A/v Newsgathering Midterm

Front 1

Types of Microphones

Back 1

Boom,Handheld, Lavaliere, Wireless

Front 2

Microphone Pick-up Patterns

Back 2

Omnidirectional, Bidirectional, Cardiod, Hypercardiod

Front 3

Six C's of A/V Newsgathering

Back 3

Clear, Concise, Conversational, Complete, Current, Correct

Front 4

Libel

Back 4

Malicious defamation: the presentation of
of false statements (words, photos,
pictures or symbols) of fact that harm
another's reputation

Front 5

Slander

Back 5

Verbal statements or gestures

Front 6

Invasion of Property

Back 6

any act of intrusion that
occurs without an individual’s consent, including
trespass and publication of embarrassing facts,
even if true.

Front 7

Shield Laws

Back 7

Protect reporters’ notes, outtakes,
and sources

Front 8

Sunshine Laws

Back 8

Protects rights of journalists to
access public records

Front 9

Ethics

Back 9

Philosophy of what is right and
acceptable behavior

Front 10

Teleological

Back 10

When actions are judged
ethical based upon their consequences

Front 11

Deontological

Back 11

When actions are judged
ethical based upon how well they
conform to some set of duties

Front 12

RTNDA Code of Ethics

Back 12

Professional electronic journalists
should:
•  operate as trustees of the public,
•  seek the truth,
•  report it fairly, with integrity and
independence,
•  and stand accountable for their actions.

Front 13

NPPA Code of Ethics

Back 13

•  Photojournalists operate as trustees of
the public.
•  Our primary goal is the faithful and comprehensive depiction of the subject at hand.

Front 14

Visual Narrative

Back 14

Enables the field reporter to break
action into smaller parts which arethen reconstructed with continuity

Front 15

The Shot

Back 15

A single, continuous take. Average shot is 4.5 seconds.

Front 16

Basic Shots

Back 16

Long Shot, Medium Shot, Close Up

Front 17

Establishing Shot

Back 17

introduces the story, usually a long shot establishing a place, sets the tone of what's to come

Front 18

Cutaway

Back 18

Provides essential visual detail to the story

Front 19

Reaction Shot

Back 19

Short shot, usually close up, of people
reacting to the action, often used as a
cutaway

Front 20

Reverse Angle Shots

Back 20

Shows the action from
the opposite perspective
•  Used in dialogue shots

Front 21

Subjective Camera

Back 21

participant's point of view

Front 22

Objective Camera

Back 22

perspective of observer on the sidelines

Front 23

Camera Movement

Back 23

camera should record motion, not create it

use camera movement sparingly

Front 24

Pan

Back 24

Camera is swiveled to show an overall scene

Front 25

Moving Shot

Back 25

Camera is swiveled to follow the action, used in sports

Front 26

Basic Shots

Back 26

Long Shot, Medium Shot, Close Up

Front 27

Establishing Shot

Back 27

introduces the story, usually a long shot establishing a place, sets the tone of what's to come

Front 28

Cutaway

Back 28

Provides essential visual detail to the story

Front 29

Reaction Shot

Back 29

Short shot, usually close up, of people
reacting to the action, often used as a
cutaway

Front 30

Reverse Angle Shots

Back 30

Shows the action from
the opposite perspective
•  Used in dialogue shots

Front 31

Subjective Camera

Back 31

participant's point of view

Front 32

Objective Camera

Back 32

perspective of observer on the sidelines

Front 33

Camera Movement

Back 33

camera should record motion, not create it

use camera movement sparingly

Front 34

Pan

Back 34

Camera is swiveled to show an overall scene

Front 35

Moving Shot

Back 35

Camera is swiveled to follow the action, used in sports

Front 36

3 Point Lighting

Back 36

Key, Fill, Backlight

Front 37

Pudovkin Montage

Back 37

Montage creates
meaning through the
relationship of
elements in sequential
frames

Front 38

Eisenstein Montage

Back 38

Montage creates
meaning through the
collision of elements in
sequential frames

Front 39

Cut

Back 39

Basic act in editing

Front 40

Cutting at rest

Back 40

Cutting between two shots
where the action is paused

Front 41

Into frame/ out of frame

Back 41

Combining
two shots where the subject is about to leave
one frame, then has just entered in another

Front 42

L-cut or soft cut

Back 42

Audio from first shot
overlaps second, or vice-versa

Front 43

Jump Cut

Back 43

Combining two shots where the
action jumps unnaturally forward or
backwards in time. Continuity is visibly broken

Front 44

Rule of Thirds

Back 44

The screen is divided
into 9 equal sections,
with the action
positioned at one of
the intersections of the
lines