- n ._a...- W. ,,_..,.— ...u.. .ta-aau... ..... .ul. ELEMENTS OF TEL SEEM?! W NM 3! EV! A. b . IVERasITY EE gar m FOR THE DEER STATE UN MICHIGAN THESIS 1:9: DEER A. GRANT 6 9 R .I......-|=._1o. .. ..I 3.:..:... u x»... . 1.3.3.; 5.5% 17‘ .25... . ,2. . T- .N. L..A1.osov . .fi. 1 2. “Id-um". . .4 1...; f: . - .. J. .t. \.P4.41 ,. .. :1. a: ‘2'— v; LIBRARY Michigan State ‘ University ELEMENTS OF TELEVISION NEWSFILMING BY Roger A. Grant , is This thesis consists of two parts. First, a i0 mm. film was produced entitled "Elements of Television Newsfilming" in which the fundamentals of be U) I.) 0 O '1 f) (l) ’1 P) (f O ‘3‘ raphy for television was expressed. Ideally, the viewer will learn: 1) to recognize the value and function of the visual dimension in news, 2) the vocabulary of film making and 3) the filmic devices and their purposes which are ap— propriate for newsfilm. The content of the film can be divided into four major areas. The first includes statements of the nature of newsfilm, the second, an exposition of the various shots, the third, a section on composition and the laSt, a section on the principles for continuity. The second part of the thesis is a description and evaluation of the film.' In Chapter 1, the uses and impor- tance of newsfilm are discussed. It is important because television news is potentially the most dynamic and De sonal form of communication to date. It is dynamic be- cause it can and often does possess an emotional i.pact and drama. Television news is personal because it allows the viewer to experience the event as it actually happened. Television news is different from other men ia b- ('i) H1 r1 cause it provides the viewer with a visual grasp 0 he event. In the minds of many, it is newsfilm which gives television news this characteristic of personalized mass com.munication. ' Edited newsfilm, on the local level, is being used for expanded and more in depth reportage than ever before. Newsfilm is used to cover daily news events, editorials, news features, sports coverage, in depth reportage and documentaries. In Chapter 2, each scene in the film is iQ dentified and defended under the headings —- Discussion of Video and Discussion of Audio. To evaluate the effectiveness of the film, it was shown to a class in television news at Michigan 8' a e Uni- versity. After viewing, the students were administered an examin .ation including questions on some of the information presented and open-ended questions on their opinion of the effectiveness of the film. The students, for t e most part, answered the ques— tions correctly and displayed sufficient know;edge of the information presented. However, some of the information Roger A. Grant in the film was presented previously to the students by the instructor and the text. Thus, for some content areas, Olen-ended questions. On the whole, they feel that the film is o: eduC‘tional value in a course in television news, is clear, and has the ability to hold interest. Also, the majority of the viewers believe it is useful to View the film twice. When asked if they noticed any physical imperfec— tions the most common response concerned the jump cuts in the Beaumont Tower sequence. The results of the examina- tion are analyzed in Chapter 3. ELEMEZTS OF TELEVISION NEWSFILMING BY \ ,\i Roger Al Grant A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of TeleviSion and Radio 1969 m - leie- cepted by the faculty of the Department of Richigan Communication Arts, College of “quire- University, in partial fulfillment of the r f r the Master of Arts degree. / / /,. ' ACKNOWLEDGEMENTS Hi My grate ul appreciation to the following people who assisted with this thesis: to Dr. Thom=s Baldwin, my advisor, who offered many suggestions, to Professor Frank enger vho obtained financial backing, to Brian Rublein who narrated the film, to Capital Film Services, inc., for proceSSing ane printing, to Joanne Northcrart and uacr ii TABLE OF CONTENTS I. THE USE OF FILM IN TELEVISION NEWS II. ANALYSIS OF FILM CONTENT . . . . . III. EVALUATION OF THE FILM . . . . . . iii *U Q) t . |.J F1. Q Ca 9 5 9 a 00 0 Au D. l 1.. . FILM VIEWING "n N o “L n _ . N O . C R M M E L L T I I F F F A F F D O O E S E T U N P I I ml L R S m i C E U S m i O x. d A B C r. e p n 4 . iv THE USE OF FILM IN TELEVISION NEWS Television n ws is potentially the most dynamic and personal form of communications to da te 3.1 I“ ic because it can and often does possess an emotional im- pact and drama. This is quite evident in films of disaster Stricken areas and in many news ' eatures; for exarple, a news feature on the complexity of air traffic control at the city's airport. Television news is a very personal form of commun— ication, too. There is no other medium that allows the viewer to experience the event as it act ually happened. T:is pei sonal spect works on various levels. For in— p: Stance, news footage of the Detroit riots, a disaster that occurred eig nty miles from East Lansing, has pers al values because this type of disaster could occur in your home town. Or, you may have friends or relatives in the disaster area that are of concern to you. 1 ‘James Atkins and Leo Willette, Filming TV News n Documentaries (New York, Amphoto, 1965) p. 152. p)» K The author was in Europe with several Detroit res - dents duri ing the July riots of l967. We all kept abreast ‘ he severity of the riots each day via the raeio and r1' newspapers. Many of the Detroiters, whose homes were near 1‘ *se the incompreheneiv g" the riot areas, became frantic been nd somewhat sensationalized reportage that reached us served only to magnify their exaggerated conceptions of the riot. Perhaps this is a somewhat bacxwarcs approach to illustrate the personalization of news but there is a point to be gleaned from this. If representative newsfilm was available to these Detroiters, a more accurate depict ion the severity of the riots would assist them in their personal interpretation since they would be able to witness t.e event as it actually happened and identify the area of the riot. News footage is also personal at the local level when community issues are exposed. For instance, reportage f money being appropriated to construct a much needed 0 edestrian bridge over Grand River Avenue; the busy street '0 tre children must cross on the way to school. Television news is different fr om the other media, for em:a ple newspapers and radio reportage, becuase tele- vision handling of the news should provide the viewer with a visual grasp of the event.2 Although many journalists will not freely admit it, "it is the camerawork, motion picture film, and edited newsfilm.which gives television this characteristic of personalized mass communication. In the minds of many, the sinew and strength of electronic reporting is newsfilm."3 It is not difficult for television news reportage to become mediocre. When it is it is vacuous, sterile, predictable and easily forgettable.4 But, this is a characteristic that the local television news departments do not need to possess. The station should be foremost.in community coverage. Conscientious news coverage on the local level will help foster the notion that the station is truly interested in community affairs.5 When the local stations' news units skillfully use and present newsfilm to document local coverage they are using a medium that distinguishes their program from others; in fact, newsfilm has the potential to change their coverage from dull to creative.6 2CBS News, Television News Reporting (New York, McGraw-Hill Book Company, Inc., 1958) p. 33. 3Atkins-and Willette, pp, 935., p. 10. 45233,, p. 9. 5CBS News, pp. gig., p. 179. . 622ig,, p. 27. Newsfilm has the capacity to make a story an ex- perience. The viewer becomes an eye witness to the news as he sees what the news cameraman did. In fact, the news cameramen are some of the most "down to earth" expounders on the merits of newsfilm. Ernie Schultz, the News Direc- tor of WKY-TV in Oklahoma City, says: We feel that newsfilm is basically what makes TV a better news medium than any other. It isn't the re- porting -- the newspapers have more and maybe better reporters. It isn't necessarily the airmen. One of the best in town is on radio. But, neither the news- paper nor the radio can show you the news, as it hap- pened. And we work hard to do just that with film . . . All members of the TV news staff are photog- raphers, and all take pride in good film, well shot and well edited. We are all students of cinematog- raphy . . . we don't always follow the fules, but we try. .Deacon Anderson, the News Director of KPIX in San Francisco further expands the merits of newsfilm when he says: A good news program is one that informs in a memorable fashion. It has to inform. It has to be memorable. This means, among other things, that it has to be chock-full of good film. The thing that makes a news story memorable is the quality of the film. . . . There are thousands of television cameramen in the business, but a photographer in the whole sense of the word is as rare as snow in San Diego. A photographer is not a man-who squirts film past a lens while aiming his camera at something that moves. A photographer is ~ a sensitive being, one who understands the emotional values of creative lighting, who uses expansion and compaction as a creative tool to interpret the spirit of an event, who knows the very limits of technique so that he can go those limits when the situation demands it. He is in no way a hack. . . . Exposure, focus, 7Atkins and Willette, pp. cit., p. 11. depth of field, cutaways, length of segments, estab- lishing shots, close ups -- these things are common to all cameramen. But these things are a palette to a photographer.8 The quality television news cameraman, then, is more than just a cameraman. He is a photographer. He is a photographer who has the ability to capture an event on film which, when televised, initiates several subconscious reactions in the viewer. First, the footage presented is accepted as "be- lievable" by the viewer. The familiar chiché that "seeing is believing" is probably responsible. Second, the viewer has the feeling of participating in the event.9 He may be swept up into it and have a sense of involvement. Third, the visual dimension of news footage facilitates the view— er's most complete personal reaction and analysis. Of course, this necessitates objective reportage on the news cameraman's part and an accurate verbal documentation. But, with objective reporting, the viewer is witnessing the next best thing to actually being there. Unfortunately, many television station managers have not realized the benefits of having an active news unit. They do not realize that television news shows can 81bid., p. 11. 9Jack Bush, "Picture Making," Television Newsfilm ‘§tandards Manual (New York, Time-Life Broadbast, 1964) p. 59. provide additional income and prestige for the station. According to CBS News, when audiences regard a station best for news there tends to be a carry over effect. The audiences also tend to think the station is foremost in other shows . 10 Television is still an infant and yet it is in 94% of the homes in the United States. There are predictions. of communications satellites linking the world; a phenomer non that will undoubtedly increase the comprehensiveness of world wide news coverage. The Elmo ROper studies tes- tify that television is the most believable source of news. All of these connote that television newsfilm, or its successor, will continue to play a very important role in news communication. On the local level, newsfilm is being used for ex- panded and more.in depth reportage than ever before. In fact, the major restriction on effective usage of newsfilm is directly related to the creativity and professionalism of the station's news staff. The-truly imaginative tele- vision journalists will be able to use newsfilm for effec- tive reporting in areas that the "average" news department barely recognizes as adaptable to film utilization. Below are areas where newsfilm can be utilized for better than average reporting. 10CBS News, 92. cit., p. 178. The daily news events around the city are naturals for newsfilm coverage and, in most instances, are covered liberally in the daily newscasts. However, newsfilm can be detrimental to effective reporting of the area news events if its visual appearance does not change from one time to the next. For example, every time former Governor Romney issued a statement he was filmed sitting at the same desk, with the same closed blinds behind him, and wearing the same medium gray sweater. In fact, if there were not the problem of lip synchronization to contend with, the news cameraman could have photographed him once and the audio message could have been changed to suit the occasion. Perhaps the reader is now asking what difference does it make. It is this writer's opinion that this re— petitive visual element interferes with the audio channel after a number of similar filmings. Imaging for a moment that a group of three or four are watching the evening news when Governor Romney's statement is aired. One member of the viewing party com- ments: "Doesn't Romney ever wear anything else besides that sweater?" Another responds, "You're right, I‘ve- never seen him in a suit or even a different sweater, now that you mention it." As you might imagine, one comment can lead to another and, as a result, no one listened to the Governor ' 3 statement . The responsibility of avoiding this interference rests with the television news departments. These solutions might include asking the governor to move to a different setting; and there are a number of them around the executive offices in the capitol. Another solution is to use sound over still photographs. If the station has a talented photographer, have him build a stock pile of candids to be. used as an alternative to the stale newsfilm. The point is this. Newsfilm is the principle appealing agent of television news but it must be used correctly and with dis- cretion if it is to remain the strength of the broadcast. The sports broadcast is another natural area for effective employment of news film. The quantity of materi- al that can be incorporated is limited only by the impor- tant sports events held in the community and the resources of the station's newsfilm department. Not only is coverage of the events as they occur adequate sources of film but many pre-game activities and practice sessions are natural for television sports reportage. Coverage of these areas also heightens interest in the scheduled games and make middweek local sports more interesting and attractive to the viewer. News directors are beginning to realize that their editorials are much more persuasive and meaningful when backed up by honest, effective newsfilm. When this is considered, it is evident that the editorial is really a natural place for film utilization that has virtually been ‘untouched in the past. Think of how much.more impact edi- torials can possess when a visual dimension is added. For example, that much needed pedestrian bridge that was men- tioned above may have become a reality because of an edi- torial by the local television station. It is one thing to say that Grand River Avenue is busy and a pedestrian bridge is needed but to document it with effective, honest news- film immediately catapaults the message out of rather vacu- ous oratory into shocking reality. Consider the use of the following footage for this editorial. Shots of the traffic laden street and footage of careless driving at the pedestrian crossing would empha- size the need for the bridge. So that the viewer may em- pathize with the situation, footage of a serious pedestrian accident at the particular intersection can be brought from the files and incorporated in the presentation to under- SCore the need for the bridge. Expanded dimension and interest is added to inves— tigative or in depth reports when film is used. For in- stance, an in depth report on the urban renewal area of downtown Lansing would be difficult to comprehend if the viewer had to rely just on the audio channel alone. The viewer would have difficulty recognizing the exact area being described and visualizing the reasons for renovation. 10 He would be unable to fully comprehend what changes will be made. Probably the most common criticism of television news reporting is its shallowness. Although television will probably never provide the detailed coverage that newspapers and magazines offer, it is expanding much of its visual coverage on important and extended issues. These may be news features or investigative reports that usually run about five minutes on the air. These provide a more comprehensive view of an event than if it was treated as a regular news item. News features usually deal with lighter, more amusing news, much of which is communicated entirely in the visual channel. People reacting to situations, new additions to the community, local historic locations among many other subjects are all candidates for news features. And, all lend themselves fully to filmic presentation with supplementary narration. The uses of news film that have been presented could, conceivably, be used in every daily newscast. But this by no means exhausts the potential of film in the program. The role of newsfilm in the local newscast is limited only by the talent and resources of the station. 'It has been said that the most creative area in television today is the documentary. So far, this has been primarily a contribution of the networks. Mitchell ll Charnley wrote that: "No one doubts that an incommensurate share of America's most thoughtful, stimulating and reveal- ing broadcasting comes from the networks' documentary units."11 The community stations have started to follow the network lead by producing a few documentaries on local issues. Local production of documentaries is still scarse but will undoubtedly grow and play an increasingly impor- tant role in regional programming. HOpefully, an idea of the importance of newsfilm in television reportage has been presented. Indeed, it is not a whim or convention of the moment. It is a believ- able, a dynamic and a personal form of mass communication. As local stations use more news footage for regular broad- cast, for feature and in depth coverage and for editorials and documentaries, the need for well trained cinematog- raphers is apparent. 11Mitchell Charnley, "The American Approach," The European Broadcasting Review (91 B, May 1965) p. 44. CHAPTER II ANALYSIS OF FILM CONTENT The film that is produced with this thesis (script is found in the appendix) is an attempt to express visually the various elements that are essential for successful newsfilming. This includes the fundamental principles and techniques of news cinematography as well as some of the more sophisticated devices for effect. A film is the obvious medium for presenting this information. First, it seems only appropriate that the medium that is being explained should serve as the vehicle for the explanation. This writer can think of no better way of demonstrating the techniques of television news- filming as well as illustrating its strengths and weaknes- ses than by employing and exploiting the filmic medium, it- self. Second, concerning the limited finances available, the lmem film afforded the optimum medium for effective visual presentation. The viewer will not walk away endowed with the talents of a professional news cameraman, as that requires a wealth of experience, application and experimentation 12 13 with the various elements. However, it is hoped that the viewer will learn: 1) to recognize the value and function of the visual dimension in news, 2) the vocabulary of film making, and 3) the filmic devices and their purposes which are appropriate to newsfilm. To achieve these objectives the film is comprised of three basic subject areas. The first is an exposition of the various shots, the second, a section on composition and last, a section on-the principles for continuity. Re- calling for a moment what Deacon Anderson said; that pho- tographers are rare in newsfilm, that "a photographer is a sensitive being . . . who knows the very limits of tech- nique . . ."12 the importance is indicated of a firm grasp of the basics in cinematography as necessary for effective and accurate newsfilm. . A-good news photographer does not just happen. He starts with a solid background in the basics of newsfilming and then matures with application. It requires practice and a creative, open mind to develop one‘s potential as a cinematographer. After viewing this film, an aspiring news cameraman will net be endowed with the knowledge and the knack for potentially great newsfilm. But, it is intended that a 12Atkinsand Willette, pp. cit., p. ll. 14 receptive individual should have a solid foundation upon which to build a good future as a news cinematographer. In this chapter each scene in the film is identi- fied, described and discussed. This exposition is pre- sented so the author has the opportunity to offer his de- fense or justification of the filmic content, and in some instances, the sequencing of this content. To facilitate ease of identification each scene is labeled and discussed in the folloWing format: Scene # (identification) Discussion of Video Discussion of Audio Scene g l Video - Audio A succession of still Music up. .photographs of a woman feeding a flock of sea fulls, in sequence, so that it looks like a very slow start toward motion.‘ The "stop action" effect increases in tempo until the sequence of still pictures becomes a moving picture. Discussion of Video 'Perhaps one wonders why the film opens as it does, especially when there are obviously an infinite number of .v-HS IS‘ I I!‘ . ”A: I I .. e :aon n I- IV" :.uru E f). r: “.0606: :ICHI ..',._.. :uvw ‘ no -. ruvui VII-y oi...‘ O . .3; eV.‘ . Aen‘ mild '3',“- :uv 5 a: up I .g‘ ,§ Du“ - ‘LRQ; " is.“ v n.”- u... u 15 ways to commence a film. Hopefully, upon viewing the film this question will be answered in the mind of the viewer. Briefly, the opening entails a sequence of still photo- graphs of a woman feeding sea gulls that depict the motion and continuity of the action in a jerky "freeze frame" manner. The pace of this sequence becomes faster as the event evolves until there is a transition to actual motion pictures.. - A~s As was implied, the meaning of this opening is-a phenomenon that is unique to the individual. It could range from tactile and empathic sensations, if you are a follower of Minor White,13 to just a series of quickly changing pictures. HOpefully, the idea that a single photograph can tell a meaningful story ~- that a sequence of photographs expands the competence of the coverage -- and that the use of motion pictures explodes into something that informs, something that is memorable-and dynamic and something that allows the viewer to unconsciously imagine himself as a participant. 13Minor White formerly taught a course in visual communications at the Rochester Institute of Technology. A segment of the course illustrated how a completely re- laxed body, coupled with intense concentration enabled the viewer of a photograph to experience qualities inherent in it that are not distinguishable at an ordinary level of concentration. For example, when viewing a photograph of a textural subject, the viewer is able to, in an emotional sense, feel the roughness of the subject. .u .A 51 I-- 16 In the case of this film, it is hOped that the se- quence at the beginning will help engage the viewer in active participation in the film so that he will react favorably and positively with the scenes and ideas that ensue . Discussion of Audio A jazz composition accompanies this beginning scene. A low volume bass fiddle strain repeats itself several times in accompaniment of the slowly increasing number of still photographs depicting a slow start toward motion. As the pace of the succession of still photographs increases, the volume of the bass fiddle strains increases until the rapid succession of stills cuts to motion pic- tures of the same scene. At the approximate time of tran- sition from rapid succession still photographs to actual moving pictures the bass fiddle strains transcend to a flowing piano accompanied melody. The music is kept at this volume level through the remainder of this sequence and through the next to bridge the two scenes.‘ It is hoped that this building, both in music con- tent and volume, will supplement the visual building and bring the viewer to the level of perception necessary for optimum attainment of the ideas and principles that follow in the remainder of the film. In effect, the music, in conjunction with the visual channel, serves as an attention 17 getting device, a mood establishing device and a tool for continuity. Scene # 2 Video Audio Cut to: (visual) ELEMENTS OF TELEVISION NEWSFILMING Music out. _Discussion of Video The title was made by placing black Letra-Set transfer letters on white cardboard. The finished poster, or visual, was then copied using the same Bell and Howell 16mm movie camera that was used to shoot most of the re— mainder of the film. More sophisticated approaches are available but are considerably more expensive in time, ease of production and money. * It is hoped that the opening that is discussed above attracts the viewer's attention and directs it to the subject of the film. The-title states the subject of consequent footage and serves as a starting point for the concepts and techniques that ensue. Discussion of Audio The music that starts in the preceding scene bridg— es the cut to the title scene and is faded out at the end of it. It is employed to bridge the cut in the attention 18 getting and title scenes and assist in defining the intro- ductory.segment. Scene # 3' Video Audio Cut to: sequence from Television as a news medium Gemini underwater is usually found to be more escape film. believable when compared to the other news media. The idea that "seeing is believ- ing” is probably responsible. Discussion of Video This is the first of two professionally produced film clips that are included in the film. They are in- cluded to illustrate.a general and brief summary of the uses and benefits of newsfilm. This not only visualizes the impact and power newsfilm can contain but arouses an interest.which acts as a mild stimulation to be receptive to the more didactic material that follows. This clip, showing scenes of the astronauts.train- ing to escape from the Gemini capsule, appears to be and is a completely believable experience. It is these first hand visual accounts that make television news more.believ- able. The film of the astronauts was selected because of its inherent intrigue to Americans during this era. Discussion of Audio Newsfilm is like other disciplines in that quali- ties that describe its merits and role can be defined. 19 Therefore, in the early part of the film, some of the qualities of good television newsfilm are presented to help identify the potentials and opportunities available with effective filming. This section also prepares the viewer to be receptive to the more didactic information that follows. ‘ Perhaps the most salient characteristic of tele- vision news is its believability. Therefore, this charac- teristic is the first to be presented in this introductory section. Scene # 4 Video Audio Cut to: (Visual) NEW MEANING Newsfilm adds a dimension MORE COMPLETE REACTION of meaning not available in ' a verbal report. The visu- al dimension is often es- sential for the viewer's most complete reaction and analysis. ‘ Discussion of Video This introductory material, while more entertaining than that which follows, is also presented for easy compre- hension. For example, the words above, NEW MEANING - MORE COMPLETE REACTION represent the crux of the narration and are seen while the text is heard. .fl M. .l 0.. an n. . 20 The words are also presented to enforce the strength of the audio channel. If moving pictures are presented there is a greater chance that the scene would detract from the communication of the content of the audio. In this instance, as with the other scenes employ- ing a visual, the visual is held on the screen for a couple of seconds after the audio has stOpped. This helps empha- size the point that is being made. Unfortunately, because of inconsistencies in the equipment used during the produc- tion of the film, the exact timings did not transfer to the final prints. In a few instances the pauses were elimi— nated completely when the film processor slowed the speed of the taped sound track to match the film. Since the processor's equipment is different (and considerably more precise than the 16mm Bell and Howell projector and Wollen- sak tape recorder this writer used) a very evident mis- synchronization developed., The production-crew at Capital Films, Inc., established the gain the tape was making over the film, calculated the percentage gain and.reduced thev speed of the tape drive mechanism to compensate. The com- pensation was approximate and frequently did not provide for the pause between scenes that was originally intended. Discussion of Audio The added dimension of meaning that the visual ele- ment affords is very obvious. The most elaborate and _.- ..I ,.a v I! 21 detailed description will not precisely describe the "real life" circumstance and will undoubtedly be interpreted in as many different ways as there are listeners. The visual dimension, then, extends the meaning essential for the viewer's most complete personal reaction and analysis. Scene # 5 Video Audio Cut to: (visual) PARTICIPATION Often, if the film maker is INVOLVEMENT successful, the viewer will have the feeling of partic- ipating in the event. The viewer will be swept up in the event .g. . he will have a much greater involvement. Discussion of Video As with the previous visual used, the words PARTIC- IPATION INVOLVEMENT represent the crux of the audio narra- tion.’ In effect, the words provide a visual reinforcement- of what is being communicated verbally. Discussion of Audio On many occasions, the viewer can become so in- trigued with the content of the newscast, he will momentar- ily forget that he is sitting in his comfortable living room and watching an.attractive pecan wood console with a picture tube incorporated in.it. For a moment the viewer nay imagine.himself at the site of a distant disaster area. pl - .- e I any. .au n ! 22 He may feel that he is prowling among ruins instead of, in actuality, the news cameraman. In this mental sense, the viewer leaves his living room and participates-in the event. He becomes involved in it. Scene # 6 Video Audio Cut to: people on a bridge Discussion of Video The scene supplements the PARTICIPATION INVOLVEMENT scene that immediately precedes it. The cameraman hand held the camera and walked with the crowd of peOple across the bridge. Since everybody will not be swept up in an event because the individual's own background and current mental state is inherently involved, a lower level partic— ipation is attempted here. By letting the camera substitute for the viewer-in this scene, the viewer will get the feel- ing that he is walking through the crowd as he views it. In this sense the viewer participates and feels a-sense of rinvolvement. Discussion of Audio Nothing is said during this scene because the con- cern is entirely with the visual dimension. It is a posi- tive-exemplar of the concept mentioned just previously and narration would probably destroy the illusion that is t. .n 23 attempted here, i.e., the illusion of participation in the event. Scene # 7 Video Audio Cut to: (visual) VIEWER INDEPENDENCE Newsfilm is probably at its . best when the story unfolds visually without.the aid of narration.’ Note how the following film on the Phan- tom jet speaks for itself. Discussion of Video The format-of this scene and the one after the next follows that of the preceding two. First, a video emphasis of the crux of the narration is offered and is followed by an example of the concept presented. In this instance, the words VIEWER INDEPENDENCE, to this writer, most concisely* says-that the newsfilm coverage should communicate the story to the viewer without too much additional narration. Discussion of Audio The narration is very concise and to the point. Its sole purpose is.to state the principle (above) and to lead the viewer into the next scene. 24 Scene # 8 Video Audio Cut to: newsfilm of the -, Phantom jet. Discussion of Video The film clip was professionally made by one of the television network news staffs. It is short, explicit, dramatic and definitely without the need of narration.. Briefly, the clip shows a pilot's View of the jet's cockpit in flight, zeroing in on the target, pressing the bomb re- lease and destroying the target. Not one word was needed to describe the action and, if words were added, they would probably destroy the drama of the event. -Discussion of Audio The silence in the audio channel has been defended above. The narration in the previous scene undoubtedly has a carry-over effect.and, in actuality, "sets the stage" for the silence.. Scene # 9 Video I Audio Cut to: (visual) ELEMENTS To put film shots together INTEGRATION in a meaningful pattern so that the viewer may experi-- ence the news event as in- dependently as possible we 25 must know the structural elements of film and how to integrate these elements. 'Discussion of Video Up to the present scene, the qualities and role of good television newsfilm.have been presented. From this scene on the content becomes more technical and more edu- cational in nature. What follows is divided into three content areas, first an exposition of the various shots news cameramen use, second, a sequence on composition and, third, a section on the principles for continuity. This scene is like many of its predecessors in that the visual channel displays two words, ELEMENTS INTEGRA-- TION, which represents the crux of the audio channel. These words, too, are intended to help the viewer "change gears" in the natural progression of the film. Discussion of Audio Just as the video channel helps the viewer to "change gears," so does the audio. However, the narration attempts to bridge the two different content areas and show that quality newsfilm.depends on mastery of the ele— ments of) filming . Scene # 10 Video Audio Cut to: long shot of Consider the following Beaumont Tower series of shots. This In: V! I 'II N! V‘.‘ 26 particular shot can be called a long shot-ebecause it gives a relatively over- all view of the subject and- its setting. The long shot is often used to set the scene, and when used as the first shot in a series, is called an establishing shot. Discussion of Video Two subjects are used to illustrate the three basic shots. The first sequence employs a relatively large sub- ject because much news photography deals with architecture or, at least, employs an establishing shot of a building, a street scene or a.wide encompassing view of the setting of the subject of concern. The camera was positioned several hundred feet from the subject in this establishing shot because this distance, in the news cameraman's opinion , sufficiently met the requirements of the long shot. It shows the tower in its entirety and it shows.its setting. In this in- stance, a viewer from the Lansing area witnessing newsfilm opening with this establishing shot would know that the film's subject is either some aspect of Michigan State University (since the tower is perhaps the University's mbst well known symbol) or that the film will deal with some aspect of Beaumont Tower.itself. I.- a . ‘v 27 Discussion of Audio The narration is written in.a concise manner. The key ideas are presented quickly and without very much elab- oration.- Perhaps this is not the best approach for optimum transfer of concepts and principles but it is the only one that was possible considering the high cost of materials and production and the low production budget. Even though the narration is concise, it is written to make the viewer think beyond the scene in presentation.. He will hopefully think of a "whole" being developed and that this scene is just the beginning of that development. Scene # 11 Video Audio Cut-to: medium shot of Just as the long shot is Beaumont Tower relative, so is the medium shot. With this shot, the camera is at an intermediate distance from the subject. This is the second in a ser- ies of three basic shots that are often used to vis- ualize an event. The long shot sets the scene. The medium shot shows in great- er detail the subject being considered . . . . . . . . Discussion of Video This is a comparison shot -- just as the ones that follow in-this sequence are.comparative.. Here the camera has been moved closer to the subject to show it in greater .v II! u ‘i 28 detail but at the expense of incorporating the surround- ings. Discussion of Audio The narration serves two functions in this scene. It, again, is a concise explanation of the function of the medium shot and serves as a bridge between the long shot and the close up which follows. Scene # l2 Video Audio Cut to: close up of I. . . . . and the close up Beaumont Tower explores the finer details of the subject. Discussion of Video The pattern has been established in the previous two shots.w They were shown for a longer time to help es- tablish the subject content and sequencing. In order to keep the viewer-interested and maintain the momentum that was established previously, the close up of Beaumont Tower is shown for only a few seconds (approximately 5). Discussion of Audio The narration is actually a continuation of the dialogue started in the previous scene. It is short and concise so that the listener is able to quickly grasp the concept and move on to the next shot variation presented. 29 Scene # 13 Video Audio Cut to: Medium close up of There are variations to ‘ Beaumont Tower these basic shots that can be used for variety and ef- fect. For example, the medium close up view. Discussion of Video The medium close up and extreme close up scenes that follow are included to emphasize the variations that can be used, depending upon the circumstances of the news- film assignment. The shot,.itself, is held only long enough to support the audio transition employed and for the explication of the shot itself. Discussion of Audio It is assumed that an extended definition of ter- nunology is not needed at this point in the exposition of this sequence. The student should be able to recognize a medium close up view by seeing the shot and mentally com-. paring it to the shots that were presented and explained just prior to this one. Scene # 14 Video ' Audio Cut to: extreme close up of Another variation is the Beaumont Tower extreme close up used to ' emphasize the fine detail of the subject.. 30 Discussion of Video This shot, too, is very brief and its brevity is justified with the same reasoning presented above. The pattern has been established so the variations that are presented should be quickly internalized without the neces- sity of extended elaboration. Discussion of Audio This is the last shot in this sequence so the nar- ration is delivered with a touch of finality. This helps the viewer distinguish the terminal scene without being told so in so many words. Scene # 15 Video Audio Cut to: long shot of The size of the subject mat— tombstone' ter determines the camera— to—subject distance for a specific shot. Thus, as was just illustrated, a large subject may necessitate the positioning of the camera several hundred feet away for a long shot. On the , other hand, a long shot of a much smaller subject may require a camera-to-subject distance of just a few feet. D_i§cussion of Video This sequence is included to show that the camera u>subject distance is related to the size of the subject. 1h order to establish this relationship several seconds 31 are required by the narrator. While he is talking the camera remains on the long shot of the tombstone for a rather extended period for two reasons. First it is an example of a long shot, the first classification of shots described and second, once the viewer internalizes this he will probably shift his attention to the audio channel. The audio channel is the important one at this time because it is establishing the circumstances for the next series of shots which follow in rapid succession. There is also a subtle rhythm working at a lower level of awareness. Perhaps an analogy best explains it. The reader has undoubtedly noticed that interesting writing is comprised of sentences of various lengths. If they were all short, all average or all long, the writing would be monotonous. Therefore, the rather long scene is priming the viewer to want and accept the four quick scenes-that. immediately follow. Discussion of Audio The audio channel is the strongest of the two in this scene. It is intended to expand the information pre- sented in the previous sequence as quickly and as clearly as possible. 32 Scene # 16 Video Audio Cut to: medium shot of This sequence is identical tombstone to the preceding one and is offered to show that the Cut to: close up of t. camera to subject distance is relative to the size of' Cut to: medium close up the subject. Cut to: extreme close up Discussion of Video Rather than isolate each-of the shots grouped above. in Scene # 16, they are treated as one scene because they work together as a unit to illustrate the relativity of shots. Also, they work together to reemphasize or review the concept presented in the preceding sequence. This Civil War tombstone marker was selected be- cause it does represent a different and conceivably repre-- sentativesize classification that the news cameraman will encounter. Discussion of Audio The narration during this rapid series of shots is not really compatible with the video. In fact, during the beginning seconds of the scene the two channels compete for the viewers attention. However, to prevent redundancy and to keep the pace of the film at an enjoyable level the ap- proach described is believed to be the most effective. 33 When the words "This sequence . . ." are heard the shots described above are underway. It may be momentarily confusing but this writer believes that the confusion is only for a moment, and that the reason for the sequence becomes apparent very shortly after it starts. Scene # 17 Video Audio Cut to: (visual) Knowledge of the basic shots alone is not enough for the ELEMENTS OF COMPOSITION effective visual communica- tion of the news events. Successful news cinematog- raphy must be supplemented with good composition. Good composition does more than make the picture visually pleasing. It can aid the visual narration.’ It can add excitement and suspense to it and it.can help create the mood necessary. Discussion of Video The second major area of development is introduced with this subject title card. It is similar to the other visuals-employed to assure continuity throughout the film. Discussion of Audio The area of composition is extremely important and its role cannot be minimized in successful visual communica- tion. It is hoped that this few seconds introduction to composition at the very.mdnimum.accomplishes two goals. 34 First, it is hoped the viewer is made cognizant of the im- portance of composition and, second, the viewer should have an idea of.the role composition plays in visual‘comr munication. This is a difficult subject to impart, especially in just the few short minutes devoted to it in the film, but it is a theme that the author has a strong conviction is of prime importance. The elements that are represented in the film came from no text book that the author has seen. They were pre- sented by a young art teacher named Robert Conge to a class of artistically naive photographers at the Rochester Insti- tute of Technology. It is difficult to express in words the impact that these elements can have on ones photographic acuity, speaking compositionally, if one studies them,T analyzes them and believes in them. If a photographer con- sciously and overtly tries to think in terms of these ele— ments and.the moods and excitement they can create, they can catapaultthe photographer into a whole new dimension of visual literacy. Scene # 18 Video Audio Cut to: (visual) 35 EQUAL MASS The relationship of equal .._ . mass in the shot opposed to . ,! unequal mass is the first i of several elements to be ‘ considered. A composition using unequal mass is usu- ally more exciting than one _l_-_i using equal mass because vs. there is a conflict devel- oped between the disprOpor- ‘UNEQUAL MASS tionate negative and posi- , - tive areas. This conflict becomes dynamic. Here are two shots of the same sub- ject illustrating this point. Discussion of Video Because this section on composition is highly in— dividual, it is written into the film so that the viewer must participate to acquire the true significance of most of the elements. The first few elements of composition are presented with narration to help orient the viewer to the method of analysis. For example, the first one pre- sented compares the elements of EQUAL MASS and UNEQUAL MASS. (To facilitate the ease of presentation and compre- hension, a graphic representation of each compositional element is presented. The shots that follow the visual apply the element or elements just presented in a way that the viewer can see its relationship to newsfilming. Discussion of Audio It is difficult to justify these elements of com- position because there is very little in their inherent 36 design that is objective. Composition, itself, is a very individual thing and is highly subjective. For this rea- son none of the narration that follows deals with abso—‘ lutes; for instance, the word "usually” is often used when describing the characteristics of a compositional element. In the instance above: "A composition using unequal mass is usually more.exciting . . ." The last sentence in the narration of this scene serves as a bridge between the exposition of the elements and the examples which illustrate them. Scene # 19 Video Audio Cut to: equal mass shot of This shot of Letchworth waterfall . Park's Middle Falls is not particularly exciting be- cause the river and falls areas are treated with equal importance thus dividing the viewer's attention. rDiscussion of Video The shot is of the upper portion of the Middle Falls in New York's Letchworth State Park. It is composed so that the river flows from the top of the picture and breaks into the falls at the mid point of the frame. The bottom half, then, is the water falling. This particular subject was used because it is one that lends itself to several compositional interpretations 37 and it is a subject that is representative of subjects that could be of news value. In fact, every example that is incorporated in the film was selected because of its conceivable news value. Discussion of Audio The audio for this scene, as well as the audio for the examples that follow, describes in very brief terms the generally accepted interpretation of artists. Since time and money does not permit an extended discussion of the pros and cons of the compositional interpretation, the viewer must be open-minded and quick at identifying the crux of the visual examples. Scene # 20 Video Audio Cut to: unequal mass shot of When the water dominates waterfall the composition the river and falls areas become dis- proportionate producing a more exciting representation of an aspect of this park that is often called the "Grand Canyon of the East." Discussion of Video This shot is taken from approximately the same place but is composed so that the river area appears in about the top quarter of the frame. The remainder of the frame, or the dominating aspect of it, is filled with the .i ll. 38 falling water. With this framing there is no question as to what the eye should fall on as there is now a dominating element. Also, working at a much lower level of recpgni: tion, there is a conflict going on between these two mass areas. This adds a sense of rhythm to the composition that is simply not generated in the EQUAL MASS interpretation presented just before. Discussion of Audio Again, the crux of the point is presented without flourish because of the aforementioned time and money lim- itations. However, an attempt at relaying or simulating reality is attempted in this and many of the examples that follow. This writer believes that, by identifying what is being filmed or mentioning how it is to be.used, credence is given to the successful application of the compositional element being discussed. In this example, it is conceiv- able that a news cameraman would be given an assignment requiring interpretative filming of Letchworth.Park for a television-news feature or documentary. Scene # 21 Video Audio Cut to: (visual). '39 EQUAL PLACEMENT A similar relationship oc- ' curs when equal placement. is compared to unequal «placement. The composition (3 ‘ using unequal placement usually is more exciting than the other. VB. UNEQUAL PLACEMENT O Discussion of Video The graphic representation of the compositional element -— PLACEMENT -- is similar to the one.for MASS and is similar to the ones that follow. Again, the very es- sence of the concept, and nothing more, is depicted in the visual for ease of understanding. Qiscussion. of Audio The same logic used in the depiction of MASS ap- plies to the understanding of PLACEMENT. Therefore, the narration points out the similarity between this element and the one just previous to it and states the placement Often preferred for effective composition. This scene is Short because there is a strong transfer of meaning from “the previous element, thus requiring less time to communi- rinote an obvious sense. of peace for the setting. this shot was used as the first one in a sequence c‘oncern- ing this pre-Civil War cemetery, a very obvious mood of tranquility and PEACE would dominate. the sequence. As with some. of the examples that precede this one, the illustration of PEACE is very obvious. And, aswith 59 some of the others, a subtle use of the element may sub- consciously denote PEACE. Inefact, the author has a photo- graph of a railroad tie that incorporates these basic lines of PEACE. And, even though the subject matter has no di- rect relevance to this mood, a feeling of PEACE is never- theless evident when viewing the abstraction. Discussion of Audio The audio track helps the viewer recognize the mood that is established in the video tract. Even though the compositional element is quite obvious. and may not need the support of narration, narration here does. serve as a continuity device. Scene # 39 Video Audio Cut to: Holland Tulip Several of the preceding Festival film elements are included in this film of the Holland Tulip Festival. How many can you identify? Escussion of Video The Holland Tulip Festival film clip was shot by the author before this thesis was in the planning stage. It- is included here for additional reinforcement because it employs nine of the elements of composition that have juSt been presented and developed through the film. The nine are; UNEQUAL MASS, UNEQUAL PLACEMENT, STRENGTH, 6O DIRECTIONAL ACTION, MOVEMENT, CONFLICT, SERENITY, GROWTH, and DISORGANIZATION. Since a more detailed analysis of each appears in chapter three, it is not repeated here. Discussion of Audio The narration is short and serves two purposes. First, it introduces the film clip that is being shown and, second, it invites the viewer to identify as many of the compositional elements as he can recognize. With the exception of the brief introduction, the audio channel is silent while the viewer interacts with the film clip. This silence also provides a break for the viewer because, up to this point, he has had a great deal of information thrust at him in a relatively short period of time. In effect, it gives him.more of an opportunity to respond instead of to receive. Scene # 40 Video Audio Cut to: shot of uncompli- Avoidance of uncomplimentary mentary background. backgrounds is also a judg- ment in composition. Note the unflattering and dis- turbing object emerging from the speaker's hand. DisCussion-of Video A lecturer is shown speaking from a podium. In the background is a blackboard -- the top border or frame of 61 which passes directlybehind the speaker's head. This is disturbing and its avoidance is a judgment in composition of which news cameramen should be particularly cognizant. Discussion of Audio The narration identifies the compositional judgment under consideration. After this is done the poor placement involved becomes very obvious and distrubing. However, if it is not identified by the narrator, the viewer would probably not recognize the disturbing aspect of the place- ment within the minimal time alotted for this scene. Scene # 41 Video Audio Cut to: (visual) PRINCIPLES FOR CONTINUITY Now that you have an aware— ness of the types of shots and some of the elements for effective composition, the newsfilm can be given unity and continuity by selective utilization of the following techniques. Discussion of Video Once the news cameraman has a grasp of the types of shots and some of the elements for effective composi- tion, he can use the principles presented in the remaining section to give his film unity and continuity. The vari- ous continuity techniques, under the skillful direction of 62 the cinematographer and editor, can expand and compact _-e_time, heighten the pace of the film, create tensions and pacify; indeed they can make or break an otherwise tech- nically perfect film. The techniques that accomplish this fall under the title PRINCIPLES FOR CONTINUITY. In order to preserve the continuity established earlier a title card is employed that presents visually the essence of the narration that is heard simultaneously. Discussion of Audio The narration serves two major purposes. First, it summarizes the development of the film to this point; and, second, it introduces the final section of the film: by saying that the techniques which follow give the film unity and continuity. ’ - . Scene # 42 Video Audio Cut to: stationary sub- Panning is one.principle . jects, they move . . . . . and it is used to and the camera follow the action of a mov- pans with them. ing subject . . . . . . . . Discussion of Video The use of this principle cannot be over-empha- sized. Actually, what needs to be stressed more is the importance of not using it more than the importance of 63 using it. However,.this former qualification-is discussed in the next scene. The shot is of two young men exploring a gorge. To begin, the men are stationary but then begin to walk up the gorge. The camera follows their action or pans with them. This illustrates the first of the two principle uses for panning, i.e., to follow action and to take in a scene too wide for the camera's lens. Discussion of Audio The narrator defines one of the uses of panning. There is an extended pause while the visual example un- folds. When the narration continues the next scene is un- derway showing the negative example of panning. Scene # 43 Video Audio Cut to: film of negative However, caution must be ex- example of panning. ercised with this technique. There is a very strong ten- dency for the news camera- man to let the camera do the moving instead of the sub- ject. As you can see, the result is disastrous. Re- member, unless you are try- ing to create a special effect, let the subject do the moving and pan onl to follow action or to ta e in a scene too wide for your lens. ‘3.- ~64 Discussion of Video Too often, the neophyte movie maker thinks that he must create the motion on the screen. The result of this is evident in the fast, jerky panning of this scene. Bi- zarre things begin to happen that leave the viewer dizzy and sore eyed. That is why, for news purposes, it is stressed that panning be used only to follow action or to include a subject that is wider than-the angle of view of the lens. The scene is of a new apartment complex. The camera starts with one building and pans to several others in a fast, forwards, then backwards wavy manner. All‘in all, a very poor interpretation of the complex. Discussion of Audio The narration serves three purposes. First, it sounds a warning of the tendency to over-pan. Second, it reinforces the visual channel by telling the viewer that there is a tendency for beginners to let the camera do the moving instead of the subject. And, third, the narrator defines the two suggested'usesmof the panning prinCiples. Scene # 44 Video ‘ Audio Cut to: :medium.shot of carriage This cOntinuity principle is called a cut in . . . . . . 65 cut in (slight hesitation) .1. . and this principle medium shot of carriage . is called a cut away. Both cut away are important tools used for . filmic impact and visual medium shot of carriage continuity.‘ Of prime im— portance to the news camera-- Cut to: a series of jump man is the way they are in- cuts of the car- serted to correct for jump riage. cuts. These occur when the camera is stopped and then started again . . . . so the good news filmer shoots ex- tra cut aways and cut ins to bridge these annoying jumps. DiscusSion of Video The other principles that are of utmost importance to the news cameraman are cut ins and cut aways. TFormally, both.of these are used for filmic impact and continuity. The cut in is an especially pOwerful tool to achieve em- phasis. In this scene, the cut in is an extreme close up of the carriage wheel rolling by. And the cut away, which helps establish the mood of this Central Park scene, is of a man sleeping on a grassy bank. These tools.not only add impact to scenes but can aid the news cameraman in creating aesthetic story telling values. The cut in and the cut away play one other impor- ‘tant function vital to most successful film presentations. They are used to circumvent the jump cut. A jump out oc- curs when the camera stops and then starts again. In the interval that the camera was not in operation the subject 66 had continued to move so that when the filming resumed, it was in a different position. When this is screened there appears to be a quick jerk by the subject. To avoid this phenomenon, a cut in or cut away can be inserted to bridge this jump in action. Because jump cuts are a frequent problem, it is essential that the cinematographer shoot several cut aways and selected cut ins to add impact to the film and to cure. the jump cut. Discussion of Audio The narration for this scene is interspersed with. pauses so that the appropriate phrase coincides with the shot it describes. 1 In just a few seconds-time the three functions of the jump out are presented by the narrator. This is per- haps too quickly for optimum transfer to the student of the role.these continuity principles play. However, the time and the budget were waning so an extended exposition of these principles was not feasible. Scene # 45 Video Audio Cut to: students exiting Note-the direction in which from class. these students are walking. Maintaining the same screen‘ direction requires constant alertness on the news cam- eraman's behalf. When he- 67 slips, a false reverse oc-. curs, a phenomenon that can be very jarring to the Viewer. Discussion of Video The shot is of a group of students exiting from a Classroom. The door of the room is to the right of the frame. The screen direction is established for the scene' in thisbeginning footage. In-the middle of the shot the camera is stopped and placed directly Opposite it's first position. Now the door is at the left of the frame and the students are mov- ing to the right. This phenomenon is called a false-re- verse and should be avoided in order to maintain continu- ity in the film. Discussion of Audio The narration identifies the phenomenon under con- sideration and offers the viewer two warnings.’ First,-that, this mistake is very jarring to the viewer. And, second, the cameraman must exercise constant alertness to maintain the same screen direction. It is very easy to "grab" shots.from various locations and discover later that they do not integrate well to provide a sense of continuity in the production. 68 Scene # 46 Video Audio Cut to: first shot of mon- One last technique that is tage. When mon- 'not used often but can be tage is said, start‘ used for special effects is the montage (scenes called the montage. from the film). Last scene says THE END music out Discussion of Video A montage is a rapid succession of film shots. Each shot appears, in this scene, for approximately one half of a second.15 The images are bits left over from many of the scenes presented through the film. Not only do they at- tract the viewer's attention and draw him into active par-. ticipation in the scene, but the montage serves as a quick recap of many of the elements and principles presented. Discussion of Audio An extended definition of the montage is not-pre-g, sented by the narrator because the video channel is self explanatory. However, the narrator does set the scene for the conclusion of the film. 15Some montages are more quickly paced than others. For instance, montages can be comprised of any number of frames (one, two, three, etc.) and may evolve before the viewer so quickly that the individual shots comprising the sequence are barely distinguishable. 69 A quickly paced brush on symbols music composition keeps time with the evolving images in the montage. When the words THE END appear. the music stOps. Music is in— corporated at the ending to complement the Opening sequence as a unifying agent and to add to the aesthetics of the production. CHAPTER III EVALUATION OF THE FILM To establish the effectiveness of the film in teaching 1) the vocabulary of film making, 2) filmic de- vices and their purposes, and 3) recognition of the value and function of the visual dimension in news it was shown twice, back to back, to a class of twelve students taking a course in television news at Michigan State University. The-conditions for this test were far from ideal. The viewers may or may not be representative of the in- tended audience for the film -- therefore the results of the test cannot be generalized to all students of tele- vision news. Conclusiveness of the effect of film is fur-. ther diminished by.the fact that much of the film's con- tent was previously presented to the class by the instruc- tor and the text. The questions dealing with composition and the questions concerning the value of the film are probably the most revealing concerning the effectiveness- of the film.‘ The test results are discussed below after which an implication is offered. The implications are nothing 70 71 more than this author's interpretation of the viewers' un- derstanding based on knowledge of previous learning by the viewer. Each question is considered individually and the test, as it was presented to the class, is in the appendix. Question 1 Name three types of shots and why they are used in news film. Viewers' Responses 1 3 7 10 ll 12 + + + + + + 2 4 5‘ 6 8 9 + + + + +tv+ All of the students responded correctly to the question asked. Eleven of the twelve responded identically in that they list the long shot,.medium shot and the.close up as their three shots. One student listed long shot,‘ close up and extreme close up which is correct as the question is presented. Implications The basic shots were covered by the instructor.dur- ing the development of the course so this section of the film served primarily as a review of the material.. Question 2 What is meant when it is stated that these shots are relative? 72 Viewers' Responses~ 1 2 3 4__s '6 7 3 9 10 11 12 + + 0 + + + + + +_hb 0 + Nine of the twelve students responded correctly to the second question. This concept was also presented prior to the film showing so this footage should have served as a review too. Implications It appears that the three students that missed the question were not paying close.attention since most of the nine correct responders answered with information and terms that are from the film. Question 3 In most instances, what is considered the.best.way of employing "mass" in composition? Viewersi Responses 3 4 5 6 7 1 2 8. 9 10 ll 12 + + +: + + OU_—+ +- + + ' + + Eleven of the students responded correctly. This information was not previously presented nor is it in print so it is safe to assume that the concept had to be obtained from the film. , Implications The technique of using a graphic with narration. followed by an.example in newsfilm appears to be, on the 73 whole, a successful technique for communicating this concept. Question 4 . In most instances, what is considered the best way of employing "placement" in composition? Viewers' Responses 3 1 2 4 5 6 7 8 9 10 11 12. + + + + ‘+ + +; +‘ + + + + The question was correctly answered by all of the film viewers. .Implications Again, this technique using the graphic followed by a filmed example appears to be.a successful technique. Question 5 Name as many elements of composition as you can recall. Viewer's Responses 1 2 3 4 5 6 7 8 9. 10. 11 12 8 7 6 5 6 5 11 8 8 10~ 6 8 This author is not sure of the value of this ques- tion since several concommitant variables could influence the correctness and the number of elements recalled. The number of correct responses range from five to the full eleven. The mean number of correct responses is 7.3. 74 Implications It is probably unreasonable to expect the viewer to be able to recall and use all eleven elementszof com- position without additional study and cognizant applica- tion. This writer believes that the mean of 7.3 is admir- able since the viewers were not told before the screenings that they would be tested on the material. Question 6 List the elements of composition employed in the Holland Tulip Festival clip. Viewers' Response 1 2 .3 4 5 6 7 8 9 10 ll 12 r/w 6/0 2/2 5/0 1/1 3/0 4/0 4/0 4/0 5/0 5/1 2/1 4/1 The author distinguishes nine of the defined ele— ments of composition in the film clip of the Holland Tulip \ Festival.‘ The nine are: UNEQUAL MASS, UNEQUAL PLACEMENT, STRENGTH, DIRECTIONAL ACTION, MOVEMENT, CONFLICT, SERENITY, - GROWTH, and DISORGANIZATION. UNEQUAL Employed in most shots involving a horizon MASS line. The land and sky areas do not subtend equal mass areas. UNEQUAL In most instances.where there is a single PLACEMENT center of interest in the scene the center of interest or subject is placed unequally in the composition. For example, the family STRENGTH DIRECTION- AL ACTION MOVEMENT CONFLICT 75 looking at the boat is placed off center in the composition. This element of-composition is evident in two places. In the opening sequence the flag poles exude STRENGTH by their_very nature ~- strong, tall, vertical lines. Also, the windmill, itself, communicates STRENGTH be- cause of its high vertical shape. DIRECTIONAL ACTION is also found in. two places. The row of flagpoles leads the viewer's eye creating DIRECTIONAL ACTION with the movement established by the physical placement of the subject. The other example of this compositional element involves the physical movement of the subject. In this instance, the people walking across the pedes- trian bridge. The long line of people waiting to enter the windmill pattern themselves in the compos- itional element of MOVEMENT. MOVEMENT is of- ten represented as some.stationary object or thing being moved upon, in thisinstance, the windmill is the stationary object being moved upon by the line of peOple. The crossing sails of the windmill afford an excellent example of CONFLICT. Thepshot SERENITY GROWTH DISORGAN-' IZATION‘ Implications 76 using this composition is very powerful and is open to extensive philosophical considera- tion of connotative interpretation. The line of people that helps form the compositional element of MOVEMENT also works to form the compositional element of SERENITY. The very nature of the_long, smooth horizon- tal line relates the feeling of serene calm- ness. A The slow tilt up the windmill, starting -from its base and stOpping at.its sails por- trays the element of GROWTH. The scene at the end of the film showing the various beds of tulips exemplifies the element of DISORGANIZATION. There are nine elements of composition employed in the Holland Tulip Festival film clip. The highest number. identified by a student was six and the lowest was one. The mean number identified by the twelve was 3.7. The~ highest.number of composition elements incorrectly identi- fied was 2 and that was by just one person. Four students incorrectly identified one compositional element and seven did not incorrectly1identify.any. 77 This writer believes.that more extensive work must be done by the instructor before the student can internal- ize and effectively identify and apply these elements of composition.' Question 7. What precaution needs to be exercised when panning? Viewers' Responses. 1 2 0 11‘ 12 + 3 4~ 5 6 7 8 9. + + + + 0 +1 + + The question was answered correctly by eleven of the twelve viewers. Implications The film tended to reinforce thelknowledge the student already possessed about panning. This writer be- lieves the film's illustration of this subject was,adequate4 since the majority of the viewers answered the question with a phrasing similar to the one used in the film's nar- ration. Question.8 What-is-a jump cut? Viewers' Responses_ 1 2_’3 4 5 6 7 .3 9 10 11- 12 + + + +‘ +. + + + +. 0 o + 78 Only two of the twelve viewers failed to understand the jump cut. Implications Again, the film's presentation of-the jump out tended to reinforce what the students had been exposed to V‘ ‘. previously in the develOpment of the course. Question 9 What Cinematic tools are used to bridge jump cuts? Viewers' Responses 1 2 3 4 5 6 + + +.’+ + + Eleven of the twelve viewers answered the question correctly. Implications The film reinforced the knowledge about cut ins and cut aways that-the viewer already possessed. Question 10- What is a montage? Viewers' Responses 1 2 3 4 5 6 7* 8 9 10 112 12 + + + +' +1 + + + +. + + + All of the viewers answered the question correctly. 79 Implications The montage ending of the film appears to be a good technique for illustrating this concept. This tech- nique is also open for various subjective or connotative interpretations. One viewer-answered the question in a semir"stream of Consciousness" way which leads this writer to believe that the actual film sequence has affected her interpretation of what montage is and what it can do. Herv answer follows below: . . . a-series of-brief shots of different subjects,, camera-to-subject distances, tonal value . . . all spliced together. The effect is one of speed -- almost breathless. Each subject is distinguishable -- but its presence on the screen is momentary. Question lla Please critique the film.in terms of its:‘ (a) .educational value in a course in television news. Viewers' Responses- Below are.the comments written by.the twelve viewers: l. "Valuable in demonstrating fiLm techniques and com-. _ position." 2. "Its value in a course of.T.V. news is that-it illus- trates.the various types of shots and some rules fol- lowed in shooting newsfilm,-and it is more valuable than a book orxlecture because of,its visual element." 8. 80 "Worthwhile. Good visual presentation of topics dis- cussed. "Too many points were covered and not enough defini- tionS*were'given." "It provides visual examples of basic filming con- cepts. Would be good in a situation to familiarize students with basic shot composition." "Gives important examples of technique. If there was a still shot of an outline of the techniques presented they would be easier to organize in your mind." "very informative, well done, interesting." "Questionable. Some parts were elementary (types of shots, terminology) except if used very early in an introductory course; some seemed to be made more com- plicated than necessary -- the elements of composition seemed more a matter of remembering symbols rather than seeing how this is actually used in,filming.9 "Extremely useful when used with some kind of written. guides as well. The film makes newsfilm guide more meaningful -- yet without reading the information first, I fear.that I would have had to see the film again to really grasp everything.‘ Once through -- just kind of watching and listening.’ Second.time -- watch correlation between dialogue and shots . . . but if I had lacked the terminology gleaned from the text, it would have been time no. 3 before]: got it. all." 81 10. "Good film -- explained clearly what it wanted to teach." 11. "You could actually observe the different types~of - .1 shots, etc.,-and notice the faults of panning, etc. But an even more practical situation would be to have. each student produce their own film and critique it in terms of good shots and bad shots, etc." 12. "If you have already been introduced to what is.in- cluded in the film -- it's helpful if providing living examples of what the book is talking about. If-this' is to be used as an introduction . . . I think it would result in confusion. Implications" Most of the viewers thought that the film was worthwhile and a positive addition to a course in tele- vision news. A few of the viewers mentioned that a supple— mentary outline should be presented of the film's content. to help organize the material covered for easier comprehen- sion. 'This author agrees that this would be an excellent' addition to the comprehension of the presentation so an' Outline has been written for the students to supplement while-viewing the film. This outline appears in the.ap— pendix. Clarity. 82 Question llb. Please critique the film in terms of its:_ (b) Viewers' Responses The comments written by the twelve viewers appear below: 1._ 2. "Film not clear and brilliant, but points well made.” "Due to its briefness the film can be hard to compre- hend when giving a series of rapid examples suCh‘as- the elements of composition sequence." "Narrator well voiced; film clear as to meaning or purpose. [Still cards simple-and well done." "Good." "Was very clear, sometimes.too much so that it over-, stated a point." "Why did you give a review of 3 types of shots,in the middle of the description of MS?" "A littlexvague in some places, i.e., the explanation of conflict." "The explanation of the elements of composition was given to and then a picture -- but how that element, was actually used was not clear after the "placement” section." "Good -- except for the first few cards of words -- something distressing about the graphics in the early 83 part of the film that is confusing -- otherwise, okay." 1 l0. "Good." 11. "Object of film was clear -- more.examples would have helped." 12. "Some of the examples were not sufficiently explained --.and as a result, some of the examples didn't seem to be relevant." Implications On the whole, the comments on the clarity of the film were favorable. Many of the objections related to the brevity of-it. Perhaps supplementary illustrations by the instructor are needed for further clarification. Also, the outline that has since been developed for the students' use may help clarify many of these points. Question 11 c. Please critique the film in.terms of its:‘ (c) abilityto hold interest. Viewers' Responses The comments of the twleve viewers appear below: 1. "Good." 2. "It's briefness is an advantage here because, though the subjects are not often of great interest, theya are not discussed in great length." 10. 84 "Good Opening of birds and music. Good choice of material for visual. Simply explained. Well done." "Too many elements were involved. Not one point was stressed. Too general. Tried to give a 10 minute lesson on everything there is to know about newsfilm." "Generally it held my interest with certain areas lacking visual variety to hold interest." "Holds interest well. Except when you are supposed to guess which techniques at the tulip fest." "Good, well put together in most cases." "Pretty good except that the words on the screen tended to take away from the audio after a couple of seconds." "Fine." "Fair -- scenes were a bit weak -- tulips, cemetery, sea gulls, etc. 11. "Mainly because it was a short film."— 12. "The loss of clarity.hurts, but it basically holds interest." Implications Perhaps the cliche "one man's meat is another man's poison" best summarizes the reactions.to this question. Some commented that the brevity of the film helped to hold their interest while others thought it should be expanded to cover the subject more thoroughly. This writer believes 85 that it should be longer with its points developed more thoroughly. However, the cost of an expanded production would have been prohibitive. Qpestion 12 Was it necessary or useful to run the film both times? Viewers' Responses The responses of the viewers are listed below:. "By anticipating what was to be looked for the second time you could concentrate attention on that after getting the gist from first viewing."' "I think it was useful, understanding is improved by repetition." "Useful —- but not necessary. I received a large percentage of information on the first running." "Yes, too much information for one.run.” "Not necessary but useful.‘ Scenes becOme more famil- iar the second time with more attention going to the concepts illustrated by the scenes." "No. Notes could have been taken lst. run and been more effective." "Was not necessary but was very useful." "No --.I donFt think any new information was gained the second time." "Yes . u: 86 10. "Good to run twice." 11. _”Yes, reinforced what you observed first time." ‘12. "Yes and Yes. I couldn't comprehend the entire film in one run. There was too much information in too short a time span. Implications When tallied, there were sevenéyeses, two no's, and three not necessary but useful to run a second time. This writer believes that it should be run twice but per- haps with some discussion between the two viewings. The outline of the content should help facilitate this discus- sion. During the second viewing, the student should then be able to actively seek out.information that is unclear to him. QuestionplB Did you notice any imperfections in the film that were due to production problems?“ If yes, locate and des- cribe them. - Viewerpijesponses The statements are presented below: 1. "I didn't see anything sticking out of the man's head in front of the blackboard. Was this done.to test alertness? Slight blur of girl early in film." 2. "When naming an aspect to be described the black on white title card was disturbing to me, if the titles 10. ll. 87 covered could have been superimposed it would have been more effective." "Word cards describing composition, etc., seemed on a slight angle. Music scratchy and ineffective on first few seconds of film.” 1 "The scene where the camera is following a group as it walks along is a little bouncy." "1. Jump cuts (other than demonstration) of tombv stones, and ladies in carriage. 2. Fading of pic- tures -- where boys are in rock query." "The-still shots of the gulls at first were unrecog- nizable. Were they supposed to be?" "No." "Several jumps (tower shots); inconsistency of birds in beginning but nowhere elSe, camera movement in following walking students." 1 "There were two jump cuts -- around the Beaumont Tower section. Organization problem -~ the bit on uncom- plementary backgrounds was tacked on after the Holland Tulip Festival -- valid point but it doesn't seem connected to the "elements" section in any way -- al- most an after thought . . ." "Possibly some of the~sign boards were on the screen too long." 88 12. "The-pan of the two boys was a little jerky -- prob- ably due to location. The tilt on the building was overexposed at the end -- because of light problems. The first shot from Farm Land Bridge was extremely shaky. I think the film.would have been much more' useful if the exact same information was covered in about 10 extra minutes.-- with more explanation of the examples, and more details about the shots covered. Neither the cut in or cut away was ex- plained -- just named, and shown." Implicatipns These statements pretty much speak for themselves. The ones concerning the title cards appear to this writer ‘ to be a personal opinion rather than a discrepancy. Since the jerky pan of the two young men walking was noted three- times, the fading film was noticed twice, and the jump cuts were noticed twice these faults should be eliminated if facilities and money permitted. However, it is this writer's belief, even though these faults are serious, they do not sufficiently detract from the concept being des- cribed at the moment of occurrence. Perhaps they may, con- sciously or subconsciously, reinforce the necessity of keeping equipment in good operating condition and the necessity of careful technique.. APPENDICES APPENDIX A _ - .- ._._. A.- . _ fi—F._— .— ._. APPENDIX A SCRIPT OF FILM VIDEO A succession of still photographs of a woman feeding a flock of sea gulls, in sequence,.so that it looks like a very slow start toward motion.. The "stop action" effect increases in tempo until the sequence of still pictures becomes a moving picture. Cut to: (visual) ELEMENTS OF TELEVISION NEWSFILMING Cut to:. sequence from Gemini-underwater escape film. 89 AUDIO music up music out' Television as a news medium is.usually found to be.more. believable when it is Cut to: (visual) NEW MEANING MORE COMPLETE REACTION Cut to: (visual) PARTICIPATION INVOLVEMENT Cut to: people on bridge Cut to: (visual) VIEWER’INDEPENDENCE‘ 90 -compared to the other news media. The-idea that "see- ing is believing" is prob-. ablypresponsible. Newsfilm adds a dimension of meaning not available in a verbal report. The vis- ual dimension is often es- sential for the viewer!s most complete personalre- action and analysis. Often, if the film maker is successful, the viewer will have the feeling of‘partic- ipating in the event. The viewer will be swept up in the event . . . he will have a much greater involvement. Newsfilm.is probably at its best when the story unfolds 91 visually without the aid of narration. Note how the following film on the Phan- tom jet speaks for itself. Cut to: newsfilm of the Phantom jet. Cut to: (visual) To put film shots together ELEMENTS in a meaningful pattern so INTEGRATION that the viewer may experi- ence the news events as in— dependently as possible one must know the structural elements of film and how to integrate these elements. Cut to: long shot of Consider the following ser— Beaumont Tower ies of shots. This particu- lar shot can be called a long shot because it gives a relatively overall view of the subject and its set- ting. The long shot is of- ten used to set the scene, and when used as the first shot in a series, is called an establishing shot. Cut to: medium shot of Beaumont Tower Cut to: close up of Beaumont Tower Cut to: medium close up of Beaumont Tower. Cut-to: extreme close up of Beaumont Tower-. 92 Just as the long shot is relative, so is the medium shot. Here, the camera is at an intermediate distance from the subject. This is the second in a series of three basic shots that are. often used to visualize an event. The long shot sets the scene. The medium shot shows in greater detail the subject being considered . . . . . . . and the close up explores the.finer de-. tails of the subject. There are variations of these basic shots that can be used for variety and ef-. fect. For example, the medium close up view. Another variation is the extreme close up used to Cut to: long shot of tombr stone Cut to: medium shot of tombstones Cut to: close up of t. Cut to: medium close up Cut to: extreme close up Cut to: (visual) ELEMENTS OF COMPOSITION 93 emphasize the fine detail of the subject. The size of the subject mat- ter determines the camera- to-subject distance for a specific shot. Thus, as was just illustrated, a large subject may necessi- tate the positioning of the_ camera several hundred feet away for a long shot. On the other hand, a long shot of a much smaller subject may require a camera—to: subject distance of just a few feet. This sequence is identical to the preceding one and is offered to show that the.camera to subject distance is relative to the size of the subject. Knowledge of the basic shots alone is not enough for ef- fective visual communication Cut to: (visual) EQUAL MASS VS. UNEQUAL MASS 94 of the news events. Suc- cessful news cinematography must be supplemented with good composition. Good com- position does more than make the picture visually pleas- ing. It can aid the visual narration,'it can add ex? citement and suspense to it. and it can help.create the mood necessary. The relationship of equal mass in the shot, opposed to unequal mass, is the first of several elements to be considered. A composition using unequal mass is usu— ally more exciting than one using equal mass because there is‘a conflict developed between the disproportionate negative and positive areas. This conflict becomes dynam- ic. Here are two shots of Cut to: equal mass shot a: waterfall Cut to: unequal mass shot of waterfall Cut to: (visual) EQUAL PLACEMENT vvv‘ G . 9S the same subject illustrat- ing this point. This shot of Letchworth Park's Middle Falls is not particularly exciting be- cause the river and falls areas are treated with equal importance thus dividing the viewer’s attention. When the water dominates the composition the river and falls areas become dispro- portionate producing a more exciting representation of an aspect of this park that is often called the ”Grand Canyon of the East." A similar relationship oc- ,curs when equal placement is compared to unequal place- ment. The composition using unequal placement usually is more exciting than the other. VS. UNEQUAL PLACEMENT. 0 v Cut to: equal placement shot of swan Cut to:_unequal placement. shot of swan Cut to: (visual) STRENGTH 96 When the subject is placed in the center, the composi- tion is rather blasé. The composition is too symmet- rical as the eye goes di- rectly to the subject while its setting is minimized. Theunequal placement of the subject leads the eye.around the habitation to the swan. It automatically involves~ the vieWer and keeps him in- terested. Strength is represented by this basic form. Note that the basic line is duplicated Cut to: shot of column Cut to: (visual) DIRECTIONAL ACTION Cut to: shot of cars moving around a corner Cut to: (visual) MOVEMENT "GD 97 . . . . . . . in this shot. Now that the pattern is es- tablished, the remaining elements of composition should speak for themselves. Starting with directional action, analyze the single concept expressed in the visual and try to recognize it in the following shot, with the aid of evaluation. This element is quite obvi- ous. The subject enters the composition from one direc- tion and leaves it while proceeding in another. Movement is a very common compositional element that we encounter every day. Perhaps it is traffic moving across an intersection or, Cut to: shot of horses moving across the finish line Cut to: (visual) CONFLICT Cut to: shot of park in St. Petersburg, Fla, Cut to: (visual) SERENITY 98 . . . . . in this instance, horses crossing the finish line. Conflict is a compositional element that is encountered frequently. It is seen at railroad crossings and can be identified as the pattern of crossing roads at a dan- gerous intersection. Conflict is subtly employed as a compositional element to help convey a mood in this reportage of a contro- versial beach and park area in St. Petersburg, Florida. Artists, for centuries, have employed the compositional element of serenity in cre- ating paintings of land- scapes and countryside scenes. Today, news camera- men can effectively utilize. Cut to: shot of serene Gulf beach property Cut to: (visual) GROWTH Cut to; shot showing growth- of the General Motors'building Cut to: (visual) 99 this compositional element to help tell their assigned stories. Here serenity con- tributes a visual meaning in this special report on the expanding attraction of Gulf, of Mexico beach property. Theiprogress of the twenti- eth century as well as many of the organic substanqes familiar to everyone can be characterized by this symbol of growth. This basic element is natu- ral to the filmic process as its continuity of motion lends itself to expansive interpretation.’ Note’how this is incorporated in this feature on the changing face of the city. Disorganization is difficult to pinpoint because it'varies DISORGANIZATION Cut to: shot of crowd Cut to: (visual) UNITY Cut to: shot of unity in horticulture-garden 100 from circumstance to circum- stance. Perhaps it can best be represented as many cros- sing paths, no one being more important than any other. Busy crOWd shots oftenfde- note disorganization. Unity denotes a sense of onenes 8 o This closing footage of a feature on the Michigan State University horticul- ture garden uses the circu- lar pool as a symbolic rep- resentation of the unity of the garden's visual design and the natural balance that was develOped through the film. Cut to: (visual) PEACE Cut’to: Cut-to: Cut‘to: 'shot of peace in the pre-Civil War ceme— tery Holland Tulip Festival film shot of uncompli- mentary background 101 The compositional element for peace is rooted in the death of Christ on the cross and the subsequent interpre- tations that have become in- culcated in Christian dogma. This use of the composition- al element is an easy and obvious way of establishing ‘ a mood for this pre-Civil War cemetery feature. Several of the preceding elements are included in this film of the Holland Tulip FeStival. How many can you identify? Avoidance of uncomplimentary backgrounds is also a judg- ment in composition. Note. the unflattering and dis- turbing object emerging from the speaker's head. 102 Cut to: (visual) PRINCIPLES FOR CONTINUITY Cut to: stationary subjects, they move and the camera pans with them Cut to: film of negative- example of panning Now that you have an aware- ness of the types of shots and some of the elements for effective composition, the newsfilm can be given unity and continuity by selective utilization of the following techniques. Panning is one principle, . . . and it is used to fol-_ low the actiOn of~a moying subject.. . . . . . . . . . However, caution must be exercised with this tech- nique. There is a very strong tendency for the news cameraman to let the camera do the moving, instead of the subject. As you can see, the result is disas- trous. Remember, unless you are'trying to create a spe- cial effect, let the subject do the moving and pan only Cut to: medium shot of carriage‘ cut in medium shot of carriage. cut away ‘Medium shot of carriage Cut to: a series of jump cuts of the car- riage cut away 103 to follow action or to take in a scene too wide for your lens. This continuity-principle is called a cut in . . . . . . . . . and this-principle. is called a cut away. Both are important tools used for filmic impact and visual continuity. Of prime importance to the news cam- eraman is the way they are inserted to correct for jump cuts. These occur when the camera is stopped and then started again . . . so the good news filmer shoots extra'out aways and cut ins to bridge.these.annoying jumps.v Cut to: Cut to: students exiting from class first shot of monw tage. When montage is said, start the- montage (scenes from the film). Last scene says THE END 104 Note the direction in which these students are walking. Maintaining the same screen, direction requires constant alertness on the news cam- eraman's behalf. When he slips a false reverse oo-, curs, a phenomenon that can be very jarring to the viewer. One last technique that is not used often but can be used for special effects is called the montage. music up music out. APPENDIX-B APPENDIX B TEST USED AFTER FILM VIEWING 1. Name three types of shots and why they are used in news film. a) b) e). 2. What is meant when it is stated that these shots are relative? 3. In most instances, what is considered the best way of employing "mass” in composition? 105 4. S. 106 In most instances, what is considered the best way of employing "placement" in composition? Name as many elements of composition as you can recall. wvvw—w vv ' 7 List the.elements of composition employed in the Holland Tulip Festival clip. What precaution needs to be exercised when panning? What is a jump cut? What cinematic tools are used to bridge jump cuts? 10. 11. 107 What is a montage? Please critique the film in terms of its: a) educational value in a course in television news b) clarity ' f c) ability to hold interest” 12. Was it necessary or useful to run the film both times? 108 13. Did you notice any imperfections in the film that were due to production problems? If yes, locate and describe them. ‘ APPENDIX c APPENDIX c OUTLINE OF FILM CONTENT l ELEMENTS OF TELEVISION NEWSFILMING Qualities of Television Newsfilm A.“ B. c. D. E. Integration A. B. C. D. E. F. Found to be more believable Added dimension of meaning Visual dimension affects personal reaction Viewers participate Newsfilm is best without the aid of narration of Film Elements Long shot Medium shot Closefup Medium close up Extreme close up Relativity of shots 109 110 Elements of Composition A. EQUAL MASS UNEQUAL MASS ' V EQUAL PLACEMENT UNEQUAL PLACEMENT STRENGTH 111 DIRECTIONAL ACTION MOVEMENT ' CONFLICT SERENITY GROWTH Principles A. B. C. 112 DISORGANIZATION UNITY PEACE Holland Tulip Festival Uncomplimentary background for Continuity Panning Negative panning Cut in -‘wfi 7 FW mvv fiw—v—v‘w-v WHY—V'- W . vabv—v -—W-"""-""" - — v. fl..- wwo-r-ovm 1‘ w — D. E. F. G. 113 Cut away- Jump cut Screen direction -- false reverse. Montage BIBLIOGRAPHY Atkins, James and Willette, Leo, Filming TV News and Doc- umentaries, New York, Amphoto, 1965. 3" Bush, Jack, "Picture Making," Television Newsfilm Stand-. ards Manual, New York,"TIme-Life Broidcast, 1533. CBS News, Televisign_News Reporting, New York, McGraw Hill Book Company, Inc., 958. Charnley, Mitchell V., "The American Approach," The European Broadcasting Review, 91 B, May I563, pp. 43-46. ‘ 114 . ll .llllll\..lullc’fblr!. \, “QUNDe’. . M