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The technical personnel are primarily concerned with the operation and maintenance of the equipment. They normally belong among the below-the-line personnel. Chief Engineer: In charge of all technical personnel, budgets, and equipment. Designs system, including transmission facilities, and overseas installations and day-to-day operations. Assistant Chief Engineer: Assists chief engineer in all technical matters and operations. Also called engineering supervisor. Studio or Remote Engineer in Charge: Overseas all technical operations. Usually called EIC. Maintenance Engineer: Maintains all technical equipment and troubleshoots during productions. Technical Director (TD): Does the switching and acts as technical crew chief. Camera Operators: Operate the cameras; often do the lighting for simple shows. When working primarily in field productions (ENG/EFP), they are sometimes called videographers or shooters. Lighting Director (LD): In charge of lighting; normally found mostly in large productions. Video Operator: Adjusts camera controls for optimal camera pictures (shading). Sometimes takes on additional technical duties, especially during field productions and remotes. Also called shader. Audio Technician: In charge of all audio operations. Works audio console during the show. Also called audio engineer. Video-tape Operator: Runs the video-tape machine. Character Generator (C.G) Operator: Types and/or recalls from the computer the names and other graphic material to be integrated with the video image. Video-tape Editor: Operates postproduction editing equipment. Often makes or assists in creative editing decisions. The news production personnel are assigned exclusively to the production of news and special events. News Director: In charge of all news operations. Bears ultimate responsibility for all newscasts. Producer: Directly responsible for the selection and placement of the stories in a newscast so that they form a unified, balanced whole. Assignment Editor: Assigns reporters and videographers (camcorder operators) to specific events to be covered. Reporter: Gathers the stories. Often reports on-camera from the field. Videographer: Camcorder operator. In the absence of a reporter, decides on what part of the event to be covered. Also called news photographer or shooter. Writer: Writes on-the-air copy for anchors. The copy is based on the reporters notes and available video-tape. Video-tape Editor: Edits video-tape according to reporters notes, writers script, or producers instructions. Anchor: Principal presenter of newscast normally from a studio set. Weathercaster: On-camera talent, talking about the weather. Often more entertainers than meteorologists. Sportscaster: On-camera talent, giving sports news and commentary. Regardless of the specific job functions of the technical and nontechnical personnel, they all have to interact as a team.
Important aspects of the physical layout of the studio include a smooth, level studio floor; adequate ceiling height; acoustic treatment and air-conditioning; and large, soundproof doors. Major installations include intercom systems, studio video and audio monitors, various wall outlets, and the lighting patchboard. The studio control room houses the program control with the various preview monitors, clocks, and program speakers; the image control (switcher); audio control with the audio console, patchboard, CD player, and program speakers; and sometimes the lighting control board through which the intensity of the studio lights is regulated. Master control is the nerve center of a television station. It has facilities for program input, program storage, and program retrieval. It also checks the technical quality of all the programs that are broadcast. Program retrieval is coordinated by the program log, a second-by-second listing of every program aired on a particular day. The studio support areas include space for property and scenery storage, and make-up and dressing rooms.
Moire Effect: Colour vibrations that occur when narrow, contrasting stripes of a design interfere with the scanning lines of the television system. Operating Light Level: Amount of light needed by the camera to produce a video signal. Pixel: A single imaging element (like the single dot in a newspaper picture) that can be identified by a computer. The more pixels, the higher the picture quality. Remote Control Unit (RCU): The RCU is a box with the operational controls, separate from the CCU that does the actual picture control. It also refers to a small, portable CCU that is taken into the field and connected by cable to the EFP camera. Resolution: The characteristic of a camera that determines the sharpness of the picture received. The lower a cameras resolution, the less fine picture detail it can show. Saturation: The attribute that describes a colours richness or strength. Signal-to-Noise (S/N) Ratio: The relation of the strength of the desired signal to the accompanying electronic interference (the noise). A high signal-to-noise ratio is desirable (strong video or audio signal and weak noise). Studio Camera: Heavy, high quality camera and zoom lens that cannot be maneuvered properly without the aid of a pedestal or some other type of camera mount. Sync Generator: Part of the camera chain; produces electronic synchronization pulses. Tally Light: Red light on the camera and/or inside the viewfinder, indicating when the camera is on the air.
Colour attributes are hue, the colour itself; saturation, the richness or strength of a colour; and brightness, how dark or light a colour appears. Colour television operates on additive mixing of the three colour (light) primaries - red, green, and blue. Colour cameras contain a chrominance and a luminance channel. The chrominance channel processes the colour signals, and the luminance channel the black-and-white (brightness) signal. Digital cameras digitize the video signal soon after it leaves the CCDs, and it is processed from there on in digital form. This process is called digital signal processing, or DSP for short. The television receiver has three electron guns whose beams strike neatly arranged groups of red, green, and blue dots. Depending on the relative intensity of each beam and through additive mixing, we can perceive all normal colours when looking at the television screen.
Lenses 4.0
Aperture: diaphragm opening of a lens, usually measured in f-stops. Auto-Focus: automated feature wherein the camera focuses on what it sense to be your target object. Calibrate: to preset a zoom lens to remain in focus throughout the zoom. Depth of Field: the area in which all objects, located at different distances from the camera, appear in focus. Depth of field depends upon focal length of the lens, its f-stop, and its distance between the object and the camera. Fast Lens: A lens that permits a relatively great amount of light to pass through (lower minimum f-stop number). Can be used in low-light conditions. Field of View: the portion of a scene visible through a particular lens; its vista. Focal Length: The distance from the optical center of the lens to the front surface of the camera imaging device at which the image appears in focus with the lens set at infinity. Focal lengths are measured in millimeters or inches. Short-focal-length lenses have wide angle of view (wide vista); long-focal-length (telephoto) lenses have a narrow angle of view (close-up). In a variable-focal-length (zoom) lens, the focal length can be changed continuously from wide angle (zoomed out) to narrow angle (zoomed in) and vice versa. A fixed focal length has a single designated focal length only. Focus: a picture is in focus when it appears sharp and clear on-screen (technically, the point where the light rays refracted by the lens converge). F-Stop: the calibration on the lens indicating the aperture, or diaphragm opening (and therefore the amount of light transmitted through the lens). The larger the f-stop number, the smaller the aperture and vice versa. Lens Diaphragm: Adjustable lens-opening mechanism that controls the amount of light passing through a lens. Also called iris and diaphragm. Narrow-Angle Lens: Gives a close-up view of an event relatively far away from the camera. Also called long-focal-length or telephoto lens. Normal Lens: A lens or zoom lens position with a focal length that will approximate the spatial relationships of normal vision. Rack Focus: To change focus from one object or person closer to the camera to the one farther away or vice versa. Range Extender: An optical attachment to the zoom lens that extends its focal length. Also called extender. Selective Focus: Emphasizing an object in a shallow depth of field through focus, while keeping its foreground and background out of focus. Servo Zoom Control: Zoom control that activates motor-driven mechanisms. Shot Box: box containing various controls for presetting zoom speed and field of view; usually mounted on the camera panning handle. Slow Lens: a lens that permits a relatively small amount of light to pass through (higher
minimum f-stop number). Can be used only in well lighted areas. Wide-Angle Lens: a short-focal length lens that provides a broad vista of a scene.. Zoom Lens: Variable-focal-length lens. It can gradually change from wide-angle lens to a narrow angle lens and vice versa in one continuous move. Zoom Range: the degree to which the focal length can be changed from a wide shot to a close-up during a zoom. The zoom range is often stated as a ratio; a 15:1 zoom ratio means that the zoom lens can increase its focal length fifteen times.
relatively close to the lens look large, and those only a short distance look quite small. Hence, it makes objects look farther apart and makes rooms look larger than they actually are. A wide angle lens is ideal for camera movement. It minimizes the wobbles of the camera and makes it easy for you to keep the picture in focus during camera movement. The normal lens gives a field of view that approximates that of normal vision. The normal lens (or midrange zoom position) does not distort objects or the perception of distance. It is used when a normal perspective is desired. When a camera is moved with the lens in the midrange (normal lens) zoom position, camera wobbles are emphasized considerably more than with wide-angle lens. The shallower depth of field makes it harder to keep the picture in focus. A narrow angle lens (zoom lens in the telephoto position) has a narrow field of view and it enlarges the objects in the background. Exactly opposite of the wide angle lens, which increases the distance between objects, the narrow angle lens seems to compress the space between objects at different distances from the camera. The magnifying power of a narrow angle lens prevents any camera movement while on the air. Narrow angle lenses have shallow depth of field, which makes keeping in focus more difficult but allows for selective focus and rack focus effects.
Tracking: another name for truck (lateral camera movement) Truck: To move the camera laterally by means of a mobile camera mount. Wedge Mount: Wedge shaped plate attached to the bottom of a studio camera; used to attach the television camera to the cam head. Zoom: To change the lens gradually to a narrow angle position (zoom-in) or to a wide angle position (zoom-out) while the camera remains stationary.
Lighting 7.0
Barn Doors: Metal flaps in front of a lighting instrument that control the spread of the light beam. Baselight: Even, non-directional (diffused) light nessecary for the camera to operate optimally, also called base. Broad; a floodlight with a broadside, panlike reflector. Clip Light: Small internal reflector bulb that is clipped to pieces of scenery or furniture with a gator clip. Color Temperature: relative reddishness or bluishness of light, as measured in Kelvin degrees. The norm for indoor TV lighting is 3,200K, for outdoors, 5,600K. Cucalorus: Any pattern cut out of thin metal that when placed in front of an ellipsoidal spotlight (pattern projector), produces a shadow pattern. Also called cookie. Diffused Light: Light that illuminates a relatively large area with an indistinct light beam. Diffused light, created by floodlights, produces soft shadows. Directional light: Light that illuminates a relatively small area with a distinct light beam. Directional light, produced by spotlights, creates harsh, clearly defined shadows. Ellipsoidal Spotlight: Spotlight producing a very defined beam, which can be shaped further by metal shutters. Falloff: The speed (degree) with which a light picture portion turns into shadow area. Fast falloff means that the light areas turn abruptly into shadow areas and there is a great brightness difference between light and shadow areas. Slow falloff indicates a very gradual change from light to dark and a minimal brightness difference between light and shadow areas. Floodlight: lighting instrument that produces diffused light with a relatively undefined beam edge. Foot-candle (fc): The unit of measurement of illumination, or the amount of light that falls on an object. Fresnel Spotlight: One of the most common spotlights, named after the inventor of its lens. It has steplike concentric rings. Gel: Generic name for colour filters put in front of spotlights or floodlights to give the light beam a specific hue. Also called color media. Incident Light: Light that strikes the object directly from its source. Incident-light reading is the measure of light in foot-candles (or lux) from the object to the light source. The footcandle (or lux) meter is pointed directly into the light source or toward the camera. Kelvin Degrees (K): A measure of colour temperature; the relative reddishness or bluishness of white light. Lumen: The light intensity power of one candle (light source radiating isotropically, i.e., in all directions). Luminaire: technical term for lighting instrument.
Luminant: Lamp that produces the light; the light source. Lux: European standard unit for measuring light intensity. 10.75 lux = 1 fc. Usually roughly translated as 10 lux = 1 fc. Patchboard: a device that connects various inputs with specific outputs. Also called patchbay. Reflected Light: Light that is bounced off the illuminated object. A reflected-light reading is done with a light meter that is held close to the illuminated object. Scoop: A scooplike television floodlight. Scrim: A spun-glass material that is put in front of a lighting instrument as an additional light diffuser. Spotlight: A lighting instrument that produces directional, relatively undiffused light with a relatively well-defined beam edge. White Balance: The adjustments of the colour circuits in the camera to produce a white color in lighting of various colour temperatures.
Impedance: type of resistance to the signal flow. Important especially in matching high- or low-impedance mics with high- or low-impedance recorders. A high impedance mic works properly with only a relatively short cable, whereas a low-impedance mic can take up to several hundred feet of cable. Impedance is also expressed an terms of high-Z or low-Z. Lavaliere Mic: A small mic that can be clipped onto clothing Microphone: a small portable assembly for the pickup and conversion of sound into electrical energy. Also called mic. Omnidirectional: pickup pattern which the mic can pick up sounds equally well from all directions. Pickup Pattern: the territory around the mic within which the mic can hear well, that is, has optimal sound pickup. Polar Pattern: the two-dimensional representation of a mic pickup pattern. Ribbon Mic: a mic whose sound pickup device consists of a ribbon that vibrates with the sound pressures within a magnetic field. Also called velocity mic. Shotgun Mic: A highly directional mic for picking up sounds over a great distance. System Mic: mic consisting of a base upon which several heads can be attached that change its sound pickup characteristic. Unidirectional: pickup pattern in which the mic can pick up sounds better from the front than from the sides or back. Wireless Mic: a system that transmits audio signals over the air, rather than through the mic cables. The mic is attached to a small transmitter, and the signals are received by a small receiver connected to the audio console or recording device.
HAND, DESK AND STAND MICS Electro-Voice 635N/D Dynamic/Omnidirectional Electro-Voice RE16 Dynamic/Omnidirectional Electro-Voice RE55 Dynamic/Omnidirectional Shure SM57 Dynamic/Cardiod Beyer M160 Ribbon/Hypercardiod Beyer M600 Dynamic/Hypercardiod LAVALIERE MICS Sony ECM55 Condenser/Omnidirectional Sony ECM44 Condenser/Omnidirectional Sennheiser MKE 2 Condenser/Omnidirectional Sony ECM77 Condenser/Omnidirectional Professional Sound PSC MilliMic Condenser/Omnidirectional
All mics have a diaphragm, which vibrates with sound pressure, and a generating element, which changes (tranduces) the physical vibrations of the diaphragm into electric energy. In the dynamic mic, the diaphragm is attached to the voice coil. The air pressure makes the voice coil move back and forth within a magnetic field. This type of generating element is quite rugged. In the ribbon, or velocity mic, a thin metal ribbon vibrates within a magnetic field. Because the ribbon is quite fragile, the mics are generally used indoors under controlled conditions. The condenser mic has a condenser like generating element. The moveable diaphragm constitutes one of the two condenser plates; a fixed backplate is the other. The varying air pressure of the incoming sounds moves the diaphragm plate against the fixed backplate, thus continuously changing the capacitance of the condenser and modulating the current of the audio signal. Condenser mics have a wide frequency response. High-quality mics pick up sounds equally well over a wide frequency range. They can hear higher and lower sounds without distortion, called a flat response, than low-quality mics. Mics can be balanced or unbalanced. Most professional mics have a balanced output. Balanced mic cables have two wires for the audio signal and a third wire as a ground shield. The balanced audio cable prevents external signals from causing a hum in the audio track. Unbalanced cables have only a single wire for the audio signal and a second wire as a ground. They are less immune to unwanted signal interference, such as a hum or buzz. All pro mics and audio equipment use three-pronged XLR connectors. Unbalanced plugs include the phone plug, the RCA phono plug, and the mini plug. Foldback is the return of the total or partial audio mix from the mixing console to the musicians. In complex multicamera shows, such as soap operas, the mics are suspended from one or two big booms.
mix - combine and balance two or more incoming signals quality control - manipulate the sound characteristics output - route combined signal to a specific output monitor - route the output or specific sounds to a speaker or headphones so that they can be heard independant of the line-out signal. Audio video synchronization matches each video frame with the corresponding audio. It also includes lip-sync and automatic dialougue replacement (ADR).
Framestore Synchronizer: image stabilization and synchronization system that stores and reads out one complete video frame. Hard Disk Array: several hard drives stacked vertically. The information retrieval is condsiderably faster than with a single hard drive. Isolated (Iso) Camera: feeds into the switcher and has its own separate video recorder. Or one that feed directly into its own video recorder. RGB System: video-recording system wherein the red, green, and blue signals are kept separate throughout the entire recording processes. Also called component or RGB component system. Tape-Based Video Recorder: all video recorders (analog and digital) that record or store information on video-tape. All tape-based systems are linear. Time Base Corrector (TBC): electronic accessory to a video recorder that helps make playbacks or transfers electronically stable. Video Leader: Visual material and a control tone recorded ahead of the program material. Serves as a technical guide for playback. Video Recorder (VR): Can be a video-tape recorder or digital disk-based recording device. Video-tape Recorder (VTR): electronic recording device that records video and audio signals on video-tape for later playback or postproduction editing. Video-tape Tracks: Most video-tape systems have a video track, two or more audio tracks, a control track, and, sometimes, a separate time code track. Y/C Component System: Video-recording system wherein the luminance (Y) signal and chrominance (C) signal are kept separate during the encoding and decoding processes, but are combined and occupy the same track when actually laid down on videotape.
There are tape-based and disk-based recording systems. Some disk-based systems record and store their information in analog form (such as a home VCR); others record and store in digital form. All taped-based systems are linear. Disk-based systems are nonlinear and allow random access. Video recorders are also classified by how they transport and record the video signals. Recorders that operate with the composite, or NTSC, system combine the luminance (blackand-white, or Y) information and the colour (C) information in a single signal. Y/C component recorders transport the Y and C separately, but combine the two signals on the videotape. In the RGB component system, all three signals are kept separate throughout the transport and on the videotape. Component systems deliver better-quality video than composite systems. All systems use the helical scan, or slant-track, recording method. One or more heads
rotate with, or through, the head drum to put the video tracks on the tape that moves past these rotating heads. The audio is recorded simultaneously on one or several audio tracks. The control tracks marks each frame and also synchronizes tape speed and head rotation speed. Some recorders use still another track for the time code. Digital tape-based systems translate the analog audio and video signals into digital on/off pulses (ones and zeros) and put the digital information on videotape similar to the analog system. The advantage of digital recording is that the image quality does not deteriorate during subsequent dubbing. The basic operational controls of all VTR models are play, stop, record, fast-forward, rewind, eject, and an audio volume control. The TBC (time based corrector) and framestore synchronizers are electronic devices that help to stabilize the playback of video recorders. Disk-based recording systems use high-capacity hard drives and read/write optical discs. All disk-based systems are nonlinear, which means they permit random access. The hard drive systems include the ESS (electronic still store), the hard disk array, and the portable hard drive. Read/write optical discs operate similarly to audio CDs or multimedia CD-ROMs, except that the optical video discs can be used for recording as well as playback. They offer extremely fast and accurate retrieval of program segments.
Control Track (Pulse-Count) System: counting system used to identify exact locations on the video tape. It counts the control track pulses and translates this count into elapsed time and frame numbers. It is not frame-accurate. Cutaway: a shot of an object or event that is peripherally connected with the overall event and that is often neutral as to its screen direction (such as straight-on shots). Used to intercut between shots to facilitate continuity. Edit Controller: Machine that assists in various editing functions, such as marking edit-in and edit-out points, rolling source and record VTRs, and integrating effects. This is often on a desktop computer with a specific software program. Also called the editing control unit. Edit Decision List (EDL): consists of edit-in and edit-out points, expressed in time code numbers, and the nature of transitions between shots. Edit Master Tape: The videotape upon which the various selected portions of the source tapes are edited. Used for the record VTR. Insert Editing: Inserting shots in an already existing recording, without affecting the shots on either side. Produces highly stable edits. Requires the prior laying of a control track on the edit master tape. Linear Editing: Nonrandom editing that uses tape-based systems. Nonlinear Editing: Using a computer for instant random access to and easy rearrangement of shots. The video and audio information is stored in digital form on high-capacity computer hard drives or read/write laser videodiscs. Off-Line Editing: produces and EDL or a videotape not intended for broadcast. On-Line Editing: Produces the final high-quality edit master tape for broadcast or program duplication. Record VTR: The videotape recorder that edits the program segments as supplied by the source VTR(s) into the final edit master tape. Also called the edit VTR. Slate: (1) Visual and/or verbal identification of each video-taped segment. (2) A little blackboard or whiteboard upon which essential production information is written. It is recorded at the beginning of each take. Source Videotape: The tape with original footage in an editing operation. Source VTR: The videotape recorder that supplies the various program segments to be assembled by the record VTR. Also called the play VTR. Time Code: electronic signal that provides a specific and unique address for each electronic frame. Time Code System: gives each television frame a specific address (number that shows hours, minutes, seconds, and frames of elapsed tape). It is frame-accurate. Vector: When used in production, vector refers to a force with a direction. Graphic vectors suggest a direction through lines or a series of objects that form a line. Index vectors point unquestionably to a specific direction, such as an arrow. Motion vectors are created by an object or screen image in motion. VTR Log: a list of all takes on the source video-tapes compiled during the screening (logging) of the source material. It lists all takes, regardless of whether they are good (acceptable) or no good (unacceptable), in consecutive order by time code address. Often done with computerized logging programs. Window Dub: A bumped-down copy of all source tapes that has the time code keyed over each frame.
High-quality systems are on-line; lower-quality systems are off-line. More precise, it is the designated use of the edit master tape that determines what is on- and off-line. If the editing is done to produce a tape or edit decision list (EDL) that serves as a guide for the final edit master tape, the editing is off-line. If the edited tape is used on the air, the editing process is on-line. Linear systems are all taped based and do not allow random access of information. Nonlinear systems are all disk based and allow random access. Editing is performed with single-source and expanded single-source systems, multiple source systems, and linear and nonlinear systems. Single-source systems have a source (or play) VTR and a record (or edit) VTR, which are normally governed by an edit controller. Expanded single-source systems are computer-assisted and may contain an audio mixer, switcher, and C.G. (Character generator). Multiple-source systems have two or more source VTRs and permit a great variety of transitions. In assemble editing, all video, audio, control, and address tracks are erased on the edit master tape to make room for the shot to be copied over from the source tape. The various control tracks of the copied shots are, ideally, aligned so that they form a continuous control track. There are occasional video break-ups at the edit points. In insert editing, the control track of the source tape is replaced by the continuous control track of the edit master tape. It prevents break-ups at the edit points and allows separate audio and video editing. The control track, or pulse-count, editing system uses pulses of the control track for locating specific edit-in and edit-out points, automatic prerolling of the source and record VTRs, previewing and executing the edit at a specific point on the edit master tape, and reviewing the edit. The control track system however does not supply a specific frame address, however, and it is not frame-accurate. Time code editing uses a specific code (number) that gives each frame a unique address. It fulfils the same functions as the control track system but is frame accurate. The most popular time code is the SMPTE/EBU (sempty) time code. In AB rolling, two VTRs (A-roll and B-Roll) feed their material simultaneously into two separate video inputs of the switcher. The editing is done by switching between the A-roll and Broll tapes. In AB-roll editing, the switcher is replaced by the edit controller that now helps to select the various shots from the A-roll and B-roll tapes. Nonlinear editing requires digitizing all analogue source tapes before storing them on the hard drive or optical storage systems. Most storage systems use some kind of compression to store a maximum amount of audio and video data. Off-line nonlinear editing produces an EDL. On-line systems produce high-quality audio and video directly to the edit master tape. The preediting process occurs in four phases, shooting, review, decision making, and operational. Many of the more obvious transitions from shot to shot are already considered in the shooting phase. In the review phase, the recorded material is checked for quality and suitability relative to the intended show. All takes are logged and identified. The decisionmaking phase is to produce an EDL, either through paper-and-pencil or off-line editing. The operational phase involves the actual copying of shots onto the edit master tape for tapedbased systems, and the arranging of audio and video data files for disk-based systems.
continuity from shot to shot. Complexity editing is the deliberate breaking of editing conventions to increase the complexity and intensity of a scene. In editing nonfiction, the context should remain as true to the actual event as possible. Thus, ethics becomes the overriding editing principle.
Delegation controls are used to assign the buses specific functions. The actual transition is activated by moving the fader bar from one limit of travel to the other, or by an auto transition control that takes on the functions of the fader bar. Most switchers offer additional effects, such as a variety of wipe patterns, various types of borders, and a variety of background colours.
Design 15.0
Aspect Ratio: The width to height proportions of the television screen and therefore of all television picture: four units wide by three units high. For HDTV, sixteen by nine. Camera Graphics: Graphics specifically designed for the television camera. Character Generator (C.G): A dedicated computer that electronically produces a series of letters, numbers, and simple graphic images for video display. Colour Compatibility: Colour signals that can be perceived as black and white pictures an monochrome television sets. Generally used to mean that the colour scheme has enough
brightness contrast for monochrome reproduction with a good grayscale contrast. Electronic Still Store (ESS) System: An electronic device that can grab a single frame from any video source and store it in digital form on a disk. It can retrieve it randomly in a fraction of a second. Essential Area: The section of the television picture, centered within the scanning area, that is seen by the home viewer, regardless of masking or slight misalignment of the receiver. Also called safe title area or safe area. Flat: A piece of standing scenery used as background or to simulate the walls of a room. Floor Plan: A plan of the studio floor, showing the walls, the main doors, and the location of the control room with the lighting grid or batten pattern superimposed over it. More common, a diagram of scenery and properties drawn onto the grid pattern. Graphics Generator: Dedicated computer or software that allows a designer to draw, colour, animate, store, and retrieve images electronically. Also called paint box. Grayscale: A scale indicating intermediate steps from TV white to TV black. Usually measured in either a nine-step or a seven step scale. Props: Short for properties. Furniture and other objects used for set decoration and by actors or performers. Scanning Area: Picture area that is canned by the camera pickup device; in general, the picture area usually seen in the camera viewfinder and preview monitor.
Producing 17.0
Cause-to-Effect Model: Moving from idea to production to effect on the viewer. Demographics: Audience research factors concerned with such items as age, sex, marital status, and income. Effect-to-Cause Model: Moving from ides to desired effect on the viewer, and then backing up to the specific medium requirements to produce such an effect. Facilities Request: A list that contains all technical facilities needed for a specific production. Medium Requirement: All content elements, production elements, and people needed to generate the process message. Process Message: The message actually received by the viewer in the process of watching a television program.
Program Proposal: Written document that outlines the process message and the major aspects of a television presentation. Psychographics: Audience research factors concerned with such items as consumer buying habits, values, and lifestyles. Rating: Percentage of television households with their sets tuned to a specific station in relation to the total number of television households. Share: Percentage of television households tuned to a specific station in relation to all households using television (HUT); that is, all households with their sets turned on. Target Audience: The audience selected or desired to receive a specific message. Treatment: Brief narrative desciption of a television program.