Television Field Production and Reporting

by Shook, Frederick

• ISBN13: 9780321044266
• ISBN10: 0321044266
• Edition: 3rd
• Format: Paperback
• Copyright: 2000-01-01
• Publisher: Allyn & Bacon

Summary

Television Field Production and Reporting, 3/e, 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.

Table of Contents

Preface	xv
About the Author	xix
Introduction	xxi
Telling the Visual Story	1	(26)
Visual Stories Begin with a Clear Focus	1	(1)
The Visual Storyteller Defined	2	(2)
Why Word-Centered Stories Fail	4	(1)
Write the Pictures First	5	(1)
Shoot Sequences	5	(1)
Prove the Story's Focus Visually	6	(1)
The Focus May Change	7	(1)
Look for a Story Focus in Spot-News Events	7	(1)
Identifying the Larger Spot-News Story	7	(1)
Tell Your Story through People	8	(1)
Strong Natural Sound Helps Tell the Story	8	(1)
Build in Surprises	8	(1)
Keep Sound Bites Short	9	(1)
Address the Larger Issue	10	(1)
Make the Report Memorable	10	(1)
News Packages Are Factual ``Mini-Movies''	10	(1)
The Lead	10	(1)
Provide Visual Proof for All Main Points	11	(1)
The Close	12	(1)
Be Hard on Yourself as a Writer	12	(1)
Write From the Visuals	13	(1)
The Edit Console Is a Rewrite Machine	14	(1)
Reportorial Editing	15	(1)
Stream of Consciousness	16	(11)
John DeTarsio
Summary	23	(1)
Discussion	24	(1)
Exercises	24	(1)
Notes	25	(2)
The Visual Grammar of Motion Picture Photography	27	(31)
The Shot	27	(2)
Basic Shots	29	(1)
How Shots Work Together	29	(2)
Camera Movement	31	(2)
Shots That Help Tell the Story	33	(3)
Location Shooting	36	(2)
One Shots to Crowd Shots	38	(1)
Master Shot with Cut-Ins	38	(1)
Multiple-Camera Photography	38	(1)
How to Shoot Matched Action with One Camera	38	(1)
Overlapping Action	39	(2)
Photographing Action Under the Photographer's Control	41	(1)
Photographing Action Not Under the Photographer's Control	42	(1)
Matched-Action Sequences Can Be Shot in Spot News	42	(3)
Screen Direction	45	(2)
Vary Camera Angles	47	(1)
Angles Provide Psychological Impact	48	(1)
Contrast and Comparison	48	(2)
Composition	50	(8)
Summary	55	(1)
Discussion	55	(1)
Exercises	56	(1)
Notes	57	(1)
Video Editing: The Invisible Art	58	(20)
Toward a Philosophy of Editing	59	(1)
Everyone in Television News Is an Editor	59	(1)
The Nature of Editing	59	(1)
The Cut	60	(1)
Every Cut Needs a Reason	60	(1)
Choosing Edit Points	60	(1)
There Can Be No Matched Action without Overlapping Action	61	(1)
Editing Action that Was Under the Photographer's Control	61	(1)
Cutting on Action or at Rest	62	(1)
Into-Frame/Out-of-Frame Action	62	(1)
Jumps Cuts	63	(1)
The Cutaway	63	(1)
Devices to Compress Time and Advance the Action	63	(1)
Advance the Action	64	(1)
Parallel Cutting	64	(2)
Shot Order Impacts the Illusion of Continuity	66	(1)
Content Dictates Pace	66	(1)
Cutting to Condense Time	66	(1)
Shot Length	67	(1)
Composition Affects Pace	67	(1)
Reveal Meaning through Composition	68	(1)
Screen Direction	68	(1)
Editing to Eliminate the False Reverse	68	(1)
The Transition or Reveal Shot	68	(3)
Send as a Transitional Device	71	(1)
Cold Cuts	72	(1)
Flash Cuts	72	(1)
Cutting to Leave Space for Audience Reaction	72	(1)
The Burden of ``Rambo Video''	73	(1)
Crash Editing	73	(1)
Supers and Other Optical Effects	74	(4)
Summary	74	(1)
Discussion	75	(1)
Exercises	76	(1)
Notes	77	(1)
Non-Linear Video Editing	78	(13)
The Non-Linear Editing Process	79	(3)
Sharon Levy
Ted Carlin
Learning a New Language	82	(2)
An Overview of the Non-Linear Editing Process	84	(7)
Discussion	90	(1)
Reference	90	(1)
Shooting Television News: The Basics	91	(17)
The Camera	91	(3)
Videotape	94	(2)
The Lens	96	(12)
Summary	106	(1)
Discussion	106	(1)
Exercises	107	(1)
Field Techniques of Shooting Television News	108	(24)
Use a Tripod Whenever Possible	108	(1)
The Handheld Camera	109	(3)
How to Use the Zoom Lens	112	(1)
Storytelling and Planning	113	(1)
Establish Communication in the Field	113	(1)
Think Before You Shoot	113	(1)
Shoot Sequences	114	(1)
Shoot and Move	114	(2)
Anticipate Action	116	(1)
Shooting Action Outside the Photographer's Control	116	(1)
Shoot Into-Frame/Out-of-Frame Action	116	(1)
Shoot Only the Shots You Need	116	(1)
Avoid Indiscriminate Shooting	117	(1)
Edit in the Camera	118	(1)
Shoot to Eliminate the False Reverse	118	(1)
Involve the Camera in the Action	118	(2)
Working with People	120	(1)
Avoid Distracting the Subject	121	(2)
The One-Person Band	123	(1)
Shooting in Cold Weather	124	(2)
Safety First	126	(6)
Summary	129	(1)
Discussion	129	(1)
Exercises	130	(1)
Notes	131	(1)
The Sound Track	132	(27)
How Microphones Work	133	(1)
Directional Patterns	134	(1)
On Choosing a Mike	135	(1)
Impedance	135	(1)
Frequency Response	135	(1)
Microphones for the Broadcast Journalist	136	(2)
The Wireless Transmitter-Receiver	138	(5)
The Mixer	143	(1)
Essential Points for Audio	143	(5)
Techniques to Reduce Wind Noise	148	(2)
Be Aggressive	150	(1)
The Microphone Hears Differently	150	(1)
Sound Perspective	151	(1)
Stereo	151	(1)
Covering News Conferences	152	(1)
Recording Group Discussions	153	(1)
The Two-Person Interview	153	(1)
Record Room Tone	154	(1)
The Seductive Quality of ``Nat'' Sound	154	(1)
Watch What You Say	154	(1)
Sound and Video Accessories	155	(4)
Summary	156	(1)
Discussion	157	(1)
Exercises	157	(1)
Notes	158	(1)
The Broadcast Interview: Shooting the Quotation Marks	159	(17)
Establish Trust	159	(1)
Practice Hospitality	160	(1)
The Most Important Interview Question	160	(1)
Save Your Questions for the Interview	161	(1)
Ese a Wireless Microphone	161	(1)
Do Your Homework	162	(1)
How to Frame Interview Questions	163	(1)
The Art of Listening	163	(1)
Avoid the Easy Questions	164	(1)
Build Questions around the Five W's	164	(1)
Avoid Two-Part Questions	164	(1)
How Do You Feel?''	164	(1)
Anticipate Questions the Viewers Would Ask	165	(1)
Practice the Fine Art of Hesitation	165	(1)
Pitch Reporting Opportunities	165	(1)
Prearrange Signals between Reporter and Photographer	166	(1)
How to React without Appearing to Agree	167	(1)
Retain Control of the Interview	167	(1)
Interviewing Children	167	(2)
The Talking Head	169	(1)
Influencing How Viewers Perceive the Subject	170	(1)
One-Eyed Talking Heads	170	(1)
Body Language	170	(2)
After the Interview Is Over	172	(1)
Interviews Allow Reporting through Direct Observation	172	(4)
Summary	173	(1)
Discussion	174	(1)
Exercises	174	(1)
Notes	175	(1)
The Magic of Light and Lighting	176	(24)
Photography is the Art of Controlling Light	176	(6)
Mixing Light Sources	182	(1)
Basic Lighting Patterns	183	(1)
The Role of Artificial Light	183	(1)
Key Light	183	(3)
Contrast Control	186	(1)
The Inverse-Square Law of Light	186	(1)
Backlight	187	(1)
Broadlighting and Short Lighting	188	(1)
Flat Lighting	188	(1)
Light Diffusion	188	(1)
Bounce Lighting	188	(1)
Eye Reflections	189	(1)
Umbrella Lighting	189	(1)
Exposure	189	(1)
Essential Lighting Equipment	190	(1)
Lighting in Sunlight	191	(1)
How to Light a News Conference	191	(1)
Setting Up Light a News Conference	191	(2)
Setting Up Lights in Cooperation with Other Crews	193	(1)
Lighting Etiquette	193	(1)
Lighting Spot News at Night	193	(1)
Photographing Subjects with Dark Skin	194	(1)
Large-Scale Lighting	194	(1)
Cautions	195	(5)
Summary	196	(1)
Discussion	197	(1)
Exercises	197	(1)
Notes	198	(2)
Television Script Formats	200	(11)
Luan Akin
Reader	200	(1)
VTR VO (Voice Over Video)	201	(1)
VTR VO/SOT/VTR VO (VO SOT or A/B for Short)	202	(2)
Intros to Live Shots	204	(2)
Live Intros to Packages	206	(1)
Packages	206	(3)
Reporter and Anchor Closes	209	(1)
The Case for Caps and Lower Case	209	(2)
Summary	210	(1)
Exercises	210	(1)
Writing the Package	211	(14)
Define Your Focus	212	(1)
Write the Beginning (Studio Lead-In)	212	(1)
Write the Package Lead	213	(1)
Write the Middle or Main Body	213	(2)
Write the Close	215	(1)
Preplanning the Package	216	(1)
Spot-News Packages	216	(1)
Spot-News Packages	217	(2)
Set a High Standard for Packages	219	(1)
Use Natural Sound Liberally	220	(5)
Summary	221	(1)
Exercises	222	(2)
Notes	224	(1)
How to Improve Your Storytelling Ability	225	(19)
Seek Gradual Improvement	225	(1)
Seek Minor Victories	226	(1)
Excellence versus Perfection	226	(1)
Have a Story	226	(2)
Excuses	228	(1)
Know the Community	228	(1)
Curiosity Pays	229	(1)
See Beyond the Obvious	230	(1)
Show Audiences What They Missed	230	(1)
Involve the Camera	230	(1)
Sequences Advance the Story	231	(1)
Don't Try to Show All of New Zealand	232	(1)
Pursue Your Interest in People	233	(1)
Make Viewers Watch	233	(1)
Develop Video Fluency	234	(1)
Accommodate Your Reporting to Story Demands	234	(1)
Reporting the Nonvisual Story	234	(1)
Personal Appearance and Conduct	235	(1)
Etiquette	236	(1)
Shooting and Reporting Spot News	236	(3)
Toward a News Philosophy	239	(5)
Summary	240	(1)
Discussion	240	(1)
Exercises	241	(1)
Notes	242	(2)
The Role of Talent Performance in Field Reporting	244	(23)
Benefits of Developing Performance Potential	244	(1)
How to Develop the Qualities That Make You Interesting	245	(1)
Why We Communicate	246	(1)
Communicate What You Feel about the Story	247	(1)
Put a Feeling of Experience into Your Reports	248	(1)
Multidimensional Reporting	248	(1)
The Body Language of Effective Reporting	249	(1)
Give the Story's Meaning Some Thought	249	(1)
Marking Copy	249	(2)
Err on the Side of ``Overdoing It''	251	(1)
How to Relax	252	(1)
Developing Conversational Delivery	252	(1)
Give Yourself Something to Do	253	(1)
Reasons to Do Standups	254	(1)
The Demonstration Standup	254	(1)
Avoid Staging in the Demonstration Standup	255	(1)
Dress for the Environment	256	(1)
Your Appearance	256	(1)
Let the Audience Know You as a Friend	257	(1)
Community Analysis	258	(1)
Impacting How People Perceive Your News Sources	259	(1)
Use Your Body More Effectively	260	(1)
Posture Matters	261	(1)
How Reporters Evolve into Anchors	261	(1)
Split-Focus Presentation	262	(1)
The Anchor Debrief	262	(1)
When You Are before the Camera	262	(5)
Summary	263	(1)
Discussion	264	(1)
Exercises	265	(1)
Notes	266	(1)
Live Shots and Remotes	267	(21)
Luan Akin
What Does It Take to ``Go Live?''	268	(1)
Spot News	268	(6)
Television Live Shot Formats	274	(3)
Narration	277	(1)
Helicopter Live Shots	278	(1)
Live in the Newsroom	279	(1)
Live Graphics	279	(1)
Live/Anchor Intros	280	(1)
Reporter Close	281	(1)
Anchor Close	281	(1)
Why Go Live?	282	(1)
Why Not Go Live?	282	(1)
Phoners	283	(1)
Some Parting Advice	283	(1)
A Final Thought	284	(4)
Summary	284	(1)
Exercises	285	(3)
Law and the Broadcast Journalist	288	(26)
Anyone Can Sue for Anything	288	(1)
The Four Essential Questions	289	(1)
The Chilling Effect of Litigation	289	(1)
Gathering the News	289	(3)
How to Avoid Common Legal Problems	292	(4)
Technology	296	(1)
Routine Telephone Use	297	(2)
Access to Children and Juveniles as News Sources	299	(1)
Subpoenas and Shield Laws	299	(1)
Access Laws	300	(1)
Courtroom Television	300	(3)
The First Ban on Cameras in the Courtroom	303	(6)
A Legal Perspective	309	(5)
Summary	309	(2)
Discussion	311	(1)
Exercises	312	(1)
Notes	312	(2)
Journalistic Ethics	314	(21)
A Definition of Ethics	314	(1)
The Effects of Competition	315	(1)
Situational Ethics	316	(1)
Those Who Disseminate Ideas Cannot Be Licensed	316	(1)
The Journalist's Contract Is with the Public	317	(1)
Law and Ethics Are Interwined	318	(1)
Toward a Personal Standard of Ethics	318	(1)
Case Studies in Ethical Dilemmas	318	(1)
Ethical Conflict Situations	319	(4)
Accepting Favors	323	(1)
Reporting in Context	323	(1)
Reverse-Angle Questions	324	(1)
Staged News Events	324	(2)
Identify File Video Prominently	326	(1)
Identify Material Provided from Outside Sources	326	(1)
Toward an Individual Code of Ethics	326	(9)
Summary	330	(1)
Discussion	330	(1)
Exercises	331	(1)
Discussion of Ethical Conflict Situations	331	(3)
Notes	334	(1)
Appendix A: Reporting, Writing, and Editing Checklist	335	(4)
Appendix B: Using the Internet as a Reporting Tool	339	(5)
Glossary	344	(13)
Credits	357	(2)
Index	359