| Foreword |
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xxi | |
| Preface |
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xxvii | |
| Acknowledgments |
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xxxi | |
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Chapter 1 Visual Storytelling: In What Ways Do We Think About Visual Storytelling Every Day? |
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1 | (32) |
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1 | (2) |
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The Evolution of Visual Storytelling |
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3 | (1) |
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The Resurgence of Visual Image-Making |
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4 | (1) |
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Socially Networked Image-Making |
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5 | (2) |
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7 | (1) |
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Tips for Identifying Moments |
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8 | (1) |
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Exercise: Getting Familiar with Moments |
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8 | (1) |
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9 | (1) |
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Shooting Visual Imagery for a Reason |
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10 | (7) |
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Exercise: Getting Familiar with the Action of Photography |
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17 | (2) |
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19 | (1) |
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Evan Vucci, Chief Photographer, The Associated Press, Washington, D.C. |
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19 | (1) |
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Framing the Image for Stills and Video |
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20 | (1) |
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A Mantra for Seeing Within the Frame |
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21 | (4) |
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25 | (1) |
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Exercise: Photographic Composition |
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25 | (1) |
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26 | (1) |
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The Language of Photographs |
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26 | (3) |
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Exercise: Four Categories of Pictures |
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29 | (1) |
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30 | (1) |
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30 | (1) |
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31 | (1) |
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31 | (2) |
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Chapter 2 Story Structure: How Do You Tell a Story to Be Made Into a Film? |
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33 | (32) |
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33 | (1) |
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Narrative Storytelling in Fiction and Nonfiction |
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34 | (1) |
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How Fiction and Nonfiction Storytelling Overlap |
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35 | (1) |
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35 | (1) |
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35 | (2) |
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37 | (2) |
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Exercise: Story Arc Worksheet |
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39 | (1) |
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An Introduction to the Three-Act Structure |
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39 | (1) |
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40 | (1) |
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Example: Basic Three-Act Structure |
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40 | (1) |
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41 | (1) |
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42 | (1) |
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42 | (1) |
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43 | (1) |
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43 | (3) |
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Act II Inciting Incidents |
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46 | (1) |
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Examples of Inciting Incidents |
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47 | (1) |
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48 | (1) |
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The Surprise or Turning Point |
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48 | (1) |
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Examples of Climaxes in Films |
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49 | (1) |
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49 | (1) |
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50 | (1) |
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50 | (2) |
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Exercise: The Hero's Journey |
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52 | (1) |
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52 | (2) |
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How Fiction and Nonfiction Differ |
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54 | (1) |
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55 | (1) |
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Exercise: Report vs. Story |
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56 | (1) |
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The Fusion of Fiction and Nonfiction |
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57 | (1) |
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57 | (1) |
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Evelio Contreras, Video Producer, CNN Digital |
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57 | (1) |
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58 | (1) |
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Sam Mettler, Executive Producer, A&E's Intervention |
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58 | (2) |
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The Five-Act Structure of A&E's Intervention |
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60 | (1) |
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61 | (1) |
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62 | (1) |
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62 | (1) |
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62 | (1) |
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62 | (1) |
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63 | (1) |
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64 | (1) |
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Chapter 3 The Visual Storyteller's Tool Box: What Kinds of Equipment Are Needed for Gathering Multimedia Content? |
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65 | (56) |
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65 | (1) |
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The Multimedia Camera Kit |
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66 | (1) |
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Multimedia Camera Kit Checklist |
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66 | (1) |
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66 | (7) |
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73 | (1) |
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73 | (6) |
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79 | (3) |
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82 | (2) |
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Choosing a Digital Photo Editor |
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84 | (1) |
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Photo Editing Software Choices |
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84 | (4) |
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88 | (1) |
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88 | (1) |
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88 | (2) |
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Exercise: Test Your Shutter Speed |
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90 | (1) |
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91 | (1) |
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Exercise: Test Your Aperture |
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91 | (1) |
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92 | (1) |
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92 | (1) |
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93 | (1) |
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94 | (1) |
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95 | (1) |
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95 | (1) |
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96 | (1) |
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96 | (1) |
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97 | (2) |
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99 | (1) |
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99 | (2) |
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101 | (1) |
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101 | (1) |
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102 | (1) |
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103 | (1) |
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Microphones: The Basic Audio-Gathering Tool |
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104 | (1) |
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Omni-Directional Microphone |
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105 | (1) |
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105 | (1) |
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105 | (1) |
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105 | (1) |
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105 | (2) |
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107 | (1) |
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107 | (1) |
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HDSLR-Specific Microphones |
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107 | (1) |
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108 | (6) |
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Some Tips for Common Audio Level Settings |
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114 | (1) |
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114 | (1) |
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115 | (1) |
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116 | (1) |
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Exercise: Still-Photo Exposures |
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116 | (1) |
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Exercise: Visual Scavenger Hunt in Video |
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117 | (1) |
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117 | (2) |
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119 | (2) |
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Chapter 4 The Internet and Social Media: How Are the Internet and Social Media Affecting Visual Storytelling? |
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121 | (48) |
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121 | (1) |
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Social Media and Messaging |
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122 | (1) |
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Deploying the Story on the Social Network |
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123 | (1) |
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Facebook and Social Networking |
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124 | (1) |
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125 | (1) |
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126 | (1) |
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Exercise: Tracking Twitter |
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127 | (1) |
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127 | (1) |
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128 | (1) |
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129 | (1) |
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129 | (1) |
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130 | (1) |
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130 | (1) |
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Social Media Content Strategies |
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130 | (1) |
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131 | (1) |
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Social Media in Journalism |
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132 | (2) |
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134 | (1) |
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Matt Gelb, Senior MLB Writer at The Athletic @mattgelb: The Athletic, Philadelphia, PA |
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134 | (1) |
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Stories and the Viral Nature |
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135 | (1) |
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136 | (1) |
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Infographics in Social Media |
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137 | (4) |
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Exercise: Basic Infographic |
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141 | (1) |
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Developing a Digital Content Strategy |
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141 | (1) |
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141 | (2) |
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Tools to Make a Digital Product |
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143 | (1) |
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The Importance of Planning |
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143 | (1) |
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144 | (1) |
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144 | (1) |
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Joseph Weber, News Editorjustthenews.com Washington, D.C. |
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144 | (2) |
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Better Storytelling Through User-Centered Design |
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146 | (1) |
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147 | (2) |
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149 | (1) |
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149 | (1) |
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Exercise: Make a Site Map Diagram |
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149 | (1) |
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150 | (2) |
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152 | (3) |
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Exercise: Draw a Wireframe |
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155 | (1) |
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155 | (1) |
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Jeff Passetti, Web Designer and Developer, S.I. Newhouse School of Public Communications |
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155 | (2) |
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157 | (8) |
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165 | (1) |
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165 | (1) |
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166 | (1) |
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167 | (2) |
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Chapter 5 The Building Blocks of Visual Storytelling: How Are Visual Images Created and Combined Logically to Tell a Coherent Story with a Beginning, Middle, and End? |
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169 | (26) |
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169 | (1) |
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170 | (1) |
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170 | (3) |
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173 | (1) |
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173 | (4) |
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177 | (1) |
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177 | (1) |
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The Rugged, Wearable Mounted Camera |
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177 | (2) |
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Five GoPro Tips from Eric Seals |
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179 | (5) |
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Exercise: Sequencing a Visual Story |
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184 | (1) |
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185 | (1) |
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Acronyms to Keep in Mind While Shooting |
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185 | (1) |
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186 | (2) |
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Exercise: Movement in Video |
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188 | (1) |
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189 | (1) |
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189 | (1) |
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190 | (1) |
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190 | (1) |
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191 | (1) |
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191 | (2) |
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193 | (2) |
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Chapter 6 Editing a Video in Post-Production: Why Do Motion Pictures and News Videos Utilize Specific Editing Techniques? |
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195 | (40) |
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195 | (1) |
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196 | (2) |
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198 | (1) |
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Debra Weinfeld, Editor, Los Angeles, CA |
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198 | (2) |
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200 | (1) |
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200 | (2) |
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Parallel Editing/Cross-Cutting |
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202 | (1) |
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202 | (1) |
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202 | (1) |
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203 | (2) |
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205 | (1) |
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206 | (1) |
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206 | (1) |
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206 | (1) |
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207 | (1) |
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207 | (1) |
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Shawn Montano, Video Editor and Hansen Professional in Residence in the Journalism and Media Studies program at the College of Humanities and Socia Sciences at the University of Northern Colorado |
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207 | (2) |
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The Different Types of Cuts |
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209 | (1) |
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209 | (1) |
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209 | (2) |
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211 | (1) |
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212 | (1) |
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213 | (1) |
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213 | (1) |
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213 | (1) |
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Techniques and Ideas to Record Sound Effects |
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214 | (2) |
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216 | (1) |
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Post-Production Sound Sweetening Tips |
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217 | (1) |
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217 | (2) |
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219 | (1) |
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Royalty-Free Music and Sound Effects |
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220 | (1) |
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Licensed Music and Sound Effects |
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221 | (1) |
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221 | (1) |
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Jon Menell, Video Editor, Los Angeles, CA |
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221 | (2) |
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Video-Editing Software Choices |
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223 | (1) |
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Final Cut Pro and Final Cut X |
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223 | (1) |
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224 | (1) |
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225 | (1) |
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225 | (1) |
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225 | (2) |
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Does the Story that I Want to Tell Have All the Elements I Need? |
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227 | (3) |
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230 | (1) |
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230 | (1) |
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230 | (1) |
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231 | (2) |
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233 | (2) |
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Chapter 7 Multimedia Storytelling in Entertainment: How Do You Write a Script and Tell a Story Visually Within a Designed Reality? |
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235 | (42) |
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235 | (1) |
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Story Basics for Short Films |
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236 | (1) |
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237 | (1) |
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Where to Find Fiction-Based Story Ideas |
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238 | (1) |
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239 | (1) |
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240 | (1) |
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Organizing and Pitching an Idea |
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241 | (1) |
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241 | (1) |
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242 | (1) |
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242 | (1) |
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243 | (1) |
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243 | (1) |
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243 | (1) |
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243 | (1) |
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243 | (1) |
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243 | (1) |
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243 | (1) |
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243 | (1) |
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243 | (1) |
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244 | (1) |
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244 | (1) |
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Exercise: Writer's Synopsis |
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245 | (1) |
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245 | (2) |
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247 | (1) |
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247 | (1) |
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248 | (1) |
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249 | (1) |
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250 | (1) |
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250 | (5) |
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Exercise: Draw a Storyboard for a Simple Fairy Tale |
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255 | (1) |
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Collaborating to Shoot a Scene |
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255 | (1) |
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255 | (1) |
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256 | (1) |
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256 | (1) |
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256 | (1) |
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256 | (1) |
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Creating the Look, Feel, and Setting for a Scripted Movie |
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257 | (1) |
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257 | (1) |
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257 | (1) |
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257 | (1) |
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258 | (1) |
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258 | (1) |
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Collaboration on a Film Set |
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258 | (1) |
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Working as a Team on a Student Film Project |
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259 | (1) |
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260 | (3) |
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263 | (1) |
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263 | (1) |
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264 | (1) |
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264 | (1) |
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265 | (1) |
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265 | (1) |
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266 | (1) |
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266 | (1) |
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Filming a Fictional Story |
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266 | (1) |
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Breaking Down the Shots: Date Night at the Metro Grill |
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267 | (5) |
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272 | (1) |
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272 | (1) |
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273 | (1) |
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273 | (2) |
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275 | (2) |
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Chapter 8 Multimedia Storytelling in Journalism: How Can Multimedia Storytelling Be Used to Tell True-Life Stories? |
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277 | (72) |
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277 | (1) |
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278 | (1) |
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News-Driven Multimedia Reporting and Storytelling |
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278 | (2) |
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280 | (1) |
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Profile-Driven Storytelling |
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280 | (1) |
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Character-Driven Dramatic Storytelling |
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281 | (3) |
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284 | (2) |
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286 | (1) |
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Information/Data-Driven Stories |
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287 | (3) |
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290 | (1) |
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Editing an Interview Track |
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291 | (1) |
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Rob Rosenthal's Tips for Recording Good Audio |
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292 | (1) |
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Before the First Question |
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292 | (3) |
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295 | (1) |
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296 | (3) |
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Exercise: Ambient and Natural Sounds |
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299 | (1) |
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299 | (1) |
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300 | (1) |
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Justin O'Neill, Senior Producer, Smithsonian Institution Sidedoor Podcast |
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300 | (2) |
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302 | (1) |
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Camera Setup and Lighting for Interviews |
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302 | (2) |
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304 | (1) |
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305 | (1) |
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306 | (1) |
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307 | (1) |
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308 | (1) |
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Nonfiction: Shoot to Edit |
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308 | (1) |
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Determine Story Structure |
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309 | (2) |
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311 | (1) |
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Draw the Story Arc and Determine Plot Points |
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312 | (2) |
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314 | (1) |
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Lisa Fenn, Freelance Producer |
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314 | (2) |
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Writing a Video Story for Broadcast on TV and Digital Platforms |
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316 | (1) |
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Basic Broadcast News Writing |
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317 | (1) |
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Scripting Basics for Broadcast News |
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318 | (1) |
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Basic Broadcast Story Package Formula |
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319 | (1) |
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Writing a TV Script to Be Read Aloud |
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320 | (1) |
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Finding Your Broadcast Voice |
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321 | (2) |
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Exercise: Pick Apart a Broadcast Piece |
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323 | (1) |
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Covering a News Assignment |
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323 | (2) |
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Exercise: Storyboard a Broadcast Piece |
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325 | (1) |
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Newspaper Journalism's Use of Video Outside of Print |
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326 | (2) |
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328 | (1) |
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329 | (1) |
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Exercise: Shooting a Stand-Up |
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330 | (1) |
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330 | (1) |
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Outdoor Stand-Up and Interview |
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330 | (1) |
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Make Sure to Do the Following |
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330 | (1) |
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331 | (1) |
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332 | (1) |
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332 | (2) |
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334 | (1) |
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Short Documentary Films Online |
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334 | (1) |
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The Web Series and Online Channels |
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335 | (2) |
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Ethical Considerations in Journalism |
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337 | (1) |
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338 | (1) |
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339 | (1) |
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Digital Manipulation of Photographs |
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340 | (1) |
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Getting Permission to Film |
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340 | (1) |
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Example of a Talent Release |
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341 | (1) |
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Specific Codes of Journalistic Ethics |
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341 | (1) |
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The National Press Photographers Association |
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341 | (1) |
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342 | (1) |
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342 | (1) |
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342 | (1) |
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343 | (1) |
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344 | (1) |
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Exercises: "Everyday Hero" Character-Driven Story |
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344 | (1) |
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344 | (1) |
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344 | (1) |
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345 | (1) |
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346 | (3) |
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Chapter 9 Multimedia Storytelling in Strategic Communications: What Makes an Effective Strategy to Push a Brand Visually on Multiple Platforms? |
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349 | (52) |
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349 | (1) |
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350 | (1) |
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Storytelling in Strategic Communications |
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350 | (1) |
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Brand Marketing Through Advertising and Public Relations |
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351 | (1) |
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Communications Strategies |
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352 | (1) |
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Multimedia Press Releases |
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352 | (2) |
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Corporate Storytelling Through Video |
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354 | (3) |
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357 | (1) |
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Jesse Dearing, Cinematographer, Director of Photography and Film Editor |
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357 | (1) |
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Advocacy Through Visual Storytelling |
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358 | (5) |
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363 | (1) |
|
Bob Pickard, Principal of Signal Leadership Communication Inc. in Toronto, a boutique c-suite advisory consultancy focused on executive communications |
|
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363 | (2) |
|
Corporate Social Media Efforts |
|
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365 | (1) |
|
Digital Content Strategy in Sports |
|
|
365 | (1) |
|
|
|
365 | (1) |
|
Nick Tony, Managing Editor, NFL Social |
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365 | (2) |
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Digital Content Strategy in Corporate PR |
|
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367 | (1) |
|
Digital Content Strategy in University PR |
|
|
368 | (1) |
|
|
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369 | (1) |
|
Dan Sloan, Senior Staff, Nissan Global Media Center, Yokohama, Japan |
|
|
369 | (3) |
|
Persuasive Storytelling for Nonprofits |
|
|
372 | (1) |
|
What Is a Nonprofit Organization? |
|
|
372 | (1) |
|
Nonprofits and Social Media |
|
|
373 | (2) |
|
Exercise: Partner Messaging |
|
|
375 | (1) |
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Advertising That Serves the Public Interest |
|
|
375 | (5) |
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|
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380 | (1) |
|
Larry Swiader, Chief Digital Officer for American Battlefield Trust, Washington, D.C. |
|
|
380 | (1) |
|
Before the Story Comes the Goal |
|
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381 | (1) |
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382 | (2) |
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384 | (1) |
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|
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385 | (1) |
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|
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386 | (1) |
|
What Does a Treatment Consist Of? |
|
|
387 | (2) |
|
Exercise: Director's Treatment |
|
|
389 | (1) |
|
Genres and Story Types of Commercials and PSAs |
|
|
389 | (2) |
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|
391 | (3) |
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|
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394 | (1) |
|
Jason Wertheimer, Director of Marketing Operations and Customer Operations at Browne Musser, San Francisco, CA |
|
|
394 | (1) |
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|
395 | (1) |
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|
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396 | (1) |
|
Exercise: Build a Digital Strategic Campaign |
|
|
396 | (1) |
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|
397 | (1) |
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398 | (3) |
|
Chapter 10 Visual Storytelling With Mobile Devices: How Do You Use a Mobile Device to Tell High-Quality Visual Stories Using Your Personal Phone's Camera? |
|
|
401 | (46) |
|
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|
401 | (1) |
|
Which Mobile Tools Do We Use to Tell Stories Using Visual Storytelling Techniques? |
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|
402 | (1) |
|
The Mobile Phone as a Visual Communications Platform |
|
|
402 | (1) |
|
Better Capabilities for Visual Storytelling with Mobile Devices |
|
|
402 | (1) |
|
Mobile Phone Hardware and Technology |
|
|
403 | (1) |
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|
404 | (1) |
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405 | (1) |
|
Shooting Your Story on a Mobile Device |
|
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405 | (1) |
|
Applications for Both iOS and Android for Filmmaking |
|
|
406 | (5) |
|
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411 | (1) |
|
Al Drago, Freelance Photojoumalist, Washington, D.C. |
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411 | (3) |
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414 | (5) |
|
Add-On Technology for Mobile Storytelling |
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419 | (3) |
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422 | (2) |
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424 | (1) |
|
Storage for Mobile Phones |
|
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425 | (1) |
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|
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425 | (3) |
|
Basic Mobile Phone Video Gear Kit |
|
|
428 | (2) |
|
Techniques for Better Mobile Storytelling |
|
|
430 | (1) |
|
Transfer Visual Assets from an iOS Phone |
|
|
430 | (1) |
|
Transfer Visual Assets from an Android Phone |
|
|
430 | (1) |
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|
431 | (1) |
|
"The Best Years of a Life" |
|
|
431 | (1) |
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431 | (1) |
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431 | (1) |
|
Remote Collaborative Video Tools |
|
|
432 | (1) |
|
Recording Live Video Over a Video Streaming Service |
|
|
433 | (1) |
|
|
|
434 | (1) |
|
|
|
434 | (1) |
|
|
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435 | (1) |
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|
|
435 | (2) |
|
|
|
437 | (1) |
|
|
|
437 | (1) |
|
|
|
438 | (1) |
|
Andrew Arthur Breese, Multimedia Producer, U.S. Marshals Service |
|
|
438 | (1) |
|
Tips for Better Remote Video Interviews |
|
|
439 | (1) |
|
Video Conferencing Lighting |
|
|
440 | (1) |
|
Video Conferencing Composition |
|
|
440 | (1) |
|
Video Conferencing Webcams |
|
|
441 | (1) |
|
Video Conferencing Video File Quality |
|
|
441 | (1) |
|
Automated Transcription Tools |
|
|
442 | (1) |
|
|
|
442 | (1) |
|
Josh Davis, Assistant Professor, Department of Journalism, San Francisco State University (SFSU) |
|
|
442 | (2) |
|
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|
444 | (1) |
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|
444 | (1) |
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444 | (1) |
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|
|
444 | (1) |
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|
445 | (2) |
|
Chapter 11 Visual Innovation and Storytelling: What Innovative Tools and Platforms Do We Use to Tell and View New Forms of Visual Stories? |
|
|
447 | (48) |
|
|
|
447 | (1) |
|
Innovative Visual Storytelling Formats and Platforms |
|
|
447 | (1) |
|
How Technology Has Changed the Way Visual Storytelling Is Gathered |
|
|
448 | (1) |
|
|
|
449 | (1) |
|
Understanding the Need to Change |
|
|
450 | (1) |
|
|
|
450 | (1) |
|
|
|
451 | (1) |
|
Zoeann Murphy, Video Journalist at The Washington Post |
|
|
451 | (3) |
|
|
|
454 | (1) |
|
|
|
454 | (1) |
|
|
|
454 | (1) |
|
VR Is Also Used in Design and Architecture |
|
|
455 | (1) |
|
The Virtual Reality Experience |
|
|
456 | (2) |
|
|
|
458 | (1) |
|
|
|
458 | (1) |
|
VR's Ethical Considerations |
|
|
459 | (1) |
|
VR Technical Capabilities |
|
|
459 | (1) |
|
|
|
460 | (1) |
|
|
|
461 | (1) |
|
Animation in 360-Degree Films |
|
|
461 | (1) |
|
|
|
462 | (1) |
|
|
|
463 | (1) |
|
Origins of Augmented Reality |
|
|
464 | (1) |
|
|
|
464 | (2) |
|
|
|
466 | (1) |
|
Renee Stevens, Associate Professor, Visual Communications at the S.I. Newhouse School of Public Communications |
|
|
466 | (1) |
|
The New York Times David Bowie Augmented Reality Experience |
|
|
467 | (1) |
|
USA Today and Augmented Reality |
|
|
468 | (1) |
|
|
|
468 | (1) |
|
|
|
469 | (1) |
|
|
|
470 | (1) |
|
Other Uses of Augmented Reality |
|
|
470 | (1) |
|
Virtual Reality in Branded Storytelling |
|
|
471 | (1) |
|
|
|
472 | (1) |
|
|
|
473 | (1) |
|
|
|
473 | (1) |
|
|
|
473 | (2) |
|
Capabilities in Storytelling of 360-Degree VR Cameras and Tools |
|
|
475 | (1) |
|
|
|
476 | (1) |
|
Editing 360 VR in Adobe Premiere |
|
|
477 | (1) |
|
Editing 360VR in Apple Final Cut Pro |
|
|
477 | (1) |
|
Distribution and Viewing of 360 Video |
|
|
477 | (3) |
|
Alternate Use of VR With Virtual Post-Production |
|
|
480 | (1) |
|
|
|
480 | (1) |
|
|
|
481 | (1) |
|
|
|
481 | (1) |
|
|
|
481 | (1) |
|
|
|
482 | (1) |
|
Subject Movement and Single Shot |
|
|
482 | (1) |
|
|
|
482 | (4) |
|
Tripods and Monopods for 360-Degree Cameras |
|
|
486 | (1) |
|
360-Degree Microphones and Audio |
|
|
486 | (1) |
|
|
|
487 | (1) |
|
Sennheiser AMBEO VR 3D Microphone |
|
|
488 | (1) |
|
Distribution of Immersive Experiences |
|
|
489 | (1) |
|
|
|
490 | (1) |
|
|
|
490 | (1) |
|
|
|
491 | (1) |
|
|
|
491 | (1) |
|
|
|
492 | (1) |
|
|
|
492 | (1) |
|
|
|
492 | (1) |
|
|
|
493 | (1) |
|
|
|
493 | (1) |
|
|
|
494 | (1) |
|
|
|
494 | (1) |
|
|
|
494 | (1) |
| Sources |
|
495 | (4) |
| Index |
|
499 | |
