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by Ivor Yorke
Basic TV Reporting, 2nd Edition
Cover
Half Title
Title Page
Copyright Page
Table of Contents
Acknowledgements
Introduction
SO YOU WANT TO BE ON TELEVISION
WHAT A REPORTER DOES
Origins of television journalism
Reporting responsibilities
A PLACE ON THE TAXI RANK
The predictability of news
In the field
Editing your report
WHAT MAKES A GOOD REPORTER
Persistence … and sensitivity
A love of language
An eye for illustration
THE REPORTER AS MANAGER
Reporter-camera operator relationship
Meeting deadlines
THINKING ABOUT NEWS
Opening ‘The Gate’
Differences in news values
THE NEWS MACHINE
PLANNING FUTURE COVERAGE
Foreign news
ASSIGNMENT PLANNING
The daily diary
The assignments desk
SOURCES
The agencies
Making contact
Keeping the list
MAKING USE OF YOUR CONTACTS
The double-check
Briefings and lobbies
Uses and abuses
RESISTING POLITICAL PRESSURES
Defending against ‘the spin’
Video news releases
GETTING STARTED
SEEING HOW IT’S DONE (1)
Stage 1: Planning and assignments
Stage 2: On the road
Stage 3: Picture editing
WATCHING BRIEF (2)
Stage 4: Graphics
Stage 5: The newsroom
Stage 6: Studio and production
Stage 7: Practice
MAKE THE MOST OF YOUR TALENT
Style and ‘presence’
The need for training
DRESSING THE PART (1)
Keeping the audience’s attention
Programme dress rules
DRESSING THE PART (2)
Accessories
Hairstyles
Beards
Cosmetics
VOICE PRODUCTION
The wish to communicate
Pronunciation
SPEECH CLARITY
No smoking rules
Conquering stage fright
A FRIEND IN THE AUDIENCE
Be logical
Develop a rapport
Learn from others
WRITING TECHNIQUE
HOW TO WRITE FOR TELEVISION
Keep it simple
Write as you speak
Be logical
Avoid stupidities
GOOD LANGUAGE
Slang
Eponyms
Clichés
Acronyms
AVOIDING UNNECESSARY OFFENCE
Sexism
Racism
Ageism
Political labels
AIMING FOR COMPREHENSION
Keep in touch
Signposting
Facts and figures
WRITING TO PICTURES
Golden rules of writing for television
USING THE SHOT-LIST
Common errors
WORDS BEFORE PICTURES
‘Wild-track’ commentary
Leave room for the ‘sound-bites’
Influence of new technology
COVERING A NEWS ITEM
INTRODUCING THE NEWS CAMERA
Staff versus freelance
Camera crew numbers
Single crewing
Video journalists
CAMERACREW WHO’S WHO
Camera operators
Sound recordists
Engineers
Electricians
PART OF THE TEAM
Discuss content
Sensitivities
CAMERA AND SOUND EQUIPMENT
Electronic news gathering
Enter the camcorder
The advantage of ENG
SOUND
Personal microphone
Directional microphone
Stick microphone
Radio microphone
Other microphone types
BASIC REPORTING SKILLS
STAND-UPPERS
The right backgrounds
Centre-screen or to one side?
MEMORYAIDS
How to remember the words
Alternatives
Electronic prompting
Miniature tape recorders
THE ART OF INTERVIEWING
Preparation
Questions
INTERVIEW PREPARATION
Submitting questions
Tone
INTERVIEW TECHNIQUE
Putting the questions
Supplementaries
Cliché questions
INTERVIEW TYPES
Set-piece interviews
Doorstepping
EYEWITNESSES AND OTHERS
Vox pops
News conferences
CUTAWAY QUESTIONS
Noddies
Interview editing
THE REPORTER AS PRODUCER
CONSTRUCTING A PACKAGE (1)
Research
Planning the shape
The ‘recce’
Knowing what to shoot
Editorial partnership
Accompany the crew
CONSTRUCTING A PACKAGE (2)
The grammar of pictures
Picture composition
Sound
WHATTOKEEPIN,WHAT TO LEAVE OUT
Viewing the rushes
Interview extracts (sound-bites)
YOUR PLACE IN THE PROGRAMME
Writing the introduction
‘Musical’ news
GETTING IT BACK
ON THE ROAD
At your own pace
The hazards of going live
Coping with spectators
COVERING THE WORLD
Sources
THE FOREIGN CORRESPONDENT
Choosing a base
Correspondent costs
The danger of ‘going native’
ENTER THE FIRE BRIGADE
Overcoming the first barriers
Inoculations and passports
ON FOREIGN SOIL
The independent news team
Setting up
Doing your homework
COMMUNICATIONS SATELLITES
How satellites work
Satellite news gathering
STAYING ALIVE
The vulnerability of television
Protection for journalists
Red Cross lifeline
THE REPORTER AS PRESENTER
THE JOURNALIST’S SURVIVAL CODE
THE ANCHOR
The journalist/presenter
Presenter power
IN THE STUDIO
Thriving under pressure
In your own words …
… and those of others
PERFECTING POSTURE
The wriggle routine
Using a clipboard
THE SCRIPT PROMPTER AND HOW TO USE IT
Beyond the idiot board
Avoid the shifty look
TALKBACK
The floor manager
PRESENTERS IN PARTNERSHIP
Attracting the audience
Dividing the work
Formality and informality
STUDIO INTERVIEWING (1)
The interviewer’s test
Interview one plus one
STUDIO INTERVIEWING (2)
Interview one plus two
Firmness counts
Interview one plus more than two
Live interview do’s and don’ts
TRICKY CUSTOMERS AND ‘SPIN DOCTORS’
The tactics, and ‘spin doctors’
INTERVIEWEE ON THE ATTACK
Softening up the interviewer
Ignoring the question
Other ploys
Post-interview troubles
AUDIENCE PARTICIPATION
Programme format
Be prepared
PHONE-INS
Achieving balance
Concentrate on the caller
WHEN THINGS GO WRONG
Beware intruders
Keep calm
LAST WORDS ON INTERVIEWING
To pay or not to pay?
Looking after your guest
On the air
Illustrating the interview
How you say goodbye …
DOCUMENTARIES
Shape and content
Documentary production
USING FILM
Film technique
Sound
Using video with film
THE REPORTER AS COMMENTATOR
First principles
Sport
ETHICS
WHOSE BIAS?
Impartiality versus balance
Neutrality
Fairness
THE BOUNDS OF GOOD TASTE
The danger in your presence
Scenes of violence
Your responsibility
Violence: code of practice
OTHER CODES OF CONDUCT
The Post’s policy
Commensense rules
THE OXYGEN OF PUBLICITY
The journalist’s dilemma
News blackouts
Direct action
INVESTIGATIVE JOURNALISM
The difficulty for television
The need for care
In-depth reporting
MATTERS OF LAW
Defamation
Contempt of court
Copyright and Official Secrets
Other laws
CONCLUSIONS
TV REPORTING: 2000 AND BEYOND
The TV reporter and the World Wide Web
GLOSSARY
FURTHER READING
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MANUAL
Basic TV Reporting
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