Television Broadcasting Tutorial 15

HOW TO FRAME AND COMPOSE A SHOT & 10 TIPS ABOUT VOX POPS

Among the first things every aspiring self-shooter has to understand is how to frame and compose a shot. It’s at the heart of making engaging television and video, including vox pops, one of the first things a self-shooter will be asked to produce in a TV newsroom. This tutorial offers advice on skills that have to be mastered early on by broadcast journalists.

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Television Broadcasting Tutorial 14

10 THINGS YOU NEED TO KNOW ABOUT INVESTIGATIVE JOURNALISM

This tutorial outlines the wide range of skills and knowledge required to be a successful investigative journalist, an area of reporting that is changing. Advances in digital technology offer new ways to gather important information, creating fresh challenges and opportunities for investigative journalists.

Some of the principles discussed below are as old as journalism itself, while others reflect a new digital age of investigative reporting. But before we start, a simple question: What is investigative journalism? Basically, an investigative journalist seeks to uncover the truth, exposing corruption along the way. At its core is the heroic and idealistic notion of good overcoming evil and brave journalists going into battle waving the ‘sword of truth’.

The reality, of course, is much less glamorous and involves painstaking and meticulous research, numerous dead ends and hour upon hour of meeting sources and checking facts. But there is nothing more rewarding than a newspaper report or TV documentary that makes a genuine difference and improves people’s lives. That’s the ultimate aim of an investigative journalist.

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Television Broadcasting Tutorial 13

10 THINGS EVERY SELF-SHOOTING DIRECTOR OR BROADCAST JOURNALIST MUST KNOW

This tutorial looks at technical aspects of camerawork that programme-makers need to understand if they are to successfully record their own professional television content. The technical detail may differ depending on the video camera being used, but the core principles are the same for most situations when filming.

In this case, the detail is specific to students who use a Sony V1 camera and a Manfrotto 501HDV tripod. These pieces of equipment will be referred to directly in this tutorial.

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Television Broadcasting Tutorial 12

THE OFCOM CODE AND COMMERCIAL REFERENCES IN TV & RADIO

This tutorial follows on from Tutorial 11 and completes our look at the Ofcom Code, which regulates commercial television and radio.  So far, we have looked at elements of the code that offer guidance on how to protect under-18s from adult content, and avoid harm and offence to viewers. We’ve also seen how programme-makers should be fair to contributors and protect their privacy.

Next, we discuss guidance offered to broadcasters about the tricky issue of commercial references in television and radio programmes (e.g. product placement and programme sponsorship). This detail is found in sections nine and ten of the code and ensures editorial independence and the transparency of commercial arrangements.

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Television Broadcasting Tutorial 11

10 THINGS EVERY TV BROADCASTER MUST KNOW

And they are… wait for it…

…the 10 Sections of the OFCOM CODE

 (not exactly glamorous, I know… but absolutely vital all the same)

Every broadcast professional – from television news journalist to producer of a sports magazine show – should know about the detail of the Ofcom Code. It’s the set of rules that governs the way commercial broadcasters operate in the UK. When it comes to factual programming for instance, the code states that commercial broadcasters must be impartial when covering politics and social issues, must be accurate, treat people fairly, respect privacy, avoid causing harm and offence and ensure that under-18s are protected from harmful material.

The code also contains guidance that applies to commercial references in television programmes including product placement, sponsorship, advertiser-funded programming and competitions. This information is becoming increasingly important as different business models are used to fund the making of programmes on commercial channels. Broadcasters of these kind of programmes must maintain editorial independence and clearly understand where the boundaries lie.

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