| Description |
1 online resource (1 volume) : illustrations |
| Bibliography |
Includes bibliographical references and index. |
| Contents |
Cover; Title Page; Copyright Page; Dedication; Table of Contents; Preface; About the Authors; Introduction; New Titles for New Job Descriptions; How to Renew or Jumpstart Your Career; How to Excel in Multiple Capacities; Anticipate Key Interview Questions; Notes; Chapter 1 Telling the Visual Story; Through Stories we Share Human Experience and Understanding; The Differences 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 Languages of the Senses |
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Putting it all TogetherCulture 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-Movies; The Lead |
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Provide Visual Proof for all Main PointsThe 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; Summary; Key Terms; Discussion; Exercises; Notes; Chapter 2 The Visual Grammar of Motion Picture Photography; The Shot; The Sequence; Basic Shots; 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; Changes in Camera Perspective; Stabilization of Shaky Images |
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Shots That Help Tell the StoryOne 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; Screen Direction; How to Avoid the False Reverse; Vary Camera Angles; Photograph People at Eye Level; Angles Provide Psychological Impact; Contrast and Comparison; Composition; Summary; Key Terms; Discussion; Exercises; Notes; Chapter 3 Video Editing: The Invisible Art |
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Editing is Another Writing ToolToward 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 |
| Subject |
Television broadcasting of news.
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Television -- Production and direction.
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Téléjournaux. |
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Télévision -- Production et réalisation. |
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Television broadcasting of news |
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Television -- Production and direction |
| Added Author |
Larson, John, 1953- author.
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DeTarsio, John, author.
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| Other Form: |
Print version: Shook, Frederick. Television field production and reporting. 6th ed. Upper Saddle River, N.J. : Pearson, ©2013 9780205111589 (DLC) 2011051038 (OCoLC)768335821 |
| ISBN |
9781317343660 |
|
1317343662 |
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