Best Practices Broadcast and Video Productions
1. Basic Video Production Two basic camera labs designed for the students to work in small groups and proficiency the fundamentals of videocamera operation without the pressure of a interpreting a script. Included are basic shots (ECU, CU, MS, FS); angles (high, low, dutch); moves (zooms, dolly, hand-held, pan, tilt, pan/tilt; camera functions (exposure, white balance). Emphasis is placed on achieving the shots efficiently and professionally within the context of the lab. Followed by watching the “dailies” with special attention paid to basic framing and composition (lead room or look space, rule-of-thirds, balance). If equipment permits, depth-of-field control can be added as well as over/under exposure as a creative act. Tripods are mandated unless shot specifically calls for hand-held operating in order to develop disciplined shooting habits. 2. Production II (second single-camera course) Working in groups of three or four, students shoot a silent scene involving a minimum of two actors/students from a scenario provided by instructor. Shooting should include the a master shot and then standard coverage such as singles, over-the-shoulders, reaction shots, cut-ins, cutaways, POVs in order to cut the scene together employing basic continuity editing. The “twist” to this fairly standard assignment is that the instructor collects the tapes and then redistributes them to different groups so the students do not edit their own material. The assignment is designed to teach not only the basics of shooting a simple sequence for continuity but to demonstrate the connection between shooting and editing and the importance of planning overlapping action, clean entrances/exits, and proper coverage. 3. Intermediate or Advance Single-Camera-Part One Drawing on the documentary film Lumiere, where known international directors made shorts using a actual Lumiere cinematographe, students use a video camera to make a Lumiere short film of their choice. The restrictions are no sync dialog (though some instructors may allow music to be added), 1 minute length, and no editing. Color can be taken out in the camera or in post. The idea is to emulate the Lumiere experience and get out in the world and make a short film that is truly a personal one. Form can be either documentary, narrative, or otherfilmmakers choice. 4. Listening Exercises for any Production Class
Best Practices Broadcast and Video Production Instructor selects as many locations around campus as there are students in course: library, in front of the administration building, etc. Be sure to vary locations from interior to exterior. Student are sent out with pen and paper to randomly assigned locations and asked to sit with eyes closed, critically listen to the environment around them, then jot down notes as to what they heard. Notes are shared orally in class with the instructor facilitating the discussion with the intent of really getting the students to think/listen beyond the surface of things. For example, when one student reported while listening in the library, they heard a backpack being unzipped. My response was “Was it a metal or a nylon zipper?” 5. Select a scene from a feature film (I have used the introduction to Hiroshima, Mon Amour and Don’t Look Now at times), disconnect the video line in to the monitor. Screen the clip with the intent of students listening critically to the soundtrack. Discussions will range from musical motives that introduce narrative themes, sound perspective, sound foreshadowing future events, etc. This exercise can be repeated throughout the semester to keep students thinking about a segment of film/video production, sound design, too often left for advanced courses or specialized graduate offerings. 6. For a Camera & Lighting Class Near the end of the semester, students read the monograph In Praise of Shadows (about 45 pages) by Jun’ichiro Tanazaki. They culminate the semester by writing a 2-3 page essay based on the question, “What does In Praise of Shadows have to do with cinematography.” The intent is for them to think beyond the traditional ways of lighting for film and video. Tanazaki’s essay looks a light from a culturally different vantage point-he is Japanese-and his aesthetic inclinations are markedly different than those espoused by western culture. 7. Deconstructing a Promotional Message Videotape two :20-:30 second promos from two different primetime network situation comedies or dramas. (Only the local channels: NBC/CBS/ABC/FOX/UPN are acceptable. Sorry, The promos should focus on "tonight's" or "this week's" episodes. They must feature video and other elements from this week's episode as a primary source of video. Generic network spots which deal with the current campaign are not acceptable. They may not be generic promos which deal with the shows' basic concepts or stars. Log/list each shot from each spot. Make note of transitions, graphics, the use of an announcer, and the use of sound on tape from the program. Consider the target audience for each of the spots. Write a paragraph or two for each spot you tape, analyzing why each shot was used in each promo and why they were or were not effective. Discuss the use of transitions. Discuss the
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Best Practices Broadcast and Video Production number of graphics, where they were placed and why they were used in the way they were. Turn in your log sheet and the writing on the day assigned. Be prepared to discuss in class what you discovered and how it would influence the way you would do a similar promotion. 8. Writing the Public Service Announcement Write a public service announcement that can be produced for television. Use proper split-page script form. This project must run exactly 60 seconds. The topic must be non-commercial. The topic must be real. No fake charities or nonexistent service agencies allowed. As a good producer/writer, design a spot which can legitimately be created on our campus in about three class periods, including all shooting, announcing, graphics generation etc. The Announcer(s) can be either on camera or off, whatever fits the needs of the project. Plan to use at least one character generated title. This could be the name of the group being advertised or a phone number or other important information like locations, dates and times. Consider using special effects like posterization, mosaic, and strobe which are available by using After Effects or the Avid Effects palette. This is an opportunity to be creative and to demonstrate your skills as a writer for television. Remember to note ideas/instructions on what pictures go with each words.
9. Producing the Interview Select a person to interview. (You may not interview anyone in our class.) Do research about who they are and the topic they will discuss. Then record the interview. This includes using a light (if necessary), setting up a microphone, and properly composing the shots during taping. Proper sound is an important grading criteria for this project. Interview must be shot on a tripod and use appropriate picture composition. Creativity in this project does not include 1990's style music-video interviews. Plan questions in advance. Be sure to shoot two-shots, over the shoulder shots, and reverse angle shots. The Reverse angle is for the interviewer to be photographed asking the questions which have already been answered. Keep these needs in mind when selecting a location to shoot. Consider shooting outdoors.
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Best Practices Broadcast and Video Production Take the information from the interview, determine how the discussion can be illustrated with video. Shoot the required B-roll pictures for insert video editing over the interview. Be sure to include natural sound on these non-interview shots.
10.Production Analysis Type a one-page summary of an article that is less than two-years old from • InterActivity • Mac Addict • A/V Audio Video & Multimedia Producer • New Media • DV • Digital Video • Computer Video • Internet World • NT Studio • Multimedia World • MacWorld • Videomaker • Other magazines by permission only • American Cinematographer Website articles from these magazines’ related Internet sites are acceptable only for articles less than one year old. A printed copy of the article is acceptable in place of the photocopy from the original magazine. Be sure to 'label' each section of the typed paper "part one; part two; part three" PART ONE: List 1) the magazine where the article is found, 2) the issue and date of the magazine, 3) the article title, and 4) the pages where it can be found PART TWO: Write a five-sentence STUDENT TIP that gives specific advice or understanding to the reader. Make sure the tip from the article makes sense without further explanation. Make sure the tip would have value to the other students in a beginning non-linear audio/video edition course. PART THREE: Then fill the balance of the page with additional information from the article you are reviewing. Do not simply retype the article. Give descriptions from the article without copying or quoting. Write what the story is about in your own words.
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Best Practices Broadcast and Video Production Websites www.Tomschroeppel.home.att.net: this is the home website of the author of the two books I use for the non-production Film/Video production course (The Bare Bones Camera Course for Film and Video and Video Goals: Getting Results with Pictures and Sounds) It has helpful links, and AV Scriptor freeware program, downloadable forms and such. www.wga.org: this is the home site of the Writers Guild of America West. I use it for the Screenplay Analysis class for updates on industry speakers, legal issues, and for students who want to register treatments and screenplays. www.theasc.com: the home website for the American Society of Cinematographers. Used for production classes to keep up on industry news, technology, how-to articles, etc. www.filmtools.com: site with links to other industry sites; great for tracking down equipment distributors, learning about new products. www.kodak.com: for production purposes, click on the Cinematography tab and you have all of the technical data plus stills of the various Kodak motion picture stocks. Click on the Student tab and you can find a wealth of information for film students including the Kodak Student Filmmakers Handbook (downloadable for free as a .pdf file), Kodak’s New Filmmaker Program, and other publications relevant to student production www.deepdiscountdvd.com: as many instructors have to buy their own material in class, this is a good alternative to amazon.com for those who like to buy their DVDs online. Prices are very low and shipping is free.
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