Television and Field Reporting Plus MySearchLab with eText -- Access Card Package

ALERT: Before you purchase, check with your instructor or review your course syllabus to ensure that you select the correct ISBN. Several versions of Pearson's MyLab & Mastering products exist for each title, including customized versions for individual schools, and registrations are not transferable. In addition, you may need a CourseID, provided by your instructor, to register for and use Pearson's MyLab & Mastering products.   Packages Access codes for Pearson's MyLab & Mastering products may not be included when purchasing or renting from companies other than Pearson; check with the seller before completing your purchase.   Used or rental books If you rent or purchase a used book with an access code, the access code may have been redeemed previously and you may have to purchase a new access code.   Access codes Access codes that are purchased from sellers other than Pearson carry a higher risk of being either the wrong ISBN or a previously redeemed code. Check with the seller prior to purchase.   --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