| Crazy Mad Thank |
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xix | |
| Web Site Page |
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xxi | |
| How This Book Is Laid Out |
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xxiii | |
| Preface |
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xxv | |
| Introduction |
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xxxi | |
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1 | (66) |
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Video Tech Specs---The Necessary Evils |
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2 | (2) |
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Intro: My Low Definition of High-Definition Video |
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2 | (1) |
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2 | (1) |
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2 | (1) |
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Progressive vs. Interlace Scan Lines |
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3 | (1) |
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3 | (1) |
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3 | (1) |
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4 | (3) |
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4 | (1) |
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4 | (1) |
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5 | (2) |
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7 | (13) |
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Why DSLR Cameras Are Lame |
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20 | (3) |
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20 | (3) |
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Why DSLR Cameras Are Da Bomb |
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23 | (2) |
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23 | (1) |
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24 | (1) |
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DSLR Workarounds and Fixes |
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25 | (1) |
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Anatomy of a DSLR Franken Rig |
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26 | (1) |
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27 | (2) |
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29 | (2) |
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Hot Tip: A Down and Dirty Raincover |
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31 | (1) |
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Exposure and Zebra Stripes |
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32 | (1) |
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32 | (1) |
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Zebra Stripes Are Your Friend |
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32 | (1) |
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33 | (1) |
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33 | (1) |
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34 | (1) |
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35 | (1) |
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Changing Mood with White Balance |
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35 | (1) |
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Secrets of the Color Wheel |
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35 | (1) |
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Making the Most of Any Camera |
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36 | (1) |
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37 | (1) |
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38 | (1) |
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38 | (1) |
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38 | (1) |
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39 | (1) |
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39 | (1) |
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40 | (2) |
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Introduction: Who's Zooming Who? |
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40 | (1) |
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40 | (1) |
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41 | (1) |
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Smooth Like Butter, Baby! |
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41 | (1) |
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42 | (1) |
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43 | (1) |
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43 | (1) |
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Hot Tip: 5 Cool Shutter Speed FX |
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44 | (2) |
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46 | (2) |
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46 | (1) |
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46 | (1) |
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47 | (1) |
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Hot Tip: Shooting Time-Lapse Scenes |
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48 | (2) |
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Anatomy of a Green Screen Interview |
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50 | (1) |
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Working with What You've Got |
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51 | (1) |
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Constructing an Interview Space |
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51 | (1) |
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Working with What You've Got |
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52 | (1) |
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A Bare Conference Room with a Great View |
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52 | (1) |
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4 Reasons to Enhance People's Looks |
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53 | (2) |
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Why Make People Look Good? |
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53 | (2) |
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55 | (1) |
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55 | (1) |
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55 | (1) |
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56 | (1) |
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56 | (1) |
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56 | (1) |
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57 | (1) |
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Translucent Powder Makeup |
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57 | (1) |
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57 | (1) |
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57 | (1) |
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57 | (1) |
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Applying Powder Makeup in Five Easy Steps |
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58 | (1) |
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Common Facial Issues and Fixes |
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59 | (2) |
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Been There, Done That: Seven Practical Tips on Shooting Sports |
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61 | (6) |
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Chapter 2 AUDIO TECHNIQUES |
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67 | (36) |
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68 | (1) |
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Why Your Audio Is More Important than Your Video |
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68 | (1) |
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69 | (1) |
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70 | (1) |
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71 | (1) |
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72 | (2) |
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72 | (1) |
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72 | (1) |
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73 | (1) |
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74 | (2) |
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My Mic Sounds Nice...Check One, Two, Three! |
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74 | (2) |
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Been There, Done That: Mic Choice, Meters and Miking Pianos |
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76 | (2) |
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Analog versus Digital Measurements |
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78 | (2) |
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Exceptions to the General Rules |
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79 | (1) |
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Why Are There Two Different Digital Standards? |
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79 | (1) |
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Setting Proper Audio Levels |
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80 | (1) |
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My Mic Sounds Nice, Check 1: Audio Levels |
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80 | (1) |
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Hot Tip: Bracketing Your Audio |
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81 | (1) |
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82 | (1) |
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83 | (1) |
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84 | (1) |
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Wind Noise Is Most Likely |
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84 | (1) |
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84 | (1) |
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85 | (1) |
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85 | (1) |
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85 | (1) |
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Hot Tip: Two Mics are Always Better Than One |
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86 | (1) |
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Audio Troubleshooting Guide |
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87 | (5) |
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Other Audio Trouble Spots |
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92 | (1) |
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Been There, Done That: Location Recording Issues and Post Tools |
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93 | (2) |
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Fixing Location Audio in Post |
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95 | (1) |
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Hot Tip: Graphic Equalizer |
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96 | (1) |
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97 | (1) |
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97 | (1) |
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98 | (1) |
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98 | (1) |
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98 | (1) |
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Anatomy of a Down and Dirty Voice-over |
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99 | (1) |
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Five Sound Rules to Live By |
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100 | (2) |
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100 | (1) |
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100 | (1) |
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100 | (1) |
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101 | (1) |
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101 | (1) |
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Been There, Done That: The Secrets to Recording Great Audio |
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102 | (1) |
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Chapter 3 LIGHTING: GETTING YA SHINE ON |
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103 | (26) |
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104 | (1) |
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104 | (1) |
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Hot Tip: 10 Ways to Practice Safe Sets |
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105 | (4) |
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Been There, Done That: How Many Lights Can I Plug Into This Circuit? |
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109 | (3) |
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112 | (1) |
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113 | (1) |
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A Word (or Two) about Low Light Conditions |
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113 | (1) |
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114 | (1) |
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114 | (1) |
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114 | (1) |
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115 | (1) |
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Hot Tip: Chromatte Greenscreen Tips |
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116 | (1) |
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117 | (1) |
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118 | (1) |
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119 | (1) |
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120 | (1) |
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121 | (1) |
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122 | (1) |
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123 | (1) |
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124 | (1) |
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125 | (1) |
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126 | (1) |
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127 | (2) |
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Chapter 4 MARKETING AND PROMO VIDEOS |
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129 | (50) |
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Intro: Solving Clients' Problems |
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130 | (1) |
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Been There, Done That: Video Marketing Ain't For Everybody |
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131 | (1) |
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Conceptualizing the Video |
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132 | (1) |
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Creative versus Effective |
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132 | (1) |
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133 | (3) |
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It All Starts with an Outline |
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133 | (1) |
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133 | (1) |
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134 | (2) |
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136 | (1) |
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136 | (1) |
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137 | (1) |
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138 | (1) |
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139 | (1) |
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Hot Tip: 7 Tips for Working with "Real People" |
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140 | (3) |
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143 | (1) |
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144 | (1) |
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145 | (1) |
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146 | (1) |
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147 | (1) |
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148 | (1) |
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Working with Teleprompters |
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148 | (1) |
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Been There, Done That: Commercials 101 |
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149 | (2) |
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151 | (6) |
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151 | (1) |
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152 | (1) |
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153 | (1) |
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153 | (1) |
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154 | (1) |
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154 | (1) |
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155 | (1) |
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Using Different Lens and Focal Lengths |
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156 | (1) |
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157 | (1) |
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Hot Tip: Five Ways to Get B-Roll |
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158 | (4) |
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Been There, Done That: Commercials 201 |
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162 | (3) |
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Getting "Broadcast Standard" |
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165 | (1) |
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165 | (1) |
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165 | (1) |
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165 | (1) |
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166 | (1) |
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167 | (2) |
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167 | (1) |
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168 | (1) |
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169 | (4) |
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169 | (1) |
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169 | (1) |
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170 | (1) |
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171 | (1) |
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172 | (1) |
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172 | (1) |
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Hot Tip: Shooting Group Interviews |
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173 | (4) |
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The Freelance Video Workflow* |
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177 | (2) |
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179 | (62) |
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So, Why Make Music Videos? |
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180 | (1) |
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5 Good Reasons to Make Music Videos |
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181 | (1) |
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5 Tips for Finding Your First Act |
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182 | (3) |
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185 | (1) |
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Things to Keep in Mind Going into the Gig |
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185 | (1) |
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Cost/Benefit of Using Your Own Money |
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185 | (1) |
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Be Reasonably Transparent |
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185 | (1) |
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186 | (1) |
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186 | (1) |
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186 | (1) |
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187 | (2) |
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187 | (1) |
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Under-Promise and Over-Deliver: Words to Live By |
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187 | (1) |
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187 | (1) |
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Be Honest with the Act and Yourself |
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188 | (1) |
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188 | (1) |
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189 | (1) |
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189 | (1) |
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189 | (1) |
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189 | (1) |
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189 | (1) |
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Sample Music Video Budget |
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190 | (2) |
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192 | (1) |
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192 | (1) |
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Get to Know the Song Super Well |
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192 | (1) |
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193 | (1) |
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Some Things I Did Well When I Wrote These Notes |
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193 | (1) |
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Some Things I Could Have Done Better |
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193 | (1) |
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193 | (1) |
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194 | (1) |
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194 | (1) |
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194 | (1) |
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Putting the Treatment Together |
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195 | (1) |
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195 | (1) |
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After You've Been Approved |
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196 | (2) |
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What Do I Need to Do to Prepare? |
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197 | (1) |
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198 | (1) |
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The Patent-Pending Benjamin Ahr Harrison Music Video Scripting Process |
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198 | (1) |
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Fundamentals of the Process |
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198 | (1) |
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In Preparation, Hire an A.D |
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198 | (1) |
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198 | (1) |
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199 | (1) |
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199 | (1) |
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Scripting: The Location-Based Outline |
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200 | (1) |
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200 | (1) |
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201 | (1) |
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201 | (1) |
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Scripting: The Shooting Schedule |
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202 | (1) |
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202 | (1) |
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Prepping Your Music Video Shoot |
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203 | (2) |
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A Few Things to Consider as You Prep Your Shoot |
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203 | (1) |
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203 | (1) |
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204 | (1) |
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204 | (1) |
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205 | (1) |
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205 | (1) |
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205 | (1) |
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5 Things to Always Do On Set |
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206 | (2) |
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10 Pro Tips for Shooting Music Videos |
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208 | (4) |
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212 | (2) |
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212 | (1) |
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212 | (1) |
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213 | (1) |
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Managing the Postproduction Process |
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214 | (1) |
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215 | (1) |
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Review Edit #1: Rough Cut |
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216 | (2) |
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216 | (1) |
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217 | (1) |
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217 | (1) |
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True Music Video Confessions |
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218 | (1) |
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Review Edit #2: Compositing |
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219 | (1) |
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219 | (1) |
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The Basics of Compositing |
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219 | (1) |
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Music Video Tools of the Trade |
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220 | (1) |
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221 | (2) |
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Review Edit #3: The Final Cut |
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223 | (1) |
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223 | (1) |
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223 | (1) |
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223 | (1) |
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223 | (1) |
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Down and Dirty Color Terminology |
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224 | (1) |
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225 | (1) |
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What It Looks Like: Color Correction |
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226 | (2) |
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228 | (1) |
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229 | (2) |
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229 | (1) |
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230 | (1) |
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231 | (2) |
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Okay, Go!---"Here It Goes Again" |
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232 | (1) |
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Beyonce---"Put a Ring on It" |
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232 | (1) |
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232 | (1) |
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Ben's Final Thoughts on Music Videos |
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233 | (1) |
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233 | (1) |
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234 | (6) |
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235 | (1) |
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Establishing Shots---Adding Movement |
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236 | (1) |
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The Bridge---Enhancing the Look and Fixing My Screwup |
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236 | (1) |
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The Murals---Adding Production Value with Location |
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237 | (1) |
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Documentary Street Scenes-Film Look |
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237 | (1) |
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The Studio Scenes-Projection FX |
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238 | (1) |
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Special FX in Postproduction |
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239 | (1) |
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The Abandoned Harbor Pier---Baltimore Money Shot |
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239 | (1) |
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Hot Tip: Stealing; Borrowing Locations |
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240 | (1) |
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241 | (36) |
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"Introduction: The Video Is the Memory" |
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242 | (1) |
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243 | (1) |
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The Golden Rule of Wedding Videos |
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243 | (1) |
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The "How They Met" Montage |
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243 | (1) |
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244 | (1) |
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Been There, Done That: Wedding Video Approach |
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245 | (2) |
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Scouting the Wedding Venue |
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247 | (1) |
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248 | (1) |
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248 | (1) |
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Identifying Key Characters |
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248 | (1) |
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249 | (1) |
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249 | (1) |
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249 | (1) |
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Wedding Lighting Conditions |
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250 | (1) |
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Tips for Shooting in Low Light |
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251 | (1) |
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251 | (1) |
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251 | (1) |
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Decrease Your Shutter Speed (Slightly) |
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251 | (1) |
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251 | (1) |
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251 | (1) |
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251 | (1) |
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252 | (1) |
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253 | (1) |
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Anatomy of a Good Camera Position |
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253 | (1) |
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254 | (1) |
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The Establishing Sequence |
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254 | (1) |
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254 | (1) |
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Capturing the Whole Wedding Story |
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255 | (1) |
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255 | (1) |
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255 | (1) |
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255 | (1) |
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Stealing Cutaways and Reaction Shots |
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256 | (1) |
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257 | (1) |
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257 | (1) |
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257 | (1) |
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Transitioning from Point A to Point B |
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258 | (1) |
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258 | (1) |
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A Dozen Ways to Get Artsy with It |
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259 | (2) |
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261 | (1) |
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Been There, Done That: Capturing the Key Moments |
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262 | (1) |
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263 | (1) |
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263 | (1) |
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263 | (1) |
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263 | (1) |
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Handheld versus Tripod Camerawork |
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264 | (1) |
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Why You Should Use a Tripod |
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264 | (1) |
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Why You Should Go Handheld |
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264 | (1) |
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Why You Should Split the Difference |
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264 | (1) |
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265 | (1) |
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265 | (1) |
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265 | (1) |
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265 | (1) |
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A Few Words about Wedding Video Music |
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266 | (1) |
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Other Things to Keep in Mind |
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267 | (1) |
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The Most Important Part: The Vows and Kiss |
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267 | (1) |
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Tape and Media Card Changes |
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267 | (1) |
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Getting Establishing Shots |
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267 | (1) |
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Been There, Done That: 10 Wedding Video Best Practices |
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268 | (1) |
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269 | (1) |
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Look Out for the Little Tender (Semi) Private Moments |
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269 | (1) |
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269 | (1) |
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270 | (2) |
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The Groom Awaits His Bride-to-Be |
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270 | (1) |
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The New Couple Steals Away for a (Semi) Private Walk |
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270 | (1) |
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Bridal Prep Close-up Montage |
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270 | (1) |
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271 | (1) |
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272 | (1) |
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273 | (1) |
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Covering the Spread and Decor |
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273 | (1) |
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Incorporating the Photo Shoot |
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274 | (1) |
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Wedding Videographer and Video Checklists |
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275 | (2) |
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Wedding Videographer Checklist |
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275 | (1) |
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275 | (2) |
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277 | (38) |
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278 | (1) |
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Hot Tip: 5 Questions to Ask the Venue |
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279 | (2) |
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Shooting Live Music Shows |
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281 | (1) |
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The Performance Versus The Video |
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281 | (1) |
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281 | (1) |
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Live Event Audio Cookbook |
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282 | (1) |
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Live Event Audio Cookbook |
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283 | (1) |
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Live Event Audio Cookbook |
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284 | (1) |
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Live Event Audio Cookbook |
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285 | (1) |
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Been There, Done That: Recording and Mixing Live Music |
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286 | (2) |
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Hot Tip: Miking Instruments |
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288 | (2) |
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290 | (1) |
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You're in the Band Now, Baby! |
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290 | (1) |
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Live Event Camera Techniques |
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291 | (4) |
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Pull-Out from Instrument CU |
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291 | (1) |
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291 | (1) |
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Push-In from Performer's POV to Audience |
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291 | (1) |
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292 | (1) |
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292 | (1) |
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292 | (1) |
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293 | (1) |
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293 | (1) |
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294 | (1) |
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294 | (1) |
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295 | (1) |
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Getting Up Close and Personal |
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295 | (1) |
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295 | (1) |
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295 | (1) |
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295 | (1) |
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Hot Tip: Mounting Shotgun Mics |
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296 | (1) |
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Miscellaneous Live Event Camera Tips |
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297 | (1) |
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Covering a Musical Performance |
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298 | (1) |
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Making Single-Camera Coverage Work |
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298 | (1) |
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Hot Tip: Neutral Shots and Cutaways |
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299 | (1) |
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Do One Just for the Camera |
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299 | (1) |
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The Anatomy of "Shooting for the Cut" |
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300 | (1) |
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The Anatomy of "Shooting for the Cut" |
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301 | (1) |
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Covering the Whole Performance |
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302 | (1) |
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3 Single-Camera Coverage Strategies |
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303 | (2) |
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305 | (2) |
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Seven Tips for Shooting Stage Plays |
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307 | (5) |
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Hot Tip: Shooting Projected Images |
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312 | (3) |
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Chapter 8 HANDLING YA BUSINESS |
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315 | (18) |
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316 | (3) |
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Get an Employer Identification Number (EIN) |
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316 | (1) |
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316 | (1) |
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317 | (1) |
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317 | (2) |
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How to Get Paying Clients |
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319 | (4) |
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1 Do the First One for No Money |
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319 | (1) |
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2 Develop Strategic Partnerships |
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320 | (1) |
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320 | (1) |
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4 Hand out Cards and Brochures |
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320 | (1) |
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321 | (2) |
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Been There, Done That: The Client "Dance" and Crafting a Proposal |
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323 | (1) |
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5 Things to Clarify with Clients from Go |
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324 | (2) |
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Will You Just Shoot or Also Edit? |
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324 | (1) |
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324 | (1) |
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324 | (1) |
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325 | (1) |
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325 | (1) |
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326 | (1) |
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Hot Tip: Setting Your Rate |
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327 | (2) |
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Calculating Your Crew's Rate |
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329 | (1) |
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Been There, Done That: Calculating Your Crew's Rate |
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330 | (1) |
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Hot Tip: Working Remotely With an Editor |
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331 | (2) |
| Glossary |
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333 | (20) |
| About The Author |
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353 | (1) |
| Credits |
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354 | (1) |
| Index |
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355 | |