TRANS 8ISA INDONESIA BISA

15 Desember 2009 trans tv has celebrated 8 years old. This program perform live show many indonesian artist.

Editing Tips : Using Shot Log

Shot logs are a great tool to have when editing. A shot log is usually compiled during production and will provide you, the editor, with important information about each shot such as scene information, time code in and out points, and notes on the quality of the take. However, not all production teams feel the need for shot logs, or sometimes forget to fill them out. In the case of one-man bands, there just aren't enough hands to direct, operate the camera, monitor the audio, and jot down notes. This often results in the editor receiving a stack of tapes with no idea as to what is on them.

As an editor, you'll most likely want to dive into the project and immediately start cutting. Not having a shot log will slow down the editing process significantly since you will be forced to scrub through all the footage in search of usable shots. Since you're going to have to watch the footage anyway, you might as well be logging those shots. This will allow you to retrieve information necessary for batch capturing. You'll also become more familiar with the footage, which will help you make better editing choices.

If you do log your tapes, be sure to indicate on your shot logs the date and name found on the tape. You can then label your edit bins according to the tape they correspond to, creating a organized system that is easy to follow. With great organizational techniques and shot logs you'll always be able to locate those great shots with quickness and ease.

vendeta comedy

comedy bioskop extravaganza

Oprah Winfrey show

1. television personality
individual life background oprah winfrey very" dramatic" with" trauma that sadden" make onlooker is to sympathize since beginning oprah broadcast as also local television message reader at tennessee. oprah that born from a single mother, ever raped moment age 9 year and young pregnant mengusia 14 year (the baby then died)s. this alive trip opens connection between oprah with the beholder. public is to dissolve in alive dramatic atmosphere oprah, and willing follows with support to kick to dash against oprah internationalised television.
from here, television personality oprah grow strong and be simbol faces" unjust in life" because oprah part from that simbol.

2. brand memfferentiation
from so much" talcum powder shows" at america television network, oprah and team" homework" he is really preciseest. brand name oprah winfrey made different brand with host2x another.
brand this is mengasosiasikan with" drama" domesticity reality is positiveer. even font in front of name oprah made property magazine trade mark oprah that contain various innovation and motivation for alive better. sensational criticism topic election and oppose also strengthen position brand this. augmenting with fund support oprah establish special modern school for woman children at africa, make oprah be breed low class struggle simbol afro-american.

3. conversation style
speak with language" pop" and represent onlooker emotion, conversation style key oprah winfrey. every topic and criticism translateds in contoh2x family conflict very simple and easy understood. oprah, never use word or informal sentence or academic, even so must use word or that sentence is direct translateds with family language. conversation style" you are talcum powder, i am will listen" give dialog space more many in guest or informant.

4. multicamera dimensional
this production technique in the style of oprah then be trend throughout world.

Answered warm polemic at television industrial the current week, oprah retreat 2011!
startled public, broadcaster frighten and stocks market flares up! . . . oprah winfrey the queen" talk show" have come to part from family room during 25 year announce self retreat from glass sail at year-end 2011. equally, hundreds million people from the oprah fans at 140 countries lives has time 18 months again to watch" talcum powder show" biggest at their television face. then, why oprah retreat? speculation will say oprah concentration will establish cable channel oprah winfrey network that cooperate with discovery channel and various television network whole america. . . . and oprah still permanent present via" o" magazine the property or " oprah book review" or www. oprah. com. . . .

Here's a phenomenon a megastar where moment to stop. and here's a strategy" marketing, homework brand" very precise and incredible clever. oprah winfrey show, stop after 25 year on air. Indentity This strategy begins to appear when oprah open support in barrack obama, and contribute tens million dollar make the president. oprah then appear in" reality show" , via oprah on the road, rise car usually from la to chicago, and comport as a usually. oprah direct feel to how alive is member usually like most america person. . . then, whitney houston show card habis2xan in oprah. . . and most gress, oprah invite sarah palin which during the time always aversed because oprah support obama. rating direct television jumps
up, price spot rise, and oprah return to be talcum powder grand stand queen show biggest during the time. . . . and suddenly, oprah announce to retreat year 2011. mean in 18 months coming, spot price advertisement oprah incredible expensive, rating future tall, and more sensationaler.
In the world of television comfort really there proverb (unknown) that say" retreat moment your self or your program very popular, and andapun will be legend" . . . the beatles prove that. the cosby show is breaking up moment rating is rising. the muppet show stop before teletubbies appear. . . and now oprah is retreating moment mempuncak popularity. . . oprah
future be legend. . .

filler insert

DTV Standards
The simplified chart below outlines the various Advanced Television Systems Committee digital standards adopted in the United States.
Although there are numerous factors involved in evaluating technical quality, from a purely technical standpoint the greater number of scan lines on the screen at any one time the clearer the picture will be. In addition, the progressive approach to scanning will result in a higher technical quality than the interlaced approach.
It should be noted that the HDTV standard of 1,080 lines shown below is the same as previously discussed the 1,125-line HDTV standard. The difference centers on the total lines broadcast (1,125) vs. the active visible lines (1,080). As in SDTV, many of the lines that are broadcast do not end up being displayed on the TV screen.
Active Lines Per Picture Pixels Per Line Aspect Ratio Frame Rate Scanning
Approach
1080 1920 16:9 24, 30, and 60 Progressive
1080 1920 16:9 24, 30, and 60 Interlaced
720 1280 16:9 24, 30, and 60 Progressive
720 704 16:9 24, 30, and 60 Interlaced
480 640 4:3, 16:9 24, 30, and 60 Progressive
480 640 4:3 24, 30, and 60 Interlaced
To simplify things some minor formats are not listed.

720p vs. 1080i
There are ongoing debates on whether 1080i or 720p is better for HDTV.
Those who say 1080i is better say that 2,073,600 pixels for HDTV are "clearly" superior to the 921,600 used in 720p.The more lines, the more picture detail.
But, again, there's the issue of the number of lines that appear at one time. Since 720 is progressive and 1080i isn't. This means that the 720 standard ends up being better for tracking action, plus you won't see any "jaggies" or motion artifacts with 720p.
The newest tuners should be able to convert any of these standards into a TV receiver display. At the same time, some tuners/receivers display one standard better than another.

The 24p Standard
So-called e-cinema or digital cinema has moving to the 24p standard (24 frames per second, progressive scan). Those who are after the "film look" prefer 24p, because the progressive approach results in fewer artifacts (aberrations) and because the 24 fps video rate is the same as film.
When projected, and with the proper equipment and electronic setup, both 24p and full HDTV become almost indistinguishable from film. If there is any "fault" with digital video it's that seems "too sharp and clear" compared to film.
Of course, I guess we can all get used to better quality if we really have to!

Studio

STUDIO LAYOUT AND EQUIPMENT

1. The Studio Floor

The studio floor is the area where the cameras face the performers.

2. The Control Room

The main control room is where the director is during a production, and where the vision mixer (VM) sits a t the switcher (or vision mixing console) electronically selecting the chosen camera shots and executing the visual special effect which needed.

3. Vision Control

Vision control may be in the main control room, or nearby.

4. Audio Control

Audio control may be in the main control room, but it’s it’s separate from the general frenzy and noise so the operator can hear the program sound well and pick up on signal problems, like buzzes or crackling cables.

5. Studio Cameras

Studio cameras are usually the best quality cameras the institution can muster. Most places try to limit the use of these cameras to just the studio, plus maybe the OB van.

6. Camera Mounts

Studio cameras are mounted on camera pedestals or on tripods with dolly wheels.

The Camera is mounted on a pan/tilt head, which controlled by four knobs :

· Tilt Lock : This knobs locks or loosens the tripod head’s tilting action (which allows the upward and downward swing of camera lens). The tilt should always be locked before the camera operator walks away from the camera.

· Tilt Friction (Tilt Drag) : This knobs allows the camera operator to adjust the tension control on the tilt action.

· Pan Lock : This knobs locks or loosens the tripod head’s panning action (the swiveling of the camera to the left or right). The pan should be locked before the camera operator walks away from the camera.

· Pan Friction : This knobs allows the camera operator to adjust the tension control on the pan action

7. The Vision Mixer

The vision mixer or SEG (special effect generator) is a panel which allows the operator to electronically preview and select program video from the array of camera shots and other video sources which are patched in to it, and to set-up and execute visual effects and transitions.

8. Live Video vs. Pre-Recorded Video

Video which is being generated at the moment from a camera or other video generating devices called live. Video which has been recorded on tape and is being played back on a VCR is called pre-recorded.

9. Genlock

Video cameras have to be able to generate their own timing pulse (or sync) so they can function independently and record a stable signal on their own.

10. Sync Pulse Generator

The sync pulse generator is used in a multicamera studio or OB van to gunlock the equipment by generating stable timing pulse (sync pulse) and sending them to all equipment which will be providing video signals to the vision mixer.

11. Time Bass Corrector ( TBC )

The TBC receives the video output from the playback VCR’s, strips the signal of its unstable sync (time base) and then attaches that signal to a ‘rock solid’ time base and outputs it to the vision mixer, where it can then be successfully combined with other signals.

12. Frame Store

A frame store can do the timing correction that a TBC does, but it’s also able to hold in memory a full frame of video information.

This increased memory capacity makes it possible for it to do an array of

wondrous signal manipulations, including :

· Freeze frame : which grabs one whole frame of video and continuously repeats it,

giving the effect of a still photograph on the screen.

· Freeze Field : which reproduces just one field of information, again with a

appearance of still photograph on the screen.

· Strobe : which is an effect caused by the video signal going in and out of

freeze frame mode at regular rate.

· Mosaic : which gives the image the appearance of being made of tiny tiles. This

effect can be increased to the point that the image is unrecognizable till the effect is barely noticeable, by controlling the size of the tiles both vertically and horizontally.

· Paint (or Posterisation) : which gives the image the appearance of a paint –by-number

project. This effect can also be increased till the picture looks like a flat-toned poster made up of wide swathes of monotone colours, or decreased till the effect is hardly evident.

· Mirror image : where the image from one half on the screen is reproduced in a mirror

image on the other half on the screen.

· Negatives image : where the light are dark, the darks are light, and the colours are

replaced by their opposites (red is cyan, blue is yellow and so forth).

· Compression : which digities the signal and then allows it to be squashed or stretched

either vertically or horizontally.

· Multiple images : which allows the same picture to be repeated in miniature several

times in different positions on the screen, with one little section active, (displaying moving video) and the other positions showing freeze frames.

13. Black Generator

The black generator comes either as a device o its own, or it can reside the vision mixer.

14. Video Distribution Amplifier (VDA)

A VDA is a simple device which takes a video signal in at one port and outputs the same signal, at full strength, to four or six ports.

Thus the VDA allows the same signal to be sent at once to several studio devices, without its signal being attenuated. A typical distribution of a video signal would be that the camera signal is taken out of the CCU and sent simultaneously to :

1. The patch bay connected to the waveform monitor and vector scope.

2. The camera monitor..

3. The vision mixer.

4. The patch bay for the frame store.

15. Routing Switcher

The routing switcher works in the reverse of the VDA. It takes in many video signal but

has only one or two outputs.

16. Patch Bay

Patch bays are the ultimate for allowing the user choice in connections. They can be used for both video and audio signals and also for assigning lights to the lighting mixer.

17. Character Generator (CG)

The CG or video typewriter has a keyboard which allows the operator to type in titles for the opening and closing credits and for super-imposed titles within the show.

18. Graphics Computer

For more collaborate credits and for computer generated graphics, there are computers with good graphics programs and composite video outputs, which can be connected into the vision mixer and used as a flexible source for imaginative program content.

19. The Audio Mixer

A simple audio mixer allows a number of sound sources to be input into it (like the studio mics, the playback VCRs, and the tape, cassette and disc machines) and all these sources can be mixed down into one or two audio outputs, which can then be inserted into the production, either for recording or for broadcast.

20. The Lighting Mixer

The lighting mixer follows much the same principles at and sound mixer.

20. Waveform Monitor

The waveform monitor is a signal testing device which has several different displays, selected by a knob.

21. Vectorscope

The vectorscope is another signal testing devices, used for analyzing the properties of the colour portion of the vide

sketsa comedy

one kind of comedy program based of naration.

coffe bean show

Home

griya unik is one of program television trans tv that perform about home, furniture, tips and artist. We can get more information. see at trans tv every saturday at 09.00 pm.

Camera

The Camera

How to use the camera correctly will help you avoid poor results.

LENS CONTROLS:

The modern television lens has three controls: iris, focus, and zoom. On a fully automatic camera you may not have to adjust the focus or iris except under unusual conditions, but you should know what's going on so you can use manual settings with confidence.

The ring closest to the camera body controls the amount of light passing through the lens to the light-sensitive surface of the pickup tube or chip. It is called the iris, aperture, or f-stop control and is marked off in f-numbers. The lowest f-stop lets in the most light, and the highest f-stop lets in the least. Some lenses even have a "C" setting after the highest f-stop which means the lens is completely closed, letting no light through at all.

More light------------- Less light

1 1.4 2 2.8 4 5.6 8 11 16 22 32

STANDARD F-NUMBERS

Each standard f-stop lets half as much light through the lens as the f-stop below it.

If the camera gets too little light, the image will look fuzzy and drab, even though it may be in focus. The camera image may lag behind quick changes in the picture and the picture will be grayish, with little contrast.

Too much light will produce too much contrast. Details in both the very bright and the very dark parts of the picture will be lost. Bright spots may grow "halos" or "bloom." So-called "point sources" of light may cause light vertical stripes on CCD cameras.

The correct setting is between these extremes, generally about one f-stop higher than the f-stop at which the bright parts of the picture lose details and grow halos, or "bloom." To find this point, begin with the lens in the closed or highest f-stop position and open it slowly until you start losing details in the brightest parts of the picture. Then reduce the amount of light coming through by going down to the next highest f-stop.

Indoors it's often necessary to add light to get a good picture. Outdoors on bright sunny days it may be necessary to reduce the light reaching the pickup tube even more than the lens will allow. This is done by adding a neutral density filter between the lens and lens hood. A two power (2X) filter has the same effect as using the next highest f-stop, while a four power (4X) filter gives the effect of going up two f-stops.

ZOOM

The center ring on most lenses is the zoom control. Most cameras use a rocker switch beside the lens. This allows you to change the focal length of the lens through a range from wide angle (short focal length) to telephoto (long focal length). It's common for inexpensive zoom lenses to have a range of about six to one. That is, the longest focal length is about six times the shortest. Zoom lenses for television cameras with two-thirds inch pickup tubes or chips range from about 12mm to 75mm, with a normal focal length of about 33mm.

A wide angle setting makes the subject smaller as the angle of view is increased. Distances from the camera are exaggerated, with objects nearer the camera appearing abnormally large. This is especially true of people who are too close to a wide angle lens. Straight lines near the edges of the picture are often bent with an effect known as barrel distortion.

A telephoto setting makes the subject larger as the angle of view is reduced. Distances from the camera are compressed. More than one feature film director has used this effect to make an action (like running toward the camera) seem to take much longer than it should.

The normal lens settings offer the most natural perspective to the viewer.

It's possible to change the focal length of a zoom lens during a shot by "zooming" in or out. Inexperienced camera operators often over-use this capability. The main value of the lens is in controlling the field of view of the camera when it's inconvenient or impossible to change the distance from the subject to the camera.

FOCUS

The focus control is the ring farthest from the camera body, on the front of the lens. Distance settings are marked in meters and in feet. While a non-zoom (fixed focal length) lens is focused simply by turning the ring until the image is sharp, the zoom lens must be zoomed in to the smallest angle of view and the largest image size to adjust focus. The lens should then be zoomed out to the widest angle of view and the smallest image size to make sure the image stays in focus through the entire zoom range. If the image stays sharp, the lens will remain focused at any focal length as long as the distance from the subject does not change.

Depth of field is the range of distances in front of the lens in which objects appear to be in acceptable focus. It's longer for short (wide angle) lenses than for long (telephoto) lenses, and it increases as you use higher f-stops. It is often wise to use a higher f-stop when lighting conditions permit, if you expect the distance between the camera and the subject to change often while you're taping, since you'll have less trouble keeping the subject sharply focused with greater depth of field.

While all cameras with zoom lenses must control iris, focal length, and focus, the functions of the three rings described here may be automated or provided by remote control.

Most lenses also have a "macro" setting on the zoom ring. This changes the characteristics of the lens to let you focus on objects right up to the front of the lens.

ELECTRONIC CONTROLS:

Some or all of the following controls may be automatic or preset and thus not adjustable by the user.

Pedestal: Also called the "set-up" control, sets the level of the darkest parts of the picture. On portable cameras it's generally automatic or totally absent.

Gain: Also called "level," this control sets the level of the brightest parts of the picture. It can be used to reduce the level when too much light is striking the pickup tube, but it will not make the picture brighter without making it grainy or snowy if the pickup tube or chip isn't getting enough light. Automatic gain controls can be extremely sensitive to even small bright parts of the picture, driving medium and darker parts into black. They may also bring dark parts up into the medium range if there's not enough light for a good picture.

White balance: If you use outdoor film with normal indoor lighting (no flash) everything comes out orange. The color temperature of sunlight is very different from an incandescent light bulb. Most consumer cameras now sense the overall color temperature and adjust color electronically. In older or professional cameras it's important with each change in location or lighting to "tell" the camera how to interpret color. This is done by showing the camera a white card, which represents the total absence of color. Controls on the camera are then used to minimize the color output of the camera.

Viewfinder: There are often controls to adjust a camera viewfinder. To state the obvious, these controls have absolutely nothing to do with the actual output of the camera. It's helpful to adjust the viewfinder under controlled conditions so it shows a faithful representation of actual camera output. Otherwise, if you want viewfinders to tell you the truth, they should never be adjusted just to make a "pretty" picture.