relate an
action with its performer. In some cases, tilt shots are used to offer a general view
of the space surrounding the character.
17. Dolly
On a dolly shot, the camera is attached to a wheeled device and smoothly moves
back and forth. The device itself is known as a camera dolly. Dolly shots usually
follow a subject as they move around the scene, generally in front of or behind
them.
18. Truck
Truck shots are those in which the camera is attached to a device that moves
smoothly along a horizontal track. These shots are most commonly used to
follow an action or walk the audience around a scene. Because the camera itself
is moving, the result allows viewers to feel as if they are also moving across the
scene.
19. Pedestal
A pedestal shot involves moving the camera vertically on a fixed location. With
these movement, the sigh level of the audience is changed while maintaining a
same vision angle. Because the camera is not static on its axis, new details are
slowly revealed to the viewer as the entire frame focus changes.
20. Roll
In a roll camera movement, the camera is rotated on its vertical axis. During
these type of shots, the camera is pointed at the same subject. As a result, the
footage is gyrated up to 180°. This movement is commonly used in action scenes
or
to
capture
a
feeling
of
sickness
and
dizziness.
Your Guide to Studio Lighting Equipment
There‘s a lot of studio equipment to get familiar with and with it, a lot of terms to learn.
If you‘re new to studio lighting, it is easy to get intimidated by the amount of stuff you have
to learn. The jargon alone is enough to make your head spin. Fortunately, none of the things
you need to be successful in the studio are particularly complicated, there is just a lot of it.
The purpose of this article is to serve as a primer to introduce you to some of the most basic
studio lighting equipment, and terms you will need to navigate a photography studio.
This is not a comprehensive list, and with new tools and techniques being invented all the
time, it could never be.
A little warning: Some of these terms are used differently by different photographers. Others get interchanged with one another. While it can be confusing at times, it‘s not necessarily
wrong. However, it is useful to know about when you hear someone refer to a flag as a gobo
or refer to ambient light as continuous light.
Types of light
Strobe – A studio strobe is a dedicated flash unit. They can sometimes be referred to as a
monobloc or monolight. Usually mains powered, more battery-powered offerings are being
brought onto the market all the time. Power output between models can vary greatly, with
cheaper strobes offering as much power as a cheap third-party flashgun.
Strobes are powerful flash units that pretty much dominate studio photography.
Continuous light/Hotlight – Continuous lights serve the same lighting functions as strobes,
but they don‘t flash. Instead, they are high-powered lamps that can usually be fitted with
modifiers in the same way as strobes. While mostly associated with video, continuous lights
still have their place in stills photography. There are a lot of LED lights coming onto the
market at the moment, and many of them are viable options.
The hotlight moniker comes from the fact that they tend to get very hot. Be careful with
modifiers that sit close to the bulb as they present a fire hazard. This does not apply to LED
lights.
Flashgun/speedlight – Flashguns are any small light with a hot shoe mount for placing on
top of your camera. They are highly portable, and some come with reasonably high power
outputs. Although their versatility is ultimately limited to their size and power output, they
are still an extremely useful tool for any photographer interested in off-camera lighting.
Flashguns are small but competent light sources that are invaluable for portable studios.
Light functions
Key light – Your key light is the main light with which you are shaping your subject. This
will usually be the brightest and most prominent light in your scene.
Fill Light – A fill light reduces the intensity of shadows created by your key light, thereby
decreasing the overall contrast in your scene.
Rim light/backlight – Rim lights light your subject from behind to help separate them from
the background. Often, rim lights are positioned so that only a sliver of light is visible on the
sides of your subject.
Background light – As it says on the tin: background lights light the background.
Hair light – Hair lights are used to add emphasis to your subject‘s hair. They can also be
used to help bring up the exposure of your subject‘s head if it is blending into the background.
Ambient light – This is any light that is present before the addition of any other lighting
sources. This could be from lights in the room or daylight from a window or outside.
Modifiers
Umbrellas – Umbrellas usually come in silver or white and can be attached to your strobe
via a mount. By firing the strobe into the umbrella (which reflects the light back to your subject), you are creating a much larger light source which creates a softer light. Although mostly directional, umbrellas can have a lot of spill, and they aren‘t the easiest modifier to control.
Umbrellas are your most basic modifier. They are good for soft, diffused light, but they are
hard to control.
Translucent Umbrellas/Shoot-thru Umbrellas – Translucent umbrellas don‘t reflect light,
but are instead made of diffusion material which you aim the light through. This softens the
light, much in the way of other modifiers, but without the benefit of directionality.
Translucent umbrellas also provide soft light, but they aren‘t as directional as softboxes.
Softboxes – Softboxes come in a variety of shapes and sizes. Once attached to your light, a
softbox acts to shape and soften the light so that it is more flattering. Softboxes also tend to
be quite directional, and they are easy to control and further modify.
Softboxes are the workhorse of the photographic studio, and they come in all shapes and sizes.
Strip boxes – Strip boxes are softboxes, but they are long narrow rectangles that produce a
much narrower beam of light. These are great for lighting a subject from behind for a rim
lighting effect.
Striplights are a useful type of softbox that offer very directional light.
Octaboxes – Also a type of softbox, an octabox is octagonal in shape. The rounder light
source is useful for shaping the light for portraits. Octaboxes also tend to be quite large,
making them an ideal modifier for portraits.
Reflectors (the modifier kind) – The reflector is a modifier that goes directly on your strobe.
They channel the light in a specific angle for very directional light. They are also a very hard
light source. Most are designed to take a variety of grids.
Reflectors, like this 110-degree reflector, provide a very directional and very hard light
source.
Snoots – Snoots are modifiers that are designed to focus your light in a very narrow beam.
They are great for both hair lights and background lights.
Snoots direct your light into a very tight and controlled beam.
Barn doors – Barn doors are fitted with two to four flaps for you to manually adjust the aperture the light is let through. These flaps can help you narrow the focus of your light on a
specific aspect of your subject (such as their hair), or they can be used to flag the light from
hitting a spot that you don‘t want it to.
Beauty dish – Beauty dishes are directional modifiers that are somewhere in between soft
and hard light. They are great for beauty photography (hence the name) as well as fashion
and portraiture altogether. They often come with grids and diffusion socks to give you even
more options in how to use them.
Beauty dishes offer a contrasty light somewhere between hard and soft.
Grids/Honeycombs – Grids are modifiers for your modifiers. Placed on a reflector, or softbox, or beauty dish, they narrow the beam of light further and help to ensure that the light is
only falling on your subject (or where you want it to).
Grids help you to further modify the directionality of your light.
Gobo – A gobo is placed in front of a light source to change the shape of the light. This can
be as simple as narrowing the beam and be as complicated as creating complex patterns. The
easiest way to explain this is to imagine a Venetian blind with light streaming through. Now
imagine the pattern on the wall. The blind is acting as an effective gobo and shaping the
light.
CTO Gels – Color correction gels are used when you need to correct the color temperature
of a given light. For example, if you have a gridded beauty dish that is particularly warm
(like mine), and you want to use another light as a hair light, that second light might be very
cool compared to your key light. By placing an orange CTO gel on your hair light, you can
match and balance the color output of both lights.
Color Gels – You can also use gels towards a creative end. You can gel your lights to produce just about any color that you want to.
Reflectors (the reflective kind) – Reflectors are an important part of any studio kit. These
allow you to reflect light from your key light back onto your subject. They are a means of
creating a fill light without using a second dedicated light source. Reflectors come in many
shapes and sizes, from the ubiquitous 5-in-1 reflectors to fancy tri-flectors sometimes used in
beauty portraits.
Reflectors and diffusers are two vital tools when it comes to shaping and controlling your
light in the studio. Also shown here is a reflector stand.
Diffuser/Scrim – A diffuser is a piece of translucent material that you place in front of a
light source to alter the shape of the light or to reduce the intensity of the light. Some diffusers do both.
Flags – Flags are used to block (or flag) light from falling in your scene where you don‘t
want it to. You can use them to stop excess light falling on your background, or you can use
them to reduce the exposure on the parts of your subject that aren‘t the focal point. For example, sometimes, I like to use flags to help underexpose everything from the neck down in
close portraits. This helps to ensure that the face is the main focus of the image.
Studio accessories
Light stands – Simply a stand to hold your light source. Ensure you have one that can hold
the weight of your light. A high-powered, dedicated strobe requires a lot more support than a
speedlight.
This image shows a boom arm attached to a lighting stand on a dolly. It‘s a fantastic and versatile bit of kit.
Dolly – A light stand with wheels. Most useful.
Boom arm – A boom arm is a light stand that you can position at any angle between completely vertical and completely horizontal. These are useful to get your lights high up and also to place your light at angles a traditional light stand wouldn‘t be able to manage. You can
mount different varieties of boom arms to other light stands as well as permanent fixtures
like walls.
Reflector Stand – A dedicated stand designed to hold a reflector in place.
Background/backdrop – A backdrop is any surface that you place your subject in front of.
These range from paper and vinyl rolls to bare or decorated walls to pieces of painted canvas.
This image shows a painted canvas background. At the top of the frame, you can just see
grey and white vinyl rolls on a motorized support system.
Background stand/support – Any support system designed to hold a backdrop in place.
These can be free standing or wall mounted.
Clamps – Clamps and other fastening devices come in all shapes. You can (and should) use
these to hold all manner of things in place. Backgrounds, flags, reflectors, gels, and many,
many other things need to be held in place. For example, bulldog clips are indispensable for
holding canvas backdrops up, whilst double-headed clamps can affix to a table and hold a
flag or reflector.
This image shows a selection of clamps and clips that will you always find a use for in the
studio. The double-headed clamp is holding up a piece of black foam core for use as a flag.
Rails – In bigger studios, you might see lights fixed to fittings on the walls and ceiling. These rails allow you to move your light relatively freely around a space without the hassle of a
light stand.
They also help to keep cords out of the way of you and your subjects.
Other
Quality of Light – Quality in this instance refers to the physical characteristics of light. These include shape, intensity, and color.
Lighting pattern – A lighting pattern is a specific technique in which a light is placed in a
prescribed manner for predictable and established results. Examples of these include butterfly lighting, Rembrandt lighting, and split lighting.
PC Sync Socket/Cable – The PC sync is a means to connect your camera to a flash with a
cable. You can use this option in lieu of triggers.
Triggers – Triggers are devices that allow a camera to communicate with your lights and ensure that your flashes fire while the shutter is open. These range from very basic models with
just one function, to complex devices that allow for full control over the settings of multiple
lights.
Triggers allow your camera to communicate with your flash so that they work in sync with
one another.
Slave mode – In slave mode, a flash will detect the light from another flash via a sensor and
fire. This is great in situations where you have multiple lights, but only one basic trigger.
Mount – A mount is the means in which a modifier is attached to a strobe. A lot of lighting
manufacturers have their own proprietary mounts associated with their systems (Bowens,
Profoto, Elinchrom, etc.) So you will need to ensure that any modifier that you buy will fit
the system that you own.
This is the shape of the commonplace Bowens S-mount.
Modeling light – Many strobes come fitted with two bulbs. One is a flashbulb, where your
strobe light comes from, and the other is a modeling bulb that is on whenever the strobe is
not flashing. This makes it easy for you to see what the light is doing to your subject. As a
bonus, if you‘ve cut out all ambient light (like you should in a studio environment), modeling lights give you the ability to see.
What is Video Editing?
Video editing is the process of manipulating and rearranging video shots to create a new work. Editing is usually considered to be
one part of the post production process — other post-production tasks include titling, colour correction, sound mixing,
etc.
Many people use the term editing to describe all their post-production work, especially in non-professional situations.
Whether or not you choose to be picky about terminology is up to you. In this tutorial we are reasonably liberal with
our terminology and we use the word editing to mean any of the following:

Rearranging, adding and/or removing sections of video clips and/or audio clips.

Applying colour correction, filters and other enhancements.

Creating transitions between clips.
The Goals of Editing
There are many reasons to edit a video and your editing approach will depend on the desired outcome. Before you
begin you must clearly define your editing goals, which could include any of the following:
Remove unwanted footage
This is the simplest and most common task in editing. Many videos can be dramatically improved by simply getting
rid of the flawed or unwanted bits.
Choose the best footage
It is common to shoot far more footage than you actually need and choose only the best material for the final edit. Often you will shoot several versions (takes) of a shot and choose the best one when editing.
Create a flow
Most videos serve a purpose such as telling a story or providing information. Editing is a crucial step in making sure
the video flows in a way which achieves this goal.
Add effects, graphics, music, etc
This is often the "wow" part of editing. You can improve most videos (and have a lot of fun) by adding extra elements.
Alter the style, pace or mood of the video
A good editor will be able to create subtle mood prompts in a video. Techniques such as mood music and visual effects can influence how the audience will react.
Give the video a particular "angle"
Video can be tailored to support a particular viewpoint, impart a message or serve an agenda.
Editing
Editing is the process of manipulating and rearranging in any written documents,
videos, audios, films for make them interesting, understanding or informational
to create a new work. and editing is usually considered to be one part of postproduction other post production tasks include titling, colour, correction, sound
mixing etc
Editing is understood by any of the following:
 Rearranging, adding or removing sections of shots in video and sound in audio
clips.
 Applying color correction, filters and other improvements.
 Creating transitions between clips.
Types of editing
Linear editing
Non –linear editing
Linear editing (tape-to-tape)
Linear editing was the original editing tape editing method, before non-linear
editing computers became available in the 1990s. Linear video editing is a
process of selecting, arranging and modifying images and sound in a
predetermined, ordered sequence . whether it was captured by video camera ,
tapeless camcorder or recorded in a television studio on a editing tape recorder
linear video tape editing is still commonplace in television station newsrooms for
the production of television news, and medium-sized production facilities which
haven‘t made the capital investment in newer technologies. News departments
often still use linear editing because they can start editing tape and feeds from the
field as soon as received
Non – linear (digital) editing
Nonlinear video is a editing or audio editing method that entails accessing any
frame in a digital video clip. Almost the same as the "cut and paste" method, this
video editing style is often used in film editing.
Significance of editing
 Editing helps us to organize and import video elements.
It helps us to create a rough assembly or draft.
It helps us to create a final result using effects and transitions.
It helps us to develop and improve the visual quality of shots.
Editing helps us in the splitting , combining and trimming of shots.
Grammar of editing
The editing grammar is a group of rules to judge the shot connection. The rules
are described in the same manner as conventional sentence grammars. A basic
element, to which the editing grammar is applied, is a group of shots. The cut is
defined as a physical continuous section where the camera starts at the beginning
and stops at the end. On the other hand, the shot is defined as a logical
continuous section where the shot size or camera work is uniquely defined within
the cut. Therefore, one or more shots are included in one cut.
The shot size is defined according to the distance from the camera to objects. The
shot size is classified into long shot (LS), medium shot (MS) and close up shot
(CS). CS and LS are the shots taken by approaching to or leaving from the object
respectively compared with MS.
Camera Techniques: Distance and Angle
Long shot (LS)= Shot which shows all or most of a fairly large subject (for
example, a person) and usually much of the surroundings.
Extreme Long Shot (ELS) =In this type of shot the camera is at its furthest
distance from the subject, emphasizing the background.
Medium Long Shot (MLS)= In the case of a standing actor, the lower frame
line cuts off his feet and ankles. Establishing shot=Opening shot or sequence,
frequently an exterior 'General View' as an Extreme Long Shot (ELS). Used to
set the scene.
Mid-Shot (MS)= In such a shot the subject or actor and its setting occupy
roughly equal areas in the frame. Waist to head.
 Close-up (CU). A picture which shows a fairly small part of the scene, such as
a character's face, in great detail so that it fills the screen. Elbow to head
 MCU (Medium Close-Up): head and shoulders.
 BCU (Big Close-Up): forehead to chin. Close-ups focus attention on a
person's feelings or reactions.
Viewpoint. The apparent distance and angle from which the camera views and
records the subject. Not to be confused with point-of-view shots or subjective
camera shots.
Point-of-view shot (POV). A shot made from a camera position close to the
line of sight of a performer who is to be watching the action shown in the pointof-view shot.
Two-shot. A shot of two people together.
Selective focus. Rendering only part of the action field in sharp focus through
the use of a shallow depth of field. A shift of focus from foreground to
background or vice versa is called rack focus.
 Soft focus. An effect in which the sharpness of an image, or part of it, is
reduced by the use of an optical device.
 Wide-angle shot. A shot of a broad field of action taken with a wide-angle
lens.
 Tilted shot. When the camera is tilted on its axis so that normally vertical lines
appear slanted to the left or right, ordinary expectations are frustrated. Such shots
are often used in mystery and suspense films to create a sense of unease in the
viewer.
Camera Techniques: Movement
 Zoom.
In zooming in the camera does not move; the lens is focused down from a longshot to a close-up whilst the picture is still being shown.
 Following pan.
The camera swivels (in the same base position) to follow a moving subject. A
space is left in front of the subject: the pan 'leads' rather than 'trails‗
 Tilt
. A vertical movement of the camera - up or down- while the camera mounting
stays fixed.
 Crab.
The camera moves (crabs) right or left.
Editing Techniques
Cut.
Sudden change of shot from one viewpoint or location to another. On television
cuts occur on average about every 7 or 8 seconds. Cutting may:
• change the scene;
•compress time;
•vary the point of view; or
•build up an image or idea.
Matched cut.
In a 'matched cut' a familiar relationship between the shots may make the change
seem smooth:
• continuity of direction;
• completed action;*
• a similar Centre of attention in the frame;
• a one-step change of shot size (e.g. long to medium);
• a change of angle (conventionally at least 30 degrees).
Jump cut.
Abrupt switch from one scene to another which may be used deliberately to
make a dramatic point.
Cutaway/cutaway shot (CA).
A bridging, intercut shot between two shots of the same subject.
Reaction shot.
Any shot, usually a cutaway, in which a participant reacts to action which has
just occurred.
Fade, dissolve (mix).
Both fades and dissolves are gradual transitions between shots.
Editing Aesthetics
Editing is an invisible art, when done well it is hardly noticed. the editing process
of selecting and ordering shots in an appropriate order this is known as editing
aesthesis
Types :-
1. editing done during production
- first used before post-production editing
- decisions are made by director in control through switches
- still used on news broadcasts and sporting events
2. post production editing
- eliminates the need to make decisions live
- concentrate more on gathering info onto tape
Video Production Equipment
Video Camera
Panasonic GH5 (4K)
A video camera is the centerpiece of your filmmaking gear package. What camera you choose depends on your budget, the type of shooting you're doing (static,
stealth, run-and-gun, etc.) and where you plan to showcase your film (web-only,
theater, broadcast, etc). You can shoot a documentary on anything from your
iPhone to a DSLR to a top of line digital cinema camera such as the RED. Whatever camera you choose, make sure you capture excellent audio.
Tripod
A necessary piece of equipment to keep your footage looking steady and professional.
Get a tripod with a fluid head for smoother looking pans.
Camera Light
Sometimes a nice pop of light from the camera can help fill in ugly shadows. A
camera light is a nice accessory to have especially in a documentary/news style
shoot where you might not have time for a full 3-point lighting set-up.
Three-Point Lighting Kit
You only really need a lighting kit if you're planning to do a lot of shooting inside. Creating a well lit scene usually involves a 3-way lighting set-up.
Shotgun Microphone
Great audio often separates the pros from the amateurs. Having a shotgun mic
prepares you for almost every situation. It's perfect for setting on top of your
camera or a boom pole.
Boom Pole
A boom mic set-up comes in handy to capture audio from a group interview,
crowd scenes or any situation where you need to gather professional audio quickly. In addition to the boom pole (right), you'll need a shockmount and a shotgun
mic.
Shock Mount
Here's the simple gadget needed to turn your shotgun mic into a boom pole mic.
A shock mount keeps the mic steady on top of the pole and prevents the mic
from picking up "bumping" sounds when the pole is moving around.
Audio (XLR) Cables
If you plan to use a professional audio set-up with your camcorder, you'll need
XLR cables to go from your camera to the mic.
Wireless Microphone
Sure, you can use a "wired mic" which is a bit less expensive, but I wouldn't go
on a documentary shoot without my wireless microphone. Unless you have an
audio person who can hold a boom mic, this is the next best thing providing tons
of flexibility for walk-and-talk interviews with your subjects.
Portable Digital Audio Recorder
If you decide to shoot your documentary with a DSLR such as the Canon 5D
Mark IV, it's highly recommended that you either get an external mic or portable
audio recorder such as the Zoom H5 (left).
Headphones
Getting great audio means monitoring the sound at all times while shooting. Find
a good quality, comfortable set of headphones to make sure you avoid any nasty
audio surprises when you get back from the shoot.
Light Reflector
This is a must-have item for your documentary filmmaking kit. A light reflector
can turn an ugly amateur-looking shot into a golden and gorgeously lit scene.
Lenses: Wide Angle, Clear "Protective" Lens, Polarizer, Zoom
Lens, Macros, etc.
Have you ever seen those cool fish-eye scenes? That's from using a special wide
angle lens. If you're shooting in super sunny situations, an ND filter or circular
polarizer can dramatically improve the image. Or what about super close-ups of a
bug or flower, that's when you need a macro lens.
3-4 Extra Batteries
You never want to get caught without enough batteries out on a shoot. Unless
you're heading out into the Amazon, 3-4 extra batteries should be enough for
most shooting situations.
Video Tapes, Flash Memory Cards or DVD's (depending on your
camera)
External Hard Drive
A portable hard drive comes in handy if you plan to do a lot of shooting in the
field and need to offload your footage from your camera's memory cards.
Video/Photo Camera Bag
Of course, now that you have all your gear, you need something sturdy and
weather-proof to put it in. Lots of great choices here. Just pick something you
like that fits the type of shooting you plan to do.
DSLR Shoulder Mount Rig
If you're shooting with a DSLR, putting your camera on a shoulder mount can
add a nice professional touch. It's especially helpful if you don't want to use a tripod and a rig creates smoother-looking footage in a "run-and-gun" shooting situation.