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Figure 1.3 PowerPoint Presentation

Figure 1.3

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Figure 1.3

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  1. Figure 1.3 • Floor Plan of TV Facility

  2. Figure 1.6 • Basic Control Functions

  3. Figure 2.4 • Hand Signals

  4. Figure 2.4 • Hand Signals (continued)

  5. Figure 2.4 • Hand Signals (continued)

  6. Figure 3.10 • Industry Pay Rates Directors If the program length is:the director is paid a minimum of approximately: 0 to 7 minutes $1,500 8 to 30 minutes 8,000 31 to 60 minutes 15,000 Producers Producers are paid about the same as directors. Writers If the program length is:the writer is paid a minimum of approximately: 0 to 15 minutes $5,000 16 to 30 minutes 8,000 31 to 60 minutes 19,000 Performers These types of performers:receive approximately this amount of pay: Principal performers $680 per day Singers 560 per day Bit Performers 520 per day Extras 110 per day

  7. Figure 3.10 (Continued) • Industry Pay Rates Technical and Crafts People Technical Director $52 per hour Camera Operator 46 per hour Video Operator 35 per hour Prompter Operator 29 per hour Lighting Director 36 per hour Lighting Crew 25 per hour Audio Operator 45 per hour Boom Operator 35 per hour Graphics Operator 43 per hour Videotape Operator 35 per hour Editor 41 per hour Associate Director 53 per hour Stage Manager 38 per hour Set Designer 35 per hour Set Decorator 30 per hour Set Carpenter 29 per hour Propmaster 32 per hour Costume Designer 32 per hour Costumer 25 per hour Make-up Artist 35 per hour Hair Stylist 27 per hour Production Assistant 23 per hour

  8. Figure 3.11 • Facilities and Equipment Pay Rates Studio and Control Room Rental $600 per hour (Includes a 35' by 35' studio with cyc, lighting grid and lights, 3 prosumer digital cameras with pedestals and prompters, and up to 5 microphones; and a 12' by 20' control room with an 8-in 4-out audio mixer, a CD player, a switcher with 2 effects buses, graphics generator, and 1 play and 1 record digital VCR.) Additional Equipment Extra microphones $5 each per hour Extra cameras 40 each per hour Extra CD players 10 each per hour Digital video effects 40 per hour VHS VCR 15 per hour DAT 15 per hour Nonlinear editing 50 per hour Set Pieces Podiums 10 each per hour Plain flats 15 each per hour Chairs 5 each per hour Tables 5 each per hour Risers 10 each per hour Piano 20 per hour

  9. Figure 3.12 • Budget Worksheet

  10. Figure 3.13 • Performance Release PERFORMANCE RELEASE In consideration of my appearing on the TV program (title) and for no subsequent remuneration, I do hereby on behalf of myself, my heirs, executors, and administrators authorize (producer) to use live or recorded on tape, film, or otherwise my name, voice, likeness, and performance for television distribution throughout the world and for audiovisual and general education purposes in perpetuity. I further agree on behalf of myself and others as above stated that my name, likeness, and biography may be used for promotion purposes and other uses. Further, I agree to indemnify, defend, and hold the producer harmless for any and all claims, suits, or liabilities arising from my appearance and the use of any of my materials, name, likeness, or biography. Conditions: Signature Printed Name Street Address City and Zip Code Phone Number Date

  11. Figure 3.14 • Call Sheet CALL SHEET Date _____________________ Program Title _______________________________________________ Episode Number ____________ Producer ___________________________________________________ Director ____________________________________________________ Studio Location _____________ ________________________________________________________________ PERFORMERS NAME POSITION REPORT TIME ________________________________________________________________ CREW NAME POSITION REPORT TIME

  12. Figure 3.16 • Music Clearance Date Name Licensing Department Music Publishing Company Street Address City, State, and Zip Code Dear Person's Name: I am producing a student television production entitled ("Name of Program") for which I would like to use part of your musical composition ("Name of Music"), composed by (Name of Composer.) I would like to acquire a non-exclusive synchronization license for this musical composition. I would like permission to use this material for broadcast, cablecast, webcast, or other means of exhibition throughout the world as often as deemed appropriate for this student production and for any future revisions of this production. Your permission granting me the right to use this material in no way restricts your use for any other purposes. For your convenience, a release form is provided below and a copy of this letter is attached for your files. I will appreciate your signing and returning this letter as soon as possible. Sincerely yours, Your Name Your Address Your Phone Number Your E-mail Address I (We) grant permission for the use requested in this letter. Signature______________________________________________________ Printed Name___________________________________________________ Title__________________________________________________________ Phone Number__________________________________________________ E-mail Address_________________________________________________ Date__________________________________________________________

  13. Figure 4.3 • Marked Script

  14. Figure 4.5 • Timing Sheet

  15. Figure 4.6 • Director’s Commands

  16. Figure 4.6 • Director’s Commands (continued)

  17. Figure 5.5 • HDTV Formats Format Horizontal Pixels Vertical Pixels Aspect Ratio Scanning Frame Rate 480i 640 480 4:3 Interlace 30 704 480 16:9 Interlace 30 480p 640 480 4:3 Progressive 24, 30, or 60 704 480 16:9 Progressive 24, 30, or 60 720p 1280 720 16:9 Progressive 24, 30, or 60 1080i 1920 1080 16:9 Interlace 30 1080p 1920 1080 16:9 Progressive 24 or 30

  18. Figure 5.10 • F-Stops

  19. Figure 5.11 • Depth of Field The depth of field of a lens can be increased by altering any one of three different variables:

  20. Figure 5.11 • Depth of Field (continued) The depth of field of a lens can be increased by altering any one of three different variables:

  21. Figure 5.11 • Depth of Field (continued) The depth of field of a lens can be increased by altering any one of three different variables:

  22. Figure 6.15 • 3-Point Lighting

  23. Figure 6.20 • 3-Point and Background and Kicker

  24. Figure 6.21 • Cross Keying

  25. Figure 6.25 • Inverse Square Law

  26. Figure 6.30 • Lighting Plot

  27. Plate D • Color Temperatures

  28. Figure 7.3 • Directional Sensitivity

  29. Figure 7.5 • Pickup Patterns

  30. Figure 7.20 • Connectors

  31. Figure 7.28 • Generic Audio Console

  32. Figure 8.13 • Aspect Ratios Aspect Ratio Aspect Ratio (a) (b) AspectRatio AspectRatio (c) (d)

  33. Figure 8.15 • Essential Area Essential area Area visible in viewfinder

  34. Figure 8.21 • Flat

  35. Plate E • CNN Graphics Photo courtesy of CNN.

  36. Figure 9.1 • Switcher Diagram

  37. Figure 9.7 • Buses (a) (b)

  38. Figure 9.18 • Pattern Control Photo courtesy of Thomson Grass Valley.

  39. Figure 10.1 • Rear Connections of VCR Photo courtesy of Panasonic.

  40. Figure 10.5 • MPEG 2 PROFILES LEVELS

  41. Figure 10.8 • Server

  42. Figure 10.10 • Video Recording

  43. Figure 10.11 • Helical Scan

  44. Figure 10.14 • Formats Date Analog/ Tape Component/ Sampling Format Introduced Digital Width Composite Rate U-Matic 1971 Analog ¾-inch Composite N/A VHS 1976 Analog ½-inch Composite N/A Type C 1978 Analog 1-inch Composite N/A Betacam SP 1986 Analog ½-inch Component N/A D-1 1986 Digital 19mm Component 4:2:2 M-II 1986 Analog ½-inch Component N/A S-VHS 1987 Analog ½-inch Component N/A D-2 1988 Digital 19mm Composite N/A Hi-8 1989 Analog 8mm Component N/A D-3 1991 Digital ½-inch Composite N/A D-5 1992 Digital ½-inch Component 4:2:2 D-6 1993 Digital ½-inch Component 4:2:2 Digital Betacam/SX 1993 Digital ½-inch Component 4:2:2 Digital-S (D-9) 1995 Digital ½-inch Component 4:2:2 DVCAM 1995 Digital ¼-inch Component 4:1:1 DVCPRO (D-7) 1995 Digital ¼-inch Component 4:1:1 HDCAM 1997 Digital ¼-inch Component 3:1:1

  45. Figure 10.15 • Track Configurations (a)

  46. Figure 10.15 • Track Configurations (continued) (b)

  47. Figure 10.16 • Connectors

  48. Figure 11.2 • EDL Title Class Project 1 TC: Non-Drop Frame 001 Footage 1 V A1 C 01:05:15:00 01:05:25:00 00:00:10:00 00:00:20:00 002 Interview 1 V A1 C 05:10:10:28 05:10:42:28 00:00:20:15 00:00:52:15 002 Interview 1 V A1 D 015 05:10:10:13 05:10:10:28 00:00:20:00 00:00:20:15 003 Footage 1 V A1 C 01:10:10:15 01:10:20:20 00:00:52:15 00:01:02:20

  49. Figure 11.8 • Nonlinear Editing System Screen shot courtesy of Media 100, Inc..

  50. Figure 11.11 • Split Edit (a) (b) Screen shot courtesy of Media 100, Inc..