Television and Field Reporting / Edition 6

by Fred Shook, John Larson, John DeTarsio

Overview

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..

Product Details

ISBN-13:	9780205111589
Publisher:	Taylor & Francis
Publication date:	01/23/2012
Edition description:	Older Edition
Pages:	368
Product dimensions:	7.50(w) x 9.25(h) x 0.60(d)

About the Author

Fred Shook, Colorado State University, Fort Collins
John Larson, NBC News
John DeTarsio, DiTarsio Productions, Inc.

Table of Contents

Preface

About 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 Team

Prove 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 Camera

How 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 Sound

Watch 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 Observation

Chapter Eight: Video Script Formats by Luan Akin Reader

VTR 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 Stories

First 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 Laws

Fair Use

Chapter 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 Reporting

Developing 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 Copy

Learn 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