Portable Video, Fifth Edition: ENG & EFP by Norman Medoff, Edward J. Fink

By Norman Medoff, Edward J. Fink

Transportable Video: ENG and EFP, 5th variation specializes in the thoughts and know-how of unmarried digital camera digital information amassing and digital box construction. protecting every thing from easy inventive and technical enhancing concepts to budgets and copyright concerns, it really is obtainable to the house videomaker or novice and to the pro looking details at the most recent advances in strategy and gear. * contains certain specialize in television information creation and box construction * appropriate for whole newcomers

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Because the events are under more control than in the first situation, your shooting can be more controlled. Look for a Variety of Shots Look for a good opening wide shot, and try to stay wide for most of the action shots. Because things are not moving as quickly, you have the time to look for medium shots and, above all, close-ups. With the zoom lens, you can pursue the tight shots of faces that really tell the stories of the individuals involved, without fear of losing other elements of the story.

Mix-Minus The more common form of IFB is a separate off-air audio feed called mix-minus. This feed is from the on-air audio board with the audio from the remote or live shot taken out or subtracted. Talent can be annoyed by their own voices coming back in their ears while they are talking. Because of the time delays involved in the signal transmission, particularly with a two-second satellite delay, the talent hear their voices as strange echoes. A mix-minus feed is usually patched into a telephone line or a two-way radio.

The ultimate success or failure to balance these two concerns rides on the location of the live van at the scene. If the news photographer can anticipate the situation on arrival and know whether any particular parking spot will allow for a signal to be set up, then the story can be shown live or recorded from the same location. The ideal situation is to set up where you can see the event or disaster area and leave the camera on the tripod rolling while you set up the signal and run the cables.

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