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Electronic news-gathering (ENG) is when reporters and editors make use of electronic video and audio technologies in order to gather and present news.ENG can involve anything from a single reporter with a single professional video camera, to an entire television crew taking a truck on location. This term was coined during the rise of videotape technology in the 1970s. This term was commonly used in the television news in the 1980s and '90s, but is used less frequently now, as the technology has become commonplace.
A journalist is a person who collects, writes, or distributes news or other current information to the public. A journalist's work is called journalism. A journalist can work with general issues or specialize in certain issues. However, most journalists tend to specialize, and by cooperating with other journalists, produce journals that span many topics. For example, a sports journalist covers news within the world of sports, but this journalist may be a part of a newspaper that covers many different topics.
Electronics comprises the physics, engineering, technology and applications that deal with the emission, flow and control of electrons in vacuum and matter. The identification of the electron in 1897, along with the invention of the vacuum tube, which could amplify and rectify small electrical signals, inaugurated the field of electronics and the electron age.
The vehicle on which the electronic equipment is fitted it is called DSNG (digital satellite news gathering).
The term ENG was created as television news departments moved from film-based news-gathering to electronic field production technology in the 1970s. Since film requires chemical processing before it can be viewed and edited, it generally took at least an hour from the time the film arrived back at the television station or network news department until it was ready to be broadcast. Film Editing was done by hand on what was known as "color reversal" film, usually Kodak Ektachrome, meaning there were no negatives. Color reversal film had replaced black-and-white film as television itself evolved from black-and-white to color broadcasting. Filmo cameras were most commonly used for silent filming, while Auricon cameras were used for filming with synchronized sound. Since editing required cutting the film into segments and then splicing them together, a common problem was film breaking during the newscast. News stories were often transferred to bulky 2-inch videotape for distribution and playback, which made the content cumbersome to access.
Electronic field production (EFP) is a television industry term referring to a video production which takes place in the field, outside of a formal television studio, in a practical location or special venue. Zettl defines EFP as using "both ENG and studio techniques. From ENG it borrows its mobility and flexiblity; from the studio it borrows its production care and quality control. EFP takes place on location and has to adapt to the location conditions... Good lighting and audio are always difficult to achieve in EFP, regardless of whether you are outdoors or indoors. Compared to ENG, in which you simply respond to a situation, EFP needs careful planning."
Complementary colors are pairs of colors which, when combined or mixed, cancel each other out by producing a grayscale color like white or black. When placed next to each other, they create the strongest contrast for those two colors. Complementary colors may also be called "opposite colors."
Ektachrome is a brand name owned by Kodak for a range of transparency, still, and motion picture films previously available in many formats, including 35 mm and sheet sizes to 11×14 inch size. Ektachrome has a distinctive look that became familiar to many readers of National Geographic, which used it extensively for color photographs for decades in settings where Kodachrome was too slow. Ektachrome is able to take photos at shutter speeds of 1/10,000 of a second without filters.
Film remained important in daily news operations until the late 1960s, when news outlets adopted portable professional video cameras, portable recorders, wireless microphones and joined those with various microwave- and satellite truck-linked delivery systems. By the mid-1980s, film had all but disappeared from use in television journalism.
A wireless microphone, or cordless microphone, is a microphone without a physical cable connecting it directly to the sound recording or amplifying equipment with which it is associated. Also known as a radio microphone, it has a small, battery-powered radio transmitter in the microphone body, which transmits the audio signal from the microphone by radio waves to a nearby receiver unit, which recovers the audio. The other audio equipment is connected to the receiver unit by cable. In one type the transmitter is contained within the handheld microphone body. In another type, called a "lavalier microphone" or "lav", a small microphone clipped to the user's lapel is connected by wire to a transmitter unit concealed under his clothes. In a third type the transmitter is a headset, with a microphone on a boom extending in front of the user's mouth. Wireless microphones are widely used in the entertainment industry, television broadcasting, and public speaking to allow public speakers, interviewers, performers, and entertainers to move about freely while using a microphone without requiring a cable attached to the microphone.
Microwave transmission is the transmission of information by microwave radio waves. Although an experimental 40-mile (64 km) microwave telecommunication link across the English Channel was demonstrated in 1931, the development of radar in World War II provided the technology for practical exploitation of microwave communication. In the 1950s, large transcontinental microwave relay networks, consisting of chains of repeater stations linked by line-of-sight beams of microwaves were built in Europe and America to relay long distance telephone traffic and television programs between cities. Communication satellites which transferred data between ground stations by microwaves took over much long distance traffic in the 1960s. In recent years, there has been an explosive increase in use of the microwave spectrum by new telecommunication technologies such as wireless networks, and direct-broadcast satellites which broadcast television and radio directly into consumers' homes.
As one cameraman of the era tells it,
One of the very first examples of reliable, news-style video was revealed at the 1968 Democratic National Convention in Chicago. I was a 16mm cameraman at that convention and turned in the street violence one day to eye the first portable "Portapak" video package from Sony in Japan. It was the first truly portable video package I had ever seen and it made quite an impression on me while carrying that back breaking film camera.
A Portapak is a battery-powered, self-contained video tape analog recording system. Introduced to the market in 1967, it could be carried and operated by one person.
The Sony Portapak was a two-piece, battery powered, self-contained video tape analog recording system that could be carried and operated by one person. Because earlier "portable" television cameras were so large, heavy and cumbersome, the Portapak made it possible for individuals to record video easily outside the studio.
This portability greatly contributed to the rise of electronic news gathering as it made portable news more easily accessible than ever before.
Early portable video systems recorded at a lower quality than broadcast studio cameras, which made them less desirable than non portable video systems. When the Portapak video camera was introduced in 1967, it was a new method of video recording, forever shifting ENG.
By the time videotape technology advanced, the capability for microwave transmission was well established (and used in the 1960s by the BBC's ill-fated Mobile Film Processing Unit). But the convenience of videotape finally allowed crews to more easily use microwave links to quickly send their footage back to the studio. It even made live feeds more possible, as in the police shootout with the Symbionese Liberation Army in 1974. Also in 1974, KMOX, a station in St. Louis, Mo., was the first to abandon film and switch entirely to ENG. Stations all over the country made the switch over the next decade.
KMOV, virtual channel 4, is a CBS-affiliated television station licensed to St. Louis, Missouri, United States. The station is owned by the Meredith Corporation. KMOV's studios are located at the Gateway Tower on Memorial Drive in Downtown St. Louis, near the Gateway Arch, and its transmitter is located in Lemay. On cable, the station is available on Charter Spectrum channels 4 and 704, and on AT&T U-verse channels 4 (SD) and 1004 (HD).
ENG greatly reduces the delay between when the footage is captured and when it can be broadcast, thus enabling news gathering and reporting to become steady cycle with little time in between when story breaks and when a story can air..Coupled with live microwave and/or satellite trucks, reporters were able to show live what was happening, bringing the audience into news events as they happened.
CNN launched in June 1980, as ENG technologies were emerging. The technology was still in its developmental stages, and had yet to be integrated with satellites and microwave relays, which caused some problems with the network's early transmissions. However, ENG proved to be a crucial development for all television news as news content recorded using videocassette recorders was easier to edit, duplicate and distribute. Over time, as editing technology has become simpler and more accessible, [ when? ] video production processes have largely passed from broadcast engineers to producers and writers, making the process quicker.
However, initially the ENG cameras and recorders were heavier and bulkier than their film equivalents.This restricted the ability of camera operators from escaping danger or hurrying toward a news event. Editing equipment was expensive and each scene had to be searched out on the master recording.
Using technology such as multicast or RTP over UDP, these systems achieve similar performance to high end-microwave. Since the video stream is already encoded for IP, the video can be used for traditional television broadcast or Internet distribution without modification (live to air).
As mobile broadband has developed, broadcast devices using this technology have appeared. These devices are often more compact than previous technology and can aggregate multiple mobile data lines to deliver a high definition-quality content live.
The ongoing Technological evolution of broadcast video production equipment can be observed annually at the NAB Show in Las Vegas where equipment manufacturers gather to display their wares to people within the video production industry. The trend is toward lighter-weight equipment that can deliver more resolution at higher speeds. There has been an evolution from Film to Standard-definition television, High-definition television and now 4K.
As of 2016, highlights included Unmanned aerial vehicles aka drones for the delivery of aerial footage, various lines of cameras that can deliver 4K resolution, graphics packages for news stations, which can be utilized inside their microwave and/or satellite vehicles, Wireless technology, POV cameras and peripherals from GoPro and other Action camera manufacturers, and the Odyssey 7Q+ monitor with Apollo multi-camera switcher/recorder from Convergent Design. This monitor fits on the back of a broadcast video camera and allows photojournalists to live-switch a multi-camera production in studio or on location.
Outside broadcasts (also known as "remote broadcasts" and "field operations") are when the editing and transmission of the news story are done outside the station's headquarters. Use of ENG has made possible the greater use of outside broadcasts.
"Some stations have always required reporters to shoot their own stories, interviews and even standup reports and then bring that material back to the station where the video is edited for that evening's newscast. At some of these stations, the reporters sometimes even anchor the news and introduce the packages they have shot and edited."
Short-form news stories are what local news reporters deliver to their stations. Longer-form stories about the same topics are covered by national or international broadcast news magazines such as Dateline NBC, 20/20, Nightline, 48 Hours, 60 Minutes and Inside Edition. Depending upon the scope of the story, the number of crews vying for position at the story venue (press conference, court house, crime location, etc.) can potentially be dozens.
Natural disasters, terrorism, death and murder are topics that reside at the top of the news-gathering hierarchy. For instance, in the U.S., the series of events culminating in what would thereafter be known as 9/11 galvanized every news division of every network.
"Especially on that first day, you were really just going to whomever had a piece of information," says "48 Hours" executive producer Susan Zirinsky, whose team produced the primetime coverage that first night. "You were getting cameras up, you were putting people in place, you were trying to wrap your brain around it. You wanted to step back and synthesize some of the information, which is what we were trying to do ... At that point, we thought there were many more dead, and it was still a search-and-rescue mission. It was a very, very complicated day to try to give context to."
"There is a hierarchy of news. It's a hierarchy of judgment, I guess. All deaths are equal to the victims and their families. But all deaths are not equal in the calculation of news value."
"Feel-good stories" such as the homecoming of a military parent, saving of a life, or selfless act of kindness, sometimes make their way into the news stream.
In the United States, there are ten ENG video channels set aside in each area for terrestrial microwave communications.[ citation needed ] Use of these channels is restricted by federal regulations to those holding broadcast licenses in the given market. Channels 1 through 7 are in the 2 GHz band and channels 8, 9 and 10 are in the 2½ GHz band. In Atlanta for example, there are two channels each for the four news-producing television stations (WSB-TV, WAGA-TV, WXIA-TV, WGCL-TV), one for CNN, and another open for other users on request, such as Georgia Public Broadcasting.
Traditionally, the Federal Communications Commission has assigned microwave spectrum based on historic patterns of need and through the application/request process. With the other uses of radio spectrum growing in the 1990s, the FCC made available some bands of spectrum as unlicensed channels. This included spectrum for cordless phones and Wi-Fi. As a result, some of these channels have been used for news gathering by websites and more informal news outlets. One major disadvantage of unlicensed use is that there is no frequency coordination, which can result in interference or blocking of signals.
A common set-up for journalists is a battery operated cassette recorder with a dynamic microphone and optional telephone interface. With this set-up, the reporter can record interviews and natural sound and then transmit these over the phone line to the studio or for live broadcast.
Electronic formats used by journalists have included DAT, MiniDisc, CD and DVD. Minidisc has digital indexing and is re-recordable, reusable medium; while DAT has SMPTE timecode and other synchronization features. In recent years, more and more journalists have used smartphones or iPod-like devices for recording short interviews. The other alternative is using small field recorders with two condenser microphones.
Video art is an art form which relies on using video technology as a visual and audio medium. Video art emerged during the late 1960s as new consumer video technology such as video tape recorders became available outside corporate broadcasting. Video art can take many forms: recordings that are broadcast; installations viewed in galleries or museums; works streamed online, distributed as video tapes, or DVDs; and performances which may incorporate one or more television sets, video monitors, and projections, displaying live or recorded images and sounds.
In film and television production, B-roll, B roll, B-reel or B reel is supplemental or alternative footage intercut with the main shot. The term A-roll referring to the main footage has fallen out of usage.
A professional video camera is a high-end device for creating electronic moving images. Originally developed for use in television studios, they are now also used for music videos, direct-to-video movies, corporate and educational videos, marriage videos etc. Since the 2010s, most of the professional video cameras are digital professional video cameras.
A video camera is a camera used for electronic motion picture acquisition, initially developed for the television industry but now common in other applications as well.
U-matic is an analogue recording videocassette format first shown by Sony in prototype in October 1969, and introduced to the market in September 1971. It was among the first video formats to contain the videotape inside a cassette, as opposed to the various reel-to-reel or open-reel formats of the time. Unlike most other cassette-based tape formats, the supply and take-up reels in the cassette turn in opposite directions during playback, fast-forward, and rewind: one reel would run clockwise while the other would run counter-clockwise. A locking mechanism integral to each cassette case secures the tape hubs during transportation to keep the tape wound tightly on the hubs. Once the cassette is taken off the case, the hubs are free to spin. A spring-loaded tape cover door protects the tape from damage; when the cassette is inserted into the VCR, the door is released and is opened, enabling the VCR mechanism to spool the tape around the spinning video drum. Accidental recording is prevented by the absence of a red plastic button fitted to a hole on the bottom surface of the tape; removal of the button disabled recording.
Ikegami Tsushinki Co., Ltd. is a Japanese manufacturer of professional and broadcast television equipment, especially professional video cameras, both for electronic news gathering and studio use. The company was founded in 1946.
Video production is the process of producing video content. It is the equivalent of filmmaking, but with images recorded digitally instead of on film stock. There are three stages of video production: pre-production, production, and post-production. Pre-production involves all of the planning aspects of the video production process before filming begins. This includes scriptwriting, scheduling, logistics, and other administrative duties. Production is the phase of video production which captures the video content and involves filming the subject(s) of the video. Post-production is the action of selectively combining those video clips through video editing into a finished product that tells a story or communicates a message in either a live event setting, or after an event has occurred (post-production).
A videographer is a person who works in the field of videography and/or video production, recording moving images and sound on video tape, digital, or any future data storage medium, disk, other electro-mechanical device. News broadcasting relies heavily on live television where videographers engage in electronic news gathering (ENG) of local news stories.
Broadcast journalism is the field of news and journals which are "broadcast", that is, published by electrical methods instead of the older methods, such as printed newspapers and posters. Broadcast methods include radio, television and the World Wide Web. Such media disperse pictures, visual text and sounds.
Documentary television is a genre of television programming that broadcasts documentaries.
Outside broadcasting (OB) is the electronic field production (EFP) of television or radio programmes from a mobile remote broadcast television studio. Professional video camera and microphone signals come into the production truck for processing, recording and possibly transmission. The mobile production control room (PCR) is known as a "production truck", "scanner", "mobile unit", "remote truck", "live truck", "OB van", "OB Truck" or "live eye". In the United States an "OB van" is smaller in size than a production truck and generally requires two or three people in the field to manage.
Video journalism or videojournalism is a form of journalism, where the journalist shoots, edits and often presents his or her own video material.
Electronicam was a television recording system that shot an image on film and television at the same time through a common lens. It was developed by James L. Caddigan for the DuMont Television Network in the 1950s, before electronic recording on videotape was available. Since the film directly captured the live scene, its quality was much higher than the commonly used kinescope films, which were shot from a TV screen.
satellite truck is a mobile communications satellite earth station, typically mounted on a truck chassis as a platform. Employed in remote television broadcasts, satellite trucks transmit video signals back to studios or production facilities for editing and broadcast. Satellite trucks usually travel with a production truck, which contains video cameras, sound equipment and a crew. A satellite truck has a large satellite dish antenna which is pointed at a communications satellite, which then relays the signal back down to the studio. Satellite communication allows transmission from any location that the production truck can reach, provided a line of sight to the desired satellite is available.
EIAJ-1 was a standard for video tape recorders (VTRs) developed by the Electronic Industries Association of Japan with the cooperation and assistance of several Japanese electronics manufacturers in 1969. It was the first standardized format for industrial/non-broadcast VTRs using a Helical scan system employing open reel tape. Previously, each manufacturer of machines in this market used a different proprietary format, with differing tape speeds, scanner drum diameters, bias frequencies, tracking head placement, and so on, although most used 1/2" wide tape. As a result, video tapes recorded on one make and/or model of VTR could only be interchanged with other machines using that specific format, hampering compatibility. For example, a reel of tape recorded on a Panasonic machine would not play on a Sony machine, and vice versa. The EIAJ-1 standard ended this incompatibility, giving those manufacturers a standardized format, interchangeable with almost all VTRs subsequently brought to market around that time. The format offered black-and-white video recording and playback on 1/2" magnetic tape on a 7" diameter open reel, with portable units using smaller 5" diameter reels.
A television production truck is a small mobile television studio to allow filming of events and video production at locations outside a regular television studio. They are used for remote broadcasts, outside broadcasting (OB), or electronic field production (EFP). Some require a crew of as many as 12-16, with additional trucks for additional equipment as well as a satellite truck, which transmits video back to the studio by sending it up through a communications satellite using a satellite dish, which then transmits it back down to the studio. In contrast some production trucks include a satellite transmitter and satellite dish for this purpose in a single truck body to save space, time and cost.
Interruptible foldback (IFB), also known as interrupted foldback, interruptible feedback, or interrupt for broadcast is a monitoring and cueing system used in television, filmmaking, video production, and radio broadcast for one-way communication from the director or assistant director to on-air talent or a remote location. The names are a backfill for the Telex IFB-XXX model line. Less common names for the system include program cue interrupt (PCI) and switched talkback. IFB is often facilitated using an earpiece that on-air persons wear to get cues, feedback or direction from their control rooms. The earpiece itself may also be referred to as an IFB. Sometimes IFB is accomplished by the director talking to off-camera personnel who visually cue the on-camera talent.