Rajmohan .

M
Assistant Professor
School of Media and Communication
Agurchand Manmull Jain College, Chennai.
TELEVISION PRODUCTION
Mail: rajpedagogy@gmail.com
rajpedagogy

1. Plan
2. Shoot your project

Editing
3. Import your media
4. Organize your media
5. Edit your story
6. Trim your story
7. Add transitions

procedure
8. Add titles
9. Add effects
10. Mix your audio
11. Give your project a "look"
12. Output your Project
Shoot your
project rajpedagogy

Import your
media
Assembling shots:
• This is the first stage of the editing process.
• The footage from your shoot is organized into scenes.
• Then, all scenes are assembled roughly, with the editor's choice on takes.
• No music or effects are included.

Symbolic editing:
• More intercutting, we move from our main scene to something other scene which creates a symbolic connection for the
audience.
• Pudovkin (living in Soviet Russia) suggested cutting between shots of striking workers being shot by police and scenes of cows
being slaughtered: in the audience’s mind, they associate the slaughter of the cattle with the slaughter of the workers.
EDITING ERRORS:

Editing is about tricking the viewer into believing they are part of what's going
on in the scene, but there are lots of common editing mistakes that do just the
opposite.
1. Pacing: Pacing is the timing of cuts.
2. Jump Cuts: portion of action gets chopped out and time "jumps" slightly
forward.
3. Match Frames: Cut to two Different shots that are visually or compositionally
similar.
4. Flash Frames: They occur when you accidentally introduce a frame of black
by not perfectly aligning your edits in the timeline.
5. Ghost Frames: Ghost frames occur when you use a dissolve transition from
one shot to another, but where the outgoing shot actually cuts to another shot
before the dissolve is complete.
6. Audio Syncing: This is especially important when it comes to speech and
seeing lips moving.
7. Audio Mixing : Don't let the music interfere with dialogue or sound effects
that need to be heard
8. Bad Transitions: Transitions can be used to help move from scene to scene
with a little more visual interest than a straight cut.
9. Color Matching: A very common issue when working with footage is
mismatched colors
Editing: The selection and assembly of shots in a logical sequence

Linear editing:
1. The copying, or dubbing, segments from the master tape to another tape in
sequential order.
2. Linear system are all tape based and do not allow random access of information.
3. Working on a linear editing system is a bit like using a typewriter to type a term
paper; you need to assemble everything in the proper sequence as you go along.
After it's all on paper (or in this case recorded), adding, deleting or rearranging
things can be a major problem.

Nonlinear:
1. The recorded video is digitized (copied) onto a computer. Then the footage can be
arranged or rearranged, special effects can be added, and the audio and graphics
can be adjusted using editing software.
2. Nonlinear system are all disk based and allow random access.
3. Working on a nonlinear editing system is like working with a sophisticated word
processor. Using a computer screen and a mouse you can randomly cut and paste
segments and move them around until you are satisfied with the result.
Types of editing modes:

1. Assemble Mode: In assemble editing, you record video and audio materials in
order from the start of the tape. In addition to video and audio, timecode is also
recorded. If timecode is already recorded on the tape, the new timecode is
recorded so as to form a continuous sequence with the existing timecode. Assemble
editing is convenient when you are recording on a new tape.

2. Insert Editing: In insert editing, we can insert video, audio, and time code at
desired positions on an already recorded tape. You can insert all three types of data
at the same time, or insert one of the types separately. Before you use an
unrecorded tape in insert editing, video signal such as black signal and time
code must be recorded on all over the tape

3. Off-line editing: produces an edit decision list or a video tape not planned to for
broadcast.

4. Online editing: is a post-production linear video editing process that is performed

in the final stage of a video production. It occurs after offline editing.
It produces the final high – quality edit master tape for broadcast or program
duplication.
Computer Editing: In this method, video footage is recorded (captured) onto a computer hard drive and then edited using
specialized software. Once the editing is complete, the finished product is recorded back to tape or optical disk.

Timecode Editing: it uses specific code (number) that gives each frame a unique address. It fulfills the same function as the
control track system but frame accurate. The most popular time code is the SMPTE Society of Motion Picture and Television
Engineers
Time code gives television frame a specific address (number that shows hour, minutes, seconds, and frame of elapsed tape)
AB roll Editing: in AB rolling two VTRs (A-roll and B-roll) feed their material simultaneously into two
separate video inputs of the switcher. This editing is done by switching between A-roll and B-roll tapes.
In AB-roll editing, the switcher is replaced by the edit controller, which helps select the various shots from
the source A VTR and the Source B VTR.

Timeline:
The timeline usually includes multiple tracks of video, audio, and graphics in a nonlinear editing system.

EDL: consists of edit-in and edit –out points, expressed in time code numbers, and nature of transition
between shots
 THE LANGUAGE OF
EDITING

1. CONTINUITY
Continuity editing is to make the work of the editor as invisible as
possible – the audience should not notice the cuts, and shots
should flow together naturally.

Important rules in continuity editing are:

1. The 180 degree rule (axis of action),

2. Shot reverse shot, eye line matches,
3. Use of the establishing shot,
2. MONTAGE

Metric - Where the editing follows a specific number of frames,

Rhythmic - The cutting happens for the sake of continuity. This creates visual continuity but it may also
be used in order to keep with the pace of the film.
Tonal - A tonal montage uses the emotional meaning of the shots.
Over tonal/Associational - An accumulation of metric, rhythmic, and tonal montage to synthesize its effect on the
audience for an even more abstract and complicated effect.
Intellectual - Uses a combination of shots from outside the film in order to create a meaning.
3. COMMON CUTS & TRANSITIONS

A transition is basically a cut to another scene, however the cut looks different depending on the transition used.

1. Straight Cut: Single cut from one shot to another shot

2. Jump Cut : When the camera remains in the same position, and cuts to a shot of the same subject at a different time
3. Smash Cut ; An abrupt or sudden cut, coming at an unexpected time designed to shock the audience.
4. Match Cut : Cut to two different shots that are visually or compositionally similar
5. Dissolve : One shot slowly turning into another shot
6. Fade : When a shot slowly changes to a specific colour (usually Black or White)
7. Wipe : Transitioning to another shot along a line or circle.
SHOOTING-SOUND IN EDITING-
CATEGORIES OF SOUND,

Categories of Sound in TV & Film

1. Dialogue
2. Ambient or Natural Sound
3. Additional Dialogue Recording (ADR)
4. Narration
5. Sound Effects (SFX)
6. Score
7. Soundtrack
1. Dialogue:
The sound of people talking while onscreen. Usually they are talking to each other.
2. Ambient aka Natural Sound: Background noise in a scene:
One part of ambiance is room tone. This is the background noise on the movie set.
The sound of a background crowd is called Walla.
3. Additional Dialogue Recording (ADR):
Dialogue recorded after the movie is done shooting.
This is done if something ruined the dialogue during shooting, such as the noise of a plane.
4. Narration:
The voice of a person heard speaking, but not seen on camera.
Usually the narrator is telling the story.
5. Sound Effects (SFX):
Any sounds that are created for the movie, such as footsteps, alien sounds, wind, etc.
6. The Foley Process:
“The Foley artist creates sound effects on a Foley stage, which is simply a production room in which everything is a
sound prop, including the floor, which can provide different kinds of footfalls.
The film rolls on-screen, and the Foley artist matches the kind of sound the filmmaker wants to the image projected.”
The Foley Process was created by Jack Foley.
7. Score:
Original music that is created for the film and plays at different points throughout the movie.
8. Soundtrack:
Music included in your film that wasn’t created specifically for the film (for example, a song by a
popular artist).
9. Synchronous vs. Asynchronous:
Synchronous sound: Synchronous sound includes all noises whose origins can be seen on-screen.
Asynchronous sound: Asynchronous sound is any noise whose origin you can't see.
10. Mix it up:
“The edited dialogue and ADR, sound effects, Foley and Musical elements that will comprise the
soundtrack are assembled.”
PRESENTATION
SKILLS
The Television Presenter: The television presenter is the front-person for a program.

Their job includes:

1. Presenting information and/or opinions.
2. Introducing people and elements of the show.
3. Interviewing guests.
4. Linking between segments of the show.
5. Taking part in onscreen activities.
Presenters are expected to have the following skills:
1. Basic knowledge of television terminology and operating procedures.
2. A clear voice.
3. Self-confidence.
4. Interpersonal skills.
5. For studio or OB work, the ability to keep presenting while hearing instructions through an
earpiece.
6. Improvisation skills.
7. The ability to work calmly under stress.
8. In most cases, some knowledge of the program topic (e.g. sports, etc.).
 Television Graphics:
Graphics Terms
Titling and Special Effects
1. Character generator: Also called CG, this is a generic name for any type of television graphic creation equipment.
2. Crawl: The movement of text horizontally across the television screen.
3. Credits: The text that recognizes those appearing in and contributing to the program.
4. Lower third (L/3rd): A graphic that appears in lower third of screen. Traditionally it contains bio information.
5. Roll: The movement of text up or down the video screen.
6. Safe title area: The center 80% of the screen where it is safe to place graphics.
7. Subtitles: Used to identify people and places.
The goals of television
graphics
1. Convey information clearly and directly.
2. Establish the show’s overall mood and tone through the graphic style.
3. Present facts, concepts, or processes visually so the viewer will understand
the program content.

There are a number of different types of graphics:

1. Opening titles announce the show.
2. Subtitles identify people and places.
3. Credits recognize those appearing in and contributing to the program.
4. End titles draw the program to its conclusion.
Backgrounds for graphics
1. This effects commonly used with a blue/ green screen(s)
and live-action.

2. In post-production, the blue/ green screen is Chroma keyed

and replaced with another image, such as a location, subject,
characters, etc. (News stations use this technology. e.g.
weather forecast.)
 Dubbing
1. The process of adding new dialogue or other sounds to the sound track of a motion
picture that has already been shot.

2. When a foreign language is dubbed, the translation of the original dialogue is carefully
matched to the lip movements of the actors in the film.

Voice-over
1. A voice-over is a narration done by a broadcast reporter, usually reading from a script.
The reporter's voice is recorded over a sequence of video clips that tell a story.

2. It is usually pre-recorded and placed over the top of a film or video and commonly used
in documentaries or news reports to explain information.
Recording Live Programme
:
1. If there is an event happening that cannot be shot inside a studio, then an Outside Broadcasting,
or OB, crew and van is called in. Sports events, live functions, indoor concerts and performances
are all covered using OB facilities.

2. An OB Van is essentially a mobile studio. Cameras, vision control, sound mixing, vision mixing and
everything else needed to produce a television production are all housed within one vehicle.

3. Unlike studio work where the director can re-take a shot if necessary, OBs are live, edge-of-the seat productions.
Everything, from sound, to visuals, special effects, graphics and commentary
are recorded to tape, as it happens. This is a highly charged environment, where split-second
timing can make or break the production.
OB VAN

OB Van is equipped as follows:

1. Digital cameras with OCPs

2. Vision Mixer
3. Character Generator
4. Playback/Record formats including VCR
5. 16 Channel Audio Desk
 THE END

Editing procedure, assembling shots, symbolic editing and editing errors. The language of editing and shooting-sound in editing-categories of sound, post-synchronization, voice-over or narration, music and
dubbing, Video Editing - linear, non-linear, types of editing modes. (assemble mode, insert mode, on line mode) computer editing - time cede roll editing, etc., Television graphics & titling and specials effects,
Audio - Dubbing, Back ground Music, synchronizing of video and audio, voice Over (narration)etc. Presentation skills, recording live programmes .

Rajmohan . M
Assistant Professor
School of Media and Communication
Agurchand Manmull Jain College, Chennai.
TELEVISION PRODUCTION
Mail: rajpedagogy@gmail.com