television production i modules 1-9. the tv process fields and frames –video is a series of still...

Television Production IModules 1-9

The TV ProcessThe TV Process

• Fields and frames– Video is a series of still images that give appearance of motion

– NTSC video runs at 29.97 fps; Motion pictures run at 24 fps– Began with interlaced scanning, but progressive scanning

(1080p, 720p, etc) now also prevalant

• Quality of the captured image is largely determined by camera’s CCD (charged-coupled device) or sensor

Television StandardsTelevision Standards

• Differing TV standards -- NTSC (standard TV for North America); PAL (Europe) & SECAM (being phased out)

Standards NTSC for SD ATSC for HDTV

Aspect Ratio 4:3 16:9

Lines525

(in reality, 480)

1125

(in reality, 1080)

Sound2 Channel

(stereo)

5.1 Channels

(surround sound)

Max Resolution 720 x 486 1920 x 1080


1 PIXEL


• NTSC/SD vs ATSC/HD

486px

720px

1080px

1920px

Different HD FormatsDifferent HD Formats

Most Common Formats Resolution Frames Per Second

SD NTSC DV 720 x 480 29.97

HD

720/60p 1280 x 720 59.94

1080/60i 1920 x 1080 29.97

1080/24p 1920 x 1080 24 OR 23.98

1080/30p 1920 x 1080 29.97

1080/60p 1920 x 1080 59.94

Ultra

2K 2048 × 1080Varies by camera; standard broadcast specs likely to be

UHD @ 30 fps

Ultra HD (4K) 3840 x 2160

DCI (4K) 4096 x 2160

Production Personnel (Basic)Production Personnel (Basic)

Producer Responsible for all personnel working on a production; coordinating technical and non-technical production elements

Director In charge of directing talent and technical operations; ultimately responsible for transforming a script into effective audio and video messages

Talent Actors (who portray other people)

Performers (who appear in non-dramatic roles)

Announcers (who generally don’t appear on camera)


Technical Director (TD) Operates the video switcher; usually acts as technical crew chief

Production Assistants (PA)

Assists director and producer during production; takes notes on ongoing production needs and changes

Lighting Director (LD) Designs the lighting plan, arranges for needed lighting equipment, sets up and checks the lighting

Makeup Person Works with talent for production

Audio Director/Tech Arranges/set-up audio equipment, monitor during production

Boom/Grip Operator Determines microphone location; holds as necessary in field situations


Video Recorder Operator Arranges video recording equipment; set-up, operation, monitors recording

Continuity Secretary Makes notes on scene and continuity details; ensures consistency between takes and scenes

CG Operator Programs opening titles, subtitles, closing credits

Camera Operators Set-up & operate cameras; work with director, LD, audio tech on shots

Floor Manager Responsible for coordinating activities on the set; may be assisted by stagehands

Editors Blend audio and video recordings together to create final, piece

Phases of ProductionPhases of Production

• Preproduction– “The most important phase of production is preproduction”– Basic ideas and approaches of the production are developed

and set into motion; determine how to Hit the Target Audience– Key Talent and Production Members decided; all major elements

are planned; Production meetings; Rehearsals

• Production– Can be either live or recorded

• Postproduction– Strike sets, Handling final obligations, Editing, Distribution, Etc.

Program Proposals & TreatmentsProgram Proposals & Treatments

• 1st step: The Treatment – a clear and succinct summary of your ideas– “Your ability to write and effectively communicate your ideas

ends up being the most important criterion for success”– Often used to identify weaknesses in structure; often used to

interest key people in supporting the production (like financial backers)

– The treatment should show:• The essence of the production and/or the basic storyline

• Locations and talent required; key scenes

• Basic production needs and approximate times of the segments

Script-writingScript-writing

• Scripted Level - Semi-scripted to Fully Scripted – Semi-scripted includes interviews, discussions, ad-lib shows,

and many and variety shows. Scripts often resemble a basic outline, with show segments and basic times

– Fully scripted – list complete audio and video for every moment of the program

• Concrete-to-Abstract Continuum– Concrete – presents information clearly; found in “hard” news,

documentary, instructional pieces, etc. – Soft news likely to be more Abstract, communicating actions

and feelings more than facts

Script-writingScript-writing

• Present materials that capture and holds audience interest by:– Engaging the audience’s emotions– Presenting your ideas in a fresh, succinct, clear, and creative

way– Making your viewers care about the subject matter– Using aural and visual variety

• A-roll – primary interview (or other) footage• B-roll – related supplementary footage

Capturing & Holding AttentionCapturing & Holding Attention

• The success of a TV program depends on the ability to capture and hold an audience– Start with a clear understanding of the needs and interests of

your specific target audience– Create an emotional connection with the audience

• Keep in mind…– Be careful in blatantly challenging widely held beliefs– Audiences like to hear about new and exciting things

• But don’t be exploitative just to capture attention

– The content of a production, good or bad, will be recorded in the reputations of the production staff, station, and sponsors

Treatment Writing AssignmentTreatment Writing Assignment

• Write a treatment for an episodic TV series based on how a college student can spend a summer vacation

• Remember: CLEAR and SUCCINCT summary of:– The essence of the show/story; basic storyline(s)– Talent required / characters– Locations required– Production needs (tech/equipment, personnel, etc.)

• Full assignment details listed on our course website

The (15-step) Production SequenceThe (15-step) Production Sequence

1. Identify the purpose of the production– Entertain, inform, instruct, make the audience take action, etc?

2. Identify and analyze your target audience– Know the age, sex, socioeconomic status, educational level,

content preferences, etc.– Know what your target audience finds acceptable and

unacceptable

3. Review similar productions done in the past– How will your production differ/be similar? What mistakes did

they make that you should avoid?

4. Determine the value of the production to a sponsor

5. Put it down on paper


6. Draw up a tentative schedule– Plan carefully, allowing for deadlines

7. Bring above-the-line personnel on board– Above-the-line includes producer, writer, director; key creative

crew

8. Decide on key locations– Determine benefits of convenience and control (studio) vs.

authenticity (locations)

9. Make decisions on talent, wardrobe, sets– Rehearsals can begin after cast is assembled

10.Make other decisions on staff and production needs– Includes transportation, catering, accommodations


11.Obtain necessary permits, insurance, clearance– In many shooting situations, permits and insurance must be

obtained beforehand– Use of prerecorded music and video material also requires legal

clearance

12.Make arrangements for acquiring additional material– Think about stock footage, archival material, still photos,

graphics, and other necessary material

13.Rehearsals

14.Review footage and make editing decisions– Know the difference between off-line and on-line editing

15.Follow-up work

Budgeting ProductionsBudgeting Productions

• Know the difference between above-the-line and below-the-line expenses/personnel– Above-the-line expenses refer to performing and producing:

talent, script, music, office services, etc.– Below-the-line expenses refers to the physical elements (sets,

props, facilities, etc.) and Technical Personnel (stage manager, engineers, VTR operators, etc.)

• Cost effectiveness measured by:– Cost per minute– Cost per viewer– Cost vs. measured benefits

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