R.A.V.E - Episode 4 - The 4 Disciplines of AV Series: Part 3 - What You Need to Know About Video

This episode is the third in a 4-part series called The 4 Disciplines of AV. Part 3 is all about video, or, more specifically, what you need to know about video.

This series is not meant to be comprehensive, but instead consider it a checklist for all the concepts you need to start mastering to become competent in this discipline of audiovisual work.

If you have specific questions or you would like to receive a free written transcript of this broadcast, please feel free to email me at ravethepodcast@gmail.com

Transcript

RAVE Ep 4 - Part 3 - 4 Disciplines - Everything You Need to Know About Video

Stephen: [00:00:00] Hello, my fellow humans. Welcome back to Rave, the podcast. I'm your host, Steven Verner, where we are training tomorrow's AV professionals with excellence and integrity. This is our fourth count, fourth episode in our. Journey as a podcast. I just learned a statistic today that there are over 5 million podcasts that are broadcast every month, and over half of those podcasts only produce three episodes.

So by releasing this fourth episode. We are now in the top 50% of podcasts. I'm not bragging, I'm just saying we're gonna be persistent. Anyway we are actually on our third part of a four [00:01:00] part series. I'm calling the four Disciplines of, of av. In our second episode, we talked about what you need to know about audio.

The last week's episode was what you need to know about stage lighting this week. It's what you need to know. About video. Full disclosure, I am not the greatest person to talk about video, but I do have some knowledge and some experience. Uh, without further ado, we're gonna jump right in to our topic and I'm gonna be using, uh, some aids today.

As we're talking about some of these things, I'm gonna let a little Google AI prop me up a little bit just so I make sure that I'm giving you good, clear information. So the first aspect of video knowledge that I think you really need to get down, and actually the first three that kind of come together [00:02:00] is resolution.

Aspect ratio and frame rate. So let me just start with resolution and we'll talk a little bit about each one of these for a few moments. So re resolution actually refers to the number of pixels. And this has to do with, you know, the higher the resolution, the more picture pixels that make up that picture, and that's gonna be.

A more, a sharper, a more detailed image while a lower resolution is going to result in a less detailed image. That's, uh, a little bit about resolution. So some of the more common resolution standards that we see. Uh, you've probably heard these phrases. If you've been shopping for a tv seven 20 p.

10 80 P 2K and 4K. So these are actually, uh, [00:03:00] ratios. So when we talk about seven 20 p, uh, that's actually 1,280 pixels by 720 pixels. So that's what makes up. That resolution standard when we're talking about 10 80 p it's 1920 by 10 80 when we're talking about 2K, uh, it's 25 60 by 1440, and when we talk about 4K, it's actually 38 40 by 21.

60. So this naming convention it refers to the vertical pixel count. For instance with seven 20 P, there's 720 individual pixels in the vertical. Um, realm. And then that's the same. Uh, if you wanna look at all those aspect ratios, 1,080 pixels vertically and 10 80 p 1440 as we talk about 2K and 2160 when we're talking about 4K.

So you'll often just hear [00:04:00] resolutions referred to in these ways. 7 20 10 80 2K and 4K. And that's the naming convention. So a little bit here about aspect ratio. So if you're a kid of the eighties, like me. You grew up watching box televisions, and so all of that was done in a four by three aspect ratio.

So aspect ratio is more about describing the shape of the video frame. Alright, so, and it's normally expressed like I just did as a ratio, two numbers, right? Four by three. Uh, now we talk in terms of 16 by nine or wide screen format. This is the more common aspect ratio now that you find on com computer monitors and TVs and online videos, things like that.

So, and then four by three was the older televisions and, and displays. Uh, the aspect ratio affects how the content is displayed on [00:05:00] different screen sizes, and it can impact, you know, your experience as a viewer. And then frame rate has to do with the number of frames or individual images that are displayed per second.

And this is, uh, normally given as a number with the letters FPS or frames per second after it. So the higher the frame rate. You know, such as like 60 frames per second. It normally results in a smoother, more fluid motion or appearance of motion, um, while lower frame rates can appear to be more, uh, cinematic.

That TV experience we had was color television was 30 frame, analog, 30 frames per second. Uh, whereas cinema. Uh, it normally is around 24 frames per second. And, uh, and then we, as we get, you know, [00:06:00] higher, we go, you know, 60 frames per second. So you can have, 10 80, uh, 30, 10, 80, 60, you can have 2K, 30 2K, 60 4K 30, and 4K 60.

So that is where we're starting to mix up, aspect, uh, I mean resolution and frame rate. And so, uh, that's just a little bit about those three three pieces of knowledge that you need to begin to wrap your mind around. And the reason we need to know these things is because we're gonna be receiving media from people as, video professionals and we need to be able to talk a little bit about that. Um, and we need to know when we're matching up gear, uh, what that gear can handle, what its maximum output can be. Some gear can handle, you know, 4K 60 frames per second, and some only go to 10 80. 1590 p some older pieces of gear may be only able to handle seven 20.[00:07:00] 

So we need to be able to match up these things. And a lot of times when you're having issues with the display of video and it starts to look wonky, it's one of these three aspects that doesn't, that doesn't match. So we need to make sure that these things match together. And so, uh, the next thing I, I just want to talk about a little bit, and this area is a little bit, um, more familiar to me is, uh, the need to white balance.

And so, what we're doing here is we're trying to set a standard for the camera so that it knows how to generate the other colors. So, uh, when we look in what Google AI tells us, you know, it says that. White balance is a, a crucial setting in videography that impacts the color temperature of your footage and it ensures accurate color [00:08:00] rendition.

So it, and it goes on to say, it essentially tells your camera how to perceive true white and under, uh, varying lighting conditions sub subsequently. Wow, that's a hard word to say. Obviously. Adjust all other colors accordingly. And if it's not set correct, you're gonna end up with, um. Really weird stuff going on with colors, and this is so, uh, important, especially if you're shooting video with more than one camera.

If one operator chooses one white balance standard and one another it's gonna be a horrendous time making those videos, um, match up, especially if you know you're shooting the same stuff. So we talked a little bit about this last week in terms of color temperature. So we have the, uh, color scale and it's measured in temperature.

So we use the Kelvin scale when we're talking about halogen light or that warmer [00:09:00] theatrical looking light, it's closer to 3,200 degrees. If we're looking at that more bluish white, that's gonna be at a higher temperature of 5,600 degrees Calvin, and we talked about how weird that is, that we refer to blue as a cool color when the temperature is actually hotter when we refer to like orange and yellow and amber and things like that as warmer colors, when actually on the color temperature there.

Lower. And so we talked about if you've ever sat around a campfire and you've observed fire before, roasting a marshmallow or something, you've noticed the colors of the flame. You know that the orange and the, uh, yellow were actually not the hardest, hottest parts of the flame. It's that bluish purple.

Those colors are actually the hotter parts of, uh, the the, um, light. That's being produced from that flame. So it's the same, uh, principle. Uh, light [00:10:00] frequency moves in front of our eyes like that. But when we have to settle on a standard, that's what we mean by white balancing. We have to settle on that standard so that the camera aperture the lens and everything that works together, the sensor inside of that camera.

That's capturing the video, understands how to align all the other colors and that everything works off that standard. It's a, you know, it's, it's looking to settle that issue and then it balances all the other colors from that. And if we, if we're not upfront about that and we're not communicating well together.

Again, you're gonna have really bad issues later with your video and this is where the disciplines start to cross over. So we talked a little bit about working together. Uh, as lighting people, we have to be able to work with video people. As a video people, we need to learn to work with lighting people.

And it's good to be well-rounded so that no matter where you're cast [00:11:00] for the day as a gig worker, or if you're like me and you're a technical director and you have to be jack of all trades, master of none, you need to be able to, uh, direct these things or to see these things and to direct the people who are responsible for those things to, to get them corrected.

So, those are four really big aspects of video. And, uh, the next aspect that I really want, uh, to talk a little bit about is cable types and what their, uh, signal limitations are. When we started back in the olden times, uh, we used a lot of composite video, right? So the, these were analogs signals.

So we were using the old RCA connectors. So you've, you've seen those with the, you know, yellow being for video, if you ever hooked up an old PlayStation or something like that, right in the red and white for audio, and those connectors had certain. Limitations [00:12:00] as to how much resolution they could handle.

And then as we got. A little bit further down the line. We have, you know, VGA style connectors and, uh, it got a little bit better. So with, uh, VGA, it transmits a video and it can support up to six 40 by four 80 and 16 color, or 256 colors if you lower the resolution to three 20 by 200. But, uh, VGA signal was very prone to you know, degrade over longer distances.

So when we're setting up a, especially like for conference AV and stuff like that you had to use boosters and things like that. Thankfully as we moved further into the digital world we have HTMI cables. And so now we're up to, you know, we can produce, signal of eight K on, uh, HDMI 2.1.

I [00:13:00] believe which is just unbelievable unbelievable quality. I. But, well, one of the things about HDMI cables too is we try not to run an HDMI cable more than 25 feet. Because it also signal of all types degrades over distance. That's a common theme. So, uh, we try to use one, use al try to always use high quality cable.

Um, but then also the source matters a whole lot. As, uh, devices have gotten thinner and smaller, of course the components get better and better, but that video amplifier inside your device can only, uh, send signals so far, um, before it starts to degrade. And so then we have to use other devices, amplifiers and such like that, or we have to convert the signal, uh, to send it in a different way.

Excuse me, I'm having a little bit of trouble here with, with my voice here in the summertime. So I'm having to take, uh, pauses and [00:14:00] things like that. Another style of connector cable you're gonna see, or maybe not as much as HDMI is, uh, display port. Display port is still around. You don't see it that much in consumer video, but it's still in pro video.

Um. Because it can also support up to eight, eight K. It's a, it's a multi pin connector. And, um, but uh, the first iterations of DVI, like they call single link DVI can support up to 1920 by 1200. You know, there's your, uh, 10 80 p uh, no problem. And then your dual link, DVI, uh, will support up to 25 60 by 1600.

So there's your 2K. Uh, resolution. Um, but again DVI didn't send audio interlaced with the video. So there's the difference between the DVI cable and an HTMI. [00:15:00] Um, because HTMI would, uh, send, um. Sorry, would, uh, send that information out together. And I think I messed something up here. So I think I quoted you the statistics of display port as HTMI.

So let me just go back real quick. HTMI 2.1 will support up to eight k resolution at 60 hertz or 60 frames. Uh, 4K at 120 hertz. And it has a bandwidth of up to 48, uh, gigabits per second. And of course we talked about signal degradation can occur over long distances. So display port is a funky little connector, but you'll see it more and more.

It kinda looks like an HDMI connection, but one side is just straight and vertical. It doesn't, you know, angle out. And so display 0.1 0.4 can support up to eight K resolution at 60 hertz or [00:16:00] 60 frames. And it's sim, like I said, it's similar to HDMI and you can do longer ca cable runs, um, uh, without it causing issues.

But you do have to at some point, convert it over to run at longer distances. So I just wanted to clear up my little, uh, mistake right there. And now with USBC you can use this as a display port alternative. It can carry video and audio signals, uh, using what they call display port alt mode.

And the, this makes it pretty versatile for connecting various devices and things like that. Uh, but it does have, you know, various bandwidth limitations when you compare it to a CM I 2.1 and display 0.1 0.4. So another honorable mention here back from the old days is S video, which was a smaller multip cable that we used for analog.

Um. So you saw those RCH type connectors and s video connectors in the VGA and so on and so [00:17:00] forth. So I'm talking about cables and it's like, why are you talking so much about the connectors? Because the connectors is, is what we're dealing with a lot. And the cable in between has its, uh, limitations as well.

But really that cable, the connector is how. The information is interfacing, right? It's how we're plugging in that cable to a device that's sending information into a device that's receiving information. So that's just a little bit about cable types. Uh, one other cable type I thought I would mention here too is coaxial cable, or sometime we call that, excuse me, uh, SDI or hd, SDI, and this is, uh, just coax cable. It's straight copper. It's very shielded and it can take uncompressed digital video and run it over a very long distance, up to about 200 feet, um, before it has to be amplified. I. So a lot of higher end [00:18:00] cameras and a lot of higher end projectors will have SDI outputs from the projector, uh, I mean from the cameras.

And then a lot of high other high end gear can receive that SDI signal without it having to be converted to another type of cable. But a lot of times what we're doing is we're mixing and matching. So if somebody brings us a laptop and we have to put it up on a projector. It's not gonna have an SDI output obviously.

So we're gonna need to come out HDMI or display port, we're gonna need to run that into some type of converter box. That converter box is gonna turn it into signal. We can send over SDI and long distance and then, either the projector's gonna have an SDI input or it's, uh, gonna have to be converted on the other end, uh, as well.

Uh, so there's a lot of. People who make these converter boxes. Black Magic makes these decimators DAC seventies by data, video and, and other boxes like that that you're gonna see if you work in this field. I. [00:19:00] So just getting familiar, uh, with how to turn those signals around and what the limitations are.

Uh, but normally, you know, if you're going more than 25 feet, you're probably gonna be amplifying that signal in some way, uh, so that when it gets to the other end, it's gonna be strong enough. You've got enough signal to do something with. If you start having issues where like the image is dropping in and out or things like that.

Most of the time it's just a weak signal coming in and you need to, you know, run it through some sort of, uh, box that's gonna bump it up. I do have like some longer HDMI cables that I've bought that have like an M line amplifier, so the cables like that do exist. But a lot of times, you know, it's gonna be a box that you're gonna need to plug into the wall.

Pause and hey, we are back. I just needed to rest my voice there for a moment and get a drink of sweet tea. Alright, uh, so we were talking a little bit about video signal types. Uh, the next aspect I want to talk about here [00:20:00] is a video switching. So a video switcher is, um, is really a cool little device and it allows you to seamlessly switch between multiple video sources, uh, during a live production, like if you're doing broadcast or live stream.

So in other words, this little piece of gear all your video inputs would run into this little device and then it would send one output out to most of the time in my. Field, a projector or another place if you were broadcasting it, things like that. So the switcher does just that, you know, it brings in multiple sources to one place and it allows the user to be able to switch between those inputs seamlessly.

So most of the time a switcher is gonna have the source output and then it's gonna have a preview output, and that preview output will divide the screen up into. How many sources you have, like in my case, I'm, I'm using smaller switchers that [00:21:00] have maybe four in inputs and one output. So it's gonna divide the screen into fourths.

And you can see all four inputs on one screen. A lot of times it's gonna outline the one that's live and up on the screen in a different color. In my case, like I'm using a, a rolling V, one hd and the image that's live on screen is outlined in red. And then the image, let's say, that I've set up to switch to, or the one that's on deck is, is outlined in green.

So when I move the T-bar. Or I hit the, uh, transition button, it'll transition from that live source and make the on deck source the live source. So the switcher is a really cool device again, where you can just bring in multiple inputs. I. Be able to switch between them as you need to. So, practical application of this might be that you have, you know, one laptop on stage that a presenter is using for PowerPoint.

You may have another [00:22:00] laptop, uh, sitting at the production table that as the presenter refers to videos, those videos are gonna be queued up and played from that laptop. And then maybe you have a camera or two or three also hooked in that you're gonna switch to as needed. Uh, a lot of times, you know, uh, we want to be able to break up those, the division of labor between devices, right?

And in my field a lot of times, and I'm working with presenters and they bring everything to me on one laptop and a lot of times I'm having to coach them through the need to actually bring. More than one device. Like, Hey, let's have one device, doing this workload and another device, doing this workload in the higher end productions.

That's just kind of a given, but nevertheless, uh, that's what a switcher does. So the next aspect of video that I want to talk about is, uh, the [00:23:00] need for shading. Shading is where we are changing the brightness on the screen. A lot of times, again, the division of labor is broken up, and we can allow the video operator, the camera operator to do this.

But if we do, then it's just one more thing that they're responsible for and they can't focus on what it is. Uh, they. Need to do. But with shading is a little device again that goes in line to the output of where the sources are going, and it just allows you to shade the image. Uh, a lot of times this is being done when you have multiple camera sources, right?

So that would be a controller that would allow the shader to sit and, you know, shade each of those. Cameras, let's say, you know, from different angles, the lighting is different and so they're just trying to match the overall [00:24:00] brightness so that it doesn't, uh, you know, we don't have one shot that's super bright and one shot that's super dark, you know, it's just even all the way across.

Uh, if we pause right here just for a second, and we're talking about, we've, we talked about resolution aspect, ratio, frame rate the need for white balancing and communication with, uh, lighting folks. We've talked a little bit about cable types and connector types and their limitations and the distancing and things like that.

We talked about switching. We talked a little bit about shading. And now we're gonna talk about projectors. And this is an area where I probably have the most experience with video. Again, I'm not, you know, a number one, a video, uh, expert. But I've had to do a lot of video in my career. So that being said.

Uh, with projection, uh, there's a couple of different aspects where it subdivides into and the first [00:25:00] aspect to talk about in projection is brightness. And brightness is measured in a unit of measure called lumens. A lot of this determining how bright a projector needs to be is about its surroundings, right?

So if you have a smaller projector in, say a boardroom, and it only has to shoot to a screen that's like a few feet away, 1500, 2500 lumens will probably do just fine, especially if you can darken the room a little bit or you can shade the windows. It's not that bad. Um, but the bigger the screen gets, the bigger the room gets, the more ambient light that we have to deal with the brighter that projector needs to be.

So, for instance, in the theater that I am the tech director at, you know, we have a projector that's set up all the way in the third tier balcony from our lighting booth, and that's about 8,500 lumens. It's a large venue. I. Projector, um, because I'm shooting on a screen that's [00:26:00] about, 16 feet tall and 25 feet wide, and it's almost 80 feet away.

So you need a bright projector so that that energy is not lost over that distance. I. Yeah, and that's a, just a key aspect of, uh, projection is just in general brightness. How bright can you make that screen and people, uh, have to be able to see it. And, um, brightness is the first aspect of that. So, the next aspect is understanding a little bit about choosing the right lens.

So, you know, you can do. All kinds of calculations. There are you know, lens calculators online where we're doing a lot of, uh, geometry and things like that. But if we just boil it down to the basic components, is that. The further away a projector gets or the closer it gets, we have to, we have to change the lens.

You know, we're trying to fill, a certain size [00:27:00] screen. And so we have a certain projector. The better the projector, the more I. Capabilities that it has. Most of the time it's gonna have detachable lenses that you can change. In my scenario I have an ultra long throw lens because I'm shooting from, again, that third tier balcony and then sometimes all the way down.

I. To my psych, which is hung on the upstage or the very back of the stage. So that adds another 25 feet of distance. So I'm now almost at a hundred feet that I'm shooting that video image, uh, from. And so I need that lens that's going to create the right size image on to fill the screen. And then I have just a regular long throw.

So I had the ultra long throw and the long throw. And then we can go on down the line to more normal lensing. Then as we get closer to a screen, you know, we have a short throw lens and sometimes what we call a snorkel because of the way it's shaped or an ultra short throw, uh, [00:28:00] lens, uh, where, you know, you might even just be setting the projector, a few feet.

Even if that far away from the screen that you're trying to fill. And you'll see some of these applications like an education where they've got the projector, shooting an image right at the whiteboard or something like that, and it's like maybe two, three feet away. So you really need to be able to have, that, um.

Ultra short throw lens. Yeah, again, there's a lot of calculations that go into this, especially if you're doing installation. Um, and it's gonna be in a fixed location. But, suffice it to say, you know, if you're choosing a projector for the right application, you're gonna need to choose the right lens to go along with it.

And there are a lot of people that can help you determine that. Um. Always lean into people who know a little bit more than you in a certain area. There's nothing wrong admitting that you're not an absolute expert in every area. So we talked about lumens, we talked about lensing. Now let's talk about keystoning.

And that's a [00:29:00] weird phrase. It's like, what does keystone mean? Uh, that phrase comes from the fact that it's an architectural term. So the keystone is actually the trapezoidal. Um, shaped stone that sits at the very apex of an arch. When you're building an arch, it's that capstone that goes in between as the arch is coming from the left and from the right, and it takes all the pressure, right, but it's shaped in a trapezoidal.

Shape. And so what happens is because of geography, uh, geography, duh, geometry, let me get the right term here because of geometry. If we're shooting, a. Projection at a a, a wall. If we don't get that straight, perfectly straight, it can create that trapezoidal distortion of the image.

Um, the process of. Shaping that image up so that it's perfectly rectangle is called keystoning. So within the menu of the [00:30:00] projector itself, and a lot of times from, uh, the remote, you can go in and, slide these corners left and right, up and down to get it just absolutely perfect because there are no perfect scenarios of where you can.

Hang a projector or a lot of times if you're doing shooting a projector, uh, from, a from a tabletop or you're shooting, from a rolling cart, you're not gonna be able to get it Exactly. Level and exactly, perpendicular to the screen. And so you're gonna have these issues with keystoning that you're gonna have to overcome.

So we talked about lumens, lensing keystoning and just honorable mention here to color balancing. Most of the time people are gonna bring decent sources to you. Um, but every once in a while, you know you're gonna get you know, a laptop that maybe it's. On its last leg and the output is just not that great.

And so you're [00:31:00] gonna need to dive deeper into the, um, menus and begin to color correct. Just a word of caution. I try to stay out of this area as much as possible. Um. Full disclosure, my eyes aren't the best. You know, I'm 51 years old. I've been wearing glasses since I'm nine years old. I am nearsighted.

I have an astigmatism in one eye, and my prescriptions are different in each eye. So a lot of times when I'm doing setting up a projector, I. Bring my glasses in and put those on. But even then, I know that, you know, I don't trust myself as the only source. So I'll bring somebody else in and let them look at the image and tell me, how do the colors look?

You know, our, our eyeballs are similar, but they're also all different, you know, very subjective. And another part of projection too is, you know, uh, zooming and focusing. So one key tip here is when you're trying to [00:32:00] get an image just right, and again, when you don't have time to sit down with a calculator or pull up something on a laptop and work through the science of everything, you just gotta get that image up.

There is a lot of times just, getting that image on the screen and making it slightly bigger, uh, than it needs to be. So I'll a lot of times zoom out just slightly more than what I need it to be. 'cause it's always easier to use your keystone feature to pull those corners in a little bit than it is to stretch those corners out.

You just get a better image. And then once I get, the zoom, right, I get that keystone just right, then I can play a little bit with the focus and get the image as sharp as absolutely possible within the capabilities of that piece of equipment. So just a little bit about, you know, setting up a projector in real [00:33:00] time.

Also to deal with projection is we talk about screen gain. So this is an essential part of video knowledge as well. So when we're shooting projection onto a screen, every fabric we use is going to either absorb. That signal or reflect that signal. And gain is the term that we use to determine that.

So a lot of times if you're out shopping for a screen, um, it's gonna give you a ratio. So if, a manufacturer says that that screen has a gain of 1.0, that means the, if you're shooting 8,500 lumens, like in my case, onto that, um. Screen, in essence, it should bounce back exactly 8,500 lumens. It's not going to absorb any of that any of that energy.

A lot of times if we're, [00:34:00] uh, using a screen that has higher gain, it's because we want to get a. More luminosity out of the projector than it actually can produce. So in my case, if I'm using like that 8,000, I'm just gonna round the number off Lumen projector and I shoot onto a screen with a gain ratio of 1.5.

That means that that fabric, that material is actually gonna bounce back 50% more light than what I put on it, right? So if I take 8,000 times 1.5, that's 12,000 lumens. So I'm actually gonna get more brightness off of that screen than what I'm actually. Shooting to it from the projector, and there's all kind of use cases about why we use screens that have higher gain or less gain.

You know, if it's a, a screen that has like 0.8 gain, um, that means it's gonna give you 80% of the light that you shot on it, right? So you're gonna have to take 20% off of [00:35:00] whatever your lumen capacity, output capacity is for your projector, and that'll tell you about how bright, uh, you can make that image.

So, uh, that's just a little bit about I. Screen gain. And then as we wrap up here just a little bit here about cameras, and again, full disclosure, not my major area of expertise, but you need to understand a little bit. If you're ever thrust into a situation like me, I was always the fill in camera operator on jobs.

If somebody needed to take a lunch break or a bathroom break, they're like, Hey, veer, get upset on that camera. I'm like, I don't know what to do. And you know, I get like a. Five second tutorial, like here, just grab these handles and we'll talk you through it. And you put on a headset and you go, um. But is the idea of thirds when we're framing a shot we wanna make sure that we're lining things up in thirds.

So a lot of the hiring cameras, if you have a, a video [00:36:00] display attached, is gonna overlay essentially like a tic-tac toe board. So if you imagine your screen, you know, cut vertically in thirds and then horizontally in thirds. Then you're gonna have that tic-tac toe board. And so, so, and a practical application for me when I was doing, uh, AV at my church and, uh, I was explaining to a lot of our volunteer camera operators, you know, how to frame a shot is, keeping the pastor or the speaker.

In the center third there, and to give a little bit of headroom. So I don't want that shot. So tied up on the top of their crown of their head that I'm cutting off and make it look like they got a bus cut. So I'll leave a little bit of lead on the top and then on the sides as well. I don't want to frame that shot so tight that, if they just lean a little bit.

To the left or the right, they're gonna be completely eye of the shot. But I don't wanna make it so wide either [00:37:00] that, if the person stays still, we're just. We got a lot of dead space out there on the edge of the shot. So understanding when somebody says, Hey, can you tighten up, you know, that third or whatever.

And then the other aspect of this is overlays. So, uh, you can create an overlay on top of the video, and this happens a lot in broadcast, right? Where they're putting up the score of the ball game or in the news, things like that. A lot of times things are gonna scroll across. The lower third, they're gonna scroll across the upper third.

Things like that. So that's just a term you need to know a little bit about and how to frame a decent shot just in case like me, you were ever conscripted into service as a camera operator. No offense to the real camera operators out there because you people are amazing at what you do. So just in review as we wrap up here.

We've talked a little bit about resolution, aspect, ratio, frame rate. Those are all concepts that you [00:38:00] need to know something about. We talked about white balancing. We've talked about cable types and, uh, signal limitations, their distances, what they can do. We talked a little bit about switching and what a switcher does.

We talked about. Just for a quick second about shading, uh, we broke down the key aspects of projection with brightness. We measured lumens, lensing, keystoning, color balancing. We talked about how screen gain interacts with the projector to determine how bright the image. And then we talked a little bit about cameras, framing shots and what it means, uh, when we break the screen into.

Thirds. So as we wrap up here, I just want to thank, uh, everybody who has stopped in and made it through this fourth episode of Raise The Podcast. And again, this is the third of a four part series. We were talking about the four I. Uh, disciplines of av. If you'll stick around for next week's episode where we're gonna [00:39:00] talk about all you need to know about the essentials of rigging knowledge.

Thank you so much for hanging around. If you've got questions for me please send those to rave the podcast@gmail.com. And if you have somebody in your life that is trying to get into this area of business and professional audio visual or, uh, just somebody you think that may found this.

Information, entertaining or informational? Bring them, bring 'em in. Let's grow the audience. Thank you so much. I appreciate you hanging out with me. And, uh, we'll call this the end of episode four. Thank you so much and have a wonderful day.