1. 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)

2. 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”

3. 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

4. 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)

5. 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

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

7. 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

8. 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.

9. 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

10. 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

11. 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

12. 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

13. 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

14. 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’

15. 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.

16. 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.

17. 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/

18. 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.