CTVR 101 Final

Characteristics of Studio Camera

-Camera Body -Lens -Camera Monitor -Teleprompter Monitor -Pan Handles -Pedestal -Headset

Audio Cable Used

XLR (3 pin-balanced line)

Release Form

You cannot show the talent's image to the public without his/her signature

Items Used in Production

-C47: Clothespin clip to hold diffusers on lights -Stinger: Extension cord -Sandbags: To hold stands

Use of Capital Letters in Screenplay

- For scene heading (INT. or EXT.-DAY or NIGHT) - Audio - Name of characters - First time character is introduced in description

Gain

- Unit: db (8db, 18db, 25 db) - More brighter, the more noiser

Zebra

-Adjust to brightness of the shot -0%, 70%, 100% -100%=overexposure (pure white), use during day, outside, landscape -70%not overexposure, use during portrait -0%= pure black

Depth of Field

-Area in focus -Three factors decide D.O.F. 1) F-stop (smaller #, more shallow) 2) Focal length (more telephoto, more shallow) 3) Subject distance (closer subject, more shallow) -Shallow D.O.F.=directs audience attention to subject

Tripod

-Bottom heavy (raise top clamps first)

Exposure

-Brightness-Letting more or less light go into the camera -Open Iris when too dark, close iris when too bright

Crew Positions

-Director: Makes everything organized for the show -Technical Director: White Balance & exposure, operation of switching board -Assistant Director: Countdown and time management -Floor Director: Communicates with talent in the studio -Audio Mixer: Mixes audio -Camera Operators: 1 (left), 2 (middle), 3 (right)

Rule of Thirds

-Divide the frame into thirds horizontally & vertically -Place subject along the lines -Point of interest on one of the four lines

Operation of Studio Camera

-Field Camera -Focus -Framing (White Balance and Exposure is done by Technical Director in control room)

Screenplay Formatting

-Font: Courier -Size: 12 pts. - 1 page is 1 minute

Boom Techniques

-Get close as possible to speaker -Angle mic. properly -Point down rather than up -Monitor audio on meters and headset -Record at good level -Both channels (1&2) should have same input -Pay attention to ambient noise -Don't move grips -Don't be in shot -Pay attention to cable -Pay attention to shadow

Two types of Light

-Hard Light: Directional, illuminates a distinctive area, creates harsh shadow & contrast -Soft Light: Diffused, illuminates large area, creates soft shadows and little contrast

Audio Mixer (Studio)

-Input Fader: controls level of each audio input -Gain: Boosts input level -Audio Meters: Show level of audio output, on analog board, mix audio around 0db

Types of Microphones

-Lavalier: Attached to clothing; news, interviews, documentaries -Hand Held: Portable; news reporting, speech, music, stand-up -Shotgun: Can reach far, operated by boom operator, can be out of the shot; films, TV drama-project where mic should not be visible

Two Styles of Lighting

-Low-Key Lighting: Strong contrast, lots of shadows, accentuates drama, complexity, used in mystery, horror, sci-fi, night scenes (NOTE: subject is still properly, not everything is dark) -High-Key Lighting: Evenly lit, little contrast, little shadow, accentuated energy, preferred in TV shows

Focus

-Making image sharp -Zoom in all the way to most important part of shot (usually eyes if a person), adjust focus, zoom out to frame

Color Temperatures

-Measured in Kelvins -3200k: Tungsten-Incandescent (orange) -5400k: Daylight (blue) -6600k: Shade (Lower CT=more orange, Higher CT=more blue)

ND Filter

-Neutral density filter -Cuts the amount of light going into the camera -Optical filter -Use when outside in bright daylight

Pick-Up Patterns

-Omnidirectional: Short reach, every direction (most lavalier) -Cardioid: Unidirectional-upside down heart shaped (most handheld) -Super Cardioid: Long reach, better side rejection, most directional, vulnerable to wind noise (shotgun-improved super cardioid)

Primary Colors

-Painting: Magenta, Yellow, Cyan (=black) -Lighting: Red, Green, Blue (=white)

Types of Camera Movement

-Pan: Horizontal follow, reveal new information, tracking shot -Tilt: Vertical follow, reveal new information, crane shot -Zoom In: To make viewer focus on something important (dolly in) -Zoom Out: To reveal the environment (dolly out) -Rack Focus/Focus Pull: Focus from one area to another without changing framing

F-stop

-Smaller the number, the brighter it is -Unit: f4, f5.6, f8, f11

Floor Director Hand Signals

-Stand By: Raise hand -Cue Talent: Point -Speed Up: Move forearms up -Stretch/Slow Down: Pull hands apart like pulling putty/string -Speak Up: Raise hand to ear -30 Seconds: Make forearms into X -15 Seconds: Raise fist -10 Seconds: Hold fingers -Wrap it up: Move forearms in circular motion forward -Cut: Move hand horizontally flat & near neck

Different Lighting Instruments

-With Lens (hard): Fresnel (650), Ellipsoidal (1k), HMI (2k) -Without Lens (soft): Scoop, Broad, Soft, Fluorescent, LED

Avoid Jump Cuts by...

1) Changing framing/size 2) Changing angles (by at least 45 degrees) 3) Cutting on action 4) Using cutaways (for Narrative) & B-Roll (for Spot Feature, Interview, Documentary)

Three Point Lighting

1) Key Light: Illuminates subject 2) Fill Light: Softens contrast, should be weaker than key 3) Backlight: Separates subject from background, should be weaker than key

Problems With Backlight & Solutions

1) Lens flare -To fix: raise backlight, close bottom barn door, add extension to lens hood 2) Backlight too intense -To fix: move light back, add diffusion, flood the light

White Balance

1) Let camera know what color of light you're under 2) Point camera at a white object 3) Fill frame w/ white object 4) Should not be too bright or too dark 5) Use white balance function (manual WB)

3 Major Components of Screenplay

1) Scene Heading: location, time of day 2) Scene Direction: action/direction of character(s) & audio 3) Dialogue: skinnier than scene description, short description in parenthesis under the name

Sound Mixing (Film production & Editing)

Between -12 & -6

Busses and Buttons (Switcher)

Busses: -Preview Bus: What's next -Program Bus: What's being shown Take Buttons: -Cut: Straight cut -Auto take: transition effect (dissolve) Fader: For manual transition effect DSK-Downstream Keyer: Graphics Overlay

180-Degree Rule

Filming and editing so that all shots in a scene are from the same side of an imaginary straight line running between the scene's major subjects.

Framing (head & nose)

Head Room: Room above subject Nose Room: Room in front of subject

Editing Transitions/ Technique

J-Cut: Cuts first to incoming scenes sound with shot of previous picture, then match (proceed) with picture that matches sound (Cut to Shot B's sound while still seeing Shot A's picture) L-Cut: Cuts to incoming scenes picture with from sound of previous picture, then match (proceed) with sound that matches picture (Cut to Shot B's picture while still hearing Shot A's sound)

Two Types of Shots in Narrative Filmmaking

Master & Coverage shot

MOS

No sound recorded

Set Up for Key Light

On the short side

Overmodulation

Point at which the peak of an audio signal exceeds the maximum safe recording range and risks the possibility of distortion

Most Important part in Lighting?

Safety This can be done by: -Wearing gloves -Yelling "striking" when turning in light & "saving" when turning off light -Don't overload a circuit

ISO

Shows film's/camera's sensitivity to light

Screen Direction

Stage left = Camera right Stage right = Camera left Downstage = Closer to camera Upstage = Away from camera