Light in the dark

Being a Video Journalist, is a challenging task to shoot in the night. But lack of light is an opportunity to let your creative juices flow. Below are just a few tips which can make your task a bit easier.

Shoot wide

When you shoot in wide, you get better shots and have a greater depth of field which results in crisp shots. As you zoom in especially in low light it becomes difficult to focus on the subject. It is always better to stay wide and move your camera closer on the subject. 

Do not zoom

Avoid zooming because when you do so you restrict the amount of light that enters the camera. Twice the amount of light is available at the widest angle of a lens than at the tele- photo angle of angle a lens.

Focus manually

Disable the auto focus function on your camera and set the focus manually. As in the dark the auto focus gets confused. To set the focus you can zoom in on your subject and set focus manually and pull back to compose the frame to your liking.

Use the gain

As the gain is increased (where increments of 3 decibels equal one f-stop), so does the grain. This effect can become significant at levels above 9db, but sometimes it means the difference between having an image or not.

On-camera light

An On-Camera light has to be used in conjunction with other lights as it does have enough power to reach out by itself. But it can be used to light the reporter or the subject if he is placed close to the camera and there is no action to be shown behind him.

http://www.videojournos.com/

Close-up Videography

As a Video Journalist you have an opportunity to show your audiences images which they would normally not be able to see for themselves. And by shooting extreme close-up is one such way. But zoom lenses cannot take you as close as you would like to go. The solution? A close-up shot.

Close-up video is a great way to add production value to whole range of videos including news, features and documentaries. One can define close-up shot as a shot in which the object appears larger than the actual size.

Before you can start shooting you have to keep few technical issues in mind.

·         How close you can get:  Lens and its focal length will determine how close you can get. Generally, the rule is get as wide and as close you can get. So take your zoom and pull it as wide as you can and physically move closer to the subject.

·         Depth of field:  Very small area of the frame is going to be in focus. The best way to get a large area in focus is to stop your lens down to very small aperture e.g.  f11

·         Use manual focus:  Make sure you clean your lens before the shoot as even a little dust on the lens can be in sharp focus due to the shallow depth of field. And using manual focus will help choose the desired spot you want to be in focus.

Why Close-up?

Close-up shots have a variety of uses. They add variety, information and interest. Productions about hobbies or collections cry out for macro shots showing the details of coins or stamps

Footage of old photographs is another opportunity for the use of close-up techniques. Historical productions benefit from close-ups of old photographs or documents. They not only convey information but also relieve the visual monotony of a talking head.

Your dramatic presentations can benefit from close-up shots as well. Macro shots are easy to create and can add a great deal of interest to your productions. Start thinking about ways to enhance the videos you make, and you will find more uses for close-up shots if you look for them.

http://www.videojournos.com/ 

Bring the covers on

Cover up
During the rains an umbrella is a must. It not only protects the camera but also covers you from the rains. But the only problem with an umbrella is the convenience of operating the camera.  Generally, the cameraman attaches the umbrella to the tripod but a strong wind can bring down the camera along with the tripod.  So, if you have an assistant it is a luxury you can afford.

If you are single-man-army use a plastic rain cover, which allows you to operate the camera and prevents the moisture from entering.

Shoot from inside
If the location permits, try and shoot from inside. You do not need to get wet to shoot the rains and scenes in the streets. You can shoot from a building or from inside a car.

Shut the door
Your camera is most vulnerable to moisture when the tape door is open. The open door exposes the record head to the weather, which can damage the camera. If you must open the door in bad weather close it as quickly as you can.

Wrap the cables
When you are using XLR cable to do sound during rain, make sure that you keep the ends dry. If the moisture makes its way through it can ruin the audio. You can wrap a plastic and put it in place with rubber-band to keep it dry.

Use the right tissue
During this weather your camera is will get wet but avoid wiping the lens with your handkerchief or with your sleeves. Even though they are soft they may scratch the lens. Get into the habit of using the photographic lens tissues and don’t use anything else for it.

http://www.videojournos.com/

Frame it !

Composition is an artful arrangement of objects and people within the frame. You do it day in and day out while on shoot. The left-of and right-of frames you arrange for bytes are compositions. Even the centre looking frame for LIVE is a composed shot. And this arrangement of the frame decides how the audience interprets your video.

Camera positionCamera can be positioned at the eye level suggesting neutral relationship between the camera and the subject.

It can also be positioned below the subjects’ eye levels. When done so, the subject becomes grand and dominates the frame.
At times the camera can also be positioned above the subjects’ eye level to make it look mean in eyes of the viewers.

Rule of Thirds

This is the most widely used and propagated rule in visual art. It is nothing but two vertical and horizontal lines that divide the frame in equal halves.

It is believed that when you place your subject at one of the points where the lines intersect, it makes for a compelling composition. You can use the GUIDEFRAME or GRIDLINES in your camera to compose your subject in such a way.

Framing
When, you have to frame a tight close-up of a person you are always in a fix- where to place the head in the frame and from where to chop it from.

If you chop it from the chin, composition wise it does not look good. But if you chop it from the forehead it looks pleasing.

Looking Room
Always, leave some space in front of your subject because psychologically it creates a space for your subject to look through. If not it will seem as if the subject is looking into a wall and it is very uncomfortable for a viewer.

It's All About Communication
Composition is really about communicating. If your image communicates clearly, regardless of what you are trying to communicate, the composition works. And it is also subjective. One may like your composition someone may not.

With so much visual stuff out there we need something to cut through the clutter and make people look at our work. So keep exploring !

http://www.videojournos.com/

Introduction to Television Reporting

10. Press Conferences

(This is the final article in the Ten part series on 'Introduction to Television Reporting', this series is part of an online course taken by CBA)

Not many journalists like press conferences. They often seem to be a necessary evil in our lives.

This is partly because so many press conferences (also called news conferences) are surprisingly boring and unimaginative in how they are presented.

Sometimes journalists are pressured by the organisers of the press conference to ask certain questions — whether they are launching a new mobile phone or a political campaign. Or journalists are discouraged from asking difficult or awkward questions. Or sometimes not even allowed to ask those questions at all!

This is why it is always important to remember when you go into a press conference your role as a journalist: to find the true information and report it to your audience!

Types of press conference

Press and news conferences can be on many topics — a government department announcing breaking news, a political candidate announcing her campaign platform, a visiting foreign minister answering questions to the local press, an international car company presenting a new car that they claim is environmentally friendly...the list of reasons for press conferences is very long.

Always understand the purpose behind any press conference and cover it accordingly.

How to prepare for the press conference

Arrive at the press conference with as much research and background information as possible about the subject matter and personalities that will be involved. Search engines such as Google allow you to prepare yourself thoroughly. Research the main people involved and research the topic of the press conference.

After you have done your research, prepare a list of concise questions that you and your audience want answered.

Top tip

Don't forget the simple trick of getting to a press conference early. You will have time to read any hand outs which are given to the journalists before the press conference. And it will allow you to find a good position for your camera crew — always important!

At the press conference

There are two types of reporters at a press conference; the ones who are taking notes and the ones who are not.

Journalists should not go anywhere without their notebooks! Ever, ever! You will need to take detailed notes with timings for efficient editing afterwards and to note down questions and answers that are worth using.

Sometimes you will be attending a press conference knowing it is unlikely that anything important will be discussed.

However, simply being there allows you the opportunity of approaching the person giving the press conference and requesting a short interview afterwards.

You will then have an exclusive interview and be able to ask the questions that you really want to hear answered. This is an old technique but it still works.

Working as a team with other journalists

Sometimes at press conferences, journalists are so keen to ask their own questions, they forget to listen to other journalists. Never be guilty of this!

Always be ready to follow up other journalists' questions especially when the answer they have gotten is vague or ambiguous or evasive. What is not said can often be the real story, so don't be afraid to ask for clarification if you suspect someone is hiding something important.

Think of a press conference as a football game. You and the other journalists are one team, and the people giving the press conference are the other team. In order to get the ball into the goal (which means getting a good answer) you have to pass it back and forth between the players.

Imagine a football team where each player was only thinking about themselves and not as a member of a team. They wouldn't score many goals!

Make it look interesting

Look for creative and unusual ways to shoot the press conference. Get your camera team to shoot a variety of shots; low shots in front of the podium, shots of journalists, reaction shots, top shots....

If possible move the camera around to collect shots from a variety of positions. (This is not always possible at busy press conferences.)

Remember that communication between the reporter and camera is essential for question and reaction shots.

A Few More Tips

·         The story in a press conference is usually the effect of the news rather than the news itself. So be clear who is affected!

·         Listen to what is being said – and to what is not being said

·         Think carefully about the reason this company, person or government is holding a press  conference

Introduction to Television Reporting

Pieces to Camera (PTCs)

(This is the Seventh article in the Ten part series on 'Introduction to Television Reporting', this series is part of an online course taken by CBA)

What is a Piece to Camera?

A Piece to Camera (PTC) — sometimes known as a stand up is an important part of the television news package. By seeing the reporter in a news situation, the viewers will build up a relationship with the journalist.

This helps to enhance your authority and build up credibility with the audience.

A PTC can come at the end of a news story or during the middle — which is useful if you want to use it as a bridge. There are even times when a PTC can be used at the start of a news story, though these are less common.

And remember that there are times when a story does not need a PTC. A good example would be a story that was made up of video from an agency and library/archive footage.

What is the purpose of a Piece to Camera?

There are many different reasons to use a PTC.

Sometimes a PTC is perfect when you can't get pictures. For example if there is a trial in a courtroom or government meetings where journalists are not allowed, you can stand outside the buildings and tell the viewer additional information.

Or you can use a PTC for background or abstract information. Perhaps you want to describe something that happened earlier. You can show the place but not action. Do a PTC there.

Use PTCs to change subjects or locations. This is often called a "bridge" and allows you to move from one part of the story to another. An end PTC allows you to sum up a story or provide a final thought.

Use PTCs as an eye-witness. If you are at the scene of a story you can tell viewers about things they cannot see. For example:

"the smell of the fire still hangs over this village"

or

"the very tense atmosphere of yesterday has now started to relax."

Use PTCs to demonstrate something. You can point out, or walk around, the scene of a news event. Or, for example, show how plastic bottles are being recycled by a new piece of machinery.

Finally, a PTC can establish a "sense of place" for viewers. For example, you may want to show them a different part of the world or show them the conditions that locals have to live with after an earthquake.

Before you start

Remember that you are the reporter — the messenger to the viewers. And decide what is needed to make the story stand out rather than simply making yourself stand out in the story! If the PTC doesn't say or show something which adds to the story, it's wasting the viewers' time.

Discuss your location with your producer and camera operator. Talking about the possibilities with your camera operator is very important—and often neglected. It's always best to be creative. And discuss what kind of framing that you want.

Perhaps your station has a style that they like, but there is no harm in trying something new and being bold. Remember you can shoot several PTCs if time permits and make a decision in the edit room. Always start with a "safety" PTC and then try out new ideas.

Always be appropriate and sensitive with appearance. If you are doing a story on a farm you will be dressed differently than if you are doing a story on National Day celebrations at the Parliament, for example. Be aware of cultural sensitivities. When I worked in Iran, for example, I had to wear a headscarf.

Shooting the PTC

After you have decided on a location and agreed on the framing, decide about any movement. Sometimes the camera will pull out or push in to you. But only if there is a reason. Or you can move — again if there is a reason.

If you are doing a walking PTC, start the PTC already walking. Suddenly starting to walk from a standstill can look very stilted.

It's usually best to avoid complicated set-ups and props. It only increases the number of things that can go wrong.

For example:

I once worked with a reporter who wanted to take a sip of tea in his PTC. We had to shoot it nine times. Once he spilt the tea, another time burned his mouth, another time he broke the cup.

Never again!

Shoot your PTC in different ways after a "safety take" if time permits. Once you have something you can use, go for that extra creative PTC. Why not?

And remember to keep your PTC delivery speed the same as your tracking speed. This means don't speak faster or slower in the PTC than you will do when you record your track.

How long is a Piece to Camera and should you do more than one?

There is no single answer to this. So you must decide partly on the style of your broadcasting organisation and the length of the story.

The average PTC in a 2-3 minute news story would usually be 10-15 seconds. However if there is reason to make it longer be bold! But only if it adds to the story rather than simply to the ego of the reporter.

Go for a longer length in a longer feature.

Usually in a news story one PTC is enough. But in a longer feature, it may work very well to use two longer ones. But remember to keep all PTCs simple. Don't load too much information onto the viewer.

A Few Tips

·         Less is more — minimal numbers & statistics in PTC

·         Memorise the ideas of your PTC, not the words

·         Ask your camera operator to check your appearance

·         If you don't have a producer as another set of eyes, check your PTC in the viewfinder after the best take

·         Remember to keep your PTC conversational!

Introduction to Television Reporting

6. Vox pop
(This is the Sixth article in the Ten part series on 'Introduction to Television Reporting', this series is part of an online course taken by CBA)

What is a vox pop?

The term vox pop comes from the Latin language. It's short for "Vox Populi" which means "the voice of the people". A vox pop is a very brief comment by a variety of people on one particular issue. So think of vox pops as snapshots of public opinion.

Vox pops have to be used as two or three responses together. They are an excellent way of adding authority and interest to a news story. Ordinary people often have fascinating thoughts and opinions. This enriches our journalism.

Before you start doing vox pops

Vox pops are done by walking around with your camera operator and asking people their opinion with one well chosen question. So start by discussing the question with your camera operator and tell him/her who you are going to approach.

If you have a team which includes a producer as well as a reporter, the producer can also be asking people if they would agree to be vox popped!

Remember to ask your camera operator to alternate left and right facing vox pops. That means for the first vox pop, the camera operator would be on your left and for the second, they would be on your right and so on. Alternating left and right will look better in the edit.

Discuss with the camera operator whether you will be using a hand microphone or using the top-of-camera microphone. And discuss the framing of the vox pop. It's usually a medium shot or a medium close-up.

After you have discussed what you want to do with your camera operator, you can start approaching people.

A typical approach would be something like this:

"Hello my name is Raj and we are filming a story on the elections next week. Would you mind telling us what you think is the most important issue for voters?"

How to ask a good question

A vox pop is only one question at a time. So you must decide the right question and ask the same question to everyone. Think carefullyabout the key question that will go with your story.

Never ask a question that can be answered with a yes or no. Always ask what we call "open" questions such as

"why do you like football?" instead of "do you like football?"

Another example might be

"what do you think about the smoking ban?" not "do you agree with the smoking ban?"

This particular question was asked in many news reports in the before the start of a smoking ban in all restaurants and pubs. Which brings us to another point about the vox pop...

...always choose an appropriate location to ask a vox pop.

For example, when asking a question about a smoking ban in pubs, ask it inside a pub. Or asking a question about the defeat of the national cricket or football team, ask it outside the stadium.

Always remember the active listening skills we discussed in the Interview module. You will get better answers by listening carefully and using active eye contact.

Treat people with respect — after all they are doing you a favour by stopping to talk to you and your camera. So above all, always be polite!

Who to vox pop?

It is vital to get a cross section of people for your vox pops. For example if you were doing a story on a football match, it would be no good to just vox pop supporters of one team.

You want a mix of opinion to make your story more lively and to have choices in the edit room. Get a variety of views, genders, age group and ethnic mix. Remember with vox pops the more, the merrier!

You can be creative with vox pops. Try vox popping two people in one shot to create an exchange between them. Or you can try a vox pop with the reporter in shot to create a conversational feel.

How long is a vox pop?

Just as we discussed in the Interview module, this can be a matter of style and length of the story. But remember that vox pops are short — much shorter than an interview.

A good length for vox pops is 5 to 10 seconds. Longer than that and it might be considered an interview.

A vox pop can be a collection of one word answers or short phrases. Usually you would never use a response that was longer than a sentence or two, but again this is up to your taste.

Finally, unlike an interview, the person that you vox pop does not have to be identified by name.

A Few Tips

·         Record more answers than you think you need for safety. That means at least a half a dozen, and probably a lot more

·         Always ask permission before you start filming anyone for a vox pop

·         Coordinate with your camera operator on vox pops — they need time to change the set up with each vox pop

Introduction to Television Reporting

5. Interviews

(This is the Fifth article in the Ten part series on 'Introduction to Television Reporting', this series is part of an online course taken by CBA)

Who to interview?

Interviews are a vital part of any news story or news feature and they should be chosen with some thought. Ask yourself which person or people would add an important element to the story.

·         Were they a witness to an event?

·         A person who could provide useful background?

·         A person who could provide an official view?

Always think about providing balance in your interviews. For example if you are covering an election, you might interview a candidate from each party. Or interview the candidates on successive days. Think about this kind of balance for all stories.

Try to choose a person who is a good talker and can shed some light on the situation for your audience. Which key interviews would your audience want? What is the message that you want your audience to take away with them?

Never stop asking yourself these questions.

Different Types of Interviews

Just as there are all different types of news stories, there are different types of interviews.

Some interviews are informational; these could be interviews with officials and police. Some interviews are opinion interviews; asking someone about their choices in an election perhaps. Other interviews are emotional such as talking the survivors of an earthquake. Interviews can also be analytical such as asking an agricultural expert about farming conditions. Other interviews can be purely entertainment as with a celebrity or a sports star or actor.

You should approach each type of interview slightly differently in terms of both style and content, and your manner.

(There is also the "vox pop" which means "the voice of the people" which we will be discussing in the next module.)

Before You Start an Interview

Get in the habit starting an interview by recording the subject stating their name and job title. And And don't forget to write this down as well to check you have the correct spelling. Also confirm their consent to film if that is necessary.

Choose a background that is both interesting and appropriate. For example, if you are interviewing a cattle farmer, shoot him out in his fields. Or interview a shopkeeper in his shop showing the sort of things he is selling. Be creative!

Interviewing officials and politicians can be tricky as they often want to remain sitting at their desk.

You must try to get them to come out from behind their desk. Suggest they perch on the front edge of their desk for a more interesting shot. Or put them in a chair in front of their desk for a better depth of field.

If that is not possible, try to put something interesting in the background such as a flag or something with a bit of colour. And don't forget to explain to them why you are doing this – to get a more interesting shot. They might be very happy to cooperate with you and make some good suggestions themselves.

How to Ask Good Questions

First of all have a good idea of the questions you want to ask – that must be clear in your mind. Then always remember to be conversational with interviewees to get a longer response.

Use active listening skills to encourage better answers. That is, listen carefully to what the interviewee says - and what they don't say. Use your ears and eyes! And remember that active eye contact with the interviewee will improve an interview. Look at them with interest and respect and they will respond.

At the end ask if there's anything else she/he would like to say. You never know...they might tell you something useful, unexpected – or even an exclusive!

Another useful tip is to keep the camera rolling after the final question. This is often a time when the interviewee feels the need to

provide that candid comment. An expectant gaze and silence may elicit a candid comment which makes the story.

Set up Shots & Cutaways

Always try to have the shots to set up your interviewee in the edit.

There is not always time to do this in a short news story, but you can in longer features.

Always discuss interesting and different cutaway shots with your camera person. We are all tired of seeing shots of their hands for cutaways – so be a bit imaginative.

You can never have enough cutaways in the edit room. And remember to hold shots of interviewees during questions and at the end for use as setup shots or cutaways.

Difficult Interviews

There will be times when you are interviewing somebody who doesn't want to tell you the information you are asking. The best policy is to stay firm and remain polite – and never give up. Think of different ways to ask the key question they are avoiding.

Sometimes for a big political interview you may be asked to submit questions beforehand. First of all, see if you can avoid this. But if you can't, ask the first few agreed questions then start with the questions you really want – this technique often works. Also you can explain to the interviewee that your story will offer an opportunity for them to speak to the audience directly.

Anonymous Interviews

Sometimes you might want to interview somebody who cannot be identified. First check whether the policy of your television station will allow this. Then decide the best way to present this interview.

When the interviewee needs to be anonymous, make sure your technique is fool proof. A life may be put at risk. Possibly show them by using their silhouette, their shadow on a wall, the correspondent listening, or their feet or lips. Check if their voice needs to be concealed or changed as well.

If a person trusts you to conceal their identity, you must make sure that you have done so properly. Discuss this carefully with your camera operator.

How long for an Interview?

The length of an interview used in your piece is dependent on several things: first of all the length of your story and, second, the style of your news broadcast. There are no hard and fast rules about interview lengths.

A news story of less then two minutes would obviously use a shorter clip of an interview – but probably not the super-short style of 4 or 5 seconds that seems to be common in America. Most people find that too short. Ten to twenty seconds would be a good length.

If you are producing a news feature between 3 and 5 minutes, or even longer, your interview can be longer. Twenty to forty seconds could be used if you feel that it is appropriate. Or you can break up a sound bite of forty seconds – which is long – and use it in two parts of the story.

Sometimes if you have a very prestigious or unusual interview, such as interviewing your prime minister, for example, you might well use much more. Just remember to trust your instincts and always think about what your audience wants to hear!

A Few Tips

·         Remember to ask members of the team if they have any other questions that you may have overlooked before you turn off the camera and end the interview

·         Make good notes as you are shooting to speed up editing – sound editing takes longer than editing pictures

·         Check your chosen sound bite back at base and give your editor the time code