aipd subcourse di0350 edition a: electronic journalism

8/16/2019 AIPD Subcourse DI0350 Edition A: Electronic Journalism

1/76


2/76

ELECTRONIC JOURNALISM

Subcourse Number DI 0350

EDITION A

Army Public Affairs Center

Fort George G. Meade, Maryland10 Credit Hours

Edition Date Marc! 1""1

#$%C&$'#E &(E'()E*

*e designed t!is subcourse as +art of t!e %roadcast ournalist course tointroduce you to an entry-leel understanding of Electronic /esGat!eringElectronic Field Production E2ui+ment, 3ig!ting For Electronic/es Gat!ering, Framing And Com+osition, (ideo #cri+triting and Electronic

Editing. 4!is subcourse is +resented in fie lessons.

5ou must !ae a basic 6noledge of military broadcasting +rior to ta6ingt!is subcourse. 4!ere are no +rere2uisites to t!is subcourse.

4!is subcourse reflects t!e doctrine current at t!e time t!e subcourse as+re+ared. )n your on or6 situation, alays refer to t!e latest official+ublications.

$nless ot!erise stated, t!e masculine gender of singular +ronouns is usedto refer to bot! men and omen.

4E'M)/A3 3EA'/)/G &%EC4)(E

AC4)&/ 5ou ill learn t!e basics of electronic nesgat!eringelectronic field +roduction, lig!ting for electronicnes gat!ering, ideo scri+triting, framing and com+osition,and electronic editing.

C&/D)4)&/ 5ou are gien t!e material +resented in t!is lesson.

#4A/DA'D 4o demonstrate com+etency of t!is tas6, you must ac!iee aminimum of 70 +ercent on t!e subcourse e8amination.

i DI 0350


3/76

4A%3E &F C&/4E/4#

Page

#ubcourse &erie ........................................................i

3esson 1 Electronic /es Gat!eringElectronic FieldProduction ..................................................... 1

Practice E8ercise ............................................. 1"

Anser 9ey and Feedbac6 ....................................... :0

3esson : 3ig!ting for Electronic /es Gat!ering ........................ :1

Practice E8ercise ............................................. ;;

Anser 9ey and Feedbac6 ....................................... ;<

3esson ; Framing and Com+osition ....................................... ;=

Practice E8ercise .............................................

3esson = Electronic Editing ............................................ >7

Practice E8ercise ............................................. 7=

Anser 9ey and Feedbac6 ....................................... 7>

DI 0350 ii


4/76

LESSON ONE

ELECTRONIC NEWS GATHERINGELECTRONIC !IELD "RODUCTION

' #oldier?s Manual 4as6 :1


5/76

ELECTRONIC NEWS GATHERINGELECTRONIC !IELD "RODUCTION

INTRODUCTION

4!e age of t!e !ig!-2uality, +ortable mini-camera is !ere to stay. 4!esame tec!nology found in t!e +oc6et calculator and t!e com+uter isres+onsible for small, lig!teig!t ideo systems, !ic! are reolutioniingt!e teleision industry. *!ere once e could only ta6e a film camera, t!eElectronic /es Gat!ering @E/G Electronic Field Production @EFP ideota+ecamera !as effectiely re+laced t!is older system it! cost-effectie,+ortable nes gat!ering e2ui+ment. /ot only is it +ortable, it can eenallo t!e broadcaster to +lay bac6 t!e recording on t!e s+ot and gaininstant confirmation of success or failure. *it! t!e older film format, t!e+rocess as time consuming, and e8+ensie.

4!is subcourse discusses t!e e2ui+ment, o+eration and ca+abilities of t!esmall-format ideo camera system. As an Army broadcaster, you ill bedealing e8tensiely it! E/GEFP recording systems used +rimarily forcommand information and electronic nes gat!ering. 5ou need to !ae a basicunderstanding of t!e mini-cam system, as ell as teleision in general to+erform effectiely in your +osition eit!er as a field re+orter or +roducerof command information material. 4!is subcourse ill gie you t!e basic6noledge re2uired to function in t!ese +ositions.

Commercial teleision stations use many different terms to describe t!eirmobile +roduction units. Hoeer, ciilian and Army broadcasters agree ont!e use of at least to terms E/G and EFP. 4!ere is a difference.

o E/G is t!e coerage of uncontrolled eents suc! as a trainingaccident or fire. 4!e +ictures and story are gat!ered on t!e scene,as t!e eents ta6e +lace.

o EFP uses t!e same e2ui+ment, but under controlled circumstances. Astory or scri+t is ritten in adance. 4!e eent is carefully+lanned and e8ecuted until t!e final +roduct is finis!ed it!+redetermined results.

E/GEFP seres to +rimary +ur+oses in Army broadcasting. 4!ey are commandinformation and +ublic information, !ic! ill be anyt!ing from anuncontrolled eent to a carefully +lanned eent. Eit!er could be a nesstory, in !ic! case, it ould be treated t!e same as E/G, or a +roduceds+ot on t!e ot!er end of t!e s+ectrum. Most li6ely it ill fall some!erein beteen. EAMP3E A training e8ercise !ere t!e eent itself is +lanned,but your coerage of it ill be it! less control t!an an EFP.

DI 0350 $


6/76

Most of today?s soldiers gre u+ it! teleision. 4!e last ar, (ietnam,came into America?s liing rooms t!roug! teleision sets. 4!e ability ofteleision to communicate information and ideas by using +ictures as ell asords far outdistances ot!er media. *it! all its adantages, !oeer,teleision +oorly +roduced can lose t!e audience?s interest and attentionust as any ot!er medium. 5ou, t!e broadcaster, must learn, +ractice and+ro+erly em+loy teleision +roduction tec!ni2ues to be most effectie inE/GEFP.

#ince teleision is normally a team effort it! eery member concentratingon !is s+ecialty, t!e E/G team faces a far greater c!allenge in t!at t!ereare feer members to accom+lis! all of t!e tas6s necessary to com+lete t!e+roduction. )n addressing t!e different as+ects of teleision +roduction itould be sim+le to concentrate in one s+ecific area it! regards to ones+ecific tas6. Hoeer, since t!e E/G team member must ear many !ats, itill sometimes be necessary in t!is lesson to refer to certain to+ics in anumber of different +laces. For t!at +ur+ose, t!is lesson ill e8+lain eac!facet of t!e subect, and label it in bold ty+e in order for you to find itmore easily !eneer it is referred to again. 4!ere ill be different sieletters in bold ty+e to indicate to+ics and subto+ics. )t may be necessaryfor you to refres! your understanding of a +articular to+ic by going bac6!en you find it mentioned again. Don?t !esitate to do se.

THE CAMERA

4!e most obious +roduction element, t!e camera, comes in many sies andconfigurations. Eac! !as t!ree main +arts, t!e body, t!e lens and t!eiefinder. #ome cameras may be easily carried and o+erated by one +erson,!ile ot!ers are so large and !eay t!ey must be +laced on a s+ecial cameramount or %o&&' (e%es)*&. 4!e camera dolly is !eel mounted, enabling t!eo+erator to moe t!e camera t!roug! a studio, on !eels, it! relatie ease.Hoeer, t!e c!ance of you being inoled in an EFP re2uiring studio

cameras, is e8tremely remote. 4!erefore, t!e camera e ill discuss is t!e+ortable camera, t!e most often used in E/GEFP.

*!eneer +ossible E/GEFP cameras s!ould be +laced on a )ri(o% . A tri+od isa stand it! t!ree legs !aing a mounting +late to !ic! t!e E/GEFP camerais attac!ed. )t is t!e field e2uialent of t!e studio dolly +edestal.E/GEFP cameras are automated and fully o+erational it!in seconds aftersitc!ing t!em on. Adustments to e8treme +roduction situations may be made2uic6ly and easily @see Figure 1-1, %asic Camera.

3 DI 0350


7/76

Almost all im+ortant +roductions are done it! color cameras- %lac6 and!ite cameras are used for ine8+ensie ta+ing, sureillance, and industriala++lications.

F)G$'E 1-1. %A#)C CAME'A

HOW THE CAMERA WOR+S

All 4( cameras, !et!er color or blac6 and !ite, studio or +ortable,o+erate on t!e same basic +rinci+le. 4!ey conert an o+tical image intoelectronic information t!at is t!en reconstructed by a teleision set ormonitor into isible screen images.

B&*c, *-% W.i)e C*mer*

4!e lig!t reflected off an obect is gat!ered by t!e lens and focused on t!ecamera +ic6u+ deice. 4!e lig!t is t!en transformed into electrical energyor t!e ideo signal. )n t!e blac6 and !ite camera, t!is lig!t stays in t!eform of different alues of gray. 4!e signal is am+lified, +rocessed andconerted bac6 into images in t!e iefinder.

DI 0350 /


8/76

Co&or C*mer*

4!e color camera is more com+licated t!an t!e blac6 and !ite camera. )norder for you to understand t!e dos and don?ts of color +roduction, you?llneed to 6no some of t!e basic or6ings of t!e color camera body. #ince t!ecamera is a seeing deice and re2uires lig!t, you?ll also need to 6nosomet!ing about lig!t !ic! ill be discussed in anot!er c!a+ter. )n t!isc!a+ter, e ill briefly discuss internal o+tical systems, image deices,

electronic c!aracteristics of color cameras, camera ty+es and o+erationalc!aracteristics.

4!e color camera first s+lits t!e !ite lig!t entering t!roug! t!e lens intot!e t!ree +rimary colors red, blue, and green. 4!ose colors are t!en+rocessed into se+arate c!annels. 4!e color se+aration deice t!at s+litst!e !ite lig!t is called t!e beam s+litter.

E&ec)ro-ic c.*r*c)eris)ics. 4!e electronic c!aracteristics of a camerade+end +rimarily on t!e +erformance of t!e image deice used. )n discussinginternal o+tical systems and image deices, e?ll ta6e a brief loo6 at colorres+onse, resolution and o+erating lig!t leel.

Co&or res(o-se. )deally, t!e camera s!ould res+ond to all colors ali6e. )nt!e +ast, !oeer, it?s been difficult to re+roduce different colors it!t!e same accuracy. 4!e greatest difficulty !as been encountered !enre+roducing red. /ot only is it difficult to +roduce a strong ideo signalfor red, but it also !as a fuier image t!an ot!er colors. )n t!eirattem+ts, manufactures !ae gone to s+ecial tubes for eac! c!annel ands+ecial color-correction filters and electronic circuits. For t!e moment,t!e battle for accuracy in color res+onse is being aged most successfullybeteen t!e #aticon tube and t!e C!arged Cou+led Deice or CCD. 4!e C&D isan integrated circuit or c!i+. 9ee+ in mind t!at color res+onse is t!ere+roduction of color in t!e form of an electronic signal, and not t!eseeing or se+arating of t!e color by t!e beam s+litter.

Reso&u)io-. 4!e camera +ic6u+ deice, tube or c!i+, is t!e +rinci+alelement in t!e camera t!at determines t!e s!ar+ness of t!e +icture. &t!erelements t!at influence t!e resolution of t!e +icture are t!e lens, t!e2uality of t!e internal o+tical system, and t!e 4( set or monitor t!atre+roduces t!e +icture. For instance, ta6e a magnifying glass and loo6 at a+!oto t!at is re+roduced in a nes+a+er. 4!en loo6 at one re+roduced in aslic6 magaine. Generally you?ll notice t!at t!e nes+a+er +icture consistsof rat!er coarse dots, !ereas t!e indiidual dots are barely discernible int!e magaine +icture. 4!e nes+a+er +icture !as +oorer resolution t!an t!emagaine +icture.

5 DI 0350


9/76

%e conscious of t!e limited resolution of t!e 4( +icture, es+ecially !endealing it! teleision gra+!ics and in areas of +roduction !ere fine+icture detail is essential.

O(er*)i- &i.) &e1e&. As +reiously mentioned, t!e camera conerts isualimages into an electronic signal for +rocessing to ideo ta+e ortransmission in some form or anot!er. 4!e first ste+ in t!e +rocess isaccom+lis!ed by t!e +ic6-u+ deice in t!e camera, !et!er it be a tube or

c!i+. A certain amount of lig!t is necessary for t!e +ic6-u+ deice to beable to +erform its tas6. 4!e E/GEFP ideogra+!er must ma6e sure t!ere isenoug! lig!t to meet t!is tec!nical re2uirement. 4!ere are a number ofdifferent as+ects of lig!t and a number of different ays to measure t!em.&ne common unit of measure t!at +ertains to t!e amount of lig!t, is t!efootcandle. *!ateer term is used, it?s im+ortant t!at your lig!t-measuringdeice be in t!e same language as t!e manual for your camera. EAMP3E )ft!e manual for your camera calls for a minimum of 100 footcandles of lig!t,you?ll need a lig!t meter t!at reads in footcandles. )t?s not im+ortant foryou to 6no !at a footcandle is ot!er t!an t!at it is a unit of measure.)t is im+ortant for you to 6no !o muc! lig!t your camera re2uires too+erate.

#ince cameras must o+erate under arying lig!t leels, +ortable ideocameras !ae a means of boosting t!e lig!t. )n reality, after t!e lig!t, oro+tical image, entering t!e camera !as been conerted to an electronicsignal, t!at signal is boosted rat!er t!an t!e lig!t itself. Generally, t!ecamera !as a d% gain sitc! it! to +ositions. 4!ey are "d% and 1d%. Foreery > d% of gain, t!e camera out+ut signal ill double in am+litude,effectiely increasing t!e ideo leel. 4!at means t!e "d% setting illtri+le t!e signal strengt! !ile 1d% ill be times eig!t. CA$4)&/ (ideonoise increases in +ro+ortion to t!e ideo gain.

2i%eo -oise. $nder lo lig!t leels, een t!e best cameras cannot aoidnoisy +ictures. A noisy +icture !as a great amount of sno, or !ite

ibrating s+ots in t!e +icture. 4!is occurs !en t!e ideo signals,+roduced by t!e +ic6u+ deice, are not strong enoug! to oerride t!eelectronic interference t!at t!e system usually generates. At 1d% gain,t!e system is generating more electronic interference, t!erefore, more ideonoise.

L*. 3ag andor color distortion occurs under lo-lig!t conditions !en abrig!t obect moes against a dar6 bac6ground, e.g., a !ite gloe moingagainst a dar6 bac6ground. 4!e !ite gloe ill leae a strea6 or trailagainst t!e bac6ground, sometimes called comet tailing. Comet tailingoccurs !en t!e camera +ic6u+ tube@s is unable to +rocess ideo !its,e8tremely brig!t !ig!lig!ts t!at reflect off !ig!ly +olis!ed surfaces. 5oumay !ae

DI 0350


10/76

obsered !at a++ears to be red flames t!at seem to tail s!iny brass obects!eneer t!ey moe across a brig!tly illuminated area. )n eit!er case, t!e!ite gloe on t!e dar6 bac6ground or t!e e8tremely brig!t !ig!lig!ts, it?sa contrast or difference beteen t!at one s+ot and t!e area of t!e +icturearound it. )t ta6es an instant for t!e +icture to dar6en bac6 don !eret!e brig!ter obect as. )t?s t!e camera?s +ic6u+ deice doing t!e samet!ing t!e !uman eye does !en a moing s+ar6ler a++ears to leae a brig!tline be!ind it as it is moed around. &f course, t!e ideo camera cannot

react as 2uic6ly as t!e !uman eye, t!us t!e same effect occurs in lesse8treme situations.

Co&or %is)or)io-. Color distortion occurs under lo-lig!t leels and ma6escolors li6e blue loo6 green, and red loo6 orange, etc.

BOD4

4!e camera body consists of t!e !ousing and internal +arts. 4!at includeseit!er camera +ic6u+ tube@s or a solid-state image deice and t!e internalo+tical system. 4!e internal o+tical system is a series of +risms ormirrors. 4!ere are also circuitry boards, resistors, ca+acitors and ires.5ou mig!t say t!at t!e camera body is t!e +art !ic! translates ideo imagesinto electronic signals for +rocessing and s!i+ment.

2IEW!INDER

4!e iefinder on a +ortable camera is a relatiely small 4( screen @1.=inc!es in diameter, !ile a studio camera iefinder is larger @; to "inc!es in diameter. 4!ey bot! +roduce !ig! resolution blac6 and !iteimages. 4!e 4( screen on a +ortable camera is s!ielded from outsidereflections by a fle8ible rubber eye+iece t!at adusts to t!e o+erator?seye. )n t!at rubber eye+iece, t!ere is an adustable lens to focus sincet!e eye is +laced it!in an inc! or to of t!e screen. 4!e studioiefinder uses a !ood to s!ade t!e 4( screen from oer!ead studio lig!ts.

4!e +ortable camera iefinder contains a number of control lig!ts ordis+lays t!at indicate t!e status of certain camera functions. Mostiefinders automatically dis+lay information on ta+e status, batterycondition, tallyrecord lig!t and lo lig!t leel indicator. 4!eiefinders dis+lay, on command, bars @color bars, +at terns, !iteblac6balance setu+ cursor, and camera registration. @All camera iefinders areblac6 and !ite.

Many cameras +ermit t!e iefinder to be used as a +laybac6 monitor for t!e(C'. 4!e adantage of t!is feature is t!at

DI 0350


11/76

you don?t need any ot!er e2ui+ment to set u+ t!e camera. 4!is function iscalled ideo return, and more systems are getting aay from it. Camera?sare more reliable, recorders !ae indicators to let you 6no !en you?rerecording, and ideo return becomes less cost efficient.

LENS

4!e lens selects a certain field of ie and +roduces a small, clear o+ticalimage of t!is ie. 4!e lens and certain attac!ments are sometimes calledt!e e8ternal o+tical system.

*it! t!e lens e !ae four +rimary concerns. 4!ese are @1 focal lengt!,@: focus, @; f-sto+, and @


12/76

F)G$'E 1-:. MA/$A3 I&&M C&/4'&3

A oom sero is not!ing more t!an a small motor controlled by a leer. 4!edistance t!e leer is de+ressed determines t!e s+eed of t!e oom. 4!e rangeof s+eed can be any!ere from :.= to :0 seconds. 4!e leer is called t!eoom selection or 4* sitc!. 4 stands for tele+!oto and * for ide-angle.

4!ere are seeral adantages to t!e sero system. Iooms are steady andsmoot!, es+ecially during slo ooms. 4!e oom control is easy to o+erateand allos you to concentrate more on +icture com+osition and focusing. 4!esero oom frees t!e left !and to o+erate t!e manual focus and a+erture

controls. Hoeer, 2uiet as t!e sero motors are, t!ey can sometimes be!eard by t!e camera micro+!one and t!ey re2uire more battery +oer.

M*-u*&*u)om*)ic 8ocus co-)ro&. 4!e focus control is a manual function @seeFigure 1-;, Manual Focus Control 'ing. 4o o+erate it, t!e o+eratorrotates t!e focus ring on t!e oom lens, eit!er cloc6ise orcountercloc6ise, !ile loo6ing in t!e iefinder to determine if t!e+icture is in focus. #ome cameras !ae an automatic focus deice. &bious+roblems occur !en focusing not on t!e obect t!at lies ne8t to t!e camera,but on t!e one fart!er aay. 4!e o+erator ill !ae more control in t!emanual mode.

9 DI 0350


13/76

F)G$'E 1-;. MA/$A3 F&C$# C&/4'&3 ')/G

Ge))i- T.e Mos) Ou) O8 A Le-s

Generally, lenses fall into one of t!ree categories ide angle, normal, andnarro angle or tele+!oto. #ince t!e oom lens can du+licate all t!ree, eill discuss t!e c!aracteristics of eac!.

Wi%e A-&e Le-ses

!ie&% o8 1ie:. 4!e ide angle lens !as a ery ide field of ie and erylittle magnification. 4!e +rinci+al subects seem relatiely small inrelation to t!e bac6ground and it is difficult to distinguis! muc! detail int!ese ide s!ots.

"ers(ec)i1e. 4!ese lenses e8aggerate de+t! and distance. &bects in t!eforeground ill a++ear muc! larger t!an t!ose in t!e bac6ground.

Mo1eme-). 4!e s+eed of subect moement ill be greatly e8aggerated,es+ecially !en moing toards or aay from t!e camera. Camera moementill not be nearly as noticeable as it! longer lenses. #ubect moementill be ery easy to follo since t!e ide !oriontal field of ie, minimalmagnification, and dee+ de+t! of field eliminate camera itter and focus

+roblems. 4!is lens, @or t!e oomed out configuration of t!e oom lens, isan e8cellent c!oice !en

DI 0350 #0


14/76

you are trying to follo a lot of action. 4!ere are different ty+es ofcamera moement bot! in and out of a teleision studio. #ince E/G isaccom+lis!ed more out of t!e studio t!an in, one of t!ose ty+es of moement@camera +ositioning becomes muc! more im+ortant. C!anging t!e aim of t!ecamera left or rig!t, u+ or don, e?ll call camera moements and+!ysically c!anging t!e location of t!e camera, e?ll call camera+ositioning. More ill be discussed about camera moement and camera+ositioning in #ubcourse D)0;=1, Electronic ournalism )), but for t!e

+ur+ose of learning about lenses and !o t!ey effect moement, you?ll onlyneed to 6no !et!er e are tal6ing about c!anging t!e aim of t!e camera, orits location.

Dis)or)io-. *!en your subect is too close to t!e lens t!ere ill beimmense distortion @see Figures 1-


15/76

een get t!e lig!ts or t!e sun in t!e s!ot itself. )f your camera !as+ic6u+ tubes, t!is ill cause burn in.

Norm*& Le-ses

!ie&% o8 1ie:. 4!roug! a normal lens, t!e field of ie ill be about t!esame as normal ision.

De(). o8 8ie&% . /ormal lenses ill usually gie a medium de+t! of fieldit! t!e obects in t!e e8treme foreground and bac6ground areas of t!e+icture t!ron slig!tly out of focus, but it! a fairly ide area ofacce+table focus around t!e +rinci+al subect.

"ers(ec)i1e. 4!e normal lens ill +roduce a natural de+t! +ers+ectie it!no e8aggeration of foreground-to-bac6ground subect sie,. de+t!, or s+eedof moement.

Mo1eme-). 4!e moement of subects toard or aay from t!e camera illa++ear at near normal s+eed t!roug! a normal focal lengt! lens. #ince t!ereisn?t muc! magnification camera moement ill not be e8aggerated and it is

fairly easy to follo a moing subect. Hoeer, camera +ositioning s!ouldbe 6e+t to a minimum since t!e itter and s!a6e of a moing camera could beobious.

Dis)or)io-. Distortion ill be almost none8istent and t!e slig!t flatteningeffect of t!e normal angle lens may be flattering to +eo+le it! +rominentfacial features.

Limi)*)io-s. 4!ere are fe limitations it! t!e normal angle lens beyondt!e itter and s!a6e seen !en t!e camera is being re+ositioned. *it!+rofessional camera steadying e2ui+ment, een t!is can be oercome.

Te&e(.o)o ;N*rro: A-&e< Le-ses

!ie&% o8 1ie:. A narro angle lens !as a ery narro field of ie and+oerful subect magnification.

"ers(ec)i1e. 4!e long lens, or t!e oomed-in configuration of t!e oomlens, com+resses +ers+ectie and reduces t!e +erce+tion of s+ace and olume.)t also ma6es eeryt!ing in t!e +icture a++ear about t!e same sieregardless of distance. EAMP3E 4!e s!ot from t!e center field camera ata baseball game is usually oomed in and ma6es t!e +itc!er and t!e battera++ear t!e same sie een t!oug! t!e batter is si8ty feet furt!er aay.

Mo1eme-). E8treme magnification and narro !oriontal field of ie ma6e itdifficult to follo a ra+idly moing subect. 4!e focus is so critical andt!e field of ie so

DI 0350 #$


16/76

narro t!at folloing a subect it! t!e aim of t!e camera s!ould not beattem+ted unless t!e moement of t!e subect is totally +redictable.EAMP3E Folloing t!e !orse along t!e bac6stretc! at a !orse race. 4ofollo a subect it! camera +ositioning is absolutely out of t!e 2uestionit! a long lens. 4!e slig!test moement of t!e camera in t!is fas!ion illbe greatly magnified.

Dis)or)io-. 4!e com+ression of +ers+ectie in t!e long lens a++ears to

flatten eeryt!ing to a +oint t!at it remoes de+t! +erce+tion. Heat aesrising from t!e ground ill be magnified so muc! as to distort images. 4!islens ill counter your efforts to gie t!e effect of t!ree dimensions.

Limi)*)io-s. Alt!oug! t!e long focal lengt! lens ill bring about greaterdetail of distant subects, ot!er as+ects of t!e +icture are effectednegatiely. 4!is lens s!ould be used in s+ecial a++lications only.

!ocus

Focus it! a lens is t!e same t!ing as focus it! t!e eye. #!ar+ and clear

is in focus, !ile fuy and unclear is out of focus.

4!ere are to met!ods of setting t!e focus on a oom lens. &ne, called oomfocus, is by ooming all t!e ay in and setting t!e focus, t!en ooming outto t!e focal lengt! desired. &nce t!is is done, eeryt!ing in t!e de+t! offield ill remain in focus for t!at oomed out s!ot, including t!e obectfocused on, +roided t!e distance beteen it and t!e camera doesn?t c!ange.

4!e ot!er is called rac6 focus. 4!is is not!ing more t!an setting t!e focuson somet!ing in t!e field of ie. *!en t!is is done, only t!at obect andot!er obects at t!e same distance ill remain in focus as long as t!edistance beteen t!em and t!e camera doesn?t c!ange. &biously a rac6 focusis used !en t!ere isn?t time to oom focus. 4!ere are times !en t!e

effects of a rac6 focus may be desired. EAMP3E *!en t!e ieer?sattention is directed toard somet!ing in t!e foreground and e is! to leadt!eir eye to anot!er obect. *e can do t!is by c!anging t!e focus to bringt!e ot!er obect into s!ar+ focus !ile t!e first obect goes out-of-focus,

8=S)o(

ust as in +!otogra+!y t!e camera +ic6-u+ deice ill o+erate +ro+erly onlyit!in a certain range of lig!t intensity. )f too muc! or too little lig!tfalls on t!e +ic6-u+ tube or c!i+, t!e +icture 2uality ill suffer.

#3 DI 0350


17/76

#ince you ill use t!e camera bot! indoors and outdoors, you ill !ae toadust for t!e e8treme difference in lig!t leels.

4!e lens dia+!ragm, or iris, is used to control t!e amount of lig!t t!atenters t!e lens, and t!us t!e camera by enlarging or reducing t!e a+erture.4!e f-sto+s indicate t!e sie of t!e lens @dia+!ragm o+ening. 4!e loert!e f-sto+ number, t!e ider t!e lens o+ening. *!en a lens is oomed in, itill re2uire more lig!t, a ider o+ening and t!us a loer f-sto+ number @see

Figure 1-=, f-#to+s B )ris &+enings.

Most cameras !ae an automatic iris t!at allo t!e o+erator to deote !isattention to ot!er im+ortant as+ects of ideogra+!y suc! as framing,com+osition, etc.

Alt!oug! t!e automatic iris seems ideal for E/GEFP systems, it does notalays or6 to t!e o+erator?s adantage. *it! a fairly een illumination,t!e auto iris closes don !en it sees an e8tremely brig!t area in a scene,or o+ens u+ !en sensing a large dar6 area. 4!is ill cause sil!ouetting.4!is can be aoided by sitc!ing to manual iris control and e8+osing for t!esubect alone.

)t is im+ortant for t!e E/G o+erator to 6no t!at f-sto+s determine moret!an ust t!e amount of lig!t entering t!e camera. 4!ey also affect t!ede+t! of field.

F)G$'E 1-=. F-#4&P# B )')# &PE/)/G#

DI 0350 #/


18/76

De(). O8 !ie&%

)f you +lace obects at different distances from t!e camera, some obectsill be in focus and some out of focus. 4!e de+t! of field is t!at area oft!e field of ie !ere t!e obects ill be in focus @see Figure 1->. 4!ede+t! of field can be s!allo or great. )f t!e de+t! of field is s!allo,only t!e obects in t!e middle ground may be in focus t!e foreground andbac6ground ill be out of focus. A large dia+!ragm o+ening @small f-sto+

number ill decrease t!e de+t! of field and a small dia+!ragm o+ening@large f-sto+ number ill increase t!e de+t! of field.

)t?s im+ortant for t!e E/G camera o+erator to understand t!is, because t!esame rules a++ly !en t!e camera is moed. A great de+t! of field ma6es iteasy for t!e camera o+erator to stay in focus !ile moing s!ort distances.A s!allo de+t! of field ma6es it im+ossible to moe it!out getting out offocus.

F)G$'E 1->. DEP4H &F F)E3D

#5 DI 0350


19/76

Alt!oug! it seems t!at a great de+t! of field ould be t!e most desirable infield o+erations, a medium de+t! of field is sometimes +referred, becausein-focus obects are set a+art from out-of-focus bac6ground. 4!us, t!eobect ill be em+!asied, and little attention ill be dran to unnecessarybac6ground. 4!e foreground, middle ground and bac6ground ill be betterdefined. 4!e im+ortant t!ing for you, t!e o+erator, is to understand t!ebasic +rinci+les and a++ly t!em +ro+erly.

4!ree t!ings affect t!e de+t! of field. 4!ey are @1 t!e focal lengt! oft!e lens used, @: t!e lens o+ening @f-sto+, and @; t!e distance beteent!e camera and obect.

o #!ort lens focal lengt!s !ae a great de+t! of field. 3ong focallengt!s !ae a s!allo de+t! of field.

o 3arge lens o+enings @small f1-sto+ numbers cause a s!allo de+t! offield. #mall lens o+enings @large f-sto+ numbers cause a greatde+t! of field. A lo lig!t leel ill necessitate t!e o+ening oft!e lens dia+!ragms, !ic! ill cause a decrease in t!e de+t! offield.

o 4!e fart!er aay t!e obect is from t!e camera, t!e greater t!ede+t! of field. 4!e closer t!e obect to t!e camera, t!e mores!allo t!e de+t! of field.

#ome of t!ese factors counter eac! ot!er in +ractical a++lication. A close-u+ s!ot it! t!e lens oomed all t!e ay out @a s!ort focal lengt!greaterde+t! of field ould !ae a small camera-to-obect distance @s!allo de+t!of field. 4!e same close-u+ s!ot done it! t!e lens oomed all t!e ay inould !ae a longer focal lengt! @s!allo de+t! of field, but a greatercamera-to-obect distance @greater de+t! of field. *it! oom lenses, t!ede+t! of field c!anges as t!ey are oomed in or out. *!en oomed in, you!ae a s!allo de+t! of field !en oomed out you !ae a greater de+t! of

field. Add to t!is, t!e lens dia+!ragm o+ening ill increase as you oom inand decrease as you oom out, and you can see t!e need for a lot of+ractice.

#ometimes a limited de+t! of field can or6 to your adantage. As mentionedearlier, an out-of-focus bac6ground ill not interfere it!, or distractfrom your main subect. )f t!ere are small t!ings in t!e immediateforeground t!ey can almost be ta6en com+letely out of t!e +icture it! areduced de+t! of field.

EAMP3E *!en s!ooting t!roug! small limbs of a tree, or a c!ain lin6fence, t!ey ill not een be seen if t!ey are close enoug! and t!e camera isoomed in on somet!ing far enoug! aay.

DI 0350 #


20/76

Le-ses !or E88ec)s

5ou ill not be as concerned about lens effects for E/G as you ould be forEFP. 4!ere are a fe t!ings you s!ould 6no about different lenses and lensuses and t!e effects created by t!em.

2isu*& (ers(ec)i1e o8 * 6oom &e-s 1ersus * c*mer* %o&&' s.o). 4!ere is anim+ortant difference beteen ooming in or out, and +!ysically re+ositioningt!e camera closer or fart!er aay. 4!e ide use of a oom lens and its easeof o+eration !as caused many ideogra+!ers and directors to rely on t!e oom!ere t!ey ould be better sered by re+ositioning t!e camera. A oom lenssim+ly magnifies or reduces an image but it s necessary to moe t!e camerato get t!e full t!ree-dimensional effect. 4!is is +articularly im+ortant!en moing t!roug! doorays, and arc!es, or +ast furniture and ot!erstationary obects. 4!is moement of t!e camera is called a dolly. 4!ismoement ill be discussed more in t!e section coering camera o+eration.

4!e lens, body and iefinder combination is called t!e c*mer* .e*% , becauseit is at t!e !ead of t!e c!ain of ot!er essential electronic camerae2ui+ment. 4!e camera !ead itself !as a series of attac!ments and controls

t!at !el+ you use t!e camera efficiently and creatiely.

RECORD"LA4BAC+ S4STEM

4!e ideo recorder, it! t!e +ortable camera, offers a !ole ne conce+t inteleision +roduction. Alt!oug! (C's are more com+le8 electronically t!anaudio ta+e recorders, t!ey are no more difficult to o+erate. Currently,t!ere are a number of ideota+e formats used in t!e broadcast industry ;


21/76

F)G$'E 1-7. ;< )/CH $MA4)C 4APE F&'MA4

Most +ortable (C's run on a 1:-olt DC battery or AC +oer. Currently,

batteries aailable !ae a c!arge life of arying lengt!s and, if you !oo6u+ t!e camera to t!e same battery, t!e life is about !alf. For ACo+erations, an ACDC conerter is necessary. *it! AC o+eration, t!ere is notime limit but you are alays tied to t!e lengt! of t!e AC cord.

DI 0350 #7


22/76

P'AC4)CE EE'C)#E

3E##&/ 1

#$%C&$'#E /&. D) 0;=0

E3EC4'&/)C /E*# GA4HE')/GE3EC4'&/)C F)E3D P'&D$C4)&/

)/#4'$C4)&/#

'eie t!e material in t!is lesson. Anser t!e 2uestions belo by circlingt!e 4 or F ne8t to eac! 2uestion. Com+are your ansers it! t!e anser6ey on t!e ne8t +age.

4 F 1. Electronic /es Gat!ering @E/G is t!e coerage of controlledeents.

4 F :. All teleision cameras o+erate on t!e same +rinci+le.

4 F ;. All color 4( cameras need a minimum o+erating lig!t leel of 100footcandles of illumination.

4 F . 4!e ;


23/76

A/#*E' 9E5

P'AC4)CE EE'C)#E

3E##&/ 1

#$%C&$'#E /&. D) 0;=0

E3EC4'&/)C /E*# GA4HE')/GE3EC4'&/)C F)E3D P'&D$C4)&/

1. FA3#E @Page :

:. 4'$E @Page


24/76

LESSON TWO

LIGHTING !OR ELECTRONIC NEWS GATHERING



25/76

LIGHTING !OR ELECTRONIC NEWS GATHERING

INTRODUCTION

*!en you leae t!e comfortable confines of t!e teleision nes room or+roduction studio for a remote or location assignment, you ill encountermore t!an a fe uni2ue +roblems. 4!e +roblems can be oercome if you are+re+ared. 3ocation remotes, are normally E/G nes coerage. #o let?sdirect our attention to t!is area.

&ne of t!e maor +roblems is t!e aailability of lig!ts. )f you areoutdoors on a sunny day, t!ere isn?t muc! of a +roblem. Hoeer, !en youmoe indoors or s!oot at nig!t, you?ll need a +ortable, lig!teig!t andersatile lig!ting system t!at eit!er runs on batteries or +lugs into a alloutlet it!out bloing fuses. 4!is calls for a small, efficient, ariable-beam lig!t t!at?s +art of most E/G systems .

4o understand lig!ting for E/G systems, e must first understand somet!ingabout basic lig!ting for teleision. All t!e +rinci+les of teleisionlig!ting a++ly to lig!ting for electronic nes gat!ering it! a feinteresting rin6les t!ron in. )n a studio t!e lig!ting is muc! morecontrolled t!an in t!e myriad of situations and circumstances you?lle8+erience in t!e orld of E/G. Most of t!e time t!e +roduction ill or6it! t!e e8isting lig!ting rat!er t!an t!e lig!ting being created or fit tot!e needs of t!e +roduction. Hoeer, you?ll need a com+lete understandingof basic teleision lig!ting to +roduce tec!nically +roficient andaest!etically +leasing nes stories t!at ill dra and !old your audience?sattention.

TELE2ISION LIGHTING

3ig!ting for teleision can be bro6en don into si8 basic obecties. 4!eyare

o Fulfill t!e tec!nical re2uirements of t!e system. 4!e lig!ting must+roide enoug! illumination for t!e teleision camera to see andre+roduce an image. 3o lig!t leels ill +roduce inferior ideo.

DI 0350 $$


26/76

o Gie t!e illusion of t!ree dimensions on a to dimensional surface.@4!e teleision screen 4!e teleision screen !as !eig!t and idt!.#ince e cannot actually add de+t!, e must create t!e illusion ofit. *e can do t!is it! camera angles, t!e considered +lacement ofobects in t!e ideos+ace and most commonly, it! t!e careful use oflig!ting

o Guide t!e ieer?s eye to im+ortant +oints in t!e ieing s+ace.)t?s a +roen fact t!at our eye is dran to a brig!t s+ot first.$sing t!is, e can lead t!e ieer?s eye and ensure t!at all t!eim+ortant +oints are coered.

o Establis! or coney a mood. 4!e oerall mood of a story or scenecan tell t!e story as muc! as t!e scene itself. 3ig!ting can coneyt!e oerall mood to t!e ieer.

o Establis! or fi8 t!e time. 3ig!ting can fi8 t!e time of day asconincingly as a cloc6 on t!e all it!out being so obious orblunt.

o Contribute to t!e aest!etic 2uality of t!e scene. Per!a+s a goodanalogy of !at aest!etic 2uality does for somet!ing is t!edifference beteen music and noise.

&f course not all si8 obecties ill a++ly e2ually to eery scene or eena++ly at all to absolutely eery frame of ideo, but 6noing !at t!ey areand !o t!ey or6 ill aid you in being more effectie !en telling t!estory.

WHAT IS LIGHT>

3ig!t is electromagnetic radiation, transmitted from any number of natural

or artificial sources. 4!e !uman eye can only see a small fraction of t!eelectromagnetic s+ectrum. 4!at lig!t e can see is called !ite lig!talt!oug! it is made u+ of all t!e colors of t!e rainbo. )f you understandt!e cause of a rainbo, or t!e effect of a +rism, you 6no t!at s+ectral!ues are different aelengt!s of lig!t. 4!ese aelengt!s ibrate atdifferent fre2uencies and a++ear to us as different colors.

"RO"ERTIES O! COLOR LIGHT

*!en e consider t!e teleision camera and its o+eration, e must remembert!e t!ree basic attributes of color lig!t are !ue, saturation andbrig!tness. Hue is t!e color of t!e lig!t itself. #aturation is t!e

intensity of t!e color or !o muc! !ite lig!t is mi8ed in it! it.@'emember !ite

$3 DI 0350


27/76

lig!t contains all t!e ot!er colors 5ou mig!t say !o +ure t!e color oft!e lig!t is, and brig!tness is t!e oerall brig!tness of t!e color, or !omuc! lig!t it ill reflect. Alt!oug! t!ese t!ree attributes of color lig!tare entirely inde+endent of eac! ot!er and surrounding obects and difficultto measure accurately, our best understanding of t!em is in a relatiesense. #ince it ouldn?t matter to us !at t!e measurement of brig!tness ofa +articular color as on t!e teleision screen, !o brig!t it a++ears ne8tto t!e colors around it does matter.

&ne t!ing e must 6ee+ in mind !en considering colors for teleision, ist!at not all ieers are atc!ing in color. 4!erefore, e must 6 no !ateffect a color ill !ae on t!e gray scale. 4!is is one of t!e reasons t!atall iefinders on +ortable cameras are monoc!rome. %e aare t!at somet!ingin t!e +icture t!at is c!anging colors may not be eident to t!ose ieingin blac6 and !ite unless t!e brig!tness is also c!anging.

COLOR TEM"ERATURE

Color tem+erature is t!e amount of certain colors ma6ing u+ a +articular!ite lig!t. Color tem+erature is measured in degrees 9elin. #ince t!eideo camera c!anges images into electronic signals, t!e aelengt!s oflig!t t!at ibrate at arious fre2uencies, ma6ing u+ t!e different !ues orcolors, ill !ae an effect on t!e out+ut of t!e camera. As t!e colortem+erature of lig!t c!anges, t!e !uman eye adusts to )t muc! better t!ant!e ideo camera. Een t!e !uman eye detects color tem+erature c!anget!oug!. EAMP3E 3ate afternoon lig!t a++ears more orange t!an middaylig!t. 4!is is a result of t!e lig!t +assing t!roug! more atmos+!ere andbeing filtered by more +articles in t!at atmos+!ere.

4!e clearest and sim+lest ay to t!in6 of color tem+erature it!out gettinginto com+licated formulas is to say t!at lig!t of a loer color tem+eraturea++ears more toard t!e orange end of t!e scale !ile lig!t of a !ig!er

color tem+erature a++ears more toard t!e blue end of t!e scale. #tudiolig!ting is standardied at ;,:00 degrees 9elin. Daylig!t sources arebalanced in t!e range of =,000 to 7,000 degrees 9. *e need not 6no !at adegree 9elin is s+ecifically as long as e acce+t it as a unit of measureand 6no !o color tem+erature effects t!e color teleision +icture. &fcourse, it only effects color ideo, not monoc!rome.

HARD LIGHT? SO!T LIGHT

4!e difference beteen !ard and soft lig!t is anot!er critical as+ect inlig!ting for E/G. Hard and soft lig!t

DI 0350 $/


28/76

a++ear differently in t!e ideo +icture and go a long ay toard directingattention, establis!ing a mood and contributing to t!e aest!etic a++eal ofyour ideo. Hard lig!t is intense, directional and creates strong s!ados.Artificial lig!t sources t!at +roduce !ard lig!t usually !ae !ard, s!inyrat!er s!allo reflectors. #oft lig!t is a more s+read out defused lig!tt!at creates feer, softer s!ados. #oft lig!t is +roduced by an instrumentit! a roug! or matte surfaced reflector t!at is dee+er or more curedalloing for more angles of reflection @see Figure :-1. #oft lig!t is used

mostly to fill in and soften s!ados and +roide a more een lig!t.

Figure :-1. A'4)F)C)A3 3)GH4)/G )/#4'$ME/4#

CONTRAST RANGE

Contrast range is critically im+ortant since t!e teleision camera is notnearly as sensitie as t!e !uman eye. 4eleision cameras can !andle a rangeof only ; to >0 +ercent reflectance a :01 ratio. #im+ly stated t!at meanst!at t!e brig!test +art of t!e ideo +icture can only be :0 times brig!tert!an t!e dar6est +art for t!e camera to be able to re+roduce it accurately.

/ote t!e term accurately. 4!e camera ill still re+roduce eeryt!ing in t!e+icture t!at is it!in t!at range, and ill begin to lose accuracy in t!ere+roduction of t!ose elements of t!e +icture t!at e8ceed t!at range. )nElectronic /es Gat!ering, e seldom !ae control of t!ose elements in t!eideos+ace. *e must

$5 DI 0350


29/76

learn to ada+t as best e can to !at e8ists. /es eents ill not allo usto control t!e contrast range, but e must 6no !o it affects our ideo andadust. EAMP3E )f t!ere is an im+ortant scene t!at e must ideota+et!at !as a brig!t s+ot t!at e8ceeds t!e >0 +ercent reflectance, e must 6not!at t!e camera ill dar6en don t!e rest of t!e +icture in bringing t!es+ot into range. *e t!en decide if e ant t!e ot!er +arts of t!e +ictureto be dar6ened or if e go to manual iris and lie it! a as!ed out effectin t!e brig!t area. CAUTION )f you !ae a tube camera, be careful not to

allo brig!t areas to cause burn-in.

MEASURING LIGHT !OR TELE2ISION

Measuring lig!t accurately enoug! for t!e teleision camera re2uires aninstrument. As +reiously mentioned, sufficient lig!t is a tec!nicalre2uirement !ic! must be met in order for t!e camera to o+erate +ro+erly.)nsufficient lig!t leels ill cause a camera to +roduce +ictures it! ideonoise, lag and color distortion. Most lig!t-measuring deices arecalibrated in foot candles and as mentioned earlier, most color camerasre2uire beteen 100 and :=0 foot candles. As e stated earlier, !ateert!e unit of measure, you must !ae a deice t!at s+ea6s t!e same language asyour camera?s manual. EAMP3E )f t!e manual calls for a minimum of 100foot candles, you need a lig!t meter t!at measures foot candles. Accuratelymeasuring t!e lig!t is somet!ing done more in EFP t!an in E/G. #ince e!ae little or no control of t!e contrast range in E/G, e usually concernourseles it! !et!er t!ere is sufficient lig!t, and !en it is obioust!at t!e range is e8ceeded, !o e correct it. 4!ere are fie ays tocontrol lig!t intensity !en using artificial lig!t. First, t!e attage oft!e lig!ting instruments. #econdly, lam+ to subect +ro8imity. As t!esubect gets closer to t!e lig!t source, it ill decrease t!e area oer!ic! t!e lig!t is s+read and ma6e it more intense @see Figure :-:.

F)G$'E :-:. EFFEC4# &F D)#4A/CE &/ %')GH4/E##

DI 0350 $


30/76

9ee+ in mind t!at by doubling t!e distance beteen lig!t source and subect,you 2uadru+le t!e area oer !ic! t!e same amount of lig!t is s+read, t!uscutting to one fourt! t!e intensity of t!e lig!t.

4!e t!ird met!od of controlling lig!t intensity is it! t!e use of scrims orscreens. #crims are translucent gaue or fiberglass in a frame t!at can bemounted on t!e front of a lig!t instrument. #crims cut don t!e amount oflig!t alloed t!roug!. #creens are ust li6e t!e material you?ll find on

any screen door. 4!ey do not defuse t!e lig!t li6e scrims and are mostlyused on s+otlig!ts to lessen t!e intensity it!out c!anging t!e !arddirectional beam. 9ey lig!ts, for e8am+le, are often used it! screens.

Fourt!, t!e s+otting of t!e beam on a s+otlig!t ill concentrate t!e beam oriden it. 4!is is com+arable to t!e effect of moing t!e lig!t closer orfurt!er aay, e8ce+t it!out actually moing t!e lig!t instrument.

4!e fift! ay to control t!e intensity of lig!t, is to lessen t!e oltagegoing to t!e instrument muc! li6e a dimmer in a !ome or t!e !ouse lig!ts ina t!eater. 4!ere?s a negatie side to t!is in t!at it ill also loer t!ecolor tem+erature of t!e lig!t.

9noing !o to strengt!en or ea6en t!e intensity of lig!t on?t !el+ usmuc! if e don?t understand its a++lications. 4!e best starting +oint tolig!t any situation is t!e basic t!ree-+oint lig!ting sc!eme. 4!e intent oft!is sc!eme, in addition to +roiding enoug! lig!t for t!e camera to see, isto create t!e illusion of t!ree dimensions on t!e to dimensional teleisionscreen. @Heig!t and idt!, but no de+t!. #ince t!e screen on !ic! t!eieer sees t!e subect is only to dimensions, any a++earance of t!reedimensions must be an illusion. )t is created it! t!e use of lig!t ands!ados. %ear in mind t!at you?ll need t!e s!ados. 5our intent s!ould beto use t!e s!ados to accom+lis! your aim, not to eliminate t!em. &fcourse, you?ll ant to use t!em subtly to 6ee+ your +roduct as aest!etically+leasing as +ossible. Figure :-; illustrates t!e basic t!ree-+oint lig!ting

sc!eme.

$ DI 0350


31/76

F)G$'E :-;. %A#)C 4H'EE-P&)/4 3)GH4)/G #CHEME

4!e t!ree +oints in t!e sc!eme are t!e 6ey lig!t, t!e fill lig!t and t!ebac6 lig!t.

4!e ,e' &i.) is t!e a++arent main lig!t source. As t!e main source, it+roides sufficient lig!t to o+erate t!e camera, and act as t!e reference+oint for all ot!er lig!ting. )t s!ould be +laced in front of t!e subect,

to t!e side about


32/76

at an eleated angle, but not so muc! as to lig!t t!e to+ of t!e subect?s!ead. A good starting +oint for t!e bac6 lig!t is directly be!ind t!esubect, eleated ;0 to ;= degrees. )f your lig!t is mounted on a stand,moe it off to t!e side a little to get t!e stand out of t!e +icture. %ac6lig!ts are also most often a s+otlig!t.

4!e 8i&& &i.) fills in and softens t!e !ars! s!ados created by t!e 6eylig!t. )t is +laced on t!e o++osite side of t!e camera from t!e 6ey lig!t

and also eleated ;0 to ;= degrees. #ince fill lig!ts usually need abroader beam, t!ey are most often scoo+s.

/es rarely !a++ens in a studio, unless it is a formatted nes s!o orstudio interie, !ere t!e color tem+erature and lig!ting may becontrolled. )n t!e studio, +roduction lig!ts are 2uart-iodine or 2uart-!alogen lig!ts. 4!ey s!ould all !ae t!e same color tem+erature standard of;,:00 degrees 9elin. 4!e standard !as been set by t!e teleisionengineers. )f e anted to recreate daylig!t in t!e studio, e ould !aeto alter t!e color tem+erature to =,>00 degrees 9elin by c!anging t!elig!ts or using gels.

E/GEFP cres s!ould alays carry +ortable lig!ts and use t!em fre2uently.5ou may not alays need t!em, but you on?t !ae time to go bac6 to t!estation and +ic6 u+ a set. 4!ere are occasions !en ideo 2uality !as tosuffer to get t!e nes story on ideota+e, but suc! times s!ould be rare.

5ou s!ould !ae at least t!ree lig!ts it! tri+ods @stands, and clam+s formounting in all locations and situations. 4!e more e8tension cords you !aet!e better.

Anot!er +roblem in lig!ting remote locations is color contamination fromdifferent lig!t sources. %e aare of mi8ing lig!ts of different colortem+eratures @#ubcourse D) 0;70, 4eleision 3ig!ting, Audio and #cenery, !asmore detailed information on 4( lig!ting. A ru&e )o remember is? :.i)e

b*&*-ce :.e-e1er ).e &i.) co-%i)io-s c.*-e.

"ORTABLE LIGHTING +IT

Portable lig!ting 6its ill su++ly you it! t!e lig!ting e2ui+ment you illneed in most situations. 4!ey include 3ig!ting instruments, tri+ods,@s!ort +oer cables, battery +ac6s for eac! lig!t and accessories suc! asscreens and filters. 5ou may ant to include a .set of insulated gloes andsome !eay-duty mas6ing ta+e or gaffer?s ta+e and e8tra bulbs @at least onefor eac! lig!ting instrument.

4!ere are many commercially aailable selections of E/GEFP lig!ting 6its.4!ey usually +roide at least enoug! instruments and accessories for basic

t!ree-+oint lig!ting.

$9 DI 0350


33/76

4!e color tem+erature of lig!ting 6it instruments is ;:00 degrees 9elin andt!ey are usually ariable-focus lig!ting instruments !ic! may be adustedfor use as a 6ey, bac6 or fill lig!t @see Figure :-


34/76

Scree-s

#creens are small round or s2uare +ieces of metal screening t!at are +lacedin front of t!e lig!t to reduce t!e lig!t intensity. 4!e screening does notc!ange t!e color tem+erature of t!e lig!t. #trong s!ados may be reduced oreliminated by using screens.

Re8&ec)ors

Folding reflectors are sometimes aailable in lig!ting 6its and sometimes!ae to be obtained se+arately. 'eflectors bounce natural or artificiallig!t toard t!e subect in order to fill in or remoe strong s!ados.

#etting u+ t!ese accessories ta6es time, but results ill be ell ort! t!etime s+ent. 4!ey ma6e t!e subect loo6 as natural as +ossible and !el+eliminate lig!ting conditions t!at distract t!e ieer.

4!e Fie P?s rule -- Pro+er Planning Preents Poor Productions -- is agood guideline !en +lanning any nes or +roduction assignment. &nlye8+erience ill !el+ you to become familiar it! many of t!e re2uirementsbefore you leae t!e station. )n remote situations, t!e Fie-P? s ill saeyou a lot of !eadac!es.

An e8tensie reie of 3ig!ting for 4eleision may be found in #ubcourse D)0;70.

3# DI 0350


35/76

P'AC4)CE EE'C)#E

3E##&/ :

#$%C&$'#E /&. D) 0;=0

3)GH4)/G F&' E3EC4'&/)C /E*# GA4HE')/G

)/#4'$C4)&/#


4 F 1. 3ig!ting 9its for E/G do not utilie ariable beam instruments.

4 F :. 3ig!t is electromagnetic radiation, transmitted from any numberof natural or artificial sources.

4 F ;. Portable lig!ts are rated at ;,:00 degrees 9elin.

4 F


36/76

A/#*E' 9E5

P'AC4)CE EE'C)#E

3E##&/ :

#$%C&$'#E /&. D) 0;=0

3)GH4)/G F&' E3EC4'&/)C /E*# GA4HE')/G

1. FA3#E @Page ::

:. 4'$E @Page :;

;. 4'$E @Page ;0


37/76

LESSON THREE

!RAMING AND COM"OSITION

' #oldierKs Manual 4as6 :1


38/76

!RAMING AND COM"OSITION

INTRODUCTION

Framing and com+osition are im+ortant in teleision +roduction because t!eaudience or ieer must receie all t!e ideo information t!roug! aninstrument t!at !as no +eri+!eral ision. #ince e see only !at t!edirector and camera o+erators s!o us, it is of utmost im+ortance t!at t!ecamera o+erator deelo+ a feel for +ictorial com+osition !ic! is learnedt!roug! intuition, +ractice and e8+erience. &er t!e years t!ere !ae beenmany guidelines deelo+ed t!roug! t!e or6 of +ainters, +!otogra+!ers,cinematogra+!ers and ideogra+!ers. Alt!oug! t!ere is no substitute forintuition, +ractice and e8+erience, you ill be able to begin by a++lying afe basic +rinci+les.

NEEDS AND WANTS

4!ere are many items you need to ta6e into consideration !en deciding !o

to s!o a subect. Hoeer, to basic +oints s!ould be 6e+t in mind t!atill ma6e sure you !ae ideo +icture im+act. 4!ey are

o s!o ieers !at t!ey need to see

o s!o ieers !at t!ey ant to see

(ieers need to see t!e eent as it is occurring or you ould not be ta6ingt!e time to s!oot. #o, t!e eent you are s!ooting !as caug!t yourattention. /o t!at your interest !as been aroused, t!e ot!er is t!eieer?s ant to see and e8+lore t!e side action t!at ma6es t!e eentinteresting and e8citing.

4!e best ay to describe and fill t!e needs and ants of t!e ieer is toobsere t!e eent as it is ta6ing +lace, as an im+artial ieer. )t?salmost as if you are atc!ing t!is !a++en in your liing room, instead offrom be!ind t!e camera. 5ou s!ould be inoled in t!e eent but not in t!eactual action.

2i%eo "ic)ures

5our +oint of ie @t!e ay you describe !at is ta6ing +lace is done it!ideo-+ictures. 4!is +oint of ie is accom+lis!ed by to different, butrelated, functions

o framing

o com+osition

DI 0350 3


39/76

4!ese to terms are often interc!angeable, but for rig!t no let?s loo6 att!em se+arately.

!r*mi-. Framing refers to !o t!e arious elements in and out of t!e ideo+icture relate to eac! ot!er, and !o t!ey are s!on to t!e ieer. #im+ly+ut, t!ese are all t!e im+ortant elements it!in t!e main +icture area.

Com(osi)io-. Com+osition refers to t!e organiation of t!e im+ortantelements it!in t!e +icture@s and t!eir artisticaest!etic relations!i+ toeac! ot!er in t!e frame. 4!e com+lete +icture to t!e ieer is t!en unifiedor understandable.

4!ese to conce+ts are closely related, but once you understand !o to framet!e s!ot, and com+ose t!ose elements it!in t!e +icture in an aest!eticmanner, t!e to conce+ts merge.

2isu*& S)*)eme-)

4!e main +oint to remember !en setting u+ any s!ot for framing and

com+osition is its 1isu*& s)*)eme-). 4!e isual statement is your +oint ofie -- t!e conce+t you are trying to coney to t!e ieer. A +icture t!atdoes not s!o t!e ieer t!e main action is not an effectie s!ot or isualstatement.

*e !ae all seen teleision s!os t!at !ae left us confused or frustratedbecause t!e s!ots t!e director !ad selected or t!e camera o+erator framedand com+osed did not +resent t!e isual information e needed or anted inorder to enoy t!e +rogram. For e8am+le, !en t!e action !a++ens so fastt!at t!e camera o+erator can?t res+ond 2uic6ly enoug! to t!e eents ta6ing+lace, suc! as an accident !a++ening on a race trac6. )t?s also +ossiblefor t!e director to be fooled !en a score is made by a different +layert!an e8+ected.

Eac! situation is different. 5ou ill !ae to let your e8+erience andfeeling for t!e +rogram material guide t!e ay you frame and com+ose t!es!ot @s. E8+erience ill teac! you t!e best ay to frame and com+ose.

!r*mi- Loss

4!e +icture t!at is seen by t!e ieers is not e8actly t!e same +icture t!atis seen by t!e camera o+erator. 4!e camera +icture, t!roug! transmission tot!e ieer?s set, looses about 10 to 1= +ercent on t!e outer edges orborders are cro++ed or lost. 4!is is !y t!e center of t!e +icture is soim+ortant !en framing and com+osing t!e s!ot @Figure ;-1. #ome o+erators

use a grease +encil to mar6 t!e outer

3 DI 0350


40/76

edge of t!eir iefinders to let t!em 6no !ere t!e main area of t!e+icture is and to 6ee+ all essential elements it!in t!is area so t!einformation is not lost. )n a studio enironment, t!e director !as t!eultimate res+onsibility for framing and com+osing t!e final +icture orstatement. %ut in a field situation, t!e camera o+erator !as t!isres+onsibility. #o it?s a lot easier if eeryone sets u+ !is s!ot@s it!t!e main area in t!e center of t!e iefinder.

F)G$'E ;-1. F'AM)/G 3#

!IELD O! 2IEW

4!e field of ie is of critical im+ortance to t!e camera o+erator. 4!efield of ie s!os t!e relations!i+ beteen t!e main obect of t!e +ictureand its surroundings.

A good camera o+erator must be able to +ro+erly com+ose and frame s!ots.

Picture com+osition is not!ing more t!an t!e organiation of t!e isualelements @statement it!in t!e aailable ideos+ace. *!en framing a s!ot,t!e camera o+erator needs to 6ee+ in mind t!e essential area of t!e +icture.'emember !at is seen in t!e camera iefinder is not !at is seen on t!e!ome 4( screen. 4!e +icture t!at leaes t!e 4( camera is +rocessed t!roug!t!e 4( system and is electronically cro++ed or reduced.

#ince 10 to 1= +ercent of t!e +icture around t!e outer border area is lostduring transmission, !at you see is not necessarily !at t!e ieer gets.5ou s!ould alays frame s!ots to allo for t!at 10 to 1= +ercent borderloss.

Anot!er as+ect to 6ee+ in mind is t!at most cameras iefinders are not

e8act. #o een if t!e s!ot loo6s &9 in your iefinder you may !ae tofine-tune t!e s!ot. E8+erience it! t!e camera system ill teac! you t!e2uir6s of eac! system.

DI 0350 37


41/76

4!ere are seeral different camera s!ots t!e o+erator must be able to set u+2uic6ly and accurately

o e8treme long s!ot

o long s!ot

o medium s!ot

o close u+

o e8treme close u+

4!ese basic s!ots are t!e foundation of all ot!er camera s!ots. 4!ey?reused to create certain emotional effects in t!e ieer. 3earning andunderstanding !o to ac!iee t!ese basic s!ots 2uic6ly and +roficiently ist!e mar6 of a +rofessional cameraman.

E@)reme Lo- S.o)

4!e e8treme long s!ot, also 6non as t!e establis!ing s!ot, is ac!ieed !ent!e camera lens is oomed all t!e ay out. 4!is s!ot is used to let t!eieer 6no !ere !e is it sets t!e scene t!e bac6ground dominates @Fig.;-:.

F)G$'E ;-:. E4'EME 3&/G #H&4

39 DI 0350


42/76

Lo- S.o)

4!e long s!ot is slig!tly closer t!an t!e e8treme long s!ot but t!ebac6ground still dominates @Fig. ;-;. Eeryt!ing is in focus.

F)G$'E ;-;. 3&/G #H&4

Me%ium S.o)

)n t!e medium s!ot, t!e subect dominates t!e +icture. 4!e medium s!ot isused +rimarily to s!o t!e subect in relation to t!e action in a scene@Fig. ;-


43/76

C&ose=u(

4!e close-u+ s!ot focuses +rimarily on t!e subect it! only a small +ortionof t!e bac6ground-s!on @Fig. ;-=.

F)G$'E ;-=. C3E-$P

E@)reme C&ose=u(

4!e e8treme close-u+ s!os t!e subect totally dominating t!e s!ot. 4!eclose-u+ is used to s!o details of e8treme im+ortance in t!e +icture @Fig.;->.

F)G$'E ;->. E4'EME C3E-$P

/# DI 0350


44/76

/o let?s loo6 at t!e s!ots again using, ust one +erson. 4!e e8treme longs!ot establis!es t!e scene. 4!e long s!ot ould be from t!e subect?s feetto !is !ead. 'emember to allo s+ace at t!e to+ for framing loss. 4!emedium s!ot or 6nee s!ot ould be from t!e !ead to t!e 6nees. 4!e mediumclose-u+ is from t!e aist to t!e to+ of t!e !ead, or it could be a busts!ot from t!e bottom of t!e bust to t!e to+ of t!e !ead. 4!e close-u+ or!ead s!ot is from about t!e c!in to t!e to+ of t!e !ead. And t!e e8tremeclose-u+ is usually ust a s+ecific +art of a +erson?s face.

Generally, if t!e subect is facing directly into t!e camera and is t!e onlysubect in t!e field of ie, t!e subect s!ould be centered.

Le*% Room

)f t!e subect is at an angle to t!e camera, t!e camera o+erator needs to+roide lead room or s+ea6ing room. A good rule of t!umb is to center t!enose, t!en +an rig!t or left res+ectiely and allo for !ead room.

)f your subect or obect is going to moe on camera, e.g., al6 across ordrie t!roug! t!e scene, you need to leae more s+ace in front of t!e obectt!an be!ind @Fig. ;-7 3ead 'oom.

F)G$'E ;-7. 3EAD '&&M

DI 0350 /$


45/76

Mu&)i(&e Subec)s

4!e term four-s!ot means t!e s!ot contains four subects or obects.3i6eise, t!e t!ree-s!ot designates t!ree subects or obects. 4!e to-s!otidentifies to subects or obects. And t!e one-s!ot contains only onesubect or obect in t!e +icture.

CAMERA ANGLES

Camera angles include t!e normal angle !ic! s!o t!e scene as e see it inreal life, at about eye leel.

#!ooting oer-t!e-s!oulder adds de+t! to t!e +icture and establis!es arelations!i+ beteen indiiduals.

4!e !ig! camera angle t!at s!oots don on t!e subect ma6es t!e subecta++ear smaller t!an !e really is.

4!e lo camera angle loo6ing u+ at t!e subect ma6es t!e subect loo6 tallerand oer+oering @Fig. ;-.

F)G$'E ;-. CAME'A A/G3E#

/3 DI 0350


46/76

P'AC4)CE EE'C)#E

3E##&/ ;

#$%C&$'#E /&. D) 0;=0

F'AM)/G A/D C&MP)4)&/

)/#4'$C4)&/#


4 F 1. *it! regards to framing and com+osition, 6ee+ t!e needs and antsof t!e ieer in mind !en s!ooting an E/G re+ort.

4 F :. 4!ere is no difference beteen framing and com+osition.

4 F ;. 4!e ieer sees e8actly !at t!e camera o+erator sees.

4 F


47/76

A/#*E' 9E5

P'AC4)CE EE'C)#E

#$%C&$'#E /&. D) 0;=0

F'AM)/G A/D C&MP)4)&/

1. 4'$E @Page ;>

:. FA3#E @Page ;>

;. FA3#E @Page ;7


48/76

LESSON !OUR

2IDEO SCRI"TWRITING



49/76

2IDEO SCRI"TWRITING

INTRODUCTION

4!e ability to rite comes from muc! learning and +ractice. )t?s difficult,if not im+ossible, to teac! someone to rite, muc! less rite ell, in ones!ort lesson. 4!is lesson ill gie you basic rules of broadcast ritingand !o it differs from riting for t!e +rint media. 4!e single mostim+ortant direction in learning to rite is to...rite, rite, rite.'eading also !el+s a lot. &bsere t!e ritings of ot!ers.

"ROCEDURES AND LIMITATIONS

*!en riting for broadcast, you s!ould a++ly si8 C?s. 4!ey are CLEAR CONCISE CON2ERSATIONAL COM"LETE CURRENT and, most im+ortantly,CORRECT Le)s *%%ress e*c. o8 ).ese (oi-)s? o-e *) * )ime

C&e*r

%roadcast co+y must be clear. )n +rinted co+y, t!e reader can rereadanyt!ing t!at isn?t com+letely clear to !im. )n t!e broadcast medium, t!eieer !asn?t t!at lu8ury. )f somet!ing isn?t clear, !e on?t understandit, and !e can?t go bac6 oer it since it?s being read to !im by someoneelse !o isn?t going to re+eat it. &nce gone, it?s gone foreer.

Co-cise

4!e need for t!is comes from t!e alue of time in t!e broadcast industry.#ince air-time is so aluable, e can?t afford to use any more of it t!annecessary.

Co-1ers*)io-*&

4!e co+y is going to be read to its intended audience. )t s!ould be done ina conersational manner, somet!ing t!at?s +ossible only if t!e co+y isritten conersationally.

Com(&e)e

4!ere are occasions !en somet!ing ill be +resented in multi+le +arts orsegments. )t must still be com+lete to t!e e8tent t!at it can stand alone.

)f somet!ing is going to be multi+arted, eac! segment must still be com+leteas a +art. 4!at is to say t!at t!ere must be somet!ing to tell

DI 0350 /7


50/76

t!e audience t!at t!ere is going to be more to come and it?ll +robablycontain information suc! as !ere and !en it ill be +resented. #o eent!oug! t!e entire story isn?t being +resented in one +iece, eac! +iece isstill com+lete as a +art.

Curre-)

Alt!oug! t!ere are some e8ce+tions, co+y s!ould generally be ritten in t!e+resent tense. *!en somet!ing is +resented as being of or about anot!ertime, it is +resented as in t!e +resent. For e8am+le, een if e receiesomet!ing t!at is of a !istorical nature, e rite about it in t!e !ere andno. *e neer lose sig!t of t!e fact t!at t!at?s !ere e are, so t!e co+ys!ouldn?t eit!er.

Correc)

4!e im+ortance of being correct cannot be stressed enoug!. %roadcast mediacredibility is on t!e line it! eery story aired. ) sa it on teleisionseems to be enoug! +roof for many +eo+le. 4!is !as bot! good and bad+oints. )t re2uires us to or6 diligently to ma6e sure of accuracy, but itadds a certain alue to t!ose t!ings e say in our ideo scri+triting.

4!e structure of a broadcast nes story is usually t!e reerse of t!at fort!e +rint media. 4!e first t!ing in t!e broadcast story is t!e *HA4.4!is attracts t!e listeners? attention and alerts t!em to !at is about tofollo...t!e details. #ince a ieer cannot absorb all t!e facts in t!efirst line, t!ey must be gien t!em in a form t!at ill en!anceunderstanding. )nstead of *!at !a++ened to !o, !en and !ere it! a !yt!ron in and t!en e8+laining it in t!e rest of t!e story, broadcast styleis more li6e *!at !a++ened, )t !a++ened !ere and !en, 4!is is !y it!a++ened, and e?ll +ut in t!e !o if e !ae it.

T.e Le*%

4!e lead is t!e most im+ortant sentence in a broadcast story and s!ould bean attention-getting sentence. )t s!ould !ae enoug! information to +i2uet!e listener?s interest, it!out oer!elming !im. )t s!ould be ritten asa general !at !a++ened. 4!ere is an art to riting good leads, one oft!e reasons broadcast riting is difficult to teac!. A lead sentence s!ouldbe :0-ords or feer and contain as muc! information as +ossible it!outoerloading t!e listener. 4o begin t!e sentence, use one or to ords t!atare /&4 essential information in t!e story. )t?s not good to begin it!numbers t!at are essential for t!e same reason. Muc!

/9 DI 0350


51/76

of t!e time, t!e ieers? mind isn?t geared u+ for t!e story and it ta6es aord or to for t!em to be fully alerted to receie t!e essentialinformation. $sually, a lead can be made muc! better by c!anging it arounda little. EAMP3E 1;0-t!ousand soldiers could be cut from t!e Army in t!enear future, it as announced today. 4!e listener ould better understandt!is if it ere orded, 4!e Army announced today it is antici+atingman+oer cuts of 1;0-t!ousand in t!e near future.

T.e Bo%'

After t!e lead, t!e story must !ae a logical deelo+ment. 4!is is t!ebody. )t?s 2uite sim+ly telling t!e rest of t!e story in an orderlyfas!ion, floing smoot!ly to an end. &f course, t!e most im+ortant factill come ne8t and t!e ne8t most im+ortant fact ne8t, and so on. *it!+ractice you ill learn to discern t!e im+ortant from t!e triial. 4!is isof utmost im+ortance in broadcast riting because air time is limited andaluable. 4y+ically, t!e same story ill be diulged in bot! t!e +rint andbroadcast media. )t isn?t at all uncommon for t!e broadcast ersion to beonly one tent! as long as t!e +rint ersion.

Te-se

4!e natural tense for broadcast co+y is t!e P'E#E/4 4E/#E. 4!is is becausemost nes re+orting is of immediate, or at least, ery recent nes.Hoeer, eery story doesn?t !ae to sound as if it !a++ened in t!e lastminute. As a matter of fact, many eents !ic! occurred in t!e +ast must bere+orted in t!e +ast tense. A good e8am+le of t!is is in t!e re+orting ofs+orts scores. )t?s acce+table to !eadline somet!ing in t!e +resent tenseto entice t!e audience to come bac6 after a brea6, suc! as &!io #tateu+sets /otre Dame ... t!at, and t!e rest of t!e s+orts scores rig!t aftert!is. %ut t!e fact t!at t!ey are final scores, ma6es t!em +ast tense and

t!ey s!ould be so re+orted.

2oice

%roadcast co+y s!ould be in t!e actie oice. )t?s 2uic6er, it?s moreconersational and it carries more im+act.

EAMP3E

Passie 4HE E()DE/CE *A# GA4HE'ED %5 4HE P&3)CE

DEPA'4ME/4.

Actie 4HE P&3)CE DEPA'4ME/4 GA4HE'ED 4HE E()DE/CE.

DI 0350 50


52/76

Wri)e !or T.e E*r

)n 6ee+ing your co+y conersational you? )) be riting for t!e ear. 5ourideo ill en!ance t!e audio, but t!e audio must be able to stand alone. )tis for t!is reason t!at e refer to broadcast riting rat!er t!an ustteleision riting. 'emember, blind +eo+le listen to teleision and, muc!of t!e time, sig!ted +eo+le listen to teleision !ile t!ey?re doing ot!ert!ings. $se eeryday language. $se contractions. *rite as +eo+le s+ea6.

EAMP3E

%ad )4 *A# )/D)CA4ED %5 4HE P&3)CE CH)EF 4HA4 A/

A''E#4 *A# )MM)/E/4.

Good 4HE P&3)CE CH)EF #A)D A/ A''E#4 *A# )MM)/E/4.

Se-)e-ce Le-).

9ee+ sentences s!ort. 4!ey?re easier for t!e nescaster to read and for t!eaudience to understand. 'emember, t!e lead s!ould be :0 ords or feer andt!e rest of t!e sentences s!ould be := ords or feer. Een t!oug! t!ey canbe := ords long, sentences ot!er t!an t!e lead s!ould aerage 17 ords.4!ey s!ould ary in lengt! to aoid a +attern effect. For s+otannouncements, t!e ma8imum sentence lengt! s!ould be 17 ords. #!ortersentences gie a feeling of action and urgency, but it?s also easy to soundc!o++y if you?re not careful to ary t!e sentence lengt! it!in t!e ordlimit.

EAMP3E

#ince t!ey ere not forarded for a final ote, t!ey can be

resurrected only by a to-t!irds ote of t!e !ouse or by being addedto bills under consideration later in !ouse-senate conferencecommittees, in !ic! conferees try to reac! agreements on bills t!at!ae +assed t!e !ouse and senate but in different forms.

4!is e8am+le is a sentence t!at as ta6en directly from a daily nes+a+er ina maor American city. )t illustrates t!e need to s!orten sentences forbroadcast co+y. )f you can go oer it again, you can understand it, but tryto read it aloud and ma6e yourself understood. %y diiding t!is =>-ordsentence into four sentences of 1, 10 , 1= and 1" ords, e ma6e it muc!clearer.

5# DI 0350


53/76

4HE %)33# *E'E/?4 F&'*A'DED F&' A F)/A3 (&4E, %$4 4HE5

CA/ #4)33 %E 'E#$''EC4ED. &/E ME4H&D )# A 4*&-4H)'D#

(&4E %5 4HE H&$#E. A/&4HE' )# %5 ADD)/G 4HEM 4& %)33#

$/DE' C&/#)DE'A4)&/ 3A4E' )/ H&$#E-#E/A4E C&/FE'E/CE

C&MM)44EE#. 4HE#E C&MM)44EE# 4'5 4& 'EACH AG'EEME/4 &/

%)33# 4HA4 HA(E PA##ED 4HE H&$#E A/D #E/A4E, %$4 )/

D)FFE'E/4 F&'M#.

uo)*)io-s *-% A))ribu)io-

)t ta6es a little subtlety on t!e +art of t!e broadcast riter !en it comesto 2uotations and attribution. )n t!e +rinted format, it?s not!ing moret!an +utting somet!ing in 2uotation mar6s. Hoeer, t!e listening audiencecan?t see 2uotation mar6s. 4!is can be oercome it! t!e use of +!rasesli6e, !e said it! a slig!t +ause or a faint c!ange of tone before t!eactual 2uote. 4!is ill leae no doubt in t!e mind of t!e listener t!at !eis !earing t!e e8act ords of t!e original s+ea6er.

EAMP3E

4HE CH)EF PE445 &FF)CE' #A)D, ....J) 4H)/9 #HE?# 4HE

F)/E#4 #H)P AF3&A4

*!en it is absolutely necessary to remoe all c!ance of doubt from t!e

listener?s mind, you can use L$&4E and E/D L$&4E. Hoeer, t!is isdisconcerting and certainly unconersational, and you s!ould aoid it!eneer +ossible. )f you?re 2uoting someone and it?s necessary to use along 2uote, don?t orry about rules for sentence lengt!. Aoid long 2uotes!eneer +ossible for obious reasons. *!en you !ae to lin6 t!e s+ea6erit! t!e 2uote, use conersational +!rases.

EAMP3E

4HE CH)EF ADDED....

or

HE C&/4)/$ED %5 #A5)/G...

DI 0350 5$


54/76

)t?s usually a good idea to identify your source as 2uic6ly as +ossible. *edon?t ant t!e listenerieer to miss any of t!e im+ortant informationbecause !e?s trying to figure out !o is being 2uoted.

Cre%i)s

*!en 2uoting source material, since e can?t use footnotes, e need to gie

oral attribution to bot! t!e source and its aut!or, and it s!ould be done int!e first reference. 4!en in subse2uent references e can attribute eit!ert!e source or t!e aut!or.

EAMP3E

)/ 4HE /)/4H /E* C&33EG)A4E D)C4)&/A'5, ME'')AM

*E%#4E' P$4# 4HE ACCE/4 &/ 4HE F)'#4 #533A%3E )/ 4HE

/&$/, A44')%$4E. *HE/ )4?# A 4'A/#)4)(E (E'%,

H&*E(E', 4HE ACCE/4 )# P$4 &/ 4HE #EC&/D #533A%3E.

*!eneer a +roduction is going to re2uire a lot of attribution it can bedone in t!e form of credits at t!e end. )t can also be done it! a cral byt!e c!aracter generator as ell as by an announcer. )t ouldn?t !urt toinclude t!e credit in t!e co+y since t!e ideo can be missed by anyone int!e audience !o is ust listening. &f course, 6non facts need not alaysbe credited.

EAMP3E

)4?# 4)ME F&' A33 &F $# 4& 'EM)/D &$'#E3(E# 4&,

A#9 /&4 *HA4 5&$' C&$/4'5 CA/ D& F&' 5&$, A#9 *HA4

5&$ CA/ D& F&' 5&$' C&$/4'5.J

As a broadcast riter, you must e8ercise careful udgment in determining!et!er suc! material is sufficiently original or identifiable it! itsaut!or or source as to not re2uire credit.

Numbers

!rom o-e )o -i-e. *rite out &/E, 4*&, 4H'EE, etc., unless t!ey are beingused for s+orts scores, time, dates or tele+!one numbers.

!rom #0 )o 999. $se numerals 10, :0, ;0, 1:, ":=, etc.

53 DI 0350


55/76

More ).*- 999. %ot! of t!e +receding styles a++ly it! one slig!t addition.#ubstitute for t!e eroes, ords t!at mean !at t!ose eroes re+resent, suc!as &/E-H$/D'ED, 1=-H$/D'ED, 4H'EE-4H&$#A/D or 71-%)33)&/, etc.

D*)es. A/$A'5 1#4, $/E :"4H, $35


56/76

EAMP3E

*E M&(ED F'&M F&'4 %'AGG, /&'4H CA'&3)/A, &/ $/E :"4H,

1"=.

T.e %*s.. $se t!e das! to set off a++osities and ot!er +arent!eticale8+ressions.

EAMP3E

/A4& -- 4HE /&'4H A43A/4)C 4'EA45 &'GA/)IA4)&/ -- )#

P')MA')35 'E#P&/#)%3E F&'...

T.e .'(.e-. $se t!e !y+!en to !el+ announcers in +!rasing difficult ordsand to instruct t!em to +ronounce indiidual elements distinctly.

EAMP3E

'E-AD$#4, 'E-E(A3$A4E, *-A-%-C, F-%-), $-#, A-M

D& /&4 !y+!enate or diide a ord at t!e end of a line. #+ell out t!eentire ord &' moe it to t!e ne8t line.

T.e e&&i(sis. &ccasionally, you can use a series of t!ree dots to indicatea +ause longer t!an t!at of a comma. 4!e series of t!ree dots can be usedfor dramatic effect

EAMP3E

4HE $'5 F&'EMA/ A//&$/CED )/ A C3EA' F)'M (&)CE...

)//&CE/4N

T.e Fuo)*)io- m*r,s. )n addition to its normal use for indicating 2uotes,t!e 2uotation mar6s can also be used to set off nic6names, titles of boo6sand +lays, etc.

EAMP3E

4HE &/E--H$/D'ED F)'#4 A)'%&'/E D)()#)&/ -- %E44E' 9/&*/

A# 4HE #C'EAM)/G EAG3E# -- MA9E# )4# H&ME A4 F&'4...

"*re-).eses. )n broadcast co+y, material in +arent!eses is information for

t!e announcer and normally not meant to be read aloud. )t includes notes tot!e announcer suc! as +ronunciation guides, a date, reading rates, etc.

55 DI 0350


57/76

EAMP3E

C&3&/E3 PA)9E/ @PA5-9E/ A'')(E# &/ #$/DA5 @MA5 :1#4.

S(e*,i- O8 Wor%s

'emember, anyone can turn on a radio or teleision set. C!oose ords t!at

eeryone ill understand, t!e announcer as ell as t!e listener. Don?te8+ect t!ings of your audience. Ma6e your co+y clear and understandable.

Co-)r*c)io-s. )n day-to-day conersations, contractions are used liberally.)t?s instead of it is, and t!ey?re instead of t!ey are ill ma6eco+y more conersational. A cou+le of e8ce+tions to t!is are t!e it illcontraction @it?ll and t!ey ill @t!ey?ll !ic! are a6ard to t!eear.

"ro-ou-s. 4!ere is a danger in using +ersonal +ronouns in broadcast co+y.5ou must be sure your audience 6nos !o you?re tal6ing about !eneer youuse !e, s!e or t!ey. 4!e ear can?t go bac6 and +ic6-u+ t!e

identification.

A&&i)er*)io-s. *!en you com+ose a sentence consisting of seeral ordsbeginning it! t!e same oels or consonants, you !ae alliterations and t!eannouncer !as a +roblem.

EAMP3E

4HE *E#4E'35 *)/D# *)33 *H)P *'A4H *)4H)/ *)/D#&'...

or

4HE DE(A#4A4ED DAM D$MPED D'$DGE A/D D)'4 &/ DE# M&)/E#

Sibi&*-)s. 4oo many s or s! sounds tend to create a !issing sound !enread aloud.

EAMP3E

4HE #)4H #)C9 #H)E9?# #)4H #HEEP?# #)C9

And of course, you s!ould alays be aare of !o difficult your co+y ill beto read aloud. 4ry it yourself if you !ae any doubt. 4!is can be a secondreason for reading your co+y aloud in addition to double-c!ec6ing it fortime. *e?ll discuss !o to time your co+y later.

Homo-'ms. *atc! out for !omonyms, ords !ic! sound ali6e but !aedifferent meanings. 4!e listener can?t !ear t!e difference beteen onand one, bear and bare.

DI 0350 5


58/76

Here *-% ).ere. #ince your listeners could be any!ere, !ere and t!erecan mean somet!ing different to eac! of t!em and c!ange t!e meaning of yourco+y. 4!ese ords can be aoided sim+ly by calling !ere or t!ere by itsname. )f !ere is Fort 9no8, say F&'4 9/&.

Libe&ous :or%s. $sed im+ro+erly in your story, many ords could lead tolibel. %e ery careful it! ords li6e at!eist, Fascist, seducer,bigamist, illegitimate, deadbeat, addict, etc. 9ee+ in mind also t!at untilsomeone is conicted of a crime or some rong doing, !e is only a sus+ector t!e accused and !is guilt is alleged.

No)? -o). Aoid t!e use of t!e ord not in your co+y. /ot can easilybe dro++ed inadertently and leae t!e listener ondering if !e !eard notor not.

EAMP3E#

$se Aoid

D)#H&/E#4 /&4 H&/E#4

)//&CE/4 /&4 G$)345F&'G&4 D)D /&4 'EMEM%E'$/A%3E /&4 A%3E

O).er me*-i-&ess :or%s. Aoid meaningless ords li6e latter, formerand res+ectiely, !en referring to +ersons, +laces or t!ings alreadymentioned. Again, listeners can?t refer bac6. 3i6eise, aoid transitional+!rases it!in your stories suc! as mean!ile, meantime andincidentally. 4!ey?re crutc!es. *!ile eac! t!oug!t, +!rase or +aragra+!s!ould flo to t!e ne8t, it s!ould be done it! s6illful organiation, nott!ro-aay transitional ords.

#teer clear of floery +!rases and trite e8+ressions t!at ta6e u+ time and

s+ace and add not!ing. Aoid slang, ulgarisms and dialect in nes riting.

Alays translate military argon, tec!nical, legal and foreign terms intosim+le language.

EAMP3E#

$se Aoid

A##)G/ED DE4A)3ED

5 DI 0350


59/76

%EF&'E P')&' 4&

E/3)#4ME/4 H)4CH

)F )/ 4HE E(E/4 &F

#A)D C3A)MED

Goo% T*s)e

*!at can e say about good tasteO )t?s relatie. )t?s ery easy to bemisunderstood, and een !en your meaning is 2uite clear, t!ere?s a c!ancet!at someone ill feel it?s in bad taste. 5ou M$#4 t!erefore, ta6e all+recautions to be sure your ords, +!rases and manner of +resentinginformation ill not embarrass your command, your serice, or t!e $nited#tates Goernment.

H*-%&i- Ti)&es A-% N*mes

Don?t lead off a broadcast story it! a +erson?s name if you can aoid it.)n t!e case of names and titles being used toget!er, +recede t!e name it!t!e title. )t s!ould be, #PEC)A3 AGE/4 E33)&44 /E##, not E33)&44 /E##,#PEC)A3 AGE/4. 4!is alerts your listener t!at a name is coming u+ andgies !im a better c!ance to com+re!end your story.

O88ici*& )i)&es. 'efer to federal office !olders by title or as mister orms. 4!at is #E/A4&' &/E# or M)#4E' &/E# .. C&/G'E##MA/ #M)4H or M)#4E'#M)4H... C&/G'E##*&MA/ %'&*/ or M# %'&*/...

Di88icu&) -*mes. *!eneer a difficult name isn?t essential, use t!e+erson?s title, suc! as 4HE F&'E)G/ M)/)#4E' &F #*EDE/...

I-i)i*&s. )t?s best to omit initials in a +erson?s name unless it is aell-6non +art of t!e +erson?s name suc! as H&*A'D 9. #M)4H or M)CHAE3 .F& or F. 3EE %A)3E5. 4!e ot!er e8ce+tion is !en t!e nature of t!e storyre2uires furt!er clarification suc! as birt!s or deat!s.

".o-e)ic s(e&&i-. )f t!ere?s any ay for an announcer to mis+ronounce adifficult or unusual name, assume !e?ll do it. #o gie !im all t!e !el+ youcan. *rite t!e +!onetic s+elling in +arent!eses and +lace it immediatelyafter t!e troublesome ord. %e sure to underline t!e +!onetic syllable t!atis to be accented or stressed.

DI 0350 57


60/76

EAMP3E

#E'GEA/4 9&33MA/ @C&A3-MA/ E/4E'ED...

M$/)CH @ME*-/)C9, GE'MA/5 )# 4HE CAP)4&3 &F....

Ma6e sure t!e +!onetic s+elling a++ears on t!e same line as t!e ord itre+resents.

Abbre1i*)io-s

A good rule to remember on t!e use of abbreiations in broadcast co+yis...*HE/ )/ D&$%4, *')4E )4 &$4. @Hours and !ours of e8tra time s+ent inriting t!ings out isn?t ort! trading for one moment?s embarrassment on t!eair. Consider as ell, t!e additional c!ance of misunderstanding on t!e+art of t!e listener.

/eer abbreiate names of states, cities, countries, +olitical +arties@e8ce+t G-&-P, days of t!e ee6, mont!s, titles of officials and addressidentification suc! as street, aenue, drie or bouleard.

/eer start a sentence it! eit!er an abbreiated ord or number. *HE/ )/D&$%4, *')4E )4 &$4.

Acro-'ms

*!en using an unfamiliar abbreiation or acronym !ic! ill be +ronounced asa ord, be sure to s+ell it out in t!e first usage.

EAMP3E

4HE DEFE/#E )/F&'MA4)&/ #CH&&3, C&MM&/35 CA33ED D)/F..

CHAMP$# - 4HE C)()3)A/ HEA34H A/D MED)CA3 P'&G'AM F&' 4HE

$/)F&'MED #E'()CE# - HE3P# #E'()CEME/ A/D 4HE)' FAM)3)E#.

A&&=CA"S or U((erLo:erc*se>

Do you ty+e broadcast co+y in all-ca+s or u++ercase and loercase lettersO#ome nesrooms faor an all-ca+s format for consistency it! co+y comingoer telety+es. #tudies, !oeer, s!o t!at co+y ty+ed in u++ercase andloercase letters is easier to read. &ne t!ing to consider !en using

u++ercase and loercase is t!e c!ance of failure to ca+italie, !ic! couldconfuse an announcer and cause !im to stumble.

59 DI 0350


61/76

Timi- 'our co('

4!e total line count of a broadcast nes release is t!e most common measureof t!e lengt! or time.

)n teleision scri+ts, t!e storyline or audio s!ares t!e +age it! t!eideo. 4!erefore, it! only !alf t!e +age for t!e story content, t!ety+eriter margins are set for an aerage of ;= c!aracters or s+aces +er

line. As a-result, 1< to 1> lines of teleision co+y ill aerage ;0seconds, or to seconds +er line.

4!oug! not t!e +referred met!od, t!e lengt! or time of a broadcast nesrelease can also be measured by total ord count. Announcers read atarying s+eeds, but t!e aerage is to-and-a-!alf ords +er second. 4!isould mean a++ro8imately 1=0 ords for a >0-second story.

Numberi- (*es

*!eneer your broadcast co+y is more t!an one +age, +ages are numberedconsecutiely 1 of , : of , ; of . )f your scri+t is 10 +ages long, t!efirst +age ould be numbered 1 of 10, and t!e last +age ould be numbered 10of 10. Page numbers are ty+ed in t!e u++er rig!t !and corner of t!e +age.Page numbers are e8tremely im+ortant in broadcast co+y. )magine anannouncer on !is ay to an air s!ift, e8actly on time, !o dro+s !is co+yand gets t!e +ages mi8ed u+. 4!ere on?t be enoug! time to sort t!em out ift!ey don?t !ae +age numbers.

T.e !our=U-i) Re*%i-

4!is consists of a slugline, date, lengt! of co+y and ty+e of release. 4!eslugline seres as a little !eadline of t!e story. 4!e date is t!e date t!e

release as +re+ared. 4!e co+y lengt! tells in seconds, a++ro8imately !olong it ill ta6e to read t!e story. 4!ere are to ty+es of releases. 4!eimmediate release for !ard nes items and t!e li6e, and t!e general releasefor soft nes, features, s+ots or any ot!er material t!at doesn?t !ae t!eimmediacy of !ard nes.

EAMP3E

&$4D&&' 'EC'EA4)&/ AP')3 1, 1"

@;0 #EC&/D# F&' GE/E'A3 'E3EA#E

)n +lace of t!e ty+e of release, you can !ae a D& /&4 $#E AF4E' line it!

time and date. 4!is is for timely material, usually about an eent t!atill run for a limited time. )t gies t!e broadcaster a cut-off date ortime to discontinue

DI 0350 0


62/76

airing t!e release. 5ou can also !ae a H&3D F&' 'E3EA#E $/4)3 line foradance releases. 4!is is a good tool for +roiding material in adance,een t!oug! it s!ouldn?t be aired until a certain time. )t allos ot!erst!e lu8ury of +lanning and sc!eduling it!out +utting t!e material out toosoon.

2i%eo=c.*-e S(*ci-

)n teleision co+y, t!e rule is double s+acing. *!en a ideo c!ange is tooccur in a teleision scri+t, e t!en tri+le s+ace. 4!is alerts t!eannouncer t!at t!ere is a ideo c!ange ta6ing +lace. )t may be returningfrom anot!er ideo source to t!e announcer on camera. 4!e announcers!ouldn?t be seen loo6ing off camera, and if for some reason !e needs toloo6 else!ere, suc! as to a monitor for an on-cue +oint, t!e scri+t illalert !im as to !en !e on?t be on camera.

O-=cue

*!en reading to a ideota+e in a teleision scri+t, announcers need a ay to+reent coming out a!ead of t!e ta+e, or being too slo and t!us be!ind t!eta+e. &ne met!od used is &/-C$E. At selected +oints in t!e scri+t, t!eriter builds in +laces for t!e announcer to +ause, loo6 at t!e studiomonitor and ait for a +articular +oint at !ic! to continue. 4!e number oftimes t!is is done in a scri+t de+ends on t!e lengt! of t!e scri+t. 4!elonger t!e scri+t, t!e more times t!e announcer s!ould +ause. 4!is is oneay to com+ensate for t!e arying s+eeds at !ic! different announcers read.

T.e E-% or

4!e number symbols @Q Q Q indicate t!e end of your broadcast release.

#ometimes called Dun+!ys, t!ey s!ould be centered under your manuscri+tcolumn. 5ou s!ould !ae t!e ord more in t!at same +osition !enadditional co+y follos on anot!er +age.

E%i)i- Bro*%c*s) Co('

Absolutely clean co+y -- free of mista6es -- is t!e rule for co+y designedfor outside release to teleision stations. #lo++y co+y is a distraction tot!e broadcaster, and it ma6es a negatie statement about you, yourleaders!i+ and your unit. For in-!ouse +roductions, edit mar6s may be useds+aringly, but only t!ose edit mar6s t!at are easily understood. D& /&4 $#EP')/4 MED)A C&P5 ED)4 MA'9#.

# DI 0350


63/76

*!en inserting a +eriod, comma, 2uestion mar6, e8clamation

aipd subcourse di0350 edition a: electronic journalism

Documents