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Basic TV Production

TVProd-01
“dESIGNED TO BE INVISIBLE TO CREATE THE ILLUSION
OF REALITY.”
WINSTON & KEYDEL, 1987
Be guided by the rules.
THE ILLUSION IS TOTAL. WE CONFUSE THE REALISM OF THE
IMAGE WITH REALITY.
THE IMAGE ON SCREEN LOOKS EXTREMELY REAL YET IT IS NOT. FUNCTION IS TO
SUSPEND DISBELIEF.
TYPES OF PRODUCTION
Studio Production
Produced inside a studio. May be taped or live.
Remote Production
Produced on location. May be taped or live. Fixed set-up or OB Van. system or dockable.
FLOOR DIRECTOR
EYES AND EARS AND HANDS OF THE DIRECTOR ON THE FLOOR
responsible for coordinating the technical aspects of the production
audio man
plays audio materials and controls them
responsible for coordinating the technical aspects of the production
camera man
handles the camera, delivers the shots the director calls
responsible for coordinating the technical aspects of the production
production assistant
assists everyone on the floor: ID, IDIOT BOARD, LEG WORK
responsible for coordinating the technical aspects of the production
TV/Video Equipment
the camera
Tv/video equipment
Parts of the Camera
BUILT-IN
MICROPHONE

BATTERY
RECORDER

VIEWFINDER CONTROL
LENS
PANEL
The Camera’s Ancillary
Equipment
Audio/Video Monitor - to externally monitor your
audio and video

Microphone - to achieve better sound quality; long


mic lead will enable you to record sound coming
from a source some distance away from the
camera to reduce the volume of extraneous and
unwanted sounds

Tripod - to keep your picture steady


Visual Grammar
The language used in TV production to describe images
recorded by the camera.
A way of communicating using images.
Like any other language, it has rules and conventions
which can be deconstructed, and through deconstruction,
understood.
Film Language
What we see on screen is the diegesis (the narrative world of
film)

It can be divided up in to 2 areas:

Mise-en-scene

The things in the scene

Mise-en-shot

The process of translating mise-en-scene into moving


pictures, into shots, and the relationship between the two
THE MISE-EN-SCENE:
LOCATIO
ACTORS N
MAKE-UP
AND
COSTUME
S

BLOCKIN
G
THE MISE-EN-SHOT: CAMERA
CAMERA
SHOT MOVEME
POSITIONING
SCALE NT

DEPTH OF OTHERS:
FOCUS (1) DURATION OF SHOT
(2) PACE OF EDITING
Shot Scale: Wide Shot
Establishes and connects the character with his environment.
The wide shot helps identify both the character and his environment.
Long Shot
AKA EXTREME WIDE SHOT
(EWS)
wide shot
default wide
The wide shot helps identify both the character and his environment.
FULL SHOT
REVEALS CHARACTER & RELATIONSHIP WITH OTHER CHARACTERS &
ENVIRONMENT
Medium Shot
General, all-purpose shot. represents neutral social distance.
Medium shots are used for dialogue sequences, and they allow the viewer to
Medium shots are used for dialogue sequences, and they allow
Medium Shot the viewer to pick up on the character's movements and
gestures.
Body language is important to conveying emotion, and the
Medium Shot Body language is important to conveying emotion, and the
medium shot remains close enough to capture that emotion.
close-up Shot
dramatic and intimate. brings the viewers to action. good for emotions.
Medium shots are used for dialogue sequences, and they allow the viewer to
extreme close-up (AKA big close up) - ecu
invites the viewers to be intimate with the subjects
Medium shots are used for dialogue sequences, and they allow the viewer to

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