Television Field Production and Reporting introduces the art of visual storytelling with the most contemporary, professionally-oriented look at television field production and reporting on the market. Widely adopted and universally respected, the National Press Photographers Association endorses Television Field Production and Reporting as a resource for college students and working professionals alike.
Preface
About the Author
Introduction: Television Is a Language
Chapter One: Telling the Visual Story
Visual Stories Begin with a Clear Focus
The Visual Storyteller Defined
Write the Pictures First
Shoot Sequences
Prove the Story'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 Mini-Movies
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 by John DeTarsio
Chapter Two: 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 Photographer's Control
Photographing Action Not Under the Photographer's Control
Matched-Action Sequences Can Be Shot in Spot News
Screen Direction
Vary Camera Angles
Angles Provide Psychological Impact
Contrast and Comparison
Composition
Chapter Three: Video Editing: The Invisible Art
Toward a Philosophy of Editing
Everyone in Television News Is an Editor
The Nature of Editing
The Cut
Every Cut Needs a Reason
Choosing Edit Points
There Can Be No Matched Action without Overlapping Action
Editing Action That Was Under the Photographer's Control
Cutting on Action or at Rest
Into-Frame/Out-of-Frame Action
Jump Cuts
Pop Cuts
The Cutaway
Devices to Compress Time and Advance the Action
Advance the Action
Parallel Cutting
Shot Order Impacts the Illusion of Continuity
Content Dictates Pace
Cutting to Condense Time
Shot Length
Composition Affects Pace
Reveal Meaning through Composition
Screen Direction
Editing to Eliminate the False Reverse
The Transition or Reveal Shot
Sound as a Transitional Device
Cold Cuts
Flash Cuts
Cutting to Leave Space for Audience Reaction
The Burden of Rambo Video
Crash Editing
Dissolves and Other Optical Effects
Nonlinear Video Editing
Chapter Four: Field Techniques of Shooting Television News
Use a Tripod Whenever Possible
The Handheld Camera
How to Use the Zoom Lens
Storytelling and Planning
Establish Communication in the Field
Think Before You Shoot
Shoot Sequences
Shoot and Move
Anticipate Action
Shooting Action Outside the Photographer's Control
Shoot Into-Frame/Out-of-Frame 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
The One-Person Band
Shooting in Cold Weather
Safety First
Chapter Five: The Magic of Light and Lighting
Photography Is the Art of Controlling Light
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
HMI Lights
Lighting for high definition television
Flat Lighting
Light Diffusion
Bounce Lighting
Eye Reflections
Umbrella 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 Broadcast 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
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 Hospitality
The Most Important Interview Question
Save Your Questions for the Interview
Use a Wireless Microphone
Do Your Homework
How to Frame Interview Questions
The Art of Listening
Avoid the Easy Questions
Build Questions around the Five W's
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: Television 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
Introduction
Transmitting The Experience
Be a Tour Guide
Let Your Audience Experience the Wows
Great Moments are Almost Always Unexpected
One Thought about Field Teamwork
Writing Your First Sentence
The Three Horses - Storytelling Tools for Video Stories
Telling Details
Tips for Writing Strong Stories
Physician, Heal Thyself
The Rip It Off School of Journalism
Think Heroes: Bono, Mother Teresa, Tiger Woods
Strong Stories are the Work of Strong Storytellers
Challenge Yourself
Chapter Eleven: How to Improve Your Storytelling Ability
Seek Gradual Improvement
Seek Minor Victories
Excellence versus Perfection
Have a Story
Excuses
Know the Community
Curiosity Pays
See beyond the Obvious
Show Audiences What They Missed
Involve the Camera
Sequences Advance the Story
Don't Try to Show All of New Zealand
Pursue Your Interest in People
Make Viewers Watch
Develop Video Fluency
Accommodate Your Reporting to Story Demands
Reporting the Nonvisual Story
Personal Appearance and Conduct
Etiquette
Shooting and Reporting Spot News
Toward a News Philosophy
Chapter Twelve: 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 Thirteen: 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
Chapter Fourteen: Sports Photography and Reporting by Bob Burke and Marcia Neville
The Biggest Problem in Sports Photography
How to Shoot Sports Highlights
How to Shoot Sports Features
How to Shoot a Sports Feature and Highlights Simultaneously
Originality Counts
Be Prepared
In-Field Sports Reporting
Feature Reporting
Writing and Voicing Sports
Avoid Personal Involvement
Chapter Fifteen: Law and the Broadcast Journalist
Gathering the news
Libel
Invasion of privacy
Defamation
Use of the word alleged
Apparent authority
Technology
Telephone recordings
Juveniles as News Sources
Subpoenas and Shield Laws
Access Laws
Courtroom Television
A Legal Perspective
Chapter Sixteen: Journalistic Ethics
A Definition of Ethics
The Effects of Competition
Situational Ethics
Those Who Disseminate Ideas Cannot Be Licensed
The Journalist's Contract Is with the Public
Law and Ethics Are Intertwined
Case Studies in Ethical Dilemmas
Reverse-Angle Questions
Staged News Events
Identify File Video Prominently
Identify Material Provided from Outside Sources
Toward an Individual Code of Ethics
Appendix A: Shooting Television News: The Basics
The Camera
The Lens
Be Careful with That Camera
Appendix B: Improving Performance in Field Reporting
How to Develop the Qualities That Make You Interesting
Why We Communicate
Communicate What You Feel about the Story
Put a Feeling of Experience into Your Reports
Multidimensional Reporting
The Body Language of Effective Reporting
Give the Story's Meaning Some Thought
Marking Copy
How to Relax
Developing Conversational Delivery
Give Yourself Something to Do
Reasons to Do Standups
The Demonstration Standup
Avoid Staging in the Demonstration Standup
Your Appearance
Let the Audience Know You as a Friend
Community Analysis
Impacting How People Perceive Your News Sources
Use Your Body More Effectively
Posture Matters
How Reporters Evolve into Anchors
Split-Focus Presentation
The Anchor Debrief
When You Are before the Camera
Glossary
Index