Video Production Guidelines
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A Producer's Handbook
DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice. -
Aj-Px800g.Pdf
AJ-PX800G Memory Card Camera Recorder “P2 cam” AJ-PX800GH Bundled with AG-CVF15G Color LCD Viewfinder AJ-PX800GF Bundled with AG-CVF15G Color LCD Viewfinder and FUJINON 16x Auto Focus Lens *The microphone and battery pack shown in the photo are optional accessories. The Ultra Light Weight 3MOS Shoulder Camera Recorder The world's lightest*1 2/3 type shoulder-type HD camera-recorder with three image sensors revolutionizes news gathering with high mobility, superb picture quality and network functions. Ultra-high Speed, Ultra-high Quality and Ultra-light Weight The AJ-PX800G is a new-generation camera-recorder for news gathering. It is network connectable and provides superb picture quality, high mobility and excellent cost- performance. Weighing only about 2.8 kg (main unit), the AJ-PX800G is the world's lightest*1 shoulder-type camera-recorder equipped with three MOS image sensors for broadcasting applications. It also supports AVC-ULTRA multi-codec recording.*2 The picture quality and recorded data rate can be selected from one of the AVC-ULTRA family of codec’s (AVC-Intra/AVC-LongG) according to the application. Along with a Low-rate AVC-Proxy dual-codec recording ideal for network-based operation and off-line editing. Built-in network functions support wired LAN, wireless LAN**and 4G/LTE network connections,** enabling on-site preview, uploading data to a server and streaming. The AJ-PX800G is a single-package solution for virtually all broadcasting needs. ** For details, refer to “Notes Regarding Network Functions” on the back page. *1: For a 2/3-type shoulder-type HD camera-recorder with three sensors (as of June 2015). -
(A/V Codecs) REDCODE RAW (.R3D) ARRIRAW
What is a Codec? Codec is a portmanteau of either "Compressor-Decompressor" or "Coder-Decoder," which describes a device or program capable of performing transformations on a data stream or signal. Codecs encode a stream or signal for transmission, storage or encryption and decode it for viewing or editing. Codecs are often used in videoconferencing and streaming media solutions. A video codec converts analog video signals from a video camera into digital signals for transmission. It then converts the digital signals back to analog for display. An audio codec converts analog audio signals from a microphone into digital signals for transmission. It then converts the digital signals back to analog for playing. The raw encoded form of audio and video data is often called essence, to distinguish it from the metadata information that together make up the information content of the stream and any "wrapper" data that is then added to aid access to or improve the robustness of the stream. Most codecs are lossy, in order to get a reasonably small file size. There are lossless codecs as well, but for most purposes the almost imperceptible increase in quality is not worth the considerable increase in data size. The main exception is if the data will undergo more processing in the future, in which case the repeated lossy encoding would damage the eventual quality too much. Many multimedia data streams need to contain both audio and video data, and often some form of metadata that permits synchronization of the audio and video. Each of these three streams may be handled by different programs, processes, or hardware; but for the multimedia data stream to be useful in stored or transmitted form, they must be encapsulated together in a container format. -
Costs in a Film's Production Process
European Research Studies Journal Volume XXIV, Issue 2B, 2021 pp. 1069-1080 Costs in a Film’s Production Process Submitted 26/03/20, 1st revision 21/04/20, 2nd revision 23/05/20, accepted 30/06/21 Damian Łazarczyk1 Abstract: Purpose: Film production is associated with incurring costs. This article aims to analyze the production process of a feature film through the prism of incurred production costs. The indi- rect aim is to answer the question: What is the structure of the set of costs in the production process of an audiovisual work? Design/Methodology/Approach: The study concerns the production costs of film work based on the cost philosophy of the Polish Film Institute and American solutions. The study uses the descriptive and comparative analysis method of various aspects of film production; the deduc- tive-inductive reasoning method; the costing method; the logical analysis method based on the literature on film production organization and accounting; the qualitative method in the form of unstructured face-to-face interviews with film producers con-ducted at production courses at the L. Schiller National Higher School of Film, Television, and Theatre in Łódź. Findings: The amount of cost of a film project is determined by the film script. The structure of the set of costs in the different stages of the film production process in the world is similar. The fees are an essential item in the cost of a feature film. The production organization crite- rion and the time criterion shape the film production costs. Practical Implications: Efficient organization of the film production process affects the cost of ownership of film work. -
DVW-2000 Series
Digital Betacam Recorder DVW-2000 Series DVW-M2000 DVW-M2000P DVW-2000 DVW-2000P DVW-M2000 DVW-2000 A New Plateau of Digital Betacam Studio Recorders - Delivering Proven Picture Quality and Reliability Together With Added Flexibility and Scalability Since the introduction of the Digital Betacam format in 1993, Digital Betacam products have been widely accepted by a number of customers such as video production houses and broadcasters around the world. Its outstanding picture quality, multi-generation capabilities, and proven reliability have made the Digital Betacam format a standard for high-end video production applications. One decade after its launch, Sony has further evolved its range of Digital Betacam products by enhancing their flexibility, scalability, and operability - the result is the new DVW-M2000 and DVW-2000 Studio Recorders. These recorders inherit all the advantages of previous models, DVW-A500, such as superb picture quality and outstanding video performance. What's more, the DVW-M2000 VTR also provides powerful playback capability for all Sony 1/2-inch standard-definition format tapes*, allowing for continuous use of important archive materials and acquisition tools. Furthermore, a plug-in HD upconversion option allows these VTRs to output HD signals of 1080/59.94i or 720/59.94P (DVW-M2000/2000), or 1080/50i (DVW-M2000P/2000P). This is possible not only from Digital Betacam playback, but also from the playback signals of other compatible formats** such as the BetacamTM and MPEG IMXTM formats, providing a very smooth migration to future HD operations. Further advancements such as metadata handling capability, flexible audio operation, and a compact body design are all incorporated in these VTRs to increase their operational convenience. -
Course Syllabus
DMA 325 EFP Videography (TTh 9:30am-12:00pm) Dr. George Vinovich, Professor & Chair, Digital Media Arts Office Hours: TTh 12-3pm in LCH A215 (310) 243-3945 [email protected] Mario Congreve, Lecturer, Digital Media Arts Office Hours: TTh 12-1pm in LIB B108 (310) 243-2053 Cell (310) 704-7635 [email protected] COURSE OBJECTIVE : Technical and theoretical aspects of shooting professional video on location using electronic field production techniques and equipment. Technical emphasis on proper staging, lighting, framing, shot composition, miking, and camera movement. Producer/director emphasis on oral “project pitch” presentation, pre-interviewing, script writing, location scouting, production filming, and post production editing. Each student co-producer team is required to pitch, write, film and edit a 5-10 minute Documentary Production according to the Documentary Project requirements. MATERIALS: (2) SDHC cards for camera original source footage Sony SDXC 64GB and final edited sequence (1) Stereo Headphones with 1/8” Mini Plug and 20ft Extension (For monitoring boom audio) (1) Solid State Drive (no rotational drives) 500mbps USB 3 (For backup and finishing room) (*) Food and beverages for talent and crew on location shoots, rehearsals, and casting sessions. COURSE CONTENT 1. Camera Systems - setup and operation of cinema camcorder system; use of various prime lenses for master shot, OS, and CU; use of neutral density filters for achieving shallow depth of field; use of scene files and other related camera menu variables to achieve various effects. 2. System Peripherals - setup and operation of system peripherals such as fluid head tripod, gimbal, dolly, crane, slider, battery packs, and chargers. -
Storage Efficiency Opportunities and Analysis for Video Repositories
Storage Efficiency Opportunities and Analysis for Video Repositories Suganthi Dewakar Sethuraman Subbiah Gokul Soundararajan Mike Wilson NetApp, Inc. NetApp, Inc. NetApp, Inc. NetApp, Inc. Mark W. Storer1 Kishore Udayashankar1 Kaladhar Voruganti1 Minglong Shao1 Box Inc. Exablox Equinix Abstract These differences in video occur in the following use- cases: 1) cloud storage, such as Dropbox and Google Conventional wisdom states that deduplication tech- drive, where multiple copies of videos are stored in a niques do not yield good storage efficiency savings for single repository by different users, 2) streaming video video data. Indeed, even if the video content is the same, providers, such as Netflix and Hulu, where several forms the video files differ from each other due to differences of the same video are stored to accommodate differ- in closed-captioning, text overlay, language, and video ent devices, networks, and regions, 3) video production resolution. Therefore deduplication techniques have not environments, such as production houses, where multi- yielded good storage efficiency savings. In this paper, ple editors work on segments of the same RAW video, we look at the effectiveness of four different deduplica- 4) cloud-based DVR, such as Comcast, where different tion algorithms on different scenarios. We evaluate fixed- users start recording the same movie or TV show at dif- sized, variable-sized, and two content-aware deduplica- ferent start times, and 5) video content repository such as tion techniques. Our study shows that content-aware and YouTube, where multiple copies of the same video exist. variable-sized deduplication techniques do provide sig- nificant storage efficiency savings. Thus, conventional wisdom says that deduplication techniques will not yield high storage savings in video repositories. -
Production Handbookfinaldraft
PRODUCTION HANDBOOK SCHOOL OF THEATRE AND DANCE KENT STATE UNIVERSITY 2010-2011 TABLE OF CONTENTS INTRODUCTION 1 Mission of The School of Theatre and Dance 1 PROFESSIONAL BEHAVIOR 1 A Code of Ethics for Theatre Professionals 1 PRODUCTION FACULTY AND STAFF 3 Contact Information 3 ORGANIZATION OF THE SCHOOL OF THEATRE AND DANCE 5 The Faculty and Staff Production Organization 5 Faculty and Staff Production Positions 5 Producing Director/School Director (Administrative Staff) 5 Managing Director (Professional Staff) 5 Production Manager (Professional Staff) 5 Director 5 Artistic Director (Dance Concert) 6 Choreographer (Dance Concert) 6 Choreographer (Theatre Production) 6 Vocal Coach 6 Fight or Movement Coach 6 Resident (Faculty) Designers 7 Resident (Faculty) Set Designer 7 Resident (Faculty) Costume Designer 7 Scene Shop Supervisor 8 Costume Shop Supervisor 8 Lighting and Sound Supervisor 8 Marketing Coordinator (College of the Arts Administrative Staff) 9 School Administrative Assistant (Classified Staff) 9 SCHOOL OF THEATRE AND DANCE PRODUCTION POLICIES AND PROCEDURES 10 Participation Policies 10 Auditions 11 Casting Policies 11 Conflicts 11 Computer Lab Policies 12 Key Policies 12 Theatre and Rehearsal Space Policies 12 Rehearsal Policies 13 Theatre and Dance Space Policies 13 Matinee and Touring Production Policies 15 Purchasing Policies and Procedures 15 School Charge Accounts 15 Production Spread Sheet 15 Petty Cash 16 Expense Reimbursements 16 School of Theatre and Dance Box Office Policies 16 i School of Theatre and Dance Complimentary -
ROCK Your Green Screen Video Production
15 Proven, Time-Tested & Unfailing Tips To Help You ROCK Your Green Screen Video Production First Hand Tips from a Broadcast Quality Production Studio Owner Servicing CNN, Fox News, CNBC, MSNBC & All Other Major News Networks! Lights, camera, sound and action! If only creating a brilliant green screen video was that simple! The fact of the matter is that there are literally hundreds of things that can go wrong during the production of a green screen video. With you usually having just one practical shot at shooting a fantastic video, it is imperative that you get it right and get it right the very first time. This guide will give you 15 FAILSAFE tips to create a stunning green screen video that will turn out exactly like you imagined it to be, if not more. But, before we delve into the 15 tips, let’s first help you understand the true power of a green screen video. Why a green screen video for your business, campaign, cause or advertisement? Simply put, a green screen allows you to extract a subject from a green background and then replace the background with images of your choice. In the technical video production world, this process is called “chroma keying”. Green is the preferred color of screen as it is the color that is furthest away from the color of any or all human skin tones, thereby making it great for accurate and precise extraction and also replacement. Advantages of a green screen video… • Spectacular flexibility to include any image or video as your video background • Exponentially speed up production time, thanks to elimination of travel to different shoot locations • Immensely improved logistics to finish a video shoot in one location, in one short duration • Tremendous cost savings 15 Tips to Rock a Green Screen Video Production #1 Lay Down Your Green Screen Video Plan Or Blueprint Call a meeting with everyone who will be involved with your green screen video. -
REC Compatibility Max
REC Compatibility Max. Model Throughput Codec (Readout) DV DVCPRO DVCPRO50 DVCPRO HD AVC-Intra 100(1080-60p,50p) AVC-Intra50 AVC-Intra100(30p,25p,24p,60i,50i) AVC-Intra 200 AVC-LongG12 AVC-LongG25 AVC-LongG50 25-50Mbps 100Mbps 200Mbps 640Mbps n/a R Series 800Mbps n/a A Series 1.2Gbps n/a E Series 1.2Gbps F Series microP2 2.0Gbps Memory card adaptor NOT usable for AJ-PX5000G/PX2300, AJ-PD500, microP2 1.0Gbps n/a AJ-PX270 (With memory card adaptor AJ-P2AD1G) Following models support microP2 with memory card adaptor AJ-P2AD1G. : Record is available with the card AG-HPX600, AG-HPX255, AG-HPX250, AJ-HPX3100G, AJ-HPX2000/HPX2100,AG-HPX370 series, AG-HPD24 (except 3D REC mode), AJ-HPD2500, AJ-HPM200, AG-HPG20 n/a : Record is not available AJ-PCD35, AJ-PCD30, AJ-PCD20, AJ-PCD2G PLUG INTO 1 P2HD Meets Emerging HD Needs for Tomorrow's Broadcasting and Video Production This new HD production system is based on a high-speed, large-capacity, solid-state memory device, the latest HD imaging technology, and advanced Panasonic engineering. Dubbed the P2HD Series, the new HD/SD multi-format production system records onto the P2 (Professional Plug-in) card. This solid-state memory device provides the P2HD Series with outstanding reliability, high transfer speeds, excellent rewritability, and extended recording times with the recording capacity of the new 16-GB or 32-GB P2 card. The P2HD Series is also the world's first* to support the latest HD codec, AVC-Intra. In addition to its DVCPRO HD mode, the use of this advanced new codec brings higher image quality and longer recording times to the P2HD Series, in a wide product line that meets the needs of broadcasting, moviemaking and professional video production. -
Pull-Tight Production Packet Index
Pull-Tight Production Packet Index 1. Index 2. Helpful Tips for Producing at Pull-Tight Job Descriptions: 3. Responsibilities of the Director 4. Responsibilities of the Producer 5. Responsibilities of the Stage Manager 6. Stage Manager Checklist Production Policies: 7. Holdover Policy 8. Responsibilities of the Executive Producer 9. Working With Minors at Pull-Tight 10. House Rules 11. House Rules – Set Crew 12. Fire Safety Rules 13. Musician Fees Policy 14. Show Cancellation Policy Forms: 15. Budget Form 16. Sample Budgets 17. Audition Form Page 1 Musical 18. Audition Form Page 1 Non-Musical 19. Audition Form Page 2 20. Postcard Sent to Individuals Not Cast 21. Minors’ Parents Form 22. Contract for Musical Services 23. Expense Report Form 24. Check Voucher Form 25. T-Shirt Order Form 26. Actor Bio Form 27. Costume Measurement Sheet Additional Policies, Forms, or Information: 28. Complimentary Tickets Policy 29. Crew Template for Program 30. Lobby Display Policy 31. General Box Office Information 32. Tips for Polyurethaning the Floor HELPFUL TIPS FOR PRODUCING AT PULL-TIGHT It is strongly recommended that these tips be read by the Director, Producer, and Stage Manager of the show before you go into production, discussed together at your first Production meeting, and then kept on hand to refer to frequently. RESOURCES : Pull-Tight Public Website: www.pull-tight.com Pull-Tight Private Website: www.pull-tight.com/production Password: breakaleg If you have questions regarding technical aspects of your production or “how things are done” at Pull-Tight, the Executive Producer is your primary contact. If the Executive Producer doesn’t know the answer, he or she will be able to help you find it, and can also alert you to any recent changes in Board policy. -
Efficient Camera Selection for Maximized Target Coverage In
. EFFICIENT CAMERA SELECTION FOR MAXIMIZED TARGET COVERAGE IN UNDERWATER ACOUSTIC SENSOR NETWORKS by Abdullah Albuali B.S., King Faisal University, 2009 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Science Degree Department of Computer Science in the Graduate School Southern Illinois University Carbondale December 2014 THESIS APPROVAL EFFICIENT CAMERA SELECTION FOR MAXIMIZED TARGET COVERAGE IN UNDERWATER ACOUSTIC SENSOR NETWORKS By Abdullah Albuali A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in the field of Computer Science Approved by: Kemal Akkaya, Chair Henry Hexmoor Michael Wainer Graduate School Southern Illinois University Carbondale October 31st, 2014 AN ABSTRACT OF THE THESIS OF ABDULLAH ALBUALI, for the Master of Science degree in Computer Science, presented on 31 October 2014, at Southern Illinois University Carbondale. TITLE: EFFICIENT CAMERA SELECTION FOR MAXIMIZED TARGET COVERAGE IN UNDERWATER ACOUSTIC SENSOR NETWORKS MAJOR PROFESSOR: Dr. Kemal Akkaya In Underwater Acoustic Sensor Networks (UWASNs), cameras have recently been deployed for enhanced monitoring. However, their use has faced several obstacles. Since video capturing and processing consume significant amounts of camera battery power, they are kept in sleep mode and activated only when ultrasonic sensors detect a target. The present study proposes a camera relocation structure in UWASNs to maximize the coverage of detected targets with the least possible vertical camera movement. This approach determines the coverage of each acoustic sensor in advance by getting the most applicable cameras in terms of orientation and frustum of camera in 3-D that are covered by such sensors. Whenever a target is exposed, this information is then used and shared with other sensors that detected the same target.