By Norman Medoff, Edward J. Fink
Moveable Video: ENG and EFP, 5th version specializes in the ideas and know-how of unmarried digital camera digital information amassing and digital box construction. overlaying every little thing from simple inventive and technical modifying strategies to budgets and copyright matters, it's obtainable to the house videomaker or beginner and to the pro looking details at the most modern advances in strategy and gear. * comprises precise specialize in television information construction and box creation * appropriate for whole rookies
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Extra resources for Portable Video, Fifth Edition: ENG & EFP
Sample text
Try whatever you can to make your piece Part One: Recorded Coverage Figure 2-6 Shooting extreme close-ups (XCUs) and layering shots, such as this frame from a feature story on hummingbirds, can enhance the visual experience. 25 cial shoot. The thing that separates pure journalism from this style of TV news is its goals. A general news story on the success of this year’s must-have Christmas toy would discuss the toy’s creator, sales, and so forth. A feature on the toy might simply be about a character (perhaps the reporter) trying to understand how this unlikely toy became this year’s Christmas bestseller, with people camping outside stores to get it.
Because of the time necessary to set up this type of transmission, it is rarely used except for events such as election returns where there is plenty of lead time for installation. Because of deregulation in the telephone industry, it can be a challenge to find the right company or unit to deliver such a line, but most phone companies have experience with this method of delivery. The lines can be run to just about anywhere that has phone service. Fiber-Optic Lines Similar to regular phone lines, newer phone systems have light-transmitting cables already in place.
Whether you are showing a two-year-old rolling a pumpkin home or the tears of one person’s crusade for a better society, the feature aims at the heart of the viewer. It can take a whole day, a week, or even a month to do a good feature story. Or it can take an hour. The idea can be mapped out well in advance and shot a little at a time until the piece comes together. Features need not be timely, so they can air at any time. They have a longer “shelf life” than general or hard news. Soft news stories allow more work to be put into them.
