Television and Field Reporting by Fred Shook - Bookswagon
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Television and Field Reporting

Television and Field Reporting


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About the Book

Updated in its 6th edition, 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.

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 JohnLarson 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

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


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Product Details
  • ISBN-13: 9780205111589
  • Publisher: Taylor & Francis Inc
  • Publisher Imprint: Routledge
  • Height: 232 mm
  • No of Pages: 368
  • Weight: 520 gr
  • ISBN-10: 0205111580
  • Publisher Date: 13 Mar 2012
  • Binding: Paperback
  • Language: English
  • Spine Width: 12 mm
  • Width: 187 mm


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