Editing & Reporting for News Broadcast
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Deconstructing the Editorial and Production Workflow
Deconstructing the Editorial and Production Workflow Bill Kasdorf Vice President, Apex Content Solutions General Editor, The Columbia Guide to Digital Publishing Metadata Subgroup Lead, EPUB 3.0 & 3.0.1 WG Chair, BISG Content Structure Committee We all know what the stages of the editorial and production workflow are. Design. Copyediting. Typesetting. Artwork. Indexing. Quality Control. Ebook Creation. Ummm. They’re usually done in silos. Which are hard to see into, and are starting to break down. Thinking of these stages in the traditional way leads to suboptimization. In today’s digital ecosystem we need to deconstruct them in order to optimize: Who does what? At what stage(s) of the workflow? How to best manage the process? Who Does What? Do it in-house? Outsource it? Automate it? You can’t answer these questions properly without deconstructing the categories. And the answers differ from publisher to publisher. At What Stage(s) of the Workflow? How do these aspects intersect? How do you avoid duplication and rework? How do you get out of “loopy QC”? Getting the right things right upstream eliminates a lot of headaches downstream. How Best to Manage the Process? Balancing predictability and creativity: where to be strict, and where to be flexible? How can systems and standards help? Buy vs. build vs. wing it? Your systems, partners, and processes should make it easy for you to do the right work and keep you from doing the wrong work. Let’s deconstruct two key workflow stages to see what options there are for optimizing them. Copyediting -
A Producer's Handbook
DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice. -
“Authentic” News: Voices, Forms, and Strategies in Presenting Television News
International Journal of Communication 10(2016), 4239–4257 1932–8036/20160005 Doing “Authentic” News: Voices, Forms, and Strategies in Presenting Television News DEBING FENG1 Jiangxi University of Finance and Economics, China Unlike print news that is static and mainly composed of written text, television news is dynamic and needs to be delivered with diversified presentational modes and forms. Drawing upon Bakhtin’s heteroglossia and Goffman’s production format of talk, this article examined the presentational forms and strategies deployed in BBC News at Ten and CCTV’s News Simulcast. It showed that the employment of different presentational elements and forms in the two programs reflects two contrasting types of news discourse. The discourse of BBC News tends to present different, and even confrontational, voices with diversified presentational forms, such as direct mode of address and “fresh talk,” thus likely to accentuate the authenticity of the news. The other type of discourse (i.e., CCTV News) seems to prefer monologic news presentation and prioritize studio-based, scripted news reading, such as on-camera address or voice- overs, and it thus creates a single authoritative voice that is likely to undermine the truth of the news. Keywords: authenticity, mode of address, presentational elements, voice, television news The discourse of television news has been widely studied within the linguistic world. Early in the 1970s, researchers in the field of critical linguistics (CL; e.g., Fowler, 1991; Fowler, Hodge, Kress, & Trew, 1979; Hodge & Kress, 1993) paid great attention to the ideological meaning of news by drawing upon a kit of linguistic tools such as modality, transitivity, and transformation. -
Guidelines on Communications Strategies for the Transition from Analogue to Digital Terrestrial Broadcasting
2014-2017 Guidelines ITU-D Study Group 1 Question 8/1 International Telecommunication Union Telecommunication Development Bureau Guidelines on Place des Nations CH-1211 Geneva 20 Communications Switzerland www.itu.int Strategies for the Transition from Analogue to Digital Terrestrial Broadcasting 6th Study Period 2014-2017 EXAMINATION OF STRATEGIES AND METHODS OF MIGRATION FROM ANALOGUE TO DIGITAL TERRESTRIAL BROADCASTING AND IMPLEMENTATION OF NEW SERVICES OF NEW AND IMPLEMENTATION BROADCASTING TERRESTRIAL DIGITAL TO ANALOGUE FROM AND METHODS OF MIGRATION OF STRATEGIES EXAMINATION ISBN 978-92-61-24801-7 QUESTION 8/1: QUESTION 9 7 8 9 2 6 1 2 4 8 0 1 7 Printed in Switzerland Geneva, 2017 07/2017 International Telecommunication Union (ITU) Telecommunication Development Bureau (BDT) Office of the Director Place des Nations CH-1211 Geneva 20 – Switzerland Email: [email protected] Tel.: +41 22 730 5035/5435 Fax: +41 22 730 5484 Deputy to the Director and Infrastructure Enabling Innovation and Partnership Project Support and Knowledge Director,Administration and Environmnent and Department (IP) Management Department (PKM) Operations Coordination e-Applications Department (IEE) Department (DDR) Email: [email protected] Email: [email protected] Email: [email protected] Email: [email protected] Tel.: +41 22 730 5784 Tel.: +41 22 730 5421 Tel.: +41 22 730 5900 Tel.: +41 22 730 5447 Fax: +41 22 730 5484 Fax: +41 22 730 5484 Fax: +41 22 730 5484 Fax: +41 22 730 5484 Africa Ethiopia Cameroon Senegal Zimbabwe International Telecommunication Union internationale des Union internationale des International Telecommunication Union (ITU) télécommunications (UIT) télécommunications (UIT) Union (ITU) Regional Office Bureau de zone Bureau de zone Area Office P.O. -
The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film. -
Freeze Frame by Lydia Rypcinski 8 Victoria Tahmizian Bowling and Other [email protected] Fun at 45 Below Zero
THE WORLD'S ONLY MAGAZINE DEVOTED EXCLUSIVELY TO THE BUSINESS OF BOWLING CONTENTS VOL 18.1 PUBLISHER & EDITOR Scott Frager [email protected] Skype: scottfrager 6 20 MANAGING EDITOR THE ISSUE AT HAND COVER STORY Fred Groh More than business Positively negative [email protected] Take a close look. You want out-of-the-box OFFICE MANAGER This is a brand new IBI. marketing? You want Tom Patty Heath By Scott Frager Clark. How his tactics at [email protected] PBA are changing the CONTRIBUTORS way the media, the public 8 Gregory Keer and the players look Lydia Rypcinski COMPASS POINTS at bowling. ADMINISTRATIVE ASSISTANT Freeze frame By Lydia Rypcinski 8 Victoria Tahmizian Bowling and other [email protected] fun at 45 below zero. By Gregory Keer 28 ART DIRECTION & PRODUCTION THE LIGHTER SIDE Designworks www.dzynwrx.com A feather in your 13 (818) 735-9424 cap–er, lane PORTFOLIO Feather bowling’s the FOUNDER Allen Crown (1933-2002) What was your first game where the balls job, Cathy DeSocio? aren’t really balls, there are no bowling shoes, 13245 Riverside Dr., Suite 501 Sherman Oaks, CA 91423 and the lanes aren’t even 13 (818) 789-2695(BOWL) flat. But people come What was your first Fax (818) 789-2812 from miles around, pay $40 job, John LaSpina? [email protected] an hour, and book weeks in advance. www.BowlingIndustry.com 14 HOTLINE: 888-424-2695 What Bowling 32 Means to Me THE GRAPEVINE SUBSCRIPTION RATES: One copy of Two bowling International Bowling Industry is sent free to A tattoo league? every bowling center, independently owned buddies who built a lane 20 Go ahead and laugh but pro shop and collegiate bowling center in of their own when their the U.S., and every military bowling center it’s a nice chunk of and pro shop worldwide. -
The Producing Process 3
03-Schultz.qxd 6/29/2004 12:34 PM Page 37 The Producing Process 3 y now, you have a pretty good idea of what a producer does to get B a newscast on the air. So far, we have only talked about these duties in the abstract sense. It is now time to take a closer look at the step-by-step process of putting a show together. Story Ideas and News Value A newscast starts with a series of story ideas, which are nothing more than potential ideas that could eventually end up in the show. Story ideas come from a variety of sources, and the good producer will often come to work with several story ideas already formulated. These may come from other media, be follow-ups from stories done the previous day, or be a consequence of personal observation (see Table 3.1 for examples). Producers like their reporters to come to work with story ideas, and reporters should have some concrete suggestions for stories, even if these ideas never pan out. Too many reporters show up with the expectation that producers will have a story already assigned to them. This can waste a lot of precious news time as reporters scramble to try and set up a story or contact news sources. Producers and reporters will suggest their story ideas at the editorial meeting, where they and the news director will discuss events going on in the area. The purpose of the meeting is to consider all possible story ideas and narrow them down to a list of stories that will go in the newscast. -
Edward R. Murrow
ABOUT AMERICA EDWARD R. MURROW JOURNALISM AT ITS BEST TABLE OF CONTENTS Edward R. Murrow: A Life.............................................................1 Freedom’s Watchdog: The Press in the U.S.....................................4 Murrow: Founder of American Broadcast Journalism....................7 Harnessing “New” Media for Quality Reporting .........................10 “See It Now”: Murrow vs. McCarthy ...........................................13 Murrow’s Legacy ..........................................................................16 Bibliography..................................................................................17 Photo Credits: University of Maryland; right, Digital Front cover: © CBS News Archive Collections and Archives, Tufts University. Page 1: CBS, Inc., AP/WWP. 12: Joe Barrentine, AP/WWP. 2: top left & right, Digital Collections and Archives, 13: Digital Collections and Archives, Tufts University; bottom, AP/WWP. Tufts University. 4: Louis Lanzano, AP/WWP. 14: top, Time Life Pictures/Getty Images; 5 : left, North Wind Picture Archives; bottom, AP/WWP. right, Tim Roske, AP/WWP. 7: Digital Collections and Archives, Tufts University. Executive Editor: George Clack 8: top left, U.S. Information Agency, AP/WWP; Managing Editor: Mildred Solá Neely right, AP/WWP; bottom left, Digital Collections Art Director/Design: Min-Chih Yao and Archives, Tufts University. Contributing editors: Chris Larson, 10: Digital Collections and Archives, Tufts Chandley McDonald University. Photo Research: Ann Monroe Jacobs 11: left, Library of American Broadcasting, Reference Specialist: Anita N. Green 1 EDWARD R. MURROW: A LIFE By MARK BETKA n a cool September evening somewhere Oin America in 1940, a family gathers around a vacuum- tube radio. As someone adjusts the tuning knob, a distinct and serious voice cuts through the airwaves: “This … is London.” And so begins a riveting first- hand account of the infamous “London Blitz,” the wholesale bombing of that city by the German air force in World War II. -
“Canned History”: American Newsreels and The
“Canned History”: American Newsreels and the Commodification of Reality, 1927-1945 By Joseph E.J. Clark B.A., University of British Columbia, 1999 M.A., University of British Columbia, 2001 M.A., Brown University, 2004 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of American Civilization at Brown University Providence, Rhode Island May, 2011 © Copyright 2010, by Joseph E.J. Clark This dissertation by Joseph E.J. Clark is accepted in its present form by the Department of American Civilization as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date:____________ _________________________________ Professor Susan Smulyan, Co-director Date:____________ _________________________________ Professor Philip Rosen, Co-director Recommended to the Graduate Council Date:____________ _________________________________ Professor Lynne Joyrich, Reader Approved by the Graduate Council Date:____________ _________________________________ Dean Peter Weber, Dean of the Graduate School iii Curriculum Vitae Joseph E.J. Clark Date of Birth: July 30, 1975 Place of Birth: Beverley, United Kingdom Education: Ph.D. American Civilization, Brown University, 2011 Master of Arts, American Civilization, Brown University, 2004 Master of Arts, History, University of British Columbia, 2001 Bachelor of Arts, University of British Columbia, 1999 Teaching Experience: Sessional Instructor, Department of Gender, Sexuality, and Women’s Studies, Simon Fraser University, Spring 2010 Sessional Instructor, Department of History, Simon Fraser University, Fall 2008 Sessional Instructor, Department of Theatre, Film, and Creative Writing, University of British Columbia, Spring 2008 Teaching Fellow, Department of American Civilization, Brown University, 2006 Teaching Assistant, Brown University, 2003-2004 Publications: “Double Vision: World War II, Racial Uplift, and the All-American Newsreel’s Pedagogical Address,” in Charles Acland and Haidee Wasson, eds. -
Reporting Techniques & Skills
Edited with the trial version of Foxit Advanced PDF Editor To remove this notice, visit: www.foxitsoftware.com/shopping Reporting Techniques & Skills Study Material for Students 1 Edited with the trial version of Foxit Advanced PDF Editor To remove this notice, visit: www.foxitsoftware.com/shopping Reporting Techniques & Skills CAREER OPPORTUNITIES IN MEDIA WORLD Mass communication and Journalism is institutionalized and source specific. It functions through well-organized professionals and has an ever increasing interlace. Mass media has a global availability and it has converted the whole world in to a global village. A qualified journalism professional can take up a job of educating, entertaining, informing, persuading, interpreting, and guiding. Working in print media offers the opportunities to be a news reporter, news presenter, an editor, a feature writer, a photojournalist, etc. Electronic media offers great opportunities of being a news reporter, news editor, newsreader, programme host, interviewer, cameraman, producer, director, etc. Other titles of Mass Communication and Journalism professionals are script writer, production assistant, technical director, floor manager, lighting director, scenic director, coordinator, creative director, advertiser, media planner, media consultant, public relation officer, counselor, front office executive, event manager and others. 2 Edited with the trial version of Foxit Advanced PDF Editor To remove this notice, visit: www.foxitsoftware.com/shopping : Reporting Techniques & Skills INTRODUCTION The book deals with techniques of reporting. The students will learn the skills of gathering news and reporter’s art of writing the news. The book explains the basic formula of writing the news and the kinds of leads. Students will also learn different types of reporting and the importance of clarity and accuracy in writing news. -
MARGARET KAMINSKI 2354 Ewing Street, Los Angeles, CA 90039 646.207.8652 • [email protected]
MARGARET KAMINSKI 2354 Ewing Street, Los Angeles, CA 90039 646.207.8652 • [email protected] EXPERIENCE Nickelodeon, Los Angeles, CA 2016 – Present Writer, NiCkelodeon Kids’ ChoiCe Awards (2019) Writer, NiCkelodeon Kids’ ChoiCe Sports Awards (2018) Writer, NiCkelodeon Kids’ ChoiCe Awards (2018) Writers’ Assistant, Nickelodeon Kids’ Choice Awards (2017) Writers’ Assistant, NiCkelodeon Kids’ ChoiCe SPorts Awards (2017) Writers’ Assistant, NiCkelodeon Kids’ ChoiCe SPorts Awards (2016) Above Average Productions, Los Angeles, CA January 2018 – Present Freelance Writer Live From WZRD, Warner Media/VRV, Los Angeles, CA November 2018 – MarCh 2019 Staff Writer Scholastic’s Choices Magazine, New York, New York Video Producer, Story Editor MarCh 2018 – Present Freelance Writer February 2015 – Present Assistant Editor, Managing Editor of Teaching Resources May 2012 – February 2015 SKOOGLE Pilot (All That Reboot), PoCket.WatCh, Los Angeles, CA April 2018 – August 2018 Contributing Writer (punch-up) E! Live from the Red Carpet, Los Angeles, CA August 2017 – November 2018 August 2017 – Present Writer The 2018 PeoPle’s ChoiCe Awards The 2018 Primetime Emmy Awards The 2017 Primetime Emmy Awards The 2017 AmeriCan MusiC Awards The 2018 Golden Globes The 2018 SCreen ACtors Guild Awards The 2018 Grammy Awards MTV Movie + TV Awards Pre-Show, Los Angeles, CA May 2018 – June 2018 Writer PotterCon/Wizard U., National/Touring July 2012 – January 2018 Executive Producer Fallen For You: Pilot, Los Angeles, CA DeCember 2016 Writers’ Assistant Collier.Simon, Los Angeles, CA February 2016 – Present Freelance Writer Masthead Media, New York, NY SePtember 2015 – February 2016 Freelance Writer PMK•BNC (Vowel), New York, NY MarCh 2015 – SePtember 2015 Freelance Writer EDUCATION Barnard College, Columbia University, B.A. -
Rec Center Gets a Makeover Dordt Instructor Challenges Steve King for Congress Concert Choir Tour: Ain't No Sickness Can Hold
Dordt NISO Dordt Changes media concert theatre to DCC truck Piano in ACTF Dreamer page 3 page 3 page 4 page 8 January 31, 2019 Issue 1 Follow us online Concert Choir tour: ain’t no sickness can hold them down Haemi Kim -- Staff Writer could incorporate this beautiful language into our piece. I loved the excitement on people’s During winter break, Dordt College Concert faces in the audience—or fear among the high Choir and its conductor Ryan Smit went on a schoolers—when we did this song and I had tour, sharing their talents to many different people at almost every stop come up to me audiences. It was a week-long tour going afterwards and thank me for it.” around Iowa, Wisconsin, Illinois, and Indiana. Even though the choir tour was a blast to Many of the choir students enjoyed being on many of the choir members, this year, the tour because it was an opportunity to meet other stomach flu spread within the choir, affecting choir members and build relationships with around 14 students, and even the conductor other choir members. during their last concert before coming back. “It’s a unique opportunity to get to know the Because of this, TeBrake and Seaman stepped other choir members outside of the choir room,” up to conduct the last concert, each taking half said senior soprano Kourtney TeBrake. of the performance. “Before tour, you recognize people in the As music education majors, it wasn’t their first choir, maybe know their names, but when you time conducting for a choir.