T356 - Spring 2014 Week 8
- Today: Quiz on graphics & studio signal flow.
- Demonstration Videos this week and next
- Next week: Pitch Dramatic Scenes. Everyone needs to turn in a Proposal and a script or Treatment. (You don't need a floor plan or lighting plot.) Once we vote on these the group will be responsible for all of the components (revised script, floor plan, lighting plot, camera shot sheets, etc.)
- Critiques! - All team production exercises from last week's news
call for a 1-page critique. All remaining production assignments require
a critique. You can turn these in via the Oncrouse/Resources folder. Please save them as your username in MS Word or PDF form.
- We'll select final PSAs and partners this week during lab.
materials are due next week. We'll schedule these in lab (half-hour
blocks) next week. So as soon as we lock into the PSAs this week, you
should find out if your client has a preferred time slot (everyone
gets about 25 minutes).
- Timecode, visualization/blocking/treatments/scripts
- Dramatic scene samples (if time allows)
Be sure to do the readings: cybercollege 57 (time code) & 60 (video
switcher and special effects)
Zettl chapters 17.1 (PDF) & 18 (PDF)
Timecode is an electronic numerical signal recorded or embedded into
the signal, which allows playback devices to be
synchronized and controlled with frame accuracy and also provides a unique address code for each frame or location
on the tape or media stream. This allows us to access that
specific frame or location on the tape or media stream precisely, again, and again
with frame accuracy.
Most have been taught that video
runs at about 30 frames per second. While we count
it on a 30 frames per second basis, video actually runs a tad slower: at 29.97 frames per second. This 3/100ths of a second difference every second adds up and can cause timing issues the right type of timecode is not used or is misinterpreted.
Time code is formatted like a 24 hour clock
"Hours" range from 00 to 23, "minutes" range
from 00 to 59, "seconds" range from 00 to 59, "frames" ranges
There are two ways to count or number timecode (which can usually be
selected on the VTR, camcorder or other gear):
- Non-drop frame. This is often referred to as "NDF"
- Drop frame. This is often referred to as "DF"
Non-drop frame timecode: each new frame of video
is assigned the next higher number (06:01:00:29 becomes 06:01:01:00)
The problem with basic non-drop timecode is that the frame numbers
drift from the actual elapsed time of a program.
Imagine you've been asked to assemble a two-hour program
for a TV station. You could set your timecode display to start at 0,
then assemble your programming. When you got to 2 hours you'd be done,
right? Wrong- unless you are using drop frame timecode.
Let's assume a 30 frame per second rate and look at 2 hours of programming:
We need 2 hours of programming:
2 hours x 60 minutes = We need 120 total minutes.
120 minutes x 60 seconds = We need 7,200 total seconds.
7200 seconds x 30 frames = We need 216,000 total frames.
But video actually runs at 29.97 frames per
second. That's a 3/100ths of a second difference from 30 frames per second.
We really need to take our total seconds and multiply by 29.97 instead
So 7,200 x 29.97 = 215,784 total frames.
There's 216 frames difference - or about 7.2 seconds.
These problems are avoided if you use drop frame timecode.
Drop frame timecode is harder to calculate, but it provides a numbering
system that is more accurate, timewise.
In drop frame time code, the frame numbers 0 and 1 are removed from
each minute except for every tenth minute (starting from the first).
That is, minute 00, 10, 20, 30 and so on, do not have any frame numbers
dropped, but all other minutes do. (06;01;00;29 becomes 06;01;01;02)
You can tell when something is drop frame because the time code display
has semicolons (;)
PS: There are several good shareware timecode calculators out out there. I used to use TC Calc and now use the iPhone app version.
Scott Simmons reviewed several iPhone timecode calculators in his blog.
Visualization, Producing & Directing
First a quick review of the production process is in order. (Remember
this from T206 & 283?) It has three stages:
1. Pre production (Must be thorough)
3. Post production
The Producer is ultimately responsible for the production
and making sure that everything gets done. In Film, the Producer usually works in broad strokes and stays out of the way of production. In TV the Producer is much more involved in production.
The Director gets the crew and talent to function as
a team and tells then what to do.
The producer is in charge of almost all the activities that take place
during the Pre production phase, the most important step in the production
process. This includes developing an idea & treatment, writing a
script, planning, getting talent, locations and crew etc.
No program should start without an objective and
a target audience.
- Objective: After watching your program, what will viewers do?
- Target audience: Who are you trying to reach?
Once you have these two you can work
up a program proposal and a treatment.
The Pitch: How are TV shows & movies launched?
With the pitch. A movie or TV executive is on the receiving end. Agents
typically pitch ideas to executive producers. Writers usually don’t
do it. Often the script isn’t even conceived yet.
Here's a clip from Altman's movie, "The Player".
This specifies the exact equipment that is needed. (Specific microphones,
boom stands, cameras, dollies etc)
Imagine you were producing one of your demonstration videos, or a final
project in Studio 6. You have the studio booked, but you have to figure
out everything you need. In addition to the number of cameras,
you'll need to plan for set construction, lighting set up time, engineers,
tape operators, and even the blank tape.
Visualization, sequencing & blocking
Assuming you have a clear cut objective and a script- the next step
Directing starts with visualizing key images. You must first imagine
what something is going to look in order to have a chance of re-creating
it with a video camera.
The director is ultimately in charge of visualization and sequencing.But he or she is often assisted by the Production Designer or Art
Director. These people can help create the look and feel of a production. Costume and lighting are integral
to creating mood.
Visualization also includes sound.
Visualization - Starting Out
Don't start with a floor plan. Instead start by imagining what you want
to see inside of the frame. Storyboarding is an excellent way to start.
Even if you don't think of yourself as an artist, you're capable of
drawing basic storyboard figures. You can use stick figures with perspective
boxes. You can also take pictures with your
digital camera of people (or Barbie dolls, etc.) as stand-ins for
the real thing.
Try starting by envisioning certain key scenes.
(Remembering the basics of continuity, such as the 180 degree rule) Create
storyboards of the scenes.
Once you've created your initial storyboards, consider
where the camera and talent needs to be in order to get the shot. Also
consider your possibilities and limitations. You have a finite number
of cameras and a limited means of positioning them. You are now ready
to create your initial floor plan.
Sequencing & blocking
After visualization is done you need to create a set the instructions
for getting from one shot to the next. Determing the precise placement
of talent, props and cameras is called blocking.
In order to start blocking, you'll need your storyboards, floor plans
and scripts. Refer to your storyboards and floor plan. Make instructions
in the script for both talent and cameras. Make sure it's possible to
get your shots. If not then you'll have to edit or change something.
Alfred Hitchcock created elaborate storyboards for his movies. (See
example) Once this was complete he hardly bothered to look in the viewfinder.
He trusted the cameraman to faithfully duplicate his image from the storyboard.
Once you've planned the blocking and sequencing for your scene, you'll
need to refine it. You should always rehearse your scenes with talent
(or stand-ins) focusing only on blocking. During rehearsals, take pictures
from the various camera standpoints to make sure you're getting exactly
what you need. (See the various types of rehearsals in the week 8 notes.)
On-line examples of multi-camera production:
Review Dramatic Scene Exercise
Up to Jim Krause's T356 homepage