Full Description
Television Field Production and Reporting provides an exciting introduction to the art of visual storytelling. Endorsed by the National Press Photographers Association, it focuses on the many techniques and tools available in television today.The new edition of Television Field Production and Reporting will be 4-color for the first time, an absolute must in this visually oriented, rapidly changing field..
Contents
PrefaceAbout the Author Introduction: Television Is a Language Chapter One: Telling the Visual Story The Difference Between Visual Stories and Reports Heart, Emotion, Demeanor Placing the Human Perspective in Perspective The Value of Pictorial Narrative Silence As A Writing Tool The Silent Language of the Senses Putting It All Together Culture Impacts Perception How To Plan The Visual Story The Best Stories Convey a Sense of Progression Find Images that Convey a Clear Story Focus Write the Pictures First Reportorial Editing Working As Part of a TeamProve the Story's Focus Visually The Focus May Change Look for a Story Focus in Spot-News Events Tell Your Story through People Strong Natural Sound Helps Tell the Story Build In Surprises Keep Sound Bites Short Address the Larger Issue Challenge Your Focus Statement Video Packages are Factual Mini-Moives The Lead Provide Visual Proof for all Main Points The Close Be Hard on Yourself as a Writer Write from the Visuals Look For A Story While Capturing Uncontrolled Action Look For the Larger Story Chapter Two: The Visual Grammar of Motion Picture Photography The Shot The Sequence Long Shot Medium Shot Close-Up How the Basic Shots Work Together Camera Movement Pan Moving Shot Combination Shot Tilt Shot Tracking Shot Trucking Shot Dolly Shot Stabilization of Shaky Images Shots That Help Tell the Story One Shots to Crowd Shots Master Shot with Cut-Ins Overlapping Action Matched-Action Sequences Can Be Shot in Spot News Jump Cuts The Cutaway The Motivated Cutaway The Transition or Reveal Shot Using Camera Movement to Enhance Storytelling Point-Of-View Movement Thinking CameraHow To Avoid The False Reverse Vary Camera Angles Photograph People at Eye Level Contrast and Comparison Composition Chapter Three: Video Editing: The Invisible Art Editing is Another Writing Tool Toward a Philosophy of Editing Everyone Is an Editor The Cut Choosing Edit Points There Can Be No Matched Action without Overlapping Action Cutting on Action or at Rest Into-Frame/Out-of-Frame Action Jump Cuts Pop Cuts Devices to Compress Time and Advance the Action Parallel Cutting Shot Order Impacts the Illusion of Continuity Content Dictates Pace Cutting to Condense Time Composition Affects Pace Screen Direction Editing to Eliminate the False Reverse The Transition Shot Sound as a Transitional Device Cold Cuts Flash Cuts Cutting to Leave Space for Audience Reaction Communication Pays Dissolves and Other Optical Effects Chapter Four: Shooting Video in the Field Composition Guidelines The Rule of Thirds Pointers for Wide Screen Composition Use a Tripod Whenever Possible The Handheld Camera Balance the Camera Use A Wide Stance Control Breathing Preplan Body Movement Walk in Lockstep Avoid Unplanned Camera Movement How to Use the Zoom Lens Avoid Calling Attention to the Zoom Avoid Speed and Duration of Zoon to Story Mood and Pace Recompose the Shot as you Zoom Storytelling and Planning Establish Communication in the Field Think Before You Shoot Shoot Sequences Shoot and Move Anticipate Action Shoot Only the Shots You Need Avoid Indiscriminate Shooting Edit in the Camera Shoot to Eliminate the False Reverse Involve the Camera in the Action Working with People Avoid Distracting the Subject Staging Versus Motivating The One-Person Band How to Shoot and Conduct Interviews Simultaneously How to Photograph Your Own Standup Shooting in Cold Weather Safety First Distancing Safety in Numbers Plan to Make Mistakes On Returning to the Station Chapter Five: Writing with Light Photography Is the Art of Controlling Light Light-Mounted Fitlers Mixing Light Sources Basic Lighting Patterns The Role of Artificial Light Key Light Contrast Control The Inverse-Square Law of Light Backlight Broadlighting and Short Lighting Lighting for High Definition Flat Lighting Light Diffusion Bounce Lighting Exposure Essential Lighting Equipment Lighting in Sunlight How to Light a News Conference Setting Up Lights in Cooperation with Other Crews Lighting Etiquette Lighting Spot News at Night Photographing Subjects with Dark Skin Large-Scale Lighting Cautions Chapter Six: The Sound Track How Microphones Work Directional Patterns On Choosing a Mike Impedance Frequency Response Microphones for the Video Journalist The Wireless Transmitter-Receiver The Mixer Essential Points for Audio Techniques to Reduce Wind Noise Be Aggressive The Microphone Hears Differently Sound Perspective Stereo and Surround Sound Covering News Conferences Recording Group Discussions The Two-Person Interview Record Room Tone The Seductive Quality of Nat SoundWatch What You Say Sound and Video Accessories Chapter Seven: The Broadcast Interview: Shooting the Quotation Marks Establish Trust Practice Good Manners The Most Important Interview Question Save Your Questions for the Interview Do Your Homework How to Frame Interview Questions Use a Wireless Microphone The Art of Listening Avoid the Easy Questions Avoid Two-Part Questions "How Do You Feel?" Anticipate Questions the Viewers Would Ask Practice the Fine Art of Hesitation Pitch Reporting Opportunities Prearrange Signals between Reporter and Photographer How to React without Appearing to Agree Retain Control of the Interview Interviewing Children The Talking Head Influencing How Viewers Perceive the Subject One-Eyed Talking Heads Body Language After the Interview Is Over Interviews Allow Reporting through Direct ObservationChapter Eight: Video Script Formats by Luan Akin ReaderVTR VO (Voice-Over Video) VTR VO (Voice-Over Video) VO/SOT/VO (VO SOT or A/B for Short) Intros to Live Shots Live Intros to Packages Package Scripts Reporter and Anchor Closes The Case for Caps and LowerCase Summary Exercises Chapter Nine: Writing the Package Define Your Focus Write the Beginning (Studio Lead-in) Write the Package Lead Write the Middle or Main Body Write the Close Preplanning the Package Spot-News Packages Set a High Standard for Packages Use Natural Sound Liberally Chapter Ten: Write Like a Storyteller by John Larson Transmitting The Experience Writing Your First Sentence The Three Horses - Storytelling Tools for Video StoriesFirst Horse: Surprise Second Horse: Quest Third Horse: Character Tips for Writing Strong Stories Chapter Eleven: Video Journalism: Storytelling on Your Wosn by John Larson The Big Picture Size Matters-Bigger Is Not Always Better Bottom Line Starting Out, Over Or Up Six Overlooked Tools For Video Journalists Minute By Minute-One Man Band Lessons Learned in the Field A Guide Tour: Lessons Learned Chapter Twelve: How to Improve Your Storytelling Ability Seek Gradual Improvement Have a Story Involve the Camera Sequences Don't Advance the Story Don't Try to Show All of New Zealand Pursue Your Interest in People Motivate Viewers to Watch Develop Video Fluency Know the Community Curiosity Pays See Beyond the Obvious Show Audiences What They Missed Help Viewers Experience The Story As You Did Adapt Your Reporting to Story Demands Reporting the Nonvisual Story Personal Appearance and Conduct Etiquette Shooting and Reporting Spot News Toward a News Philosophy Chapter Thirteen: Live Shots and Remotes by Luan Akin What Does It Take to "Go Live?" Spot News Television Live Shot Formats Narration Helicopter Live Shots Live in the Newsroom Live Graphics Live/Anchor Intros Reporter Close Anchor Close Why Go Live? Why Not Go Live? Phoners Live Teases Some Parting Advice A Final Thought Chapter Fourteen: Law and the Broadcast Journalist Gathering the News Libel Invasion of privacy Defamation Use of the Word Alleged Apparent Authority Technology Telephone Recordings Subpoenas and Shield Laws Access LawsFair UseChapter Fifteen: Journalistic Ethics A Definition of Ethics Effects of Competition Situational Ethics Licensing Contract With the Public At Issue: Image Manipulation Case Studies in Ethical Dilemmas Reverse-Angle Questions Staged News Events Reenactments File Video Material Provided from Outside Sources Toward an Individual Code of Ethics Appendix A: Shooting Video: The Basics The Camera The Lens Appendix B: Improving Performance in Field ReportingDeveloping the Qualities That Make You Interesting and Interested Reasons For Standups Seek Reaction Communicate What You Feel about the Story Delivering From the Studio Put Experience into Your Reports Multidimensional Reporting Marking CopyLearn How to Relax Develop Conversational Delivery Your Appearance Field Lighting for HDTV Let the Audience Know You as a Friend Impact How People Perceive Your Sources Posture Matters Split-Focus Presentation The Anchor Debrief When You Are Before the Camera How Reporters Evolve Into Anchors Appendix C: The Assignment Editor and Producer: Architects of the Newscast The Assignment Editor Assignment Editors Help Conceptualize the Package The Producer Toward a News Philosophy Teases Help Make the Station a Regional Force Improve Audio-Video linkage Visuals Freshen File Video Use Talking Heads with Purpose Weather and Sports Glossary Index
