This FAQ was written by David H Dennis, using and expanding on an outline provided by newvideo@amug.org (Bill Davis), who suggested the project.
I'd appreciate any questions, comments or ideas you might have. You can email me at david@freelink.net
Because I have already done a Digital Video (DV) FAQ, I felt in an excellent position to take on the broader Video Production FAQ. I hope you find it interesting.
Bear in mind that at this point, the DV FAQ is a much more mature document. This FAQ attempts to cover topics that aren't already discussed in the DV FAQ. It's strongly recommend that, even if you're not interested in DV, you read the DV FAQ to find coverage of the points not discussed here. You will find references to the DV document where this situation exists.
Bill wrote:
Just as a lark, I sat down the other evening and did a general outline of what I thought a group FAQ *might* cover....
Here is his outline, with some preliminary answers I've written.
FAQ definitions and netiquite
1.1.1 What is a FAQ?
FAQ is an acronym for "Frequently Asked Questions." A newsgroup FAQ is a written response to typical newsgroup questions maintained for the purpose of helping newcomers get "up to speed" on topics that already have been covered. Typically, a newsgroup will have it's FAQ posted on a web site. Occasional newsgroup announcements will provide a "pointer" to the FAQ. Reading the FAQ is always a good first step to participating in a newsgroup.
1.1.2 What is a Newsgroup
A newsgroup (more specifically a "Usenet" newsgroup such as rec.video.production) is a open forum where participants can exchange ideas and information about the topic specified by the newsgroup's charter. There are typically two types. Moderated newsgroups are those where a person (the moderator) polices the postings with an eye on making sure that the posted material is relevant to the newsgroup purpose. Unmoderated newsgroups are self-policing. There is no mechanism (other than "community censure") for keeping out off-topic postings on unmoderated newsgroups. (Bill Davis) 1.1.3 Flames, trolls, and other usenet stuff.
In the jargon of usenet newsgroups, a "flame" occurs when someone becomes unhappy with the postings of another participant and responds angrily. Flames can range from short angry retorts, to a stream of invective that would make a paratrooper blush. Flaming is a long-honored usenet tradition. Some flames are so well-crafted that they become almost an art form. If you post something that is obviously ill-reasoned, or (heaven forbid) something like a stupid chain-letter, expect to get flamed. One good way to avoid being flamed is to clearly state that you are new to the newsgroup (usenet jargon: a "newbie") and are honestly not sure of your facts. Most folks on groups like r.v.p. are quite tolerant in the face of everything but people who are just too full of themselves. A "troll" on the other hand, is a message posted specifically for the purpose of generating responses. Posting something like "I think that the image quality from my single-chip consumer camcorder is just as good as Digital Betacam" would be an obvious troll. Trolling is frowned upon because it's more instructive to discuss things which can be intelligently argued. Still, if you have a "rogue" opinion about something post away! Just be prepared to defend your position.(Bill Davis) FAQ contributors
Bill Davis (FAQ compiler)
Owner/operator of NewVideo in Phoenix, Arizona. Bill writes, shoots,
produces edits, and narrates training, sales, and marketing video programs
for a variety of corporate and industrial clients. He's also an
accomplished voice talent with more than 1000 paid voiceovers to his
credit. His email address is: newvideo@amug.org
David Dennis (FAQ Host)
David is a video enthusiast and web developer. He has written numerous
other FAQs, which you can find at his web site.
Basics
What is "broadcast quality"?
Traditionally, this was a set of specifications to make sure that video was above a certain quality level and thus acceptable for broadcast.
In practice, pretty much any video will be broadcast if it's sufficiently newsworthy. The Rodney King beating video springs immediately to mind; from the frames I've seen of it, it was technically dreadful. But it was news, and so it was broadcast.
Professional broadcasters began using "consumer" video formats with the advent of three-chip Hi-8 cameras. Segments of shows such as Hard Copy were done with Hi-8.
CNN and most other newsgathering operations nowadays use MiniDV cameras such as the Canon XL1 and Sony VX-1000, as well as the more professional formats. So if you can afford a top MiniDV camera, you're capable of running with the big boys -- at least in terms of equipment.
Video Tape Formats
My thanks to Calum for updates on SVHS, ED Beta, SVHS-C and U-Matic.
Mini-DV, DVCam, DVC, DVC-Pro, DVC Pro50, Digital Betacam. If you're starting in the professional or semi-professional arena, you almost certainly want to use one of these formats. For a detailed discusssion of them, see my DV FAQ. VHS. You probably don't want to record on this format, but, sadly, it is where most of your productions will eventually live. Quality can be surprisingly good when recorded directly from MiniDV or professional formats. VHS camcorders, however, are vile machines best avoided.
Betamax. Sadly deceased, this was a significantly higher quality format than VHS. It died mainly because the equipment was more expensive and recorded for shorter periods of time than VHS.
ED Beta. Calum calls this "The Amiga of video formats" - 500 lines resolution, good editing equipment, but Sony dropped the ball on promotion, so you hardly ever see it. Pity.
SVHS. This format is better than VHS, roughly the same quality as Hi-8. It's popular for industrial video and other near-professional uses, and there's plenty of good editing equipment available. One school recently decided to buy new SVHS equipment instead of going digital, because the linear editing systems available for SVHS are standard and similar systems will remain in professional broadcast applications for years to come. Insert audio is possible with the single low-quality audio track, but the newer hi-fi sound tracks are embedded in the picture signal and thus cannot be overdubbed. That said, this format has plenty of life left in it for educational, industrial and low-end professional use.
8mm. Small tapes, long recording times, roughly VHS quality. Delicate tapes. This format does have better audio than VHS, however.
Hi-8. The consumer-grade high-quality format. About equal in quality to SVHS, but the tape is small and has a long recording time. The main drawback is that tapes tend to be fragile.
VHS-C, SVHS-C. This is a small VHS cassette that can be plopped into a regular VHS recorder. Tapes are small, but only record about 20 minutes at a time. I believe this format is only supported by JVC. Sony's 8mm format seems to have won the mini-format war. I haven't seen a SVHS-C unit at all (but then again, I haven't looked very hard). One word of warning: Tapes and transport are apparently even more fragile than 8mm/Hi-8 tapes. Super VHS-C combines the quality of VHS-C with the portability of 8mm, but as with VHS-C, you have fragile cassettes and a lack of LANC support to deal with.
3/4" U-Matic 3/4", U-Matic SP. A format developed by Sony, mainly used in public access TV studios, schools and small market TV stations. There is a lot of old, creaky editing equipment available in this format that can be obtained quite cheaply. However, it can be cantankerous and difficult to maintain.
Betacam, BetaSP. High-quality recording formats; very expensive equipment; even more expensive editing systems.
1 inch
2 inch
quad
Choosing the right format
General remarks from Bill Davis
Video production is a lot of work. It requires planning, effort and talent to do well. Whether you shoot on Hi-8 or DVC-Pro50 doesn't change the effort it takes to get a script, a cast, a crew, lighting, and sound ready to roll. If money were NOT an object, it would arguably be foolish use anything BUT the very best equipment and format available.
But in the real world, quality costs money. So many videographers find that they can accept the quality compromises of working with less than the "absolute best" formats and gear in order to keep their production costs down. As with many areas of high-technology, the performance/price ratio of video gear is a rapidly moving target. The "best" in a particular price range today, is likely to be quickly surpassed by the next generation's gear. So, is it smart to wait for the next generation of production gear? That depends. If you're already working with equipment that's keeping you busy, waiting might make sense. On the other hand, if you don't have equipment now, or you're stuck with gear you've already mastered - you're not learning new skills,. And one elemental truth in the production business is that gear doesn't make videos, people do. If you're not upgrading your skills and abilities, the video production world might just be passing you by. Good rule of thumb -- get the best you can afford now, and immediately start saving to to improve in the future.
David Dennis on choosing a format
If your production has a movie-level budget, say, $ 750,000 or more, you probably want to use film, not video. Who knows, you might be able to snag a theatrical release out of the thing.
If your production has a showbiz-level budget (generally speaking, say, $100,000 or more), you probably need - and have - professional studio cameras.
If your production has a professional-level budget (generally meaning, say, $10,000 or more) and has to be wonderful quality, use BetaCAM SP or one of the Digital BetaCam formats.
If you're an individual, want to do a variety of creative endeavors, and are willing to blow $ 10k on equipment, use high-end MiniDV equipment such as the Canon XL1 or Sony VX-1000, together with a computer-based non-linear editing system. Head over to the DV FAQ for detailed information. Note that this is my own position and therefore what I know the most about.
If you are a still photographer transitioning to video, your best bet is a DV camera with either "progressive scan" or "Frame Movie Mode". They will get you the best possible still pictures. That means you probably want either the Canon XL1 (high end, about $ 4,000, but the best quality by far) or Optura (mid-end, about $ 2,000, reputed to be poor in low light). By spending that money, you get the incredibly satisfying flexibility of being able to get both digital still and video pictures - which is amazingly useful. This is especially good advice if you had a Canon still camera in the past, since you'll have an immediate jump on the controls.
If you're a more pragmatic individual who wants to get the best bang for the buck in conventional videography, while retaining some cutting-edge flair, also head to the DV FAQ, but check out lower-end single-chip cameras like the Canon Optura or Sony TRV9.
If you're on a fairly stringent budget, or if you don't want to use a computer to edit your videos, get Hi-8. For best quality on a budget, you may want to look up a used Sony VX3 three-chip Hi-8 camera for about $ 1,200.
If you just want to produce family momentoes without spending much money, look at a low-end Hi8 camera or (God forbid) a basic 8mm unit. (You can almost feel me wincing as I write this). Note that the price difference between Hi-8 and regular 8mm is not that broad. Sadly, at this level, the rest of this FAQ is unlikely to be of much interest to you.
The primary advantage of VHS is that you can plop the cassette directly into a VHS VCR. However, quality is worse than any of the formats, and VHS camcorders tend to lack important features such as manual controls. They are also quite large and clumsy. However, you may find them easier to handle for long periods of time than the small units because they are designed to rest on your shoulder - ironically enough, just like the professional cameras.
What features should I look for in a camera?
I have excruciatingly detailed information in the DV FAQ; most of the details apply to all cameras, not just MiniDV.
Camera Basics
White balance
The human eye is a marvelous thing. When you walk from the bright, blue-tinted sun to the dim, yellow-tinted household lighting, your eye automatically adjusts to the different colour of light and changes your perception accordingly.
Some video cameras can do this automatically; others need your help. Generally, the more professional units require that you white balance yourself for the best results.
All you need to do is bring a white paper or card with you whereever you shoot. Put the card in front of the camera and move it or zoom in so the white fills the frame. Then, press the button marked "White Balance". You'll see the display change colour.
If this is not done, the colours in your image will often look unnatural.
Bill Farnsworth has a few additional tips about white balance:
Sometimes you want your picture warmer or cooler than the "stock" values. When white balancing, point your camera at something slightly blue to make it warmer, or something red to make it look cooler.What sort of monitor should you take along while shooting?An alternative way to make it warmer: Buy some Rosco 1/8 or 1/4 blue gel, and hold it in front of the lens when white balancing (pointing it at something white, as usual). Of course, you should be sure to take the filter away before filming!
When shooting a sunrise or sunset, use the preset position for daylight, or a balance from earlier in the day. If you white blance at sunset, you will white balance out all the wonderful warm hues.
To do it right, you need a professional field monitor, such as the Sony 8020 or 8021, which costs around $ 600 used.
A 9" Sony television with 12 volt capability will work well for most prosumers. The extra features in professional monitors are worth the money if you have it, but unfortunately they are quite expensive.
Bill Farnsworth was kind enough to come through with the differences between a normal television and a studio monitor. Basically, they are:
One personal comment: At least with a Canon XL1 or Sony VX-1000, you'll get much better results if you focus and frame your shots using a monitor, because the viewfinders do not show the full quality image - and it matters more that you use one than which type it is. So by all means get the cut-rate monitor instead of no monitor at all.
Black balance
Much to my embarassment, I don't know what this is. :-(
Zooming
Most amateur videographers significantly overuse that zoom control. It is, after all, easy to use - but people will get dizzy from too many focal length changes. To get usable footage, use the zoom sparingly and only if you have a vision in mind as to how it will fit together in the end.
If you want to get closer to your subject, using a dolly (see below) will create a much more intense and dramatic effect, because perspective changes as the camera moves. Unfortunately, it also requires additional expensive equipment and careful planning.
Videotaping a video monitor
Clear Scan
Using ND filters
Camera Movement
Pan. Moving your camera left or right.
Tilt. Moving your camera up or down.
Dolly. Moving your camera back and forth. This is a much more dramatic and evocative technique than zooming, but normally requires an expensive SteadiCam or - better yet - a dolly with wheels and even track laid down in advance.
Truck. I'm clueless about this one; hopefully you can help me out here.
Crab. Moving your camera sideways. Same equipment caveats as Dolly.
The Camera and Chips
single chip means a single integrated circuit chip picks up all the colours in the image.
3-chip means that three different circuits, one for each colour, pick up the image. This is far sharper than a single chip and is generally considered necessary for a professional ("broadcast") quality picture.
chip size. Large chips, as on the Canon XL1, give you greater light sensitivity at the expense of sharpness. Small chips, such as on the Sony VX-1000, give you less light sensitivity but more sharpness.
pixel shift is a clever technique that makes the big chips on cameras like the XL1 do the job of small chips. It works only on a three-chip camera and takes advantage fo the fact that, on NTSC video, the monochrome components of the image are recorded at higher resolution than colour. So each chip is shifted slightly so as to get better monochrome resolution, while preserving light sensitivity. The results, as seen on the XL1, are quite impressive.
Editing gear
Detailed information on the workings of linear and non-linear editing is in the DV FAQ
Live switch video is where an event, such as a baseball game, is being played, and there are multiple cameras. A controller, usually sitting in an equipment-packed truck or van, has multiple video screens, each with a different view of the action. She or he switches between views as the action occurs.
Audio for Video
Sadly, this is a subject I'm tragically ignorant about :-(
Audio encoding
linear magnetic
AFM
PCM
Microphone types
Lavilier
handheld
shotgun
specialty
Balanced vs. unbalanced lines
Typically, consumer camcorders and VCRs use "unbalanced" audio
lines. These usually terminate in "RCA" style connectors or in 1/8th inch
"mini-plugs". They are "unbalanced" because they pass audio signals along
just two wires - signal and ground. Unbalanced audio lines are typically
more prone to pick up unwanted outside noise caused by things such as
electric motors, fluorescent lights, and stray radio frequency (RF) signals
than are balanced lines.
So, in professional gear, "balanced" audio connectors and lines are
normally used. These usually terminate in XLR or other three-circuit
connectors. However, it's important to understand that the connector itself
or the number of wires alone isn't enough to make an audio signal system
either balanced or unbalanced. You can take a pair of XLR connectors and a
three conductor wire and by using only two conductors (signal and ground)
make a working cable. But it won't be balanced.
What makes a system "balanced" is the practice of running not one
but TWO signal lines in addition to the ground line. One of the two signal
lines is sent "out of phase" with respect to ground. At the receiving end,
the "out of phase" signal is reversed and summed back with the original.
Any electrical "noise" that enters the cable or connections on a balanced
line (called common-mode noise) is thereby put out-of-phase and, to a large
degree, is self-canceling. The result of all this technical slight-of-hand
is a cleaner audio signal that can be sent over longer runs without picking
up unwanted electrical noise. (Bill Davis)
Audio levels
5.4.1 Mic Level vs. line level
Microphones generate very small electrical signals. Microphone
signals are usually measured in MICRO-VOLTS (millionths of a volt). Levels
such as those that come from the LINE outputs of mixers and cameras are
typically in the area of ONE FULL VOLT. Plugging a microphone level signal
into a line level input will result in such a small signal that you might
not be able to hear it. HOWEVER, doing the reverse, feeding a line-level
signal into a circuit that expects a microphone level is NOT a good idea.
It can easily fry delicate circuitry. These are the standards for levels,
but in actual field conditions - particularly when taking a feed from a
mixing board or house sound system - the signal level of a feed might be
far from "nominal." For this reason, most experienced videographers often
carry a variety of "pads" or even full-fledged "field-mixers" along on
shoots, to help match audio signal levels to what the camera audio inputs
want to see.(Bill Davis)
Level setting
Audio processing
audio compression
limiting
normalizing
Lighting
Lighting Basics
A video camera does nothing but record reflected light. For this
reason, controlling the amount, kind, and color of light IS the heart and
soul of the visual skills of videomaking.
6.1.1 Exterior vs interior lighting
Outside during the day there's one light that typically trumps all
others. The sun. You can block it, reflect it, and filter it , but you
usually can't get rid of it. The smart videographer learns to work WITH the
sun, positioning talent to take advantage of it's light. Doing something
as simple as using white foamcore to bounce fill-light on a subjects face
and thereby brighten the face and fill eye-socket shadows can be the
difference between a pleasing picture, and a marginal one. Reflectors, from
the more costly collapsible-framed fabric-covered "light discs" to that
slab of white foamcore are typically part of every outdoor videographers
kit.
Outside at night, it's almost always necessary to add light to get
decent color video footage. Adding color media (gels) to lights can help
give the impression of moonlight, streetlights, or other typical types of
night lighting, but the important thing is achieving an adequate AMOUNT of
light, without which, video recordings tend to look colorless, grainy and
unappealing.
Indoor shooting has different problems. Typical indoor lighting can
be a mix of light types (incandescent desk or table lamps, fluorescent
overheads, daylight from exterior windows, etc.) To get good results, an
experienced videographer will understand the different types of lighting on
a set and understand how to use tools such as additional video lights,
difusers, gels and reflectors to properly light an interior set.
Plus, don't forget that lighting is as much an art as it is a
science. Lighting for video recording is a subject that can take a lifetime
to master. But it's always time well spent. (Bill Davis)
What is hard and soft light?
Hard light is a beam pointed directly at the subject. It creates
harsh, dramatic shadows. Citizen Kane shows the use of hard light
at its most dramatic. A sunny day also demonstrates hard light; the beam
of the sun falls directly on you, casting shadows.
Soft Light is a beam that is either diffused by material (such as
cloth or clouds) or indirect light, such as a torchiere light pointed at
the ceiling. This creates a glow that doesn't seem to come from any
specific point. Very few to no shadows are produced by it.
Generally, hard light is dramatic and creates exciting
three-dimensional effects, but makes the subject look bad. Soft light
creates flat and boring images, but makes the subject look good.
So for the best mix of interesting and flattering light, we turn to the
time-honoured mixture of three point lighting, as described in the next
section.
What is Three-Point Lighting?
Three point lighting is a time-honored system for lighting subjects
attractively. As you might have guessed by its name, three lights
are required:
Rough positions of the lights, from the top
O < back, above the subject
subject
/O O\
O O
key fill
Key. This is the main light. For the most interesting textured
image, it is a hard light that creates shadows.
Fill. Those shadows created by the key are ugly! So a second
light is needed, placed about 90 degrees from the key. This light is
less bright, so it doesn't entirely offset the shadows. But it lightens
them for a warmer, more flattering look.
Back This light is to the rear of the subject and above
him/her/it. It creates a "halo effect" on the subject's hair that
clearly separates it from the background, creating a more three-dimensional
effect.
In an outdoor setting, or where there are limited lights available, you
can use reflectors to substitute for one or more of the lights shown in
this diagram.
interior vs exterior
Color temperature
Take a look at the light coming from a halogen light. Then, look at
the light from an incandescent bulb, and a flourescent light.
Finally, go outdoors and look at the sun.
What do you see?
Color is a product of reflected light, so when lights are of different
colours, objects appear coloured differently. If lighting is consistent
through a room, white balance is all you will need. But what if you have
outside light going from the window and an incandescent light illuminating
part of the room? The colours will then look odd, since white balance
will try to compromise between the colours.
So, for a consistent colour in your image, you may want to filter
light so that it's all of a consistent colour. This can be done with
either gels (special filters put on your lights to change colour),
special bulbs (made to daytime colour temperatures), or even coloured
reflectors.
Ross Lowel's excellent book Matters of Light and Depth is
both a hilarious read and an excellent source of detailed information
on lights and lighting principles.
gels & color media
Visual Aesthetics: The Art of Video
7.1 Visual Aesthetics
7.2 Visual language
In the traditional language of movies and video certain visual
elements had a role in storytelling. For example, once upon a time, a
dissolve indicated that time had passed between one scene and another. To a
degree, the longer the dissolve, the more time had passed. In the classic
film "The Maltese Falcon" Humphry Bogart as Sam Spade is hit on the head
and blacks out. A long dissolve suggests that although we remain in the
same spot in the same room between scenes, it's now much later. The
director shows us darkness outside the window reinforcing the effect of the
dissolve. But it's the dissolve itself that helps to orient us within the
story. Or course, in today's MTV fueled visual lexicon, it's not so simple
anymore. A dissolve might simply support a mood or visual pace.
Still, elements such as positioning characters in a superior or
inferior posture relative to each other, shooting a spokesperson from
a slightly high or low camera angle, or adjusting the amount of
headroom in a shot all can help signal the viewer about the subjects
credibility or about dynamics of the relationship between two
characters.
Studying classic films, well-directed television episodes, and even
popular product commercials can help a videographers learn how to use
visual language to help communicate with an audience. (Bill Davis)
Live Switching
Bill Davis
Okay fellow masochists, lets talk about live switched video. By
definition this is a production where there are two or more cameras tied to
a production switcher. It also typically involves a director who, directs
(duh) the camera operators to get the shots needed, then switches between
them. Choosing to do a "live switch" is a judgement call. It takes much
more effort to set up. It requires many more people and much more equipment
to accomplish than typical EFP (electronic field production) or ENG
(electronic news gathering) shoots. The benefit? If all goes well, at the
end of the shoot you have a finished (or at least very close to finished)
master. It can reduce expensive post production to zero. With an
experienced crew and good equipment, a live switch production can be
relatively painless and will be very, very efficient. Without those
resources, it's a BIG challenge. Although many (myself included) consider
getting a successful multi-camera live switched program in the can as one
of the most challenging, exciting and rewarding forms of video production.
Now re-read the sentence in this!
David Dennis
Live switching is the art of putting together video "on the fly", as done
in sports events, concerts and other live events. Here's a very nice
account of how it
works.
Video Jobs
How do I break in?
With extreme difficulty.
Industrial Video
It's not what you think of when you think movies, but it can be quite
interesting and profitable. Barry Hampe has some excellent books
on the subject.
Scriptwriting
From all accounts, this can be a miserable existance, since your vision
for the film is almost always watered down by the rest of the production
staff. But it can be a very lucerative miserable existance. William
Goldman gets somewhere around $ 3 million for a script.
I suspect writing is one of the best ways to get rich off the movies,
but there's incredibly stiff competition.
Producing
Producing is a combination of two things: Bringing the package together
(writer, director, stars, etc) and raising money for the production.
Remember what Richard Branson said about his airline, Virgin Atlantic.
He was asked, "What's the best way to become a millionaire?"
"Be a billionaire and found an airline," he said.
I rather suspect this could apply to independent producing as well.
Directing
Directing is the day to day management of the production. One of the
most difficult and stressful jobs around, this is also one of the most
satisfying.
Crewing
Acting. The good news is that there are about a billion books
on breaking in as an actor. However, as you probably know already, your
odds of success are slim due to the intense competition. If you're not
discouraged, seek out a few of those books.
Video Production Education
Where to learn.