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On camera presentation : (Record no. 6495)

MARC details
000 -LEADER
fixed length control field	17951nam a2200241Ia 4500
003 - CONTROL NUMBER IDENTIFIER
control field	HCC
005 - DATE AND TIME OF LATEST TRANSACTION
control field	20250113213944.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field	131128s2006 ne a 001 0 eng d
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number	9780240808093
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number	0240808096
040 ## - CATALOGING SOURCE
Transcribing agency	HCC
082 ## - DEWEY DECIMAL CLASSIFICATION NUMBER
Classification number	070.195 REA
100 1# - MAIN ENTRY--PERSONAL NAME
Personal name	Reardon, Nancy.
245 10 - TITLE STATEMENT
Title	On camera presentation :
Remainder of title	how to report, anchor & interview /
Statement of responsibility, etc	Nancy Reardon with Tom Flynn.
260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT)
Place of publication, distribution, etc	Amsterdam :
Name of publisher, distributor, etc	Focal Press,
Date of publication, distribution, etc	c2006.
300 ## - PHYSICAL DESCRIPTION
Extent	xxviii, 355 p. :
Other physical details	ill. ;
Dimensions	22 cm. +
Accompanying material	1 CD-ROM (4 3/4 in.)
500 ## - GENERAL NOTE
General note	Includes index.
505 ## - FORMATTED CONTENTS NOTE
Formatted contents note	Table of Contents<br/><br/>Acknowledgments xxiii<br/>Introduction xxv<br/>Writers' Biographies xxvii<br/>1 On Camera 1 (4)<br/>Interviewing 5 (38)<br/> 2 Interviewing 7 (28)<br/> Prepare 8 (3)<br/> Communicate 11 (1)<br/> Listen 12 (2)<br/> To Pre-Interview or Not to Pre-Interview? 14 (1)<br/> Be Polite 15 (2)<br/> Hard News Interviews 17 (1)<br/> Soft News Interviews 17 (3)<br/> The All-Important First Question 20 (1)<br/> The Shape of an Interview 21 (1)<br/> Time is of the Essence 22 (1)<br/> Answers that are Toooo Long 22 (1)<br/> Questions that are Toooo Long 23 (1)<br/> Yes or No Questions 24 (1)<br/> Anecdotes and Stories 25 (1)<br/> Have more Questions than You Think You Will 26 (1)<br/> Need<br/> Where Do You Look When You are Interviewing? 27 (1)<br/> Your Voice 28 (1)<br/> Whose Interview is it Anyway? 28 (1)<br/> The End of the Interview 29 (1)<br/> The Difference Maker 29 (1)<br/> Checklist 30 (1)<br/> Are there any Exercises I can Use? 30 (1)<br/> Exercise for Interview Variety 31 (1)<br/> Exercise for Questions 31 (1)<br/> Exercise for Listening 31 (1)<br/> Exercise for Flexibility 32 (1)<br/> One Last Exercise 32 (2)<br/> Practice, Practice, Practice 34 (1)<br/> 3 The Interviewee 35 (8)<br/> Know How You Appear 35 (1)<br/> Prepare 36 (2)<br/> Nerves 38 (1)<br/> Monotone = Boring 38 (1)<br/> Know Your Audience 39 (2)<br/> Have a Good Time 41 (1)<br/> Checklist 41 (2)<br/>On-Camera Reporting 43 (70)<br/> 4 Gathering the Facts 45 (16)<br/> Nancy's Accident Story 45 (1)<br/> It's Television. Get Video. 46 (1)<br/> See It. Shoot It 47 (1)<br/> Establish the Scene 48 (1)<br/> Cut-Aways, Reverses and Jump Cuts 48 (1)<br/> Jump Cuts 49 (2)<br/> Reverse Questions 51 (1)<br/> More Tricks of the Trade 52 (1)<br/> How to Start Your Taped On-Scene Interviews 52 (2)<br/> Live Interviews for On-Camera Reporters 54 (6)<br/> Checklist 60 (1)<br/> 5 Writing the Script 61 (22)<br/> Nancy's Class Fire Story 61 (1)<br/> On-Camera Field Interviews 62 (3)<br/> Let's Write the Script and Make a Package 65 (3)<br/> This is a Visual Medium 68 (1)<br/> Pace 68 (2)<br/> Language is a Tool 70 (6)<br/> Hard News/Light News 76 (1)<br/> Use of "We" Versus "You" in Your Script 76 (1)<br/> Reporting from the War Front 77 (1)<br/> Fat Head Advice 78 (1)<br/> Finding Your Stories and Developing Your 79 (1)<br/> Sources<br/> Conclusion to Writing the Script 80 (1)<br/> Checklist 81 (2)<br/> 6 Presenting the Report on Camera 83 (30)<br/> Studio Lead or Studio Throw 83 (1)<br/> The Open 84 (1)<br/> Beware of the Same Copy 84 (1)<br/> The Package 85 (1)<br/> Stand-Ups 85 (1)<br/> Be Creative But... 86 (2)<br/> Wallpaper 88 (1)<br/> Bridges 88 (1)<br/> Graphics 89 (1)<br/> File Tape 90 (1)<br/> The Close 90 (1)<br/> The Tag 91 (1)<br/> The Sign Off 91 (1)<br/> Q and A 92 (1)<br/> Reporter's Notes and Notebooks 92 (3)<br/> Microphone Position 95 (2)<br/> Where Do I Look? 97 (1)<br/> It's All in How You Ask the Question 97 (3)<br/> Intention 100 (1)<br/> Some Final Notes for On-Camera Reporter 101 (1)<br/> Interviews<br/> The Five Ws and the Dreaded H 101 (1)<br/> One Question at a Time 102 (1)<br/> Think of Your Priorities 103 (1)<br/> You are Going Live 103 (1)<br/> Stay Calm in a Crisis 104 (1)<br/> Don't Give Up 105 (1)<br/> Substitutions 105 (2)<br/> Crowd Control 107 (1)<br/> How do You Handle Disagreements with Your 107 (1)<br/> Boss?<br/> Conclusion 108 (1)<br/> Checklist 109 (1)<br/> Reporting Exercises 109 (4)<br/>Beat Reporting 113 (106)<br/> 7 Sports Reporting 115 (6)<br/> You're Still a Reporter 118 (1)<br/> Breaking In 119 (2)<br/> 8 Weather Reporting 121 (14)<br/> Watch the Over-Hype 122 (4)<br/> Trust Yourself 126 (1)<br/> Be Fast on Your Feet 126 (1)<br/> Details 126 (2)<br/> Airtime 128 (2)<br/> Signature 130 (1)<br/> Geography 130 (1)<br/> Weather-Speak 131 (1)<br/> Getting it Wrong is Not a Mistake 131 (1)<br/> Don't Hide Your Inner Ethic 132 (3)<br/> 9 Medical Reporting 135 (10)<br/> Do I Need To Be a Doctor? 135 (2)<br/> You Need to Know Both TV and Science 137 (1)<br/> TMI 138 (1)<br/> Don't Worry 139 (1)<br/> Legalities and Permissions 140 (2)<br/> Getting Started 142 (1)<br/> Where the Stories Are 143 (1)<br/> Sum Up 144 (1)<br/> 10 Legal Reporting 145 (10)<br/> Skills for a Legal Reporter 148 (3)<br/> Advice for Students 151 (1)<br/> Listen Up, You Idiot! 152 (3)<br/> 11 Entertainment Reporting 155 (6)<br/> Are You the One for MTV? 157 (1)<br/> Making a Reel for MTV 158 (1)<br/> The Question Everyone Asks 159 (2)<br/> 12 Business Reporting 161 (10)<br/> Skills 161 (2)<br/> Voice 163 (1)<br/> Looks 164 (1)<br/> Airtime 165 (2)<br/> Light News Stories in Business 167 (1)<br/> Traps 167 (1)<br/> Get Them to Talk to You 168 (1)<br/> Getting Started 169 (2)<br/> 13 Anchoring I 171 (18)<br/> Anchoring is a Craft 172 (1)<br/> Credibility is the Bedrock of the Anchor 172 (2)<br/> Who are You? 174 (1)<br/> Anchor Qualities and Skills 174 (1)<br/> Pace 174 (1)<br/> Other Things to Know About an Anchor's Read 175 (1)<br/> How Much Can I Move? 176 (1)<br/> Connections 176 (2)<br/> Try Substitution 178 (1)<br/> Voice and Read 178 (1)<br/> Subtext and Intentions 179 (1)<br/> Segue 180 (1)<br/> Hey! Relax! 181 (1)<br/> Anchor Jack (and Jill for that Matter) are 182 (1)<br/> Dull<br/> Don't forget Reporting and Interviewing 183 (1)<br/> Skills<br/> Be Honest ... But Not Hard on Yourself 184 (1)<br/> In Indiana, It's Pronounced "Pee-Roo" 184 (1)<br/> Trust Me, They Love You 185 (1)<br/> Checklist 186 (1)<br/> Ad-Libbing Exercise 186 (3)<br/> 14 Anchoring II 189 (18)<br/> The TelePrompTer 189 (2)<br/> The Hard Copy 191 (2)<br/> Headlines and Opens 193 (1)<br/> Teases and Bumpers 194 (2)<br/> What is a Bumper? 196 (1)<br/> The Update 197 (1)<br/> Close 197 (1)<br/> Double Anchoring 198 (1)<br/> Contrast is the Name of the Game 199 (1)<br/> Light News 200 (1)<br/> Smile if the Story is Light News 201 (1)<br/> Smile When You Can 201 (1)<br/> The Morning Shows 201 (1)<br/> Point of View or Proper Attitude? 201 (2)<br/> Nancy's Bedtime Story 203 (1)<br/> Checklist 204 (1)<br/> Exercise for Subtext and Intentions 204 (3)<br/> 15 Hosting 207 (12)<br/> Bea Type 210 (1)<br/> Age Range 211 (1)<br/> What About Smart? What About Funny? 211 (1)<br/> Should I Get an Agent? 212 (1)<br/> How to Get There 212 (2)<br/> How Should I Handle a Curve Ball? 214 (1)<br/> Host with Grace 215 (1)<br/> Opens and Closes 216 (1)<br/> Checklist 217 (1)<br/> Exercises for Opens and Closes for Hosting 217 (2)<br/>Vocal and Physical Technique 219 (82)<br/> 16 The Voice Itself 221 (30)<br/> Know Your Flaws 222 (1)<br/> Is this You? 223 (1)<br/> Breathing 224 (1)<br/> Tension 225 (1)<br/> Exercises 226 (23)<br/> A Closing Thought 249 (1)<br/> Checklist 250 (1)<br/> 17 Techniques for a Good Reading 251 (26)<br/> Punctuation for TV Scripts 252 (1)<br/> Tape and Ape 253 (1)<br/> Reading but Not Sounding that Way 254 (1)<br/> Mark Your Script 255 (1)<br/> How to Sound Great and Natural 256 (1)<br/> Question and Answer Exercise 257 (1)<br/> Loosen Up 257 (1)<br/> Try Paraphrasing 258 (1)<br/> Monotone Millie 258 (1)<br/> You are Not an Announcer 259 (1)<br/> Talk to One Person 259 (1)<br/> Five Keys to a Great Reading 259 (8)<br/> Giving a Level 267 (1)<br/> Time and Timing Are Important 268 (1)<br/> Don't Make Paper Noises 268 (1)<br/> Exercises for a Great Read 269 (6)<br/> Checklist 275 (2)<br/> 18 Physical Techniques 277 (6)<br/> On-Camera Movement 277 (1)<br/> Distractions 278 (1)<br/> Smiling with Teeth and Eyes 279 (1)<br/> Frolicking Eyebrows and Frowning 280 (1)<br/> Spreading Your Mouth Too Wide When Reading 280 (1)<br/> Summing Up 281 (1)<br/> Checklist 281 (2)<br/> 19 Looking Good 283 (18)<br/> Make-Up! 283 (2)<br/> For Women 285 (1)<br/> What About Make-Up for Men? 286 (1)<br/> Some Tricks 287 (1)<br/> Lipstick 288 (1)<br/> Make-Up for Young and Old 288 (1)<br/> Make-Up and Hair for Ethnic Skin Tones 289 (1)<br/> Do Black Women Have to Straighten their 289 (1)<br/> Hair?<br/> What About Make-Up for Asian Women? 290 (1)<br/> Make-Up for Entertainment Reporters 290 (1)<br/> Tips for Men 290 (1)<br/> Tips for Women 291 (1)<br/> So Where Do You Get Your Make-Up? 291 (1)<br/> Television Make-Up Products 292 (1)<br/> Hair Counts 292 (2)<br/> Hair Spray 294 (1)<br/> Eyes 294 (1)<br/> Teeth 295 (1)<br/> Clothes Make the Anchor 295 (2)<br/> Bejeweled? Be Careful 297 (1)<br/> It's You, It's Your Responsibility 298 (1)<br/> Where To Go 299 (2)<br/>Getting the Job 301 (16)<br/> 20 Preparing Your Reel 303 (14)<br/> Advice from the Trenches 303 (1)<br/> So How Do I Make a Good Reel? 303 (2)<br/> What Goes on Your Reel? 305 (1)<br/> What Does Not Go on Your Reel? 305 (2)<br/> Story Lines for the Reel 307 (1)<br/> Should I Use a Famous Person in the Package 307 (1)<br/> on My Reel?<br/> What if My Story Isn't Mine But I have to 308 (1)<br/> Have Something on a Reel?<br/> What About Production Houses that Provide 309 (1)<br/> Package Help?<br/> What Makes a Reel Jump Out? 310 (1)<br/> How Important is an Agent? 311 (1)<br/> What About Looks? 311 (2)<br/> To School or Not to School? What About 313 (1)<br/> Education?<br/> Does it Matter Which School? 313 (1)<br/> What About Writing Skills? 313 (1)<br/> What Experience Does Joe Look For? 314 (1)<br/> What's the Key Thing I Should Worry About 314 (1)<br/> on My Reel?<br/> More Stuff from Joe 315 (2)<br/>A Few Words to Grow By... 317 (26)<br/> 21 How to Land A Job in Television 321 (22)<br/> Your First Tape 323 (2)<br/> What to Include on Your Second Tape and 325 (1)<br/> Beyond<br/> Format 326 (4)<br/> Other Considerations 330 (1)<br/> Table of Contents 331 (1)<br/> The Follow-Up Tape 331 (1)<br/> What Do Others Think? 332 (1)<br/> Okay, the Tape is Done, but now What? 333 (6)<br/> Once You Get a Job 339 (4)<br/>Epilogue 343 (2)<br/>Index 345<br/>
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element	Television broadcasting of news
General subdivision	Vocational guidance.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name as entry element	Interviewing on television
General subdivision	Vocational guidance.
700 1# - ADDED ENTRY--PERSONAL NAME
Personal name	Flynn, Tom.
942 ## - ADDED ENTRY ELEMENTS (KOHA)
Koha item type	Books
Source of classification or shelving scheme	Dewey Decimal Classification

Holdings
Withdrawn status	Lost status	Source of classification or shelving scheme	Damaged status	Not for loan	Collection code	Home library	Current library	Shelving location	Date acquired	Source of acquisition	Cost, normal purchase price	Total Checkouts	Total Renewals	Full call number	Barcode	Date last seen	Date checked out	Copy number	Price effective from	Koha item type
		Dewey Decimal Classification			Non-fiction	HCUC LIBRARY - ENGLISH COLLECTION	HCUC LIBRARY - ENGLISH COLLECTION	Open Shelf	12/04/2013	MPH - 118001014	161.80	4	3	070.195 REA	06153	02/04/2018	02/04/2018	1	03/12/2013	Books

On camera presentation : (Record no. 6495)

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