Accent light, 91

Access laws, 246

Ackerman, Diane, 5, 104

Acoustic foam, 117

Action

advancing, 51–52

anticipating, 35, 57, 70, 211

capturing uncontrolled, 20

cutting into-frame/out-of-frame, 48, 50

cutting on, 49–50

factors altering speed of, 53

involving camera in, 72

jump cuts, 37, 50

matched, 35–37, 49

overlapping, 35, 36, 37, 49

in shooting, 31

staging, 74–75

Action-reaction shooting, 32–33, 36

Actual malice, 239

Ad-lib standups, 298

Aerial shots, 31

Akin, Luan, 218

Alleged, use of, 241–242

Allen, Murray R., 115

Alles, Brett, 134

Altman, Robert, 7

Amber filters, 84–85, 86

Anchor Growth Model, 311

Anchors

anchor debrief, 313

closes by, 147–148, 229–230

intros to live shots, 228–229

reporters evolving into, 313–314

working with, 325

Antenna placement, 111–112

Aperture, 290–291

Apparent authority, 242–243

Artificial light, role of, 87

Assignment editor, 199, 316

conceptualizing packages and, 317–319

Associate producer, 184

Audience reaction

cutting for, 56–57

in field reporting, 303

Audiences

relationship with, 307–308, 309–311

spot news and, 221

in visual storytelling, 21, 164–165, 167, 205, 207

Audio-video linkage, 326–327

Authority figures, 15–16, 212

Axis line, 33, 40–41, 70, 72

 

Background light, 91

Backlight, 91

Backpack journalism, 180

Balanced lighting, 97

Bamber, James, 10

Barndoors, 99

Barton, Darrell, 120, 211

Batteries

charging, 77

dead, 79

Beckman, Rich, 268

Berglund, Lisa, 186–187

Bickham, Jack, 12

Bidirectional microphone, 107

Bledsoe, Greg, 187

Blimp, 117

Block the shot, 191

Blue eyes, 222

Bluem, William, 100

Bodie, Ken, 176

Body language

in field reporting, 305, 311–312

during interviews, 132–133, 135–136

Body movement, preplanned, 66

BOPSA (bunch of people sitting around), 327

Bounce lighting, 93

Brandon, Bob, 70

Breaking and entering, 272

Brittain, Donald, 157

Broadlighting, 91

Brokaw, Tom, 176

Brown, Bill, 321–322

Brownlee, Shannon, 9

Busse, Mary McCormick, 39

Butterfly light, 88–89

 

Camera angles

psychological impact of, 42

variations in, 41–42

Camera-mounted filters, 84–85

Camera movement, 28

avoiding unplanned, 67

to enhance storytelling, 39

Camerapersons, 182

Cameras, 286–288

balance of, 66

banned in federal courts, 248–249

care with, 295

edit in the camera, 71, 223

handheld, 65–67, 211

involving in action, 72

role in courtroom television, 247–248

standing before, 313

thinking, 39–40

viewfinder, 79, 286

in visual storytelling, 199, 200

white balance and, 78, 287

Caps, writing stories in, 147, 148

Carlson, Mark, 205–206

Carpenter, John, 7

CGs, 226

Character, 173–175

Charge-coupled device (CCD), 286

Chiang, Harriet, 247

Children

interviews of, 133–134

juveniles as news sources, 246

Chimera®, 88, 93, 96

Circles of confusion, 291

Clark, Roy Peter, 4–5

Clarkson, Rich, 210

Close, 19

by anchors, 147–148, 229–230

to package, 154

by reporter, 147–148, 229

Close-up (CU), 9, 26, 27, 39

depth of field in, 95

of people, 72

shooting effective, 95

Closing shot, 19, 154

Closing sound, 19

Cochran, Johnnie, 170

Code of ethics

individual, 277–278

National Press Photographers Association, 280–281

Radio Television Digital News Association, 278–280

of Society of Professional Journalists, 267

Cold cuts, 56

Cold weather, shooting in, 76–77

Color balance, 78

Color bars, 78

Color temperature, 83–85

Combination shots, 29

Comings, Ron, 21

Command post, 221–222

Commitment, story, 11, 199

Communication, 11, 25

establishing, 68–69

feelings about story, 303–304

video editing and, 57

Community-oriented journalism, 203–204, 320–321

Composition, 43

pace and, 53–54

pointers for wide screen, 64

problems with, 79

rule of thirds, 61–63

rules of, 61–64

Compression, 290

Condenser microphones, 106

Confidential sources, protecting, 272

Contract with public, 266–267

Contrast, 294

and comparison, 43

control, 89, 91

problems, 79, 294

Conversational delivery, in field reporting, 307–308

Cookies, 99

Copy, marking, 305–306

Copyright, 237, 251–257

definition of, 252

duration of, 252, 257

government and, 256–257

notice of, 252

obtaining when necessary, 256

ownership and, 237–254

registration of, 252–253

works made for hire and, 257

Correspondent, 184

Courtroom television, 247–251

cameras banned in federal courts, 248–249

do’s and don’ts regarding, 250–251

questioning jurors about verdict, 251

role of cameras in, 247–248

standards for coverage, 249–250

states allowing media coverage, 248

Crew sizes, 180–184

Croshaw, Gary, 62

Crossroll, 145, 220, 222

editing instructions for, 224–225

Crouse, Chuck, 154

Crowd shot, 34

Cultural influences, in visual storytelling, 10–11

Curiosity in storytelling, 204

Cutaways

inadvertent, 241

motivated, 38

shooting, 33, 37–38

in video editing, 50, 54

Cut-in shots, 34–35

Cuts

cold, 56

flash, 56

jump, 37, 50

pop, 50–51, 70

in video editing, 48

Cutting

on action, 49–50

for audience reaction, 56–57

to condense time, 53

into-frame/out-of-frame action, 48, 50

parallel, 52

at rest, 49–50

 

Day care center, 242

Daylight, 83, 85, 87

Decibels (dB), 107

Defamation, 238, 241

Delozier, Dave, 186–187

Demonstration standup, 301–303

Depth of field (DOF)

aperture size influences on, 291

in close-ups, 95

great, 292

maximum, 293

other factors influencing, 291–293

shallow, 292, 293

Details, 174–175

DeTarsio, John, 16–17, 65, 68, 73, 75, 95, 135, 187

Dichroic filter, 85

Diffusion, light, 92–93

Digital media, 287–288

accomplishments of, 1

excelling in multiple capacities in, 2–3

Digital Millennium Copyright Act (DMCA), 251, 253

Directional patterns of microphones, 106–107

Direct observation reporting, 136–137

Director of photography (DP), 182

Dissolves, 38, 57

Distancing, 78

Distortion, 116

Dmytryk, Edward, 9, 33, 202

Dolly shots, 30

Donahue, Art, 126, 204

Dotson, Bob, 9, 13, 18–19, 21, 133, 155, 205, 207

Drew, Doug, 105

Drivers, 184

Dropouts, 111

Durant, Will, 204

Dynamic microphone, 106

 

Earphones, 116

Editing. See also Video editing

instructions for crossroll, 224–225

reportorial, 13–14

videotape and, 78

Edit in the camera, 71, 223

Editorial arrangement, 47

Editorial selection, 47

Edit points, 48–49

Effects standups, 303

Electronic new gathering (ENG), 108, 114, 226

Ellerbee, Linda, 8–9

Emotions

communicating feelings about story, 303–304

visual storytelling and, 6–7, 77, 208–209, 212–213

Entrapment, 272

Establishing shots, 31–32, 33

Estlow, Edward, 247

Ethics, 264–281

of accepting favors, 274

of breaking and entering, 272

case studies in, 271–275

competition and, 264–266

contract with public and, 266–267

cooperating with police and, 274

definition of, 264

of destroying police evidence, 273

editorial control of news content and, 273

entrapment and, 272

file video and, 277

hostage coverage and, 271–272

illegally obtained information and, 273

image manipulation and, 267–270

invasion of privacy and, 272

legal issues and, 271

licensing and, 266

material from outside sources and, 277

misrepresentation and, 274

private lives of public officials and, 274

protecting confidential sources and, 272

of reenactments, 275–277

reporting in context and, 274–275

of reverse-angle questions, 275

situational, 266

staging and, 275, 276

suicide attempts and, 266, 273

surveillance photography and, 271

televising executions, 273

trespass and, 271

violence and, 272

Etiquette

lighting, 98

in visual storytelling, 210

Excuses in storytelling, 203

Executions, televising, 273

Exposure, 95–96

problems with, 78, 294–295

Extreme close-up (ECU), 26, 27

Extreme long shot (ELS), 26, 27

Eye level, photographing people at, 42

Eye reflections, 93

 

Fades, 58

Fair use, 254–255

False reverse, 37

avoiding, 40–41

editing to eliminate, 54–55

shooting to eliminate, 72

Farkas, Ray, 4, 8, 158

Farr, Glenn, 46

Fatal fire, 242

Favors, accepting, 274

Feathering, 28, 68

Federal Communications Commission (FCC), 110, 111, 245

Field, shooting in, 61–79

Field equipment, protecting, 76–77, 79

Field reporting, 297–314

anchor debrief in, 313

appearance and, 308–309

audience reaction in, 303

body language in, 305, 311–312

communicating feelings about story, 303–304

conversational delivery in, 307–308

delivering from studio and, 304

developing interesting qualities and, 297

experience into reports and, 305

learning to relax in, 307

lighting for high-definition TV and, 268, 309

marking copy and, 305–306

multidimensional, 305

posture in, 312

relationship with audience in, 307–308, 309–311

reporters evolving into anchors and, 313–314

senses and, 304

split-focus presentation in, 312–313

standing before camera in, 313

standups and, 297–303

File video

freshening of, 327, 328

identification of, 277

Fill lights, 85, 89–91

Filmic time, 53

Filters, 83–87

amber, 84–85, 86

camera-mounted, 84–85

dichroic, 85

factors, 86

high-pass, 117–118

light-mounted, 85

neutral density, 85, 293

situations and discussion with, 86

used in combination, 86–87

window-mounted, 85

wrong, 78

First Amendment, 237, 238

Fisher, Tim, 201

Fixer, local, 184

Flags, 99

Flash cuts, 56

Flat lighting, 92

Flip wipes, 57

Fluorescent (FL) filters, 85

Focal length, lens, 289–290

Focus, 288–289

circles of confusion and, 291

for package, 151

problems with, 78

in visual storytelling, 12–13, 14–15, 199

Focus statement, 11–12, 17, 199, 318

Four-person crews, 181

Fourth Amendment, 237, 240

Freedom of Information requests, 257

Frequencies, 111

Frequency response of microphones, 107

F/stops, 290–291

Futures file, 319

 

Generic video, 241

Gibson, Steve, 237

Glamour lighting, 89

Goheen, John, 17

Golden hour, 191

Golden Spots, 61–63

Good news-bad news syndrome, 321–322

Good taste, 213

Grab shots, 52

Graphics, live, 228

Gray scale, 293

Great depth of field, 292

Gregg, David, 217

Grierson, John, 201

Griffith, Thomas, 7

Group discussions, recording, 120

Gyro-lens, 31

 

Halberstam, David, 267

Hall, Ned, 104, 114

Hall, Robert, 208

Hanchett, Jim, 131

Handheld cameras, 65–67, 211

Handheld microphones, 74, 76, 108

Hart, John, 175, 176

Hatchet light, 88

Hatteberg, Larry, 12, 13, 126, 155, 201

Haydock, John, 158

Head-on shot, 54

Heat, 73

Helicopter live shots, 217–218, 226, 227

Help, asking for, 187

Heroes, 175

Hertz (Hz), 107

Hidden microphones, 243

Hidden voice recorders, 245

High-angle shots, 42

High-contrast image, 294

High-definition TV (HDTV)

field lighting for, 268, 309

lighting for, 89, 91, 93–94, 268

High-pass filter, 117–118

HMI lights, 92

Hostage coverage, 271–272

 

Illustrative video, 200–201

Images, 202

ethics and manipulation of, 267–270

high-contrast, 294

versus words in visual storytelling, 7, 10–11

Impedance of microphones, 107

Incoming sound, 56

Information. See also Freedom of Information requests

gathering for spot news, 219–222

illegally obtained, 273

immediacy versus, 220–221

In re Express - News, 251

Insert shots, 32, 34, 51

Instincts, 64, 210–211

Interference, 110–111

Internet

legal issues and, 237, 253–255

reporting, 319

Internet Service Provider (ISP), 255

Interviews, 126–137

backup recording of, 136

body language during, 132–133, 135–136

of children, 133–134

controlling, 133

direct observation reporting and, 136–137

establishing trust during, 126

good manners during, 127

hardware and, 128

hesitation during, 131

homework for, 127–128

lighting for, 92–93

listening during, 129, 185–186

live, 223

non-interview, 75

off screen, 64

pitch reporting opportunities, 131

prearrange signals between reporter and photographer, 131–132

process, 75

questions, 3, 75, 127–131, 133

react without appearing to agree, 132–133

simultaneously shooting and conducting, 75–76

sit-down, 75, 92–93, 130

Skype, 228

talking head, 134–135

two-person, 121

viewers’ perception of, 135

Intros

to live shots, 144–145, 228–229

to packages, 145

reporter, 220

Invasion of privacy, 240–241, 272

Inverse-square law of light, 89–90

Iris, 78, 290

 

Jennings, Peter, 155

Jones, Warren, 133

Jump cuts, 37, 50

Juveniles as news sources, 246

 

Kahn, Michael, 38

Kann, Peter R., 157

Karabell, Shellie, 11

Karl, Jonathan, 301–302

Key, 223

Key light, 88–91, 93

Kilohertz (kHz), 107

 

Landess, Mike, 10

Landlord-tenant dispute, 242–243

Larson, John, 76, 163, 181, 185, 188, 190, 193

Lavaliere microphones, 74, 109, 223, 306

Law, 238. See also Legal issues

Lead, 18, 151–152

Lead-in, 151

Lean, David, 55, 202

Legal issues, 237–258

access laws, 246

alleged, use of, 241–242

apparent authority as, 242–243

common sense regarding, 258

copyright as, 237, 251–257

courtroom television and, 247–251

defamation as, 238, 241

ethics and, 271

fair use as, 254–255

gathering news and, 238

Internet and, 237, 253–255

invasion of privacy as, 240–241

libel as, 238–240

New York Times v. Sullivan, 239

plagiarism as, 175, 255–256

slander as, 238

subpoenas and shield laws as, 246

sunshine laws, 246

technology and, 243–244

telephone recordings as, 244–245

two-party consent as, 245

Lehrer, Jim, 8

Lens, 288–295

aperture, 290–291

avoiding automatic settings, 293–295

cap, 79

depth of field and, 291–293

focal length, 289–290

f/stops, 290–291

long or telephoto, 290

macro, 288

node, 289

perspective, 290

rack focus, 288

t/stop, 291

wide-angle, 290

zoom, 67, 288–289

Lessenberry, Jack, 268

Libel, 238–240

assuming highest standard and, 239

dealing with police and, 239–240

evaluating sources to eliminate malice, 239

truth of statements and, 238

Licensing, 266

Light and lighting, 82–100

accent, 91

artificial, role of, 87

background, 91

backlight, 91

balanced, 97

basic patterns in, 87

bounce, 93

broadlighting, 91

butterfly, 88–89

cautions in using, 99–100

color temperature of, 83–85

contrast control in, 89, 91

contrast problems and, 79, 294

controlling, 82–85

diffusion, 92–93

essential equipment for, 96

etiquette, 98

exposure, 95–96

fill, 85, 89–91

flat, 92

glamour, 89

hatchet, 88

for high-definition TV, 89, 91, 93–94, 268, 309

HMI, 92

for interviews, 92–93

inverse-square law of, 89–90

key, 88–91, 93

large-scale, 99

mixing sources in, 87

for news conference, 97–98

ratios, 91

separation, 91

setting up, in cooperation with other crews, 98

short, 91

side, 88

side-rear, 88

situations and discussion with, 86

specular, 87

spot news at night, 98–99

for subjects with dark skin, 99

in sunlight, 96–97

top, 88

tungsten halogen, 83

umbrella, 92–93

Light-mounted filters, 85

Limited invitation, 243, 246

Lippman, Walter, 267, 321

Listening during interviews, 129, 185–186

Live sequence, 145

Live shots, 217–234. See also Shots anchor close and, 229–230

final thought on, 234

graphics, 228

helicopter, 217–218, 226, 227

interviews, 223

intros to, 144–145, 228–229

narration in, 225–227

natural sounds in, 224

from newsroom, 227–228

parting advice on, 233–234

phoners, 228, 231

reasons for going live, 230

reasons for not going live, 230–231

reference video in, 224

reporter close and, 229

reporter intros for, 220

skills for, 218–219

spot news and, 219–222

television formats, 222–225

Live teases, 231–233

content of, 232–233

mechanics of, 232

movement in, 233

surroundings in, 233

Live/VTR SOT PKG/Live (Live/Video Package/Live), 225

Live VTR VO/Live (Live/Voice-Over-Video/Live), 223–224

Live/VTR VO/SOT/VTR VO/Live (Live/Voice-Over-Video/Sound on Tape/Voice Over/Live), 224–225

Lockstep, walk in, 67

Long or telephoto lens, 290

Long shot (LS), 18, 26, 27

Loveless, Tom, 20

Low-angle shots, 42

Lowel Rifa®, 88, 93, 96

Lowercase, writing stories in, 147, 148

 

MacNeil, Robert, 8

Macro-focusing, 288

Macro lens, 288

Malice, 239

Mark the shot, 191

Master shots, 34–35

Matched action, 35–37, 49

Mathis, Chris, 208

Maximum depth of field, 293

McGaugh, James, 5

McKee, Robert, 7

McPhee, John, 175

Medium close-up (MCU), 26, 39

Medium shot (MS), 26, 27

Microphones, 106–121

bidirectional, 107

cautions for, 121

choosing, 107

condenser, 106

directional patterns of, 106–107

dynamic, 106

frequency response of, 107

group discussions, recording, 120

handheld, 74, 76, 108

hearing differently, 118–119

hidden, 243

impedance of, 107

lavaliere, 74, 109, 223, 306

mixer, 112–113

news conferences, covering, 120

placement of, 113–116

plant, 110

recording levels, monitoring, 116

ribbon, 106

room tone and, 121

shotgun, 74, 76, 109, 244

sound perspective and, 119

sound with earphones, monitoring, 116

stereo, 119–120

for two-person interview, 121

for video journalist, 108–109

wind noise and, 79, 117–118

wireless, 74, 112, 128–129

wireless transmitter-receiver, 110–112

Mike flags, 74, 109

Misrepresentation, 274

Mitchell, James D., 9

Mitchell, Ron, 157

Mixer, 112–113

Moments, 165

Montoya, Fidel, 19

Mood, 68, 324

Moon, Bob, 155

Morton, Bruce, 17

Motivated cutaways, 38

Motivating

staging versus, 74–75

viewers to watch, 201

Moving shots, 29

Moyers, Bill, 128–129

Mudd, Roger, 176

Multidimensional reporting, 305

Multimedia journalists (MMJs), 193–194

Murrow, Edward R., 7, 267

 

Naked live, 222

Narration, 225–227

sound bites in, 226

video in, 227

Nash, Barry, 297, 307

National Center for State Courts, 251

National Press Photographers Association (NPPA), 271, 280–281

Nat sound (natural sounds), 19–20, 112, 121

in live shots, 224

in packages, 158

Negative-action shot, 54, 67

Negligence, 238

Neutral density (ND) filters, 85, 293

News conferences

covering, 120

lighting for, 97–98

News content, editorial control of, 273

News philosophy, 213, 316, 320–325

caring about communities in, 321

good news-bad news syndrome, 321–322

image manipulation and, 267–268

monitoring story count in each segment, 324–325

news sources in, 322–323

of producer, 323–324

sense of community in, 320–321

story follow-up in, 323

of video editing, 47

viewer mood and, 324

News planner, 319

News sources

evaluating to eliminate malice, 239

juveniles as, 246

in news philosophy, 322–323

perception of, 311–312

New York Times v. Sullivan, 239

Node, 289

Non-interview interviews, 75

Nonvisual story, reporting, 209–210

Notice and take-down provision, 255

 

Objective camera, 32

Ohm, 107

Omnibus Crime Control and Safe Streets Act (1968), 245

Omnidirectional pattern, 106

One-eyed talking heads, 135

One-man band (OMB), 180, 189

One-party consent, 245

One-person band, 75

One-person crews, 180

One shot, 34

Open shade, 96

Optical center, 289

Optical effects, 50, 54, 57–58

Outside sources, material from, 277

Overlapping action, 35, 36, 37, 49

 

Pace

composition and, 53–54

content and, 53

mood and, 68

Packages

assignment editor in conceptualizing, 317–319

beginning of, 151

close to, 154

definition of, 144, 150

focus for, 151

high standards for, 157

intros to, 145

lead for, 151–152

middle or main body of, 152–154

natural sound in, 158

preplanning, 154–155

scripts, 145–147

spot news, 156–157

in visual storytelling, 17–18

writing, 150–158

Pack journalism, 98

Panning, 28–29

with purpose, 29

rules for, 28

too much, 79

Parallel cutting, 52

Pelley, Scott, 20

People

BOPSA, 327

consideration for, 79

facial close-ups of, 72

once removed, 222

photographing at eye level, 42

in visual storytelling, 15–16, 201, 202, 212

working with, 73–75

Personal appearance and conduct, 210, 308–309

Perspective, 30–31

human, 8

sound, 119

Peters, Tom, 7

Petit, Tom, 176

Phoners, 228, 231

Photographers

breathing control of, 66

common mistakes of, 78–79

photojournalists compared to, 8, 12, 286

prearrange signals between reporter and, 131–132

preplanned body movement of, 66

wide stance of, 66

Photography

ethics and surveillance, 271

multiple camera, 34–35

Photojournalists, photographers compared to, 8, 12, 286

Pickup shots, 34

PIO (Public Information Officer), 221–222

Plagiarism, 175, 255–256

Plant microphone, 110

Point of view (POV)

movement, 39

shot, 32, 51

Police

cooperating with, 274

dealing with, 239–240

destroying police evidence, 273

Pool coverage, 249

Pop cuts, 50–51, 70

Posture, 312

Premack, John, 42, 63, 96, 135

Preparation, 211

Preproducing, 185

Privacy, invasion of, 240–241, 272

Process interviews, 75

Producers, 182, 319

control over visuals and, 327

freshening of file video by, 327, 328

news philosophy of, 323–324

using talking heads with purpose, 327–328

working with anchors, 325

Prop standup, 301

Public officials, private lives of, 274

 

Quest, 171–173

Questions

anticipating, 130–131

avoiding easy, 129–130

around Five W’s, 130

framing, 128

interview, 3, 75, 127–131, 133

of jurors about verdict, 251

reverse-angle, 275

two-part, 130

 

Rack focus, 288

Raddatz, Martha, 155

Radio frequencies (RF), 111

Radio Television Digital News Association (RTDNA), 248–249, 278–280

Rather, Dan, 198

Reaction shot, 32–33, 51

Reader, 140–141

Reaves, Gary, 207–209

Reenactments, 275–277

Reestablishing shot, 32

Reference or location standup, 300

Remotes, 230

Reporters

closes by, 147–148, 229

evolving into anchors, 313–314

intros for live shots, 220

prearrange signals between photographers and, 131–132

Reporters Committee for Freedom of the Press, 245

Reporting. See also Field reporting in context, 274–275

damage, 79

direct observation, 136–137

Internet, 319

multidimensional, 305

on multiple platforms, 202–203

nonvisual story, 209–210

pitch reporting opportunities, 131

spot news, 210–213

storytelling compared to, 6, 176, 208

Reportorial editing, 13–14

Reprises, 191–192

Restaurant, entering, 243

Reuven, Frank, 8–9

Reveal or transition standup, 300–301

Reveal shot, 38–39, 67

Reverse-angle questions, 275

Reverse-angle shot, 33, 39

Rhythm, 170–171

Ribbon microphone, 106

Room tone, 121

Rule of thirds, 61–63

Ryan, Cornelius, 128

 

Safety, shooting and, 77, 78, 212

Samples, Bill, 133

Samuelson, Robert J., 202–203

Satellite trucks, 225, 226

Scanlan, Chip, 174–175, 255

Scanners, 219

Screen direction, 40, 54

Screen space, 63–64

Scripts

package, 145–147

television format, 140–148

voice-over, 141–142

Security, 184

Seeing beyond obvious, 204

Selective perception, 48

Sellers, David, 248

Senses, 9, 304

Separation light, 91

Sequences, 25–26

live, 145

shooting, 21, 35–37, 69, 211

Sequential video, 199

Shakiness, 31, 66, 78

Shallow depth of field, 292, 293

Shapiro, Mathias, 301

Shield laws, 246

Shoot and move, 51, 70

Shooting

action in, 31

action-reaction, 32–33, 36

avoiding indiscriminate, 71

in cold weather, 76–77

cutaways, 33, 37–38

effective close-ups, 95

to eliminate false reverse, 72

essentials first, 211

in field, 61–79

only needed shots, 70–71

safety and, 77, 78, 212

sequences, 21, 35–37, 69, 211

showing viewers what you want them to see, 62

spot news, 15, 35–37, 67, 210–213

thinking before, 62, 69

video, 286–295

writing in head during, 187–188

writing to inform, 188

Short lighting, 91

Shotgun microphones, 74, 76, 109, 244

Shots, 25. See also Live shots aerial, 31

basic, 26–28

block the shot, 191

camera movement and, 28

close-up, 9, 26, 27

closing, 19, 154

combination, 29

crowd, 34

cut-in, 34–35

dolly, 30

establishing, 31–32, 33

extreme close-up, 26, 27

extreme long, 26, 27

grab, 52

head-on, 54

high-angle, 42

insert, 32, 34, 51

length of, 25, 47

long, 18, 26, 27

low-angle, 42

mark the shot, 191

master, 34–35

medium, 26, 27

medium close-up, 26, 39

moving, 29

negative-action, 54, 67

one, 34

order and continuity, 52–53

pan, 28–29

perspective, 30–31

pickup, 34

point of view (POV), 32, 51

reaction, 32–33, 51

reestablishing, 32

reveal, 38–39, 67

reverse-angle, 33, 39

in telling story, 31–33

three, 34

tilt, 29

tracking, 29, 30, 38

transition, 38–39, 55–56

trucking, 29

two, 34, 223

zoom, 30–31, 67–68

Side light, 88

Side-rear lighting, 88

Silva, Mike, 217, 218

Sit-down interviews, 75, 92–93, 130

Situational ethics, 266

Sixth Amendment, 237, 247

Six- to eight-person crews, 181–182, 184

Skype interviews, 228

Slander, 238

Snap zooming, 36–37, 68, 211

SOT, 142, 224

Sound, 104–123

closing, 19

distortion, 116

gathering great, 186–187

incoming, 56

natural, 19–20, 112, 121, 158, 224

perspective, 119

problems with, 79

stereo and surround, 119–120

stock, 268

tips for good, 115

as transitional device in, 56

video accessories and, 122–123

in visual storytelling, 16–17, 19–20

Sound bites

in narration, 226

in visual storytelling, 17

Sound bridge, 56

Sound overlap, 56

Sound recordists, 182

Specular light, 87

Split-focus presentation, 312–313

Sports, weather and, 326, 328–329

Spot news

audiences and, 221

immediacy versus information and, 220–221

information-gathering for, 219–222

lighting at night, 98–99

live shots and, 219–222

packages, 156–157

reporting, 210–213

shooting, 15, 35–37, 67, 210–213

Staging, 302

ethics and, 275, 276

versus motivating, 74–75

Standups, 297–303

ad-lib, 298

demonstration, 301–303

doing something in, 299

effects, 303

keeping attention on story and, 299

photographing your own, 76

prop, 301

reasons for, 297–300

reference or location, 300

reveal or transition, 300–301

walking, 76, 233, 300–301

Station as regional force, 326

Stereo and surround sound, 119–120

Stock sound, 268

Storing equipment properly, 79

Storyboard, 14, 155

Story commitment, 11, 199

Story subjects, working with, 73

Storyteller, 176. See also Visual storytelling

writing like, 162–176

Stringers, 319

Studio lead-in, 151

Sturholm, Phil, 52–53

Subject, distraction of, 73–74

Subjective camera, 32

Subpoenas, 246

Suicide attempts, 266, 273

Sullivan Rule, 239

Summary statement, 11

Sunlight, lighting in, 96–97

Sunshine laws, 246

Surprises, 16–17, 166–170

Surveillance

photography, and ethics, 271

in states with one-party consent, 245

Swain, Dwight, 7

 

Takeaway, 11

Talent Growth Model, 310–311

Talking heads, 134–135

interviews, 134–135

one-eyed, 135

using with purpose, 327–328

Tapes. See Videotapes

Taylor, Bill, 16, 325, 326

Teamwork, 14, 165

Teases, 325–326

fulfilling promise of, 326

live, 231–233

Telephone recordings, 244–245

Telephoto lens, 290

Television

courtroom, 247–251

horizontal format of, 61

live shot formats, 222–225

Television script format, 140–148

caps or lowercase in, 147, 148

intros to live shots, 144–145

live intros to packages, 145

package scripts, 145–147

reader, 140–141

reporter and anchor closes, 147–148

VO/SOT/VO format, 142–143

VTR VO (voice-over video), 141–142

Three-person crews, 181

Three shot, 34

Thumb suckers, 222

Tilt shot, 29

Time

compressing, 51–52

condensing, 53

making most of, 201, 210

Top lighting, 88

Toss, 144

Townley, James, 71

Tracking shot, 29, 30, 38

Transition shots, 38–39, 55–56

Trespass, 240–241, 271

Tripod, 65

Trucking shot, 29

T/stop, 291

Tungsten halogen lights, 83

TV cutoff, 64

Two-part questions, 130

Two-party consent, 245

Two-person crews, 180–181

Two-person interviews, 121

Two shot, 34, 223

 

Umbrella lighting, 92–93

Unidirectional pattern, 106–107

 

Vector line, 41

Video

fluency, 202–203

formats, 287–288

generic, 241

labeling, 79

shooting, 286–295

Video accessories, 122–123

Video editing, 46–58

cold cuts in, 56

communication and, 57

compressing time and advancing action in, 51–52

cutaways in, 50, 54

cuts in, 48

cutting for audience reaction in, 56–57

cutting into-frame/out-of-frame action, 48, 50

cutting on action or at rest in, 49–50

cutting to condense time in, 53

definition of, 47

edit points and, 48–49

to eliminate false reverse, 54–55

flash cuts in, 56

jump cuts in, 37, 50

matched and overlapping action in, 37, 49

optical effects in, 50, 54, 57–58

pace in, 53–54

parallel cutting in, 52

philosophy of, 47

pop cuts in, 50–51

shot order and continuity in, 52–53

sound as transitional device in, 56

transition shots in, 38, 55–56

for web sites, 47

as writing tool, 46

Video editor, 14

Video journalism

crew sizes for, 180–184

future of, 193–194

gear for, 181

international, 205

lessons learned from, 189–192

microphones for, 108–109

six overlooked tools for, 185–188

Videotapes

editing process and, 78

spot checking, 79

Viewer mood, 324

Violence, 272

Visual communication, goal of, 25

Visual grammar, 25

Visual image, 202

Visual lead, 151–152

Visual proof, 14–15, 18–19

Visuals, control over, 327

Visual storytelling, 4–22

achieving excellence in, 12

adapting to story demands and, 209

addressing larger issues in, 17

audiences in, 21, 164–165, 167, 205, 207

capturing uncontrolled action in, 20

close in, 19

commitment in, 11, 199

cultural influences in, 10–11

curiosity in, 204

emotions and, 6–7, 77, 208–209, 212–213

essence of, 199

etiquette in, 210

excuses in, 203

first sentence in, 165–166, 201

focus in, 12–13, 14–15, 199

involving camera in, 199, 200

lead in, 18

looking for larger story in, 21–22

main points in, 18–19

packages in, 17–18

people in, 15–16, 201, 202, 212

personal appearance and conduct in, 210

planning, 11–12, 68

putting it all together in, 10

renewing or jumpstarting career in, 2

reporting compared, 6, 176, 208

reporting nonvisual story, 209–210

reportorial editing and, 13–14

seeking gradual improvement in, 198

sense of progression in, 12

sound bites in, 17

sound in, 16–17, 19–20

surprises in, 16–17, 166–170

terms for, 1–2

tips for strong stories, 175–176

tools for, 166–175

transmitting experience through, 5, 162, 164–165

value of pictorial narrative in, 8–9

viewers and, 207–209

words versus images in, 7, 10–11

working as part of team in, 14

writing in, 10, 13, 19–20

Voice-over (VO), 18, 56, 141–142

VO/SOT/VO format, 142–143

VTR VO (voice-over video), 141–142

 

Walking standups, 76, 233, 300–301

Wallpaper video, 14

Waterman, Robert, 7

Weather

shooting in cold, 76–77

sports and, 326, 328–329

Weaver, Howard, 165–166

Web sites, video editing for, 47

White balance, 78, 83, 287

White light, 73

White space, 19, 57, 307

Wide-angle lens, 290

Wilson, Christina, 133

Wind noise, 79, 117–118

Window-mounted filters, 85

Windscreens, 79, 117

Winslow, Donald R., 268

Wipes, 38, 57

Wireless microphones, 74, 112, 128–129

Wireless transmitter-receiver, 110–112

antenna placement, 111–112

frequencies, 111

interference, 110–111

range of, 110

Woodruff, Judy, 176

Works made for hire, 257

Writing

in head during shooting, 187–188

to inform shooting, 188

like storyteller, 162–176

package, 150–158

stories in caps and lowercase, 147, 148

video editing as tool for, 46

in visual storytelling, 10, 13, 19–20

Wrong filter, 78

 

Zeppelin, 117

Zoom in, 67

Zooming

recomposing shot during, 68

snap, 36–37, 68, 211

too much, 79

Zoom lens, 67, 288–289

Zoom out, 67

Zoom shots, 30–31

avoid calling attention to, 67

speed and duration of, 68