Copyright Goodheart-Willcox Co., Inc. Chapter Sixteen Visual and Multimedia Storytelling 501 • Cut back to the player, who fi nishes the interview by saying, “I just feel a little sorry for our driver!” • Cut to shot of driver looking into bus’ rearview mirror and laughing. Audio of interview with driver begins. • Cut to driver interview (with driver sitting in bus seat, but bus is parked and empty). • Cut away to b-roll of driver on the full bus, interactions with players. • Cut to interview with coach. • Cut away to b-roll of the coach interacting with players on the bus. Interview with the coach continues as coach talks about how the rituals affect their game mentality. • Cut to b-roll of the coach interacting with players on the sideline of a game. • Cut back to players singing on the bus after the game as the reporter narrates the ending. • Cut to a motion sequence of players exiting and walking away from the bus. This is just one of thousands of sequences a reporter could create, but in this example, the story begins and ends with the bus because the ritual—singing before games—happens on the bus. Production: Working with Video Production: Working with Video Nearly everything you have learned about shooting photographs— lighting, leading lines, framing, grounds, angle, rule of thirds—applies to composing video as well. Yet beyond that, videographers must also capture motion and collect audio as well. The following concepts will help you to do this successfully. Why Make Lists? Video stories involve risk. If a reporter who is writing a story misses a key scene or moment, she can ask someone who was present to describe it and then recreate the scene using quotes from the witnesses. A broadcast journalist who misses that moment, though, has no second chance. It is unethical to ask participants to recreate the original moment. That is why planning during pre-production, and especially lists, are essential. Your staff should develop a series of checklists to use for all video journalists, but especially for new ones who are heading out into the field for the first time. An equipment checklist may keep them from forgetting batteries or the headphones they need to monitor audio. A basic shot checklist will ensure that they do not come back from an assignment without establishing shots of each location or without detail shots for the b-roll to use to hide jump cuts.