Chapter 9: The Shoot

• Production Crew (pp. 315-6)
• Producer(s)
• Unit Production Manager (U.P.M.)
• 1st Assistant Director (A.D.)
• 2nd Assistant Director (A.D.)
• Script Supervisor
• Production Assistant (P.A.)
• Director
• Casting (p. 317)
• Director of Photography (D.P.)
• Camera Operator
• 1st Assistant Camera Operator (A.C.)
• 2nd Assistant Camera Operator (A.C.)
• Digital Image Technician (D.I.T.)
• Still Photographer
• Sound:
• Mixer/Boom Operator/Cable
• Electrical:
• Gaffer/Best Boy/Electricians
• Grip:
• Key/Best Boy/Grips/Dolly
• Art Department:
• Prod Designer/ Art Director
• Set Decorator/Dresser
• Construction/Greenspeople
• Props
• Make-Up:
• Keys Hair And Make-Up
• SFX Make-Up
• Wardrobe:
• Costume Designer/Costumers
• Locations
• Transportation (Drivers)
• Physical Effects
• Visual Effects (VFX)
• Second Unit (p. 316)

• MOS (p. 340)
• Scenes/Shots (p. 323)
• Takes/Setup (p. 323)
• Circled Takes (p. 342)
• Standard Shot Progression: (p. 325)
• Long Shot /Master Shot (p. 324)
• Medium Shot
• Close-Ups
• Angle/Reverse-Angle Shot (p. 324)
• Point-of -View Shot (P.O.V.) (p. 324)
• Static Shot/Moving Shot (p. 325)
• Pick-Ups (p. 329)
• Storyboard (p. 313)
• Camera Angles (Height):
• High/Eye/Low Level (Not in book)
• Screen Direction (p. 490)
• 180-Degree Rule (The Line) (pp. 326-328)
• Director's Finder (p. 318)
• GafferÕs Glass (Contrast Viewing) (p.479)
• Composition: (pp. 325-326)
• Leading the Action/Look Space
• Rule of Thirds/TV Safe (p. 331)
• Continuity (p. 328, P. 365)
• Overlap of Action
• Cutaways/Inserts (pp. 328 & 487)
• Jump Cuts (p. 489)
• Pulled (Rack) Focus (p. 329)
• Dutch Angle (Dutch Tilt) (p. 329)
• Shooting Ratio (10:1 etc.) (pp. 320-321)
• Tripod Heads (pp. 344 - 345):
• Friction/ Fluid/Geared Heads
• Tripod Legs (pp. 344 - 345)
• Standard/Baby Legs/High Hat
• Spreader (Spider, Triangle) (p. 345)
• Suction Cup Camera Mounts (p. 347)
• Apple Boxes (p. 347)
• Speed Rail
• Pan & Tilt, Swish Pan (p. 348)
• Dolly (Crab), Track, Truck (p. 348)
• Camera Crane or Boom (p. 348)
• Hand-held (pp. 351-352)
• Moving Vehicle Shooting (p. 351)
• Image Stabilization Devices: (p. 353-5)
• Optical for High End DV Cameras
• Electronic for Consumer DV (EIS)
• Steadicam (p. 353)

Chapter 10: Sound Recording Systems

• Frequency/Pitch (Hz) (pp. 369-370)
• Amplitude (Volume) (p. 369)
• dB (Decibels)
• Dynamic Range (p. 369)
• S/N (Signal to Noise Ratio) (p. 369)
• Sweetening (p. 626)
• Magnetic Tape Recorders (pp. 371-2):
• DAT (Digital Audio Tape)
• Nagraª Analog Reel-to-Reel
• Pilot Head/Playback Head (p. 387)
• Types: Digital Audio Recorders (pp. 377-9):
• Hard Drive/Laptop
• Flash Memory
• DVD/CD/Discs
• Recording in the Video Camera (pp. 383-6)
• Resolution (Sound Quality) (pp. 374-6):
• Sampling Rate/Bit Depth
• DV Has 48 KHz at 16 Bits
• Audio File Formats (BWF+) (pp. 379-380)
• Microphones (pp. 390-395):
• Mic vs. Line Level (p. 401)
• Transducing Elements (p. 390):
• Dynamic (Rugged/No Battery)
• Condenser (Sensitive/Needs Power)
• Pick-Up Patterns: (pp. 391-393)
• Omnidirectional (Non-Directional)
• Cardioid (Front & Sides)
• Hypercardioid (Front Only) (Shotgun)
• Types & Usage: (pp. 396-399)
• Hand/Boom/Fishpole/Lavaliere (Lapel)
• Wireless Mics (RF) (p. 397)
• Windscreen/Zeppelin (p. 395-6)
• Balanced/Unbalanced Cable (pp. 402-404)
• Impedance: High & Low (pp. 402-404)
• Matching Transformer
• Audio Connectors: (p. 403)
• (Balanced) XLR & 3 Conductor
• (Unbalanced): Mini/1/4Ó/ Phono

Chapter 11: Sound Recording Techniques

• Sound Person or Mixer (pp.404-413):
• Mic, Cable, Headphones, Recorder, Mixer
• Prepares Sound Report/Labels
• Reference Tone/Head Slate (p. 421)
• VU Meter (Volume Unit) (0 dB) (p. 421)
• Digital Levels (-20dB) (pp. 417 - 419)
• Avg. peaks about Ð20dB, not above Ð10dB
• Level/Gain/Pot (p. 414)
• Automatic Gain Control (or AGC) (p. 422)
• Ambient Sound/Room Tone (pp. 424-5)
• Acoustics (Live, Dead) (p. 425)
• Ideal Placement of Mics (p. 413-414)
• Proximity Effect
• Multiple Microphones:
• Phase Cancellation (p. 430)
• Slate/Clapper/Sticks (pp. 435-6)
• Head/Tail Slate
• Time Code (Digi-Slate) (p. 438)
• Recording A ÒHollywood StyleÓ Take (p.437)

Chapter 12: Lighting

• Available Light (p. 443)
• Naturalistic Light (p. 467)
• Hard Light/Specular Light (p. 444)
• Soft Light /Diffuse Light (p. 444)
• Top Light/Underlight (p. 447)
• Lighting Contrast (pp. 447 - 449):
• Low Key/High Contrast
• High Key/Low Contrast
• Wattage: 1k, 2k, 5k, 10k (p. 449)
• Aces (1k) And Deuces (2k) (p. 456)
• Spots: Inky/Baby/Junior/Senior
• Inverse Square Law (p. 450)
• Lamp Head/Bulb (pp. 449, 451)
• TungstenÐHalogenÐQuartz (p. 451)
• (CTO) 3200ûK
• HMI Lights (Formerly Carbon Arc) (p.452)
• (CTB) 5600ûK
• Fluorescent Bulbs (pp. 453-455)
• Plus Green/Minus Green Gels (p. 482)
• Spotlights (Focusing) (pp. 455-456):
• Fresnel Lens (p. 455)
• Open Face (No Lens) (p. 456)
• Floodlights (Nonfocusing):
• (PAR) SealedÐBeam Lights (p. 457)
• Scoops/Broads (p. 457)
• Diffusion Materials (p. 457)
• Scrims (p. 464)
• Bounce Light (p. 459)
• Foam Core/Show Cards
• Reflectors: (p. 460)
• Foil or Space Blanket
• Eye/Obie/Bash Light (p. 461)
• LED Lights (p. 455)
• Spill Light Control (pp. 462 Ð 463):
• Flags, Barndoors, Net, Cucoloris, Snoot
• CÐStands (Century Stands) (p. 464)
• Location Lighting: Polecats, etc. (p. 464)
• Practicals (p. 460)
• Dimmers (p. 464)
• Gels: CTO & CTB (p. 465)
• Dichroic Filters (p. 466)
• Three Point Lighting (pp. 468-474)
• Key/Fill/Back
• Lighting Contrast: (p. 478)
• Typical Ratios: (2:1, 3:1, 4:1)
• Butterfly/Silk (pp. 479 - 480)
• Magic/Golden Hour (p.483)
• Night/Day for Night (pp. 482-483)
• Mixed Color Temperature (pp. 480-482)
• Formula for determining amps: (p. 484):
• Amps = Watts/Volts