Shooting TV news Reader, VO, VO-SOT/VSV, package, wraparound/live shot Reporters & photographers / live truck operator “One Man Band” / VJ / backpack journalist Assignment desk / producer Feed to the station (more later) Transmit / receive / line of sight Receive station / newscast insertion Field IFB (market size)

Field shooting -- lighting for news On camera light Available light Color temperature -- auto / indoor /outdoor Never point a camera toward a light 2-point / 3-point lighting Low lighting situations -- iris / gain “The art of capturing and controlling light”

Field shooting -- audio for news Close (isolated component) vs. distant miking Foreground audio (narration, sound bites, stand up) Nat sound (in camera mic) Lavaliere, boom / shotgun, ‘stick’ Other equiment High pass, low pass, band pass, notch filters EQ, compressor, other processing equipment

Telling the news story live What you know ./ don’t know What happened, is happening, will happen Storytelling -- beginning, middle, end Focus of story Who, what, when, where, why, how, so what Balance of reporter voice and sound bites PKG: 1:30 / VSV: 1:00 (SB :12)

Backpack journalism iPhone storytelling Task oriented sequence Prosumer gear / GoPro camera Quality lens and zoom issue Task oriented sequence Script, Logging / EDL Recording ‘track’ Quicker editing Instagram, Videolicious, etc Quicker posting

Review: the frame Horizontal Rule of Thirds Golden Spots Where our eyes go Look space / lead room Sometimes ‘break the rules’

Some guidelines Show viewers what you want them to see Think before you shoot Pre-visualize the shot and sequence Elevate the ordinary what you see in the viewfinder makes you say ‘wow,’ Make good use of the entire screen Balance, fill screen, background, lighting No ‘dutch angle’ mistake See several other tips on page 64

Guidelines Avoid calling attention to the zoom ‘invisible’ zoom, pan, transition, lighting SHOOT SEQUENCES A proven method to heighten the viewer’s sense of involvement in the story is to shoot matched-action sequences.

Guidelines Shoot and move Anticipate action Remember to help the editor avoid “pop cuts” Anticipate action Fleeting / perishable video Shoot only the shots you need -- Avoid indiscriminate shooting

Edit in the camera When you edit in the camera, it is important to concentrate on three shots at a time: the shot you’re taking, the shot you just took, and the shot you will take next. ‘Visualize your production’ then capture those shots

Guidelines Involve the camera in the action Working with people tell your stories through people Avoid distracting the subject Because the camera and other hardware interrupt reality, try to avoid drawing attention to yourself or any of your equipment whenever you work with people. Staging versus motivating

Guidelines Shooting news interviews Shooting your stand-up Process, sit-down, ‘non-interview’ interview Shooting your stand-up Safety / Distancing Plan to Make Mistakes Shakiness, color balance, audio, wrong filter, exposure (lighting), focus, contrast, composition, panning & zooming, wind, dead batteries, no recording media, protecting equipment

Interviews What gives a story personality and depth? Interesting people and their ideas Why do you interview people? Gather facts about the story – research Gather sound bites to put into your story How do you interview people? Process interview News interview No question questioning – just chat

Then -- Editing News gathering is field shooting and editing ENG As we said – shooting and editing is ‘writing’ – developing a message for an intended audience Editing is the ‘invisible art’

Editing Editing, in its simplest definition, is selection, arrangement, timing, and presentation. Only through editing can one enhance the story and the storytelling process. Editing, then, begins not at the final stage of the storytelling process but rather at the beginning.

Editing Your choice of shots and how you compose them is one form of editorial selection. Only through selection is emphasis possible. The order in which the shots appear is a form of editorial arrangement. Shot length is a form of editorial timing, a way to control dramatic tension through quick cutting or a more relaxed mood that lets the eye wander across the screen.

Editing Fades, Cuts, Dissolves, DVE Cold cuts vs. sound bridge Matched action sequences require overlapping action shot Into frame / out of frame or matched action shot to shot Expand time or compress time ‘Filmic time’ / ‘real time/

Editing Jump Cuts and Pop Cuts Continuity editing / seamless editing The typical news package, even the typical theatrical film, is a series of sequences. Transition shots give the editor a way to pivot from one sequence to the next, a way to link separate scenes.