T436 - Fall 2007 - Week 12

Agenda

• Quiz review
• Lighting odds and ends
• Production meeting: Review cut sheet
• Look at rough edits
• Shoots this week:
  • Dan L/Garrett - Final Transmission
  • Adrienne/Dan P - Symbiosis
  • Dan L/Adam - (Pickup studio shoot for I Got to Get Out of this Place) ????
• Critical review in lecture time next week

Announcements/Reality check

The end of the semester is nearly upon us. Some projects have been smoothly- others have had some bumps. This week (and possibly next Monday) are the last chances to shoot anything- as all has to be completed by the Monday following Thanksgiving. We'll look at what we have next Monday, a week from today (11/20). The week following Thanksgiving (11/27) I'm inviting a few people such as Brent Molnar, Steve Krahnke, Lee Sheldon to come in and give some feedback.

On the whole here are what remains to be done:

• Finish production
• Assign editors to remaining pieces
• Turn in Production Books
  • Turn in talent releases (You'll get an incomplete until you turn these in)
  • Turn in writers license agreements (You'll get an incomplete until you turn these in)
• Select final shorts for the TV show (not all will make the cut)
• Collect Word docs of just the audio portion of scripts for closed captioning
• Write intros/segues/wraps for two Small Screen Cinema programs (30 min each)

In reviewing roughs, consider what will make the story clearer. What will make it better technically or aesthetically? Last year we improved some by adding addionnal shots (establishing, connecting, cutaways, etc.)

Some of the existing shorts I've seen need work: shooting, editing and graphics.

Some of the stories aren't as clear or developed as they should. These might well need additional segments shot to make them stronger. If we do this it must happen now or the week after Thanksgiving.

Shoot Host intro and segues into various shorts. Since the quaility of the shorts and whether we're using them has yet to be determined, this production will likely occur as an extra credit opportunity. I'll make a production team out of people who need to raise their grades. Like the other productions, this will be anywhere from 30-50 points depending upon your role.

Other extra credit opportunities: Learn to edit HD and edit your own project. Can facilitate this Thanksgiving week.

Reviewing Shorts

As mentioned earlier, we'll be reviewing the final finished shorts the week after Thanksgiving. We'll have some special guests in to help review and critique. Everyone will be asked to submit a Critical Evaluation of all of the programs. See the website for details.

HD Lighting/Production Issues

HDTV’s wider aspect ratio and more detailed image are two elements affecting production. Sets, graphics and other production elements that may have served well for the standard definition 4:3 aspect ratio needed to be re-designed to fill the wider space. The increased visual clarity of HDTV has forced designers to spend considerably more money on sets, set dressings and props. With the old analog system, fake, painted-on books might have served well for a backdrop. But now that viewers can see more detail, real books, or at least a better paint job is needed.

Lighting People

There has been some press about the need for TV actors to invest in cosmetic surgery, or at least spend more time in makeup, because of the greater detail HDTV provides. This is mostly a myth. The likenesses of film talent have been displayed at a much greater size and with far more clarity on large movie screens for years. How to reduce wrinkles: By using soft lights and decreasing the angle of key lights lighting designers can greatly reduce the appearance of wrinkles and imperfections. Contrast reduction filters also can help minimize blemishes and small shadows.

Be sure you understand basic lighting concepts (High-key vs Low-key lighting). As well you ought to review portraiture lighting (Broad vs Narrow/Short)

Placing the keylight: Broad vs Narrow lighting

Consider if you want broad or narrow lighting. Most subjects are shot portrait style- where the talent is slightly askew from the camera, typically facing an off-camera interviewer.

Broad lighting is when you position the key light on the camera side of the interviewee's primary vector. Narrow (also known as short) lighting is when you place the key light on the other side of the primary vector.

 

 

 

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