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210123 ||| eng |
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|a 9781317343660
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| 050 |
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|a PN4784.T4
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| 100 |
1 |
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|a Shook, Frederick
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| 245 |
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|a Television field production and reporting
|b a guide to visual storytelling
|c Fred Shook, John Larson, John DeTarsio
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| 250 |
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|a Sixth edition
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| 260 |
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|a Abingdon, Oxon [United Kingdom]
|b Routledge
|c 2016
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| 300 |
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|a 1 volume
|b illustrations
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|a 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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|a Includes bibliographical references and index
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|a 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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|a 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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| 505 |
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|a 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
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|a 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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| 653 |
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|a Television broadcasting of news / fast
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|a Television broadcasting of news / http://id.loc.gov/authorities/subjects/sh85133518
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| 653 |
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|a Télévision / Production et réalisation
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| 653 |
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|a Téléjournaux
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| 653 |
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|a Television / Production and direction / http://id.loc.gov/authorities/subjects/sh85133468
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| 653 |
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|a Television / Production and direction / fast
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| 700 |
1 |
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|a Larson, John
|e author
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| 700 |
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|a DeTarsio, John
|e author
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| 041 |
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|a eng
|2 ISO 639-2
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| 989 |
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|b OREILLY
|a O'Reilly
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| 776 |
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|z 9780205111589
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| 776 |
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|z 0205111580
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| 856 |
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|u https://learning.oreilly.com/library/view/~/9781317343660/?ar
|x Verlag
|3 Volltext
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| 082 |
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|a 384.55
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| 082 |
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|a 070.195
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