180-degree rule 81, 102, 105–6, 108, 140; see also crossing the line, line of action
action 154–62; continuity 177; crossing the line 102; cuts 234; lighting 109; shooting 154–63
active: audience 189; tense 43, 196; verbs 220
actuality 53–6, 193–4, 215, 241
alliteration 43
ambient sound 124–5, 129, 132, 142 see also atmos
angles 86, 88–91, 140, 233, 241; drama 170, 177; factual 144, 154, 157, 161
The Archers 200
arguments 220
atmos 204, 210, 213, 215, 241 see also ambient sound
attention 25, 33, 91, 170, 234
audience 33, 35, 197, 238, 240; radio vs TV 189; research 6–7 see also target audience
audio see sound
backstory 168
BBC 218
bias 218
blurriness 100
burn-out 110
business 169
camera 164–6, 169–70; crossing the line 102–5; depth of field 99–100; factual programmes 146, 149; lighting 109, 112–13, 115–18, 121; microphone 129; moves 92–4, 146, 161, 187; taking a shot 136, 138–40; wide shot 155–6; work 26, 37, 71 see also angles
canted angle 88, 91; see also Dutch tilt, oblique angle
casting 18
celebrities 39; interviewing 181
characters 29–33, 36–7, 207; finding 178; profiles/relationships 168
close-ups 84, 87, 91, 103, 139, 186, 241; drama 170, 174, 177–8; factual 151, 154–6, 158–60, 162; lighting 109
closure 199
Cloverfield 87
commentary 101, 162, 223, 229–33, 236; writing for TV 230–2
concluding remarks 220
continuity 159–60, 166–7, 177–8, 233
establishing: shots 81, 91, 154, 162, 170, 223
contributors 36, 53, 143, 163; interviewing 186–7, 192–3; researching 17–18
copy 42
costumes 26, 166; continuity 177
cranes 93
creativity 12–15, 141, 197, 240, 242–3
credits 34
cross-fades 224
crossing the line 102–8, 171, 234; see also 180 degree rule, line of action
current affairs 10–11, 189–90, 216–22
cutaways 155, 158, 178, 187, 234
Daily Telegraph 218
depth 116–17; of field 99–101, 170
despatches 189
dialogue 166, 170–1, 174–6, 180, 223; cutting 234–5; recording 126, 129, 134
directing 25–6, 137–8, 165, 207, 224; factual 141–3; notes 167–8
directional microphones 126, 129, 132
discussion programmes 190, 220
dissolves 224
distortion 127, 129, 131–2, 134
documentaries 11, 16, 34, 36, 162–3, 190–4 see also factual programmes
dolly shots 92
dramatised sequences 25–6, 52, 91; camera moves 93; crossing the line 102, 106; radio production 200–11; scheduling 68–9; shooting 141, 164–71, 174–80; shot sizes 91–2; storyboarding 171–3; treatments 46–9; TV editing 233–7
echo see reverberation
editing 5, 26, 79, 240; camera moves 94; drama 171, 174, 177, 179; factual TV 225–33; music videos 37; radio 209–10, 212–15; sound 124, 135; TV 221–5, 236–7; TV drama 233–6
effects 44, 201–2, 204–8, 210; TV editing 224
eye 109, 121, 124; contact 193; level 88–9; lines 144–8
factual programmes 11–12, 16, 25–6, 45; choosing shot sizes 91; crossing the line 102; news/current affairs 216–20; outline/treatment 53–8; recording for radio 189–99; scheduling 59–68; shooting 141–63; structure 34–6; TV editing 225–33
fading: in/out 207, 210, 215; to black 224
filler lights 111, 113–14, 117–19, 121
filming see shooting
finishing 215
five-shot rule 155
flare 109
flashbacks 236
focal length 100
following action 161
FX see effects
Guardian 218
Gunn, D. 38
handheld: cameras 94; microphones 126, 129–30, 133
headphones 133
high angles 88, 90, 92, 154, 157, 170
A Hitchhiker’s Guide to the Galaxy 200
imagination 193, 197, 200, 210
interviews 17–18, 54–8, 220; close-ups 91; editing for radio 212–13; editing for TV 225–6, 229, 233; lighting 110, 114–16; recording for radio 192–4, 199; recording for TV 124, 126, 129, 134; shooting 142–54; technique 181–8
intimacy 193
ITV 218
jargon 196
key lights 111–12, 115, 117–21
L-shaped editing 235
lighting 17, 100, 109–23, 142, 165, 176, 240–1; wide shots 81
line of action 81, 102–3; see also 180 degree rule, Crossing the line
location recordings 204
locations 37, 52–3, 59–62, 143–4, 167, 170; continuity 178; research 17
long shots 82
low angles 88–9, 92, 154, 157, 170
lyrics 232
magazine format 34–5, 190–1, 197
master shots 155; see also wide shot
medium close-ups 83, 91, 151, 186
microphones 188, 201; direction/range 125–9; setting up 132–4; size/mounting 129–32; technique 206–8
mid-shots 83, 86, 91, 139, 233; drama 167, 170, 178; factual 146, 154–6, 160–2
mood 116, 123, 210; music 18, 205
moving shots 136, 161, 170, 223–4, 234, 241; see also pan, tilt, zoom, tracking
music 18–19, 194, 210, 215; editing 179–80; evaluation 239, 241; factual TV 232–3; radio ads 44; radio drama 201–2, 205–6; TV drama 236
music videos 9, 179–80; editing 233, 236; structure 36–7; treatments 45–6, 49
narrative 29–31, 34–7, 53, 58, 207, 239–40
news 10, 16, 154, 189–90, 197, 216–20
noddies 187
noise 124, 127, 129, 132–4, 142; intermittent 134–5
oblique angles 88, 91–2; see also Dutch tilt, canted angle
over-the-shoulder 88, 92, 149–50, 155, 157
pacing 44, 207–8, 210, 215, 234, 239–40
panel programmes 190
parody 39
passive: tense 43, 196; verbs 220; voice 196
pauses 213
performance-based video 36–7, 179
performances 144, 167, 174, 208, 214
personality 197
phone-ins 190
pieces to camera 143–4, 152, 154; editing 226, 229, 231, 233; lighting 115–16; taking 136–7, 139
point-of-view 87, 91–2, 155, 157, 170
presenters 129, 138–9, 240; preparation 26–7, 36; radio 191–2, 214; shooting 143–4, 150–3
production 141–2, 165, 191; assistants 143, 191; evaluation 241–2; scheduling drama 68–9; scheduling factual 59–68
radio 3, 10–11, 18, 124, 187–8; ads 42–4; drama/ad production 200–11; editing 212–15; factual 189–99; features 190–4; recording schedule 62–5; scripting 48–9, 52; tasks 26–7; treatment 54–6
reaction shots 235
reception 240
recording 27, 37, 45, 79; drama/ads 200–11; factual 189–99; schedule 59, 62–4; TV sound 124–35
recording managers see sound recordists
Reeves, M. 87
representation 240
responsibility 71
retakes 177
reveals 223
rhyme 43
risk assessment 69–78, 115, 123, 242
rule of thirds 98
runners 143
saturation 225
scene: blocking 169; breakdown 52; purpose 168; setting 214–15
scouting 143
script 45–71, 165–6, 186, 223; drama 202; factual programmes 53, 196–7; noise 208; recording 214; writing 25–6
self-op 201
semiotics 38
sensitivity 223
sentences, short/punchy 196, 220
sequences 17, 154, 229–30, 239; building 222–3
settings 29–31, 35; see also location
shooting 79; drama 164–71, 174–80; factual 141–63; lighting 109–16; music videos 37; schedule 59, 65–9, 165–6; scripts 53, 222
shots 17, 136–40, 241; crossing the line 102–8; length 223; listing 143, 167, 177; sizes 81–92, 101, 146, 151–2, 178, 233 see also framing
simplicity 43, 169, 177, 196, 220
single shots 84, 86, 107, 151, 159, 176–7
sound 17, 53–4, 166, 176, 239, 241; archive 194; images 191, 203–7, 210; levels 132–4, 188; radio editing 212–15; recording 124–35; recordists 26–7, 142–3, 191; specific 204–5 see also actuality; effects
stands 131
status quo 34
stereotypes 240
story 16, 28–31, 34–7, 39, 41, 53, 240 see also anecdotes; narrative
storyboards 49–52, 165, 171–4, 177, 179
structure 28–37, 53, 240; advertising 38–44; intro/cues/links 197–9; news report 219–20
studio engineers see sound recordists
sun 100, 109–11, 114–16, 142, 166, 187
table mounts 131
target audience 40–3, 239, 242
tasks 4–5, 23–4, 164–5; allocating 25–7; evaluation 241; factual radio 190–1; radio drama 201
time 20, 52, 71, 237, 241; editing 221; passage of 205
title music 236
title sequences 34
trailers 7–8, 46, 236; structure 31–3
transcribing 225
treatments 45, 58, 141, 226; drama/trailer/ads/music video 46–52; factual programmes 53–8
TV 3, 18, 187; advertising 42–3; editing 221–37; scripting 46–8; shooting 136; shooting schedule 65–9; storyboarding 49–52; tasks 25–6; treatments 56–8
value judgements 218
veritas 162
voice-over 8, 36, 42, 44, 53–4, 56–8, 230, 236, 240
wallpaper shots 162
Warner Brothers 34
wide shots 81–2, 85, 87, 91, 139, 241; crossing the line 102–4, 107; drama 167, 176–7; editing 223, 233; factual 143, 151–2, 154–6, 160–2; lighting 109, 116
wild track 124, 135, 188, 204, 213
wipes 224