Preface | |
About the Author | |
Introduction: Television Is a Language | |
Telling the Visual Story | |
Visual Stories Begin with a Clear Focus | |
The Visual Storyteller Defined | |
Write the Pictures First | |
Shoot Sequences | |
Prove the Storyrsquo;s Focus Visually | |
The Focus May Change | |
Look for a Story Focus in Spot-News Events | |
Identifying the Larger Spot-News Story | |
Tell Your Story through People | |
Strong Natural Sound Helps Tell the Story | |
Build In Surprises | |
Keep Sound Bites Short | |
Address the Larger Issue | |
Make the Report Memorable | |
News Packages Are Factual ldquo;Mini-Moviesrdquo; | |
The Lead | |
Provide Visual Proof for all Main Points | |
The Close | |
Be Hard on Yourself as a Writer | |
Write from the Visuals | |
The Edit Console Is a Rewrite Machine | |
Reportorial Editing | |
A Blueprint for Shooting Spot News | |
The Visual Grammar of Motion Picture Photography | |
The Shot | |
Basic Shots | |
How Shots Work Together | |
Camera Movement | |
Shots That Help Tell the Story | |
Location Shooting | |
One Shots to Crowd Shots | |
Master Shot with Cut-Ins | |
Multiple-Camera Photography | |
How to Shoot Matched Action with One Camera | |
Overlapping Action | |
Photographing Action Under the Photographerrsquo;s Control | |
Photographing Action Not Under the Photographerrsquo;s Control | |
Matched-Action Sequences Can Be Shot in Spot News | |
Screen Direction | |
Vary Camera Angles | |
Angles Provide Psychological Impact | |
Contrast and Comparison | |
Composition | |
Video Editing: The Invisible Art | |
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