Television and field reporting (subscription)
Television Field Production and Reporting 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. The new edition of Television Field Production and Repor...
| Otros Autores: | , , |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Boca Raton, FL :
Routledge, an imprint of Taylor and Francis
[2015].
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| Edición: | 6th ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009629702106719 |
Tabla de Contenidos:
- 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
- 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
- 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
- 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
- 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
- Cutting to Leave Space for Audience Reaction
