Television Production Handbook

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ISBN: 9780534559892 | 0534559891
Cover: Hardcover
Copyright: 8/12/1999

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This classic, best-selling text introduces students to the basic skills required in all aspects of television production, including camera and studio equipment and remote location production, all while emphasizing the latest technology, such as HDTV. This text brings in cutting edge developments in the field, while maintaining its name as the reference text for the TV Production course. This is the most current, technically accurate text available and offers the most extensive teaching and learning package. Zettl's TELEVISION PRODUCTION HANDBOOK is the standard for the course.

Photo Credits

xxi

(2)

About the Author

xxiii

(1)

Preface

xxiv

CHAPTER 1 The Television Production Process

(24)

Section 1.1 What Television Production Is All About

(13)

THE BASIC TELEVISION SYSTEM

(1)

THE EXPANDED STUDIO AND ELECTRONIC FIELD PRODUCTION SYSTEMS

(3)

System Elements of Studio Production

(2)

The Studio System in Action

(1)

System Elements of Field Production

(1)

PRODUCTION ELEMENTS

(9)

The Camera

(2)

Lighting

(1)

Audio

(2)

Videotape Recording

(1)

The Switcher

(1)

Postproduction Editing

(1)

Special Effects

(2)

Section 1.2 Studios, Master Control, and Support Areas

(9)

THE TELEVISION STUDIO

(2)

Physical Layout

(1)

Major Installations

(1)

THE STUDIO CONTROL ROOM

(3)

Program Control

(1)

Image Control

(1)

Audio Control

(1)

Lighting Control

(1)

MASTER CONTROL

(1)

Program Input

(1)

Program Storage

(1)

Program Retrieval

(1)

STUDIO SUPPORT AREAS

(3)

Scenery and Properties

(1)

Makeup and Dressing Rooms

(2)

CHAPTER 2 Analog and Digital Television

(14)

Section 2.1 Analog and Digital Television

(8)

BASIC IMAGE CREATION

(2)

BASIC COLORS OF THE VIDEO DISPLAY

(1)

WHAT DIGITAL IS ALL ABOUT

(2)

Why Digital?

(1)

The Difference Between Analog and Digital

(1)

The Process of Digitization

(2)

BENEFITS OF DIGITAL TELEVISION

(2)

Quality

(1)

Computer Compatibility and Flexibility

(1)

Signal Transport

(1)

Compression

(1)

ASPECT RATIO

(2)

The 4 x 3 Aspect Ratio

(1)

The 16 x 9 Aspect Ratio

(2)

Section 2.2 DTV Scanning Systems

(4)

PROGRESSIVE AND INTERLACED SCANNING

(1)

The Progressive Scanning System

(1)

The Interlaced Scanning System

(1)

DTV SYSTEMS

(1)

The 480p System

(1)

The 720p System

(1)

The 1080i System

(1)

FLAT-PANEL DISPLAYS

(2)

Plasma Display Panel

(1)

Liquid Crystal Display

(2)

CHAPTER 3 The Television Camera

(24)

Section 3.1 How Television Cameras Work

(19)

PARTS OF THE CAMERA

(1)

FROM LIGHT TO VIDEO SIGNAL

(2)

The Beam Splitter

(1)

The Imaging Device

(1)

THE CAMERA CHAIN

(1)

The Camera Control Unit

(1)

The Sync Generator and Power Supply

(1)

TYPES OF CAMERAS

(4)

Analog and Digital Cameras

(1)

Studio Cameras

(1)

ENG/EFP Cameras and Camcorders

(1)

Consumer Camcorders

(1)

ELECTRONIC CHARACTERISTICS

(5)

Aspect Ratio

(1)

Resolution

(2)

Light Sensitivity and Operating Light Level

(1)

Gain

(1)

Video Noise and Signal-to-Noise Ratio

(1)

Image Blur and Electronic Shutter

(1)

Smear and Moire

(1)

Contrast

(1)

OPERATIONAL CHARACTERISTICS

(6)

Operational Items and Controls: Studio Cameras

(2)

Operational Items: ENG/EFP Cameras and Camcorders

(2)

Operational Controls: ENG/EFP Cameras and Camcorders

(2)

Section 3.2 From Light to Video Image

(3)

THE CCD PROCESS

(1)

THE NATURE OF COLOR

(1)

Color Attributes

(1)

Color Mixing

(1)

CHROMINANCE AND LUMINANCE CHANNELS

(2)

Chrominance Channel

(1)

Luminance Channel

(1)

The Encoder

(1)

CHAPTER 4 Lenses

(22)

Section 4.1 What Lenses Are

(12)

TYPES OF ZOOM LENSES

(3)

Studio and Field Lenses

(1)

Zoom Range

(2)

Lens Format

(1)

OPTICAL CHARACTERISTICS OF LENSES

(5)

Focal Length

(1)

Focus

(1)

Light Transmission: Iris and f-stop

(2)

Depth of Field

(1)

OPERATIONAL CONTROLS

(4)

Zoom Control

(1)

Digital Zoom Lens

(1)

Focus Control

(2)

Section 4.2 What Lenses See

(8)

HOW LENSES SEE THE WORLD

(8)

The Wide-Angle Lens

(3)

The Normal Lens

(1)

The Narrow-Angle, or Telephoto, Lens

(4)

CHAPTER 5 Camera Mounting Equipment

(16)

Section 5.1 Standard Camera Mounts and Movements

(9)

BASIC CAMERA MOUNTS

(4)

The Handheld and Shoulder-Mounted Camera

(1)

The Monopod and Tripod

(1)

The Studio Pedestal

(2)

CAMERA MOUNTING (PAN-AND-TILT) HEADS

(2)

Fluid Heads

(1)

Cam Heads

(1)

Plate and Wedge Mount

(1)

CAMERA MOVEMENTS

(3)

Section 5.2 Special Camera Mounts

(5)

SPECIAL MOUNTING DEVICES

(3)

High Hat

(1)

Bean Bag

(1)

Steadicam

(1)

Short and Long Jibs

(1)

Studio Crane

(1)

ROBOT PEDESTALS AND MOUNTING HEADS

100

(2)

CHAPTER 6 Camera Operation and Picture Composition

102

(24)

Section 6.1 Working the Camera

104

(9)

WORKING THE CAMCORDER AND EFP CAMERA

104

(5)

Some Basic Camera "Don'ts"

105

(1)

Before the Shoot

105

(1)

During the Shoot

106

(3)

After the Shoot

109

(1)

WORKING THE STUDIO CAMERA

109

(4)

Before the Show

110

(1)

During the Show

110

(2)

After the Show

112

(1)

Section 6.2 Framing Effective Shots

113

(13)

SCREEN SIZE AND FIELD OF VIEW

113

(2)

Screen Size

114

(1)

Field of View

114

(1)

FRAMING A SHOT

115

(7)

Dealing With Height and Width

115

(2)

Close-ups

117

(1)

Headroom

118

(1)

Noseroom and Leadroom

118

(1)

Closure

119

(3)

DEPTH

122

(1)

SCREEN MOTION

123

(3)

CHAPTER 7 Lighting

126

(32)

Section 7.1 Lighting Instruments and Lighting Controls

128

(23)

STUDIO LIGHTING INSTRUMENTS

128

(6)

Spotlights

128

(3)

Floodlights

131

(3)

FIELD LIGHTING INSTRUMENTS

134

(5)

Spotlights

134

(3)

Floodlights

137

(1)

Handheld Lights

138

(1)

LIGHTING CONTROL EQUIPMENT

139

(9)

Mounting Devices

139

(4)

Directional Controls

143

(1)

Intensity Controls: Diffusers and Reflectors

144

(1)

Intensity Controls: Electronic Dimmers

145

(3)

COLOR TEMPERATURE

148

(3)

How to Control Color Temperature

149

(2)

Section 7.2 Light Intensity, Lamps, and Color Media

151

(7)

LIGHT INTENSITY

151

(2)

Lux and Foot-candles

151

(1)

Incident Light

152

(1)

Reflected Light

152

(1)

CALCULATING LIGHT INTENSITY

153

(1)

OPERATING LIGHT LEVEL: BASELIGHT

153

(1)

Baselight Levels

154

(1)

TYPES OF LAMPS

154

(1)

Incandescent

155

(1)

Quartz, or Tungsten-Halogen

155

(1)

HMI

155

(1)

Fluorescent

155

(1)

COLOR MEDIA

155

(3)

How to Use Color Media

155

(1)

Mixing Color Gels

155

(3)

CHAPTER 8 Techniques of Television Lighting

158

(32)

Section 8.1 Lighting in the Studio

160

(18)

TYPES OF LIGHT

160

(1)

MAIN LIGHT SOURCES

161

(4)

Types of Lighting Instruments

161

(1)

Functions of Main Light Sources

161

(4)

THE PHOTOGRAPHIC PRINCIPLE, OR TRIANGLE LIGHTING

165

(1)

SPECIFIC LIGHTING TECHNIQUES

166

(6)

Continuous-Action Lighting

166

(2)

Large-Area Lighting

168

(1)

Cameo Lighting

168

(1)

Silhouette Lighting

169

(1)

Chroma-Key Area Lighting

169

(1)

Controlling Eye and Boom Shadows

170

(2)

CONTRAST

172

(1)

Contrast Ratio

172

(1)

Shading

172

(1)

Auto-Iris

173

(1)

Measuring Contrast

173

(1)

Limiting Contrast

173

(1)

BALANCING INTENSITIES

173

(2)

Key-to-Back-Light Ratio

174

(1)

Key-to-Fill-Light Ratio

174

(1)

THE LIGHT PLOT

175

(1)

OPERATION OF STUDIO LIGHTS

176

(2)

Safety

176

(1)

Preserving Lamps and Power

176

(1)

Using a Studio Monitor

176

(2)

Section 8.2 Lighting in the Field

178

(12)

ENG LIGHTING

178

(5)

Shooting in Outdoor Light

179

(1)

Shooting at Night

180

(1)

Shooting in Indoor Light

181

(2)

EFP LIGHTING

183

(7)

Safety

184

(1)

Power Supply

184

(1)

Location Survey

184

(2)

Lighting Setup

186

(4)

CHAPTER 9 Audio: Sound Pickup

190

(34)

Section 9.1 How Microphones Hear

192

(21)

ELECTRONIC CHARACTERISTICS OF MICROPHONES

192

(3)

Sound-Generating Element

192

(1)

Pickup Patterns

193

(2)

Special Microphone Features

195

(1)

OPERATIONAL CHARACTERISTICS OF MICROPHONES

195

(18)

Lavaliere Microphones

195

(3)

Hand Microphones

198

(2)

Boom Microphones

200

(4)

Headset Microphones

204

(1)

Wireless Microphones

204

(2)

Desk Microphones

206

(2)

Stand Microphones

208

(1)

Hanging Microphones

209

(1)

Hidden Microphones

210

(1)

Long-distance Microphones

211

(2)

Section 9.2 How Microphones Work

213

(11)

SOUND-GENERATING ELEMENTS

213

(1)

Dynamic Microphones

213

(1)

Condenser Microphones

214

(1)

Ribbon Microphones

214

(1)

Sound Quality

214

(1)

SPECIAL MICROPHONE FEATURES

214

(4)

Impedance

214

(4)

Frequency Response

218

(1)

Balanced and Unbalanced Mics and Cables, and Audio Connectors

218

(1)

MIC SETUPS FOR MUSIC PICKUP

218

(1)

Microphone Setup for Singer and Acoustic Guitar

218

(1)

Microphone Setup for Singer and Piano

219

(1)

Microphone Setup for Small Rock Group and Direct Insertion

219

(1)

MICROPHONE USE SPECIFIC TO ENG/EFP

219

(2)

MICROPHONE USE SPECIFIC TO THE STUDIO

221

(3)

CHAPTER 10 Audio: Sound Control

224

(26)

Section 10.1 Sound Controls and How to Use Them

226

(15)

AUDIO CONTROL AREAS: STUDIO

226

(2)

Audio Control Booth

226

(1)

Audio Production Room

227

(1)

AUDIO PRODUCTION EQUIPMENT: STUDIO

228

(11)

Audio Console

228

(4)

Patchbay

232

(2)

Audio Recording Systems

234

(1)

Analog Recording Systems

234

(1)

Digital Recording Systems

235

(3)

Audio/Video Postproduction

238

(1)

AUDIO PRODUCTION EQUIPMENT: FIELD

239

(2)

Mixer

239

(2)

Section 10.2 Mixing and Sound Aesthetics

241

(9)

BASIC AUDIO OPERATION

241

(2)

Volume Control

241

(2)

LIVE AND POSTPRODUCTION MIXING

243

(3)

Live Studio Mixing

243

(1)

Live Mixing in ENG/EFP

244

(1)

Postproduction Mixing

245

(1)

Controlling Sound Quality

245

(1)

AESTHETIC FACTORS

246

(4)

Environment

246

(1)

Figure-ground

246

(1)

Perspective

246

(1)

Continuity

247

(1)

Energy

247

(1)

Surround Sound

247

(3)

CHAPTER 11 Switching, or Instantaneous Editing

250

(16)

Section 11.1 How Switchers Work

252

(10)

BASIC SWITCHER FUNCTIONS

252

(1)

SIMPLE SWITCHER LAYOUT

253

(3)

Program Bus

253

(1)

Mix Buses

253

(1)

Preview Bus

254

(1)

Effects Buses

254

(1)

Multifunction Switchers

254

(2)

BASIC SWITCHER OPERATION

256

(6)

Cut or Take

256

(2)

Dissolve

258

(1)

Super

259

(1)

Fade

259

(1)

Additional Special-Effects Controls

259

(3)

Section 11.2 What Switchers Do

262

(4)

SWITCHER TYPES AND FUNCTIONS

262

(2)

Production Switchers

262

(1)

Postproduction Switchers

263

(1)

Master Control Switchers

263

(1)

Routing Switchers

264

(1)

ELECTRONIC DESIGNS

264

(2)

Composite and Component Switchers

264

(1)

Analog and Digital Switchers

264

(1)

Audio-Follow-Video Switchers

265

(1)

CHAPTER 12 Video-Recording and Storage Systems

266

(28)

Section 12.1 How Video Recording Works

268

(15)

TAPE-AND DISK-BASED RECORDING SYSTEMS

268

(3)

Analog and Digital Systems

268

(1)

Linear and Nonlinear Systems

269

(1)

Composite and Component Systems

269

(1)

Compression

270

(1)

TAPE-BASED RECORDING AND STORAGE SYSTEMS

271

(9)

How Videotape Recording Works

271

(2)

Operational Controls and Electronic Features

273

(2)

Major Analog Videotape Recorders

275

(2)

Major Digital Videotape Recorders

277

(3)

DISK-BASED RECORDING AND STORAGE SYSTEMS

280

(3)

Hard Disk Systems

280

(1)

Read/Write Optical Discs

281

(1)

Data Transfer

281

(2)

Section 12.2 How Video Recording Is Done

283

(11)

USES OF VIDEO RECORDING AND STORAGE

283

(1)

Building a Show

283

(1)

Time Delay

284

(1)

Program Duplication and Distribution

284

(1)

Record Protection and Reference

284

(1)

OPERATIONAL VIDEO-RECORDING SYSTEMS

284

(2)

Quality Choice

284

(1)

Operational Video Recorder Systems

284

(2)

VIDEO-RECORDING PRODUCTION FACTORS

286

(8)

Preproduction

286

(2)

Production

288

(6)

CHAPTER 13 Postproduction Editing

294

(38)

Section 13.1 How Postproduction Editing Works

296

(22)

EDITING MODES: OFF-AND ON-LINE

297

(1)

BASIC EDITING SYSTEMS

297

(1)

Linear Systems

297

(1)

Nonlinear Systems

297

(1)

Editing Principle

298

(1)

LINEAR EDITING SYSTEMS

298

(4)

Single-Source System

298

(1)

Expanded Single-Source System

299

(2)

Multiple-Source Systems

301

(1)

LINEAR EDITING FEATURES AND TECHNIQUES

302

(1)

Assemble and Insert Editing

302

(1)

CONTROL TRACK AND TIME CODE EDITING

303

(3)

Control Track, or Pulse-Count, Editing

304

(1)

Time Code Editing

305

(1)

AB ROLLING AND AB-ROLL EDITING

306

(2)

AB Rolling

306

(1)

AB-Roll Editing

307

(1)

NONLINEAR EDITING SYSTEMS

308

(1)

NONLINEAR EDITING FEATURES AND TECHNIQUES

309

(1)

Digitizing Information

309

(1)

Compression

309

(1)

Storing Information

309

(1)

Juxtaposing and Rearranging Video and Audio Files

309

(1)

PREEDITING PHASES

310

(8)

Shooting Phase

310

(1)

Review Phase

311

(3)

Decision-Making Phase

314

(1)

Operational Phase

315

(3)

Section 13.2 Making Editing Decisions

318

(14)

EDITING FUNCTIONS

318

(1)

Combine

318

(1)

Trim

319

(1)

Correct

319

(1)

Build

319

(1)

BASIC TRANSITION DEVICES

319

(1)

The Cut

319

(1)

The Dissolve

320

(1)

The Wipe

320

(1)

The Fade

320

(1)

MAJOR EDITING PRINCIPLES

320

(12)

Continuity Editing

322

(6)

Complexity Editing

328

(1)

Context

328

(1)

Ethics

329

(3)

CHAPTER 14 Visual Effects

332

(22)

Section 14.1 Electronic Effects and How to Use Them

334

(15)

STANDARD ANALOG VIDEO EFFECTS

334

(7)

Superimposition

334

(1)

Key

335

(2)

Chroma Key

337

(2)

Wipe

339

(2)

DIGITAL VIDEO EFFECTS

341

(8)

Computer-Manipulated Effects

341

(1)

Image Size, Shape, Light, and Color

342

(2)

Motion

344

(2)

Multi-Images

346

(1)

Computer-Generated Effects

347

(2)

Section 14.2 Nonelectronic Effects and How to Use Them

349

(5)

OPTICAL EFFECTS

350

(2)

Television Gobos

350

(1)

Reflections

350

(1)

Star Filter

351

(1)

Diffusion Filters

351

(1)

Defocus

352

(1)

MECHANICAL EFFECTS

352

(2)

Rain

352

(1)

Snow

352

(1)

Fog

352

(1)

Wind

352

(1)

Smoke

353

(1)

Fire

353

(1)

Lightning

353

(1)

Explosions

353

(1)

CHAPTER 15 Design

354

(28)

Section 15.1 Designing and Using Television Graphics

356

(14)

SPECIFICATIONS OF TELEVISION GRAPHICS

356

(9)

Aspect Ratio

357

(1)

Scanning and Essential Areas

357

(1)

Out-of-Aspect-Ratio Graphics and Moving Images

358

(3)

Information Density and Readability

361

(1)

Color

362

(3)

Style

365

(1)

GRAPHICS EQUIPMENT

365

(5)

Character Generator

365

(1)

Graphics Generator

366

(4)

Section 15.2 Scenery and Props

370

(12)

TELEVISION SCENERY

370

(5)

Standard Set Units

370

(2)

Hanging Units

372

(1)

Platforms and Wagons

373

(1)

Set Pieces

374

(1)

PROPERTIES AND SET DRESSINGS

375

(1)

Stage Props

375

(1)

Set Dressings

375

(1)

Hand Properties

376

(1)

Prop List

376

(1)

ELEMENTS OF SCENE DESIGN

376

(6)

The Floor Plan

377

(2)

Set Backgrounds and Platforms

379

(1)

Studio Floor Treatments

379

(3)

CHAPTER 16 Production People

382

(26)

Section 16.1 What Production People Do

384

(19)

PRODUCTION (NONTECHNICAL) PERSONNEL

384

(2)

TECHNICAL PERSONNEL AND CREW

386

(1)

NEWS PRODUCTION PERSONNEL

387

(2)

TELEVISION TALENT

389

(1)

PERFORMANCE TECHNIQUES

389

(10)

Performer and Camera

390

(1)

Performer and Audio

391

(1)

Performer and Timing

392

(1)

Performer and Postproduction

392

(1)

Floor Manager's Cues

392

(5)

Prompting Devices

397

(2)

ACTING TECHNIQUES

399

(2)

Audience

399

(1)

Blocking

400

(1)

Memorizing Lines

400

(1)

Timing

400

(1)

The Actor and Postproduction

400

(1)

The Director/Actor Relationship

401

(1)

AUDITIONS

401

(2)

Section 16.2 How to Do Makeup and What to Wear

403

(5)

MAKEUP

403

(2)

Technical Requirements

404

(1)

Materials

404

(1)

Techniques

405

(1)

CLOTHING AND COSTUMING

405

(3)

Clothing

405

(1)

Costuming

406

(2)

CHAPTER 17 Producing

408

(22)

Section 17.1 What Producing Is All About

410

(14)

PREPRODUCTION PLANNING: FROM IDEA TO SCRIPT

410

(9)

Program Ideas

411

(1)

Production Models

412

(1)

Writing the Program Proposal

413

(2)

Preparing a Budget

415

(4)

Presenting the Proposal

419

(1)

Writing the Script

419

(1)

PREPRODUCTION PLANNING: COORDINATION

419

(3)

People

419

(1)

Facilities Request

420

(1)

Schedules

421

(1)

Permits and Clearances

421

(1)

Publicity and Promotion

421

(1)

PRODUCTION: HOST AND CRITICAL OBSERVATION

422

(1)

Playing Host

422

(1)

Watching the Production Flow

422

(1)

Evaluating the Production

422

(1)

POSTPRODUCTION ACTIVITIES

422

(2)

Postproduction Editing

422

(1)

Evaluation and Feedback

422

(1)

Recordkeeping

423

(1)

Section 17.2 Dealing With Schedules, Legal Matters, and Ratings

424

(6)

PRODUCTION SCHEDULE

424

(1)

INFORMATION RESOURCES

425

(1)

PROGRAM TYPES

426

(1)

UNIONS AND LEGAL MATTERS

426

(1)

Unions

426

(1)

Copyrights and Clearances

426

(1)

Other Legal Considerations

427

(1)

AUDIENCE AND RATINGS

427

(3)

Target Audience

427

(1)

Ratings and Share

428

(2)

CHAPTER 18 The Director in Preproduction

430

(34)

Section 18.1 How a Director Prepares

432

(18)

THE DIRECTOR'S ROLES

432

(1)

Director as Artist

432

(1)

Director as Psychologist

433

(1)

Director as Technical Adviser

433

(1)

Director as Coordinator

433

(1)

PREPRODUCTION ACTIVITIES

433

(13)

Process Message

434

(1)

Production Method

434

(1)

Production Team and Communication

434

(1)

Scheduling

434

(1)

Script Formats

434

(2)

Script Marking

436

(9)

Floor Plan and Location Sketch

445

(1)

Facilities Request

446

(1)

SUPPORT STAFF

446

(4)

Floor Manager

446

(2)

Assistant, or Associate, Director

448

(1)

Production Assistant

449

(1)

Section 18.2 Moving from Script to Screen

450

(14)

VISUALIZATION AND SEQUENCING

450

(9)

Formulating the Process Message

451

(1)

Medium Requirements

451

(6)

Interpreting the Floor Plan and Location Sketch

457

(2)

SCRIPT ANALYSIS

459

(5)

Locking-In Point and Translation

459

(1)

The Storyboard

460

(4)

CHAPTER 19 The Director in Production and Postproduction

464

(28)

Section 19.1 Multicamera Studio Directing

466

(21)

THE DIRECTOR'S TERMINOLOGY

466

(1)

MULTICAMERA STUDIO DIRECTING

467

(15)

Directing from the Control Room

470

(3)

Rehearsals

473

(5)

Time Line

478

(2)

Directing the Show

480

(2)

CONTROLLING CLOCK TIME

482

(2)

Schedule Time and Running Time

483

(1)

Clock Back-Timing and Front-Timing

483

(1)

Converting Frames into Clock Time

484

(1)

CONTROLLING SUBJECTIVE TIME

484

(1)

STUDIO INTERCOM SYSTEMS

484

(3)

Section 19.2 Single-Camera Directing

487

(5)

SINGLE-CAMERA DIRECTING PROCEDURES

487

(3)

Visualization

487

(1)

Script Breakdown

488

(1)

Rehearsals

488

(1)

Videotaping

488

(2)

POSTPRODUCTION ACTIVITIES

490

(2)

CHAPTER 20 Field Production and Big Remotes

492

(38)

Section 20.1 ENG, EFP, and Big Remotes

494

(17)

ELECTRONIC NEWS GATHERING

495

(1)

ENG Production Features

495

(1)

SNG Production Features

496

(1)

ELECTRONIC FIELD PRODUCTION

496

(4)

Preproduction

497

(1)

Production: Equipment Check

497

(2)

Production: Setup

499

(1)

Production: Rehearsals

499

(1)

Production: Videotaping

500

(1)

Production: Strike and Equipment Check

500

(1)

Postproduction

500

(1)

BIG REMOTES

500

(11)

Preproduction: The Remote Survey

501

(2)

Production: Equipment Setup and Operation

503

(5)

Production: Floor Manager and Talent Procedures

508

(3)

Section 20.2 Covering Major Events

511

(19)

SPORTS REMOTES

511

(7)

LOCATION SKETCH AND REMOTE SETUPS

518

(4)

Reading Location Sketches

518

(3)

Production Requirements for Public Hearing (Indoor Remote)

521

(1)

Production Requirements for Parade (Outdoor Remote)

521

(1)

COMMUNICATION SYSTEMS

522

(2)

ENG Communication Systems

524

(1)

EFP Communication Systems

524

(1)

Big-Remote Communication Systems

524

(1)

SIGNAL TRANSPORT

524

(6)

Microwave Transmission

524

(2)

Communication Satellites: Frequencies, Uplinks, and Downlinks

526

(1)

Cable Distribution

527

(3)

Epilogue

530

(1)

Glossary

531

(23)

Selected Reading

554

(2)

Index

556

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Television Production Handbook

Summary

Table of Contents

Supplemental Materials