(4) A chronological treatment.
b. The thread of continuity should keep your program cohesive with the
basic organization we have already discussed.
4.
Principles of video script writing.
The message that the visual
information media sends reaches the brain of the viewer two ways - through
the eyes and through the ears. It is important that we understand the rules
behind successful scriptwriting for the audio and the video portions of our
final script. We will start with video; what the viewer sees.
5.
The importance of "high visual" (rapid change in visuals). A picture
on a television screen can hold the attention of a student for 20 seconds.
By this we mean the same picture, unchanging, a "still visual," if you will.
It is very important you have a high number of visuals in your script. At
the very least you should have eight visual changes in any one minute. You
should average at least one visual change every seven seconds. Obviously,
it would be difficult to make this many changes in a slide program.
a. The question in your mind now should be: "What constitutes a change
in visuals?" The following is a listing of the five things that constitute a
change in visuals;
(1) The introduction of motion in still visual.
(2) "Freezing" a motion visual.
(3) A change in camera angle or movement.
(4) The introduction or elimination of color.
(5) The addition of some new object or person into the picture.
b. One of these five things happens about every three seconds in
commercially-produced programs.
A television commercial often has as many
as 60 visuals per minute, and as many as 113 visuals have been seen in a 60-
second commercial. This rapid change in visuals is called "high visuals."
Excellent educational television is always characterized by a high number of
visuals.
Learning Event 2:
IDENTIFY CAMERA ANGLES
1.
A change in camera angle or movement is a change in visuals.
In a
slide presentation the graphics work will create a change in visuals. All
these changes can be visualized through the "eyes of the camera." Study the
photographs in Figure 2-1, pages 17-22, showing the various types of camera
angles and movements.
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