Shooting a Sequence

An essential as creating a beautiful dress from a pattern with the requisite tracing, cutting, pinning, sewing and ironing the “five-shot formula” is equally elemental. Called “your bread and butter coverage” by Kenneth Kobre in Chapter 10: Shooting a Sequence (Videojournalism Multimedia Storytelling) it includes: “Wide Shot (WS), Medium Shot (MS), Close-up Shot (CU), Point-of-View (POV) and Reaction Shot (RS).” To truly rise above amateur status to professional and concoct a lovely multi-layered story it’s necessary to opt for “five shots” over a lengthy monotonous one of an image.

Wide Shot (WS) and Medium Shot (MS)

Examined individually the “Wide Shot (WS),” sometimes known as the “long or establishing shot” is utilized for determining the location for a “sequence or overall story.” It indicates story placement and individual positioning. For the majority of the “action” and plot the “Medium Shot (MS)” is used. Similar to an editorial lede, with an inverted pyramid of “Who, What, When, Where, Why and How,” it gives the audience an opportunity to examine the physical clues and facial gestures of the players.

Close-up Shot (CU), Point-of-View Shot (POV) and Reaction Shot (RS)

“Close-up shots (CU)” introduce “drama” because they reveal a detailed examination of a subject without the interference of traditional barriers. Another type of “Close-up”, the “detail” or “cutaway shot” also acts as a diversion for the audience before the ensuing introduction of the following shot. “Point-of-view (POV) Shots” allow the audience to actually observe through the eyes of the “subject” by positioning directly within their line of vision.

In Chapter 10: Shooting a Sequence (Videojournalism Multimedia Storytelling) Kobre uses the example of “how a canvas appears to the painter’s eye after he dabs oils onto it.” Lastly, the “Reaction Shot (RS)” displays the response when an amusing, or exciting commentary or event occurs. Sometimes combined “with a Close-up” it performs as a compliment to the action following it.

Visual storytelling, a “narrative” that utilizes photos, drawings, and video to relay a story, is unique when compared to the oral and literary forms of storytelling because of the enhancement of graphic design, musical accompaniment, and speech. It primarily uses the language of external sight, in lieu of words, and translates the page and our daily existence, into images that’re equally unforgettable.

What is Video Editing?

Fall 2018 Bottega Veneta Ad Campaign Model: Fran Summers

Video Editing is the visual process of creating a coherent story from individual images. Kenneth Kobre in Videojournalism Multimedia Storytelling compares it to “penning “an essay” where the preliminary words are organized to form the final result.” The main goal is to present a cohesive succession of events that logically make sense to the viewer once everything is in place.

Technically this can be done on, Adobe Premiere Pro, by “first accumulating a group of complimentary shots to depict an action and imported.” Next, they are placed in the Timeline to form a sequence. To make a professional looking video, that isn’t composed of one long continuous shot, various ones are consistently added when necessary.

Bottega Veneta’s Fall/Winter 2018 Ad Campaign:

The three short films director Fabien Baron shot for Bottega Veneta’s Fall/
Winter 2018 campaign, Intuition, Blackout and Doubles are an excellent example of good editing. By utilizing the moody setting, selective product placement and appropriate players effectively the combination of “wide, medium, close-up, point-of-view, and reaction shots” are used competently enough to make the stories emotionally and intellectually compelling for the audience. So in conclusion, from these examples, you can surmise that Video Editing relies on the strength of its separate parts to relay its ultimate meaning cohesively.