1. Ways of collecting data (news gathering) television media should always be on the spot. No pictures, no news. In the case of certain words must less than pictures. The implication is the opportunity or mobility kru television should be higher than other types of media to ensure a keseketikaan the news is presented to the audience.

2. The use of different languages. Media use language television always said, the oral study with all its implications. There are experts who call this language as a picture. The broadcaster must understand that they are correct based on the image to write, write to pictures, or bertutur about image. And, as often happens, not paste the picture on the words first written.

3. If in the next 2-3 years to human-human televisei can not produce video journalists who can multi-skill demands of the team is on television far more serious than the charges of the team in the print media and radio. At least, to pursue one or two television news still requires harmonious cooperation between the reporter-camera-person and driver. Terbayangkan if not one third of the traffic jam, cranky, late or delayed shoptalk other technical. If the work was carried out together with the next, until up to the layer, can be, one of the largest in the complexity of managing a team of television is truly effective. One proof of success in television is to manage the preparation team is already a 70 percent guarantee of success for broadcast television news.

In general, the mechanism working in a news room televise the same as the contents of a mechanism working in the print media and radio. With a few different variants of a news room news room from another, working on television series include three main activities. First, the activities of news gathering. Second, the activities of news production, and third, presenting news events.

One thing that really needs to emphasized that the very mechanism in television news gathering that the planning done by the assignment editors slightly different from the planning done by the coordinator of the reporters and print media such as radio.

Derivasi technically very different is that when a kru televise down to the field, assignment of image and news must be synchronized. Ekstrimnya, an editor must assisgment ordered krunya more important to immediately get a picture rather than talking newsnya. Therefore, on the other extreme, when returning from the field, a producer / executive producer of television will not ask “what the news will be taken from the field by kru” but “what the picture you take from the field?” Is how the picture is much more important value for television rather than words. News Value judgment it depends on how important, how interesting, how dramatically, and how strong magnitude image obtained kru in the field. That also explains why some news or a look that featured the delivery by Television not necessarily preferred by the print media, or vice versa.

It is a characteristic of television is that News Productionnya should use the expression language, the language picture, pictures, and write about or report on image. Of course, said the use of language is very much implication, primarily because they had to actually sync between the picture and the words and sentences. Therefore, it is the obligation of a producer or the Reporter to ‘examine’ or ‘mempreview’ image before writing the script: the script is not the first menulus ago ditempel-paste the image.

Televisi akan berfungsi sebagaimana mestinya apabila terdapat “suatu sistem yang besar” dari apa yang disebut dengan Sistem Penyiaran Televisi. Sistem penyiaran televisi itu terdiri dari
• Sistem Produksi Acara
• Sistem Pemancaran
• Sistem Penerimaan
yang kemudian ketiga sistem ini disebut dengan Trilogi Of Television.

Sistem Produksi Acara Televisi, tidak dilakukan begitu saja tanpa adanya perencanaan yang matang dan pelaksanaan evaluasi sesudahnya. Ada beberapa proses yang harus dilewati sehingga tayangan hasil produksi bisa secara rutin dilakukan. Hal-hal semacam inilah yang harus menjadi perhatian serius bagi orang-orang yang mengaku sebagai pekerja televisi, khususnya pekerja televisi yang tergabung dalam departemen / divisi program.

Departemen / Divisi Program sangat bertanggung jawab dalam cakupan :
• Orientasi Program
• Kebijakan Program
• Strategi Penyusunan Program
• Sumber-sumber Acara
• Pola Acara
• Kriteria dan Format Acara
• Kontinuitas Acara
• Kualitas Acara dan
• Pengembangan Program
yang kemudian akan kita sebut sebagai TV Programming.

Untuk itulah orang-orang divisi program yang bertanggung jawab dalam hal TV Programming ini harus senantiasa berpikir dan bekerja keras, karena divisi program inilah yang menjadi penentu bagi keberhasilan sebuah stasiun televisi dalam memperebutkan perhatian khalayak. Dengan kata lain TV Programming sangat menentukan keberhasilan suatu stasiun penyiaran televisi.

Salah satu catatan penting dalam filosofi programming ala Peter Herford adalah :

1. Tidak ada rumusan yang ajaib untuk menjalankan stasiun televisi yang sukses untuk semua perekonomian. Tidak ada dua stasiun TV yang sama persis, tidak ada dua gaya manajemen yang sama persis.
2. Menjalankan stasiun TV dalam kota dengan penduduk 10.000 jiwa membutuhkan kemampuan yang sama dibandingkan dengan menjalankan stasiun TV dalam kota dengan penduduk 10 juta jiwa.

Dan ahirnya Peter Herford memberikan tips yang lebih tajam lagi:

“Jangan menyusun acara stasiun TV menurut selera pribadi anda”

“Banyak stasiun TV yang sukses dijalankan oleh orang yang tidak suka pada acara-acara yang mereka siarkan”.

Medium Shots, type shot seperti ini yang paling umum kita jumpai dalam film maupun televisi. Jenis shot ini adalah paling aman, karena tidak ada penekanan khusus seperti halnya pada Long Shots dan Close Shots. Semua adegan bisa ditampilkan dengan netral di sini.

Close Shots, televisi adalah media close up. Awalnya premis ini karena berkaitan dengan hal teknis. Pertama, acara dengan media televisi harus ditampilkan secara close up karena ukuran televisi yang kecil jika dibandingkan dengan layar di bioskop. Ke dua, berbeda juga dengan bisokop, acara televisi ditonton sambil lalu, akan lebih cocok menampilkan gambar-gambar dengan close shot/padat.

Tapi,yang perlu dipahami juga justru makna-makna yang ditampilkan ketika shot-shot itu dibuat secara close up. Efek close up biasanya, akan terkesan gambar lebih cepat, mendominasi, menekan. Ada makna estestis, ada juga makna psikologis.MOVEMENT

Terdapat paradoks dalam menciptakan camera movement untuk menghasilkan perubahan visual ketika mencoba membuat invisible movement. Secara teknis hal ini dimaksudkan untuk menghindari bergesernya perhatian penonton. Caranya adalah dengan melakukan pergerakkan kamera yang mengikuti pergerakkan subjek. Tapi yang harus diperhatikan tentu saja adalah tujuan atau motivasi dari pergerakkan kamera itu dibuat. Secara umum, menurut Peter Ward dalam Digital Video Camerawork, motivasi itu antara lain :

Untuk menambah interest visual
Mengekresikan kegembiraan
Meningkatkan ketegangan
Memberikan interes pada subjek baru
Memberikan perubahan angle/sudut pandang.

Secara khusus, ada dua kaidah dalam mengontrol camera movement, yakni menyesuaikan gerakkan dengan aksi subjek sehingga gerakan kamera akan distimulasi oleh aksi dan yang kedua adanya kebutuhan untuk menjaga komposisi yang baik selama pergerakkan.

Hampir di keseluruhan shot yang ditampilkan dalam film Emergency Room atau E.R. menggunakan konsep ini, dengan demikian efek dramatis tercipta sehingga penonton akan merasakan bagaimana suasana yang sangat dinamis di setiap ruang rumah sakit. Demikian juga di beberapa filmnya Rudy Soedjarwo, walaupun menurut saya masih terasa nanggung. Jadi, apa sebenarnya motivasi Rudy membuat film dengan konsep handheld tersebut ?

ANGLE

Secara mekanis, angle atau sudut pengambilan gambar itu berhubungan erat dengan lensa kamera, baik jenis lensa yang digunakan maupun penempatan kamera itu sendiri. Masih menurut Ward, ruang internal shot sering menonjolkan kualitas emosional dari adegan. Perspektif yang normal untuk membangun shot sering digunakan secara gamblang dan langsung. Tinggi lensa akan mengendalikan bagaimana penonton mengidentifikasi subyek. Lensa rendah akan mengurangi detail level latar belakang dan menghilangkan indikasi antara latar belakang dengan objek. Posisi lensa yang tinggi memiliki efek sebaliknya.

Low Angle

Pengambilan gambar dengan low angle, posisi kamera lebih rendah dari objek akan mengakibatkan objek lebih superior, dominan, menekan.

High Angle

Kebalikan dari low angle, akan mengakibatkan dampak sebaliknya, objek akan terlihat imperior, tertekan

Dengan mengetahui dampak pesan yang akan tersampaikan dari sudut pengambilan gambar ini, diharapan sinematografer atau videografer bisa mengkonstruksi shot-shot yang akan dibuat sesuai dengan pesan apa yang ingin kita sampaikan pada penonton.

Satu sekuens yang sama akan dimaknai berbeda ketika pemlihan angle shot yan berbeda pula. Misalnya adegan demontrasi mahasiswa, rangkaian petama :
1.long shot para demontrans,
2. high angle demonstran teriak-teriak,
3. low angle polisi sedang menggebuki demonstran.
4. high angle demontran kesakitan,
sedangkan rangkain ke dua :
1.long shot para demontrans,
2. low angle demonstran teriak-teriak,
3. high angle polisi sedang menggebuki demonstran.
4. low angle demontran.Dalam sekuens pertama, penonton akan memaknai rangkaian shot tersebut bahwa ada demontrasi yang dilakukan mahasiswa, polisi dengan superioritasnya bisa menangani aksi demontrasi itu dengan sikap represif, mahasiswa teretekan. Sedangkan dalam rangkain shot pada sekuens ke dua, penonton akan melihat demontrasi yang dilakukan mahasiswa walapun dijaga oleh para polisi, mahasiswa terlihat superior dan mendominasi bahkan lebih gagah dari para polisi.

Ya, ini baru satu aspek saja yakni dari angle atau sudut pengambilan gambar bisa mengahsilkan efek yang berbeda pada penonton. Jadi, angle menjadi elemen makna atau pesan. Pesan apa yang ingin disampaikan pemberi pesan ?

Secara detail, bahwa sudut lensa mana yang dipilih tergantung dari tujuan shot, yang terdiri atas :
Menonjolkan subyek prinsip
Menyediakan variasi ukuran shot
Memberikan kelebihan tambahan terhadap subyek yang dipilih
Menyediakan perubahan sudut atau ukuran shot untuk memungkinkan terjadinya inter cutting yang tidak menonjol
Menciptakan komposisi shot yang baik
Meningkatkan arah mata

Category lens with professional grade optis have better quality, the more mechanical aspects you a. This lens berunjuk work for a number of applications, and on the situation of shooting a moderate, not too extreme. This lens is available in the market with different variations of the ratio of zoom and focal length. Are not usually equipped with 2X ekstender. Professional grade lenses that are designed for middle-class camera is also fully equipped with various options for accessories, such as converter for wide and telephoto, zoom studio, and focus control. If treated properly, the lens will work well for many years. This is the type of lens that is owned mostly by camera ENG / EFP on any TV station, although cameranya itself is not the middle class (mid-range).

Broadcast grade lens with a top-of-the-line, both on the quality and optis strength mekanisnya. Lens with a grade is designed to improve the performance of the best type of broadcast camera, and able to give you a service for many years. Use of the lens quality is a standard for broadcast news and production program in most TV stations in the world. The progress of digital technology is applied to the lens system Servo broadcast at this time the process allows a more precise zoom, zoom cruise, one-shot and a preset remote control functions for zoom, focus and iris with RS-232 interface.

From the comparison of prices, and broadcast digital zoom lens 21x price near the price camcordernya also broadcast quality. While the broadcast wide angle lens will cost about 11 / 2 the price 21x lens. While the price of the lens is telenya broadcast 2X lens is 21x better price. Nah, how professional lens price estimate equivalent specification with the 21x lens above? That is about tenth of the price the quality of the lens broadcast earlier.

Let’s see more of the lens and lens studio ENG / EFP. During recent years, there has been rapid progress in the development of lens technology. Studio lenses with focal length of 7mm. up to 168mm. Lens ENG / EFP evolved from 55X to 87X the focal length exceeds 2200mm.!

Lens is designed for studio close-up ability with a minimum object distance, the minimum object distance (MOD) of less than one meter. On the field, reporters are usually the distance is about 2 to 3meter, with the assumption of reporters before reading the text on the teleprompter. While the tele lens in the field will also have the MOD usually between 2 to 3 meters, making it difficult in the studio.

When this lens for High Definition TV (HDTV) has also been growing rapidly, with a higher precision, mechanical tolerance, or a smaller minimum. Because the HDTV format is wider than standard TV, Standard Definition Television (SDTV), namely 16:9, the resolution on the HDTV angle lens should be higher, so that reproduction will be obtained if a more precise picture displayed on the screen size of the width. Also available in the market that the lens can diswitch for aspect ratio of 4:3 and 16:9, which is the ratio of the converter as well as correct the effects of the reduced angle-of-view that occurs when the lens with the dual format used earlier in the 4:3 format.

Several types of wide and tele lens has broadcast quality label with H, which is used in addition to SDTV can also be used for HDTV, somewhen. Why do we ask for this type of lens ..?, Which is clearly lensanya output and has been enhanced rather than the old type only for SDTV.

Young women, the Lusi Muzayanah, one of the participants Training Education Journalism “Journalism in Perspective Pluralism” which successfully won the best version of the opinion that the majority of the committee kalangaan student. Sunday afternoon it (24/05), a casual Lusi; berjilbab white, wear bright colors, and put a lot of jeansseperti be seusianya Muslim youth.

The kebahasaan, tabarruj, cited Lusi term, can refer to the “visible” or “light”. Mahligai in the Arabic language is also used with the word burujkarena considered harmonious. “Women who pro-tabarruj means that with a light attitude, style, clothing and jewelry. Ber-tabarrujsecara jahiliah is for the purpose of doing tabarruj showroom and / or stimulate appetite birahi, “Umar Fayumi write puanamalhayati.or.id on the site, the official website the empowerment of women leaders of the institution Sinta Nuriyah Wahid.

Zamakhsyari priests, scholars birth Persi (1075-1144 M) from the village Zamakshar, Khwarezmia (regions in the country of Uzbekistan at this time) imply, as the attitude tabarruj force myself to open something that should be hidden. As word of the Arabs, safinatun barij means a roofless boat.

Opinion Lusi presumably written to counter the view that the pants and wear clothes that tight little circle equated by some with tabarruj. In fact, the emphasis of this concept is a matter of overconfidence and that stimulate birahi. Matter of “stimulating” is certainly not easy to create limitations, including the matter of polite and not impolite. It seems this woman would say, “I do not use this tabarruj as some people thought. This is still in the limit of decency. “

Lusi addition, there are two friends of the committee also selected as the author news and feature the best in the forum. Badrul Munir for news and Hurinin Rihayatus Sa’adah to feature. Beginning of the semester, both students IAIN Surabaya. Badrul write about the news in the fall of Hercules aircraft Magelang recently, while Rihayah the life of a kid get hold of women’s education.

Sedari morning, Sunday (24/05)-an approximately 280 participants from the student, santri, students and se-Kota Surabaya gather on the floor of building 3 Self Access Center (SAC) IAIN Surabaya for training performed by writing a Community Youth Peace Surabaya ( Kappas) and Cross Society Forum (FLA) in cooperation with the Surabaya Wahid Institute. In this forum they provided basic journalism tekhnik such as news, opinions, and features including on issues of peace. “Pagi tadi pematerinya of Trans TV,” said Rubaidi, FLA leaders outside the room when we talk relax before the event started back bakda Zuhur.

    1. Planning

       Planning is the process to gather ideas and think the focus of your writing to. “Write that you know” is a phrase that is widely recognized author in the world because it is the absolute truth! A reader to know whether you understand what you say or you just write a list of facts that take you from your references. Beratkan point your talents to become an expert or authority in the field of study of your choice. You point beratkan ideas on topics you have selected. Your goal is to write and readers who will read your writing to.
    2. The formation

       Each author has a different thought process, but I think it must be poured in a logical order that readers can understand. Order klimaktik (clicmatic order), starting from the less important and was built to the most important thing. Chronological order (chronological order), flow seturut time series. And spatial order (spatial order), refers to the physical location. Define the role you will play in your writing to and then set your materials effectively, but with the style of the original interests and your talents to the readers.
    3. Writing Draft

       After you gather ideas and form a style of serving, susunlah in the form of a sentence to the paragraph. Nothing is more fun than writing a perfect sentence, a sentence that convey information to readers in the form of original thought. Shakespeare is the expert in the case of the words that we still use to this day. The objective of the draft preparation step is forward. Do not stare a blank page, write with the free flow and let it continue. Preparation of a draft does not need to be perfect, that’s why they call this term with the initial draft. Do not pay attention the spelling and grammar in the draft-a draft early and let the words flow.
    4. Revision

       Go back and evaluate your draft. Write back with your draft to add, cut, change, and move the posts in the draft to make it more clear. To revise effectively, evaluasilah what you have written. Decide where you need to add information or insert words. Find posts that are not useful and depart. Stay focused on your topic! Replace long words with new words, especially when you find the word that constantly repeated. Move materials or change your order if the material you do not tersaji in a logical sequence. Writing is the issue of revising!
    5. Editing

       Editing is a key step that is often missed the author. The author is quite satisfied with the last revision, so they do not spend extra time for writing and editing technical mekanisnya truth. If the editing is too fast, you may skip the fact that the message is not in any posts tersampaikan effectively. To actually edit any posts effectively, jauhilah your writing to for several hours, then back again. You’ll be surprised at how many errors that terlewatkan by your eyes.

       Looking at it: grammar, spelling, dashes, commas, a semicolon, punctuation, capitalization, italics, numbers, and abbreviations.
    6. Read the End

       The last step is the end of any posts you read. You ensure that the end result of your writing to accurate and clean. This step is different from the editing, because this step is only a focus on the error type that your eyes miss. Most word processing programs have a “spell checker”, but please check that you have the correct word menngunakan.

The complexity children’s story by a structure that is not different from the structure of fiction for adults. Thus, the organization’s children’s story should ditopang a number of pillars that are the basis terbinanya a building story. The root of a story, be interesting if all elements of the story is built in a balanced structure of the content-fill so it does not have the feel or felt less redundant.

The simple story is actually a theme from the start. Design of the desired wake up the story the author should be based mandate, the moral message you want delivered to readers. However, this mandate must be woven so that the interest of children do not feel the moral sermon or preaching religion. Readers are exposed to a story interesting and entertaining reading, and from the children (or their parents) can build understanding and interesting conclusions about what that message would be the author. Generally, the stated theme of the open and clear will not interest readers.

Second pillar is the figure. In general, the figures can be divided two main characters (protagonis) and opponent (antagonis). Main figure is usually accompanied by figures that side generally participate and be part of the story of unity. As a rounded figure, the main characters get a share of this most special when compared with the figures side. Physical condition and character are described fully, as human day-to-day. In addition, leaders are often too flat, the figures are shown in one hand (good or evil) so that responses can be delivered or hate exorcize from the readers.

Penokohan must (should) show the development of character figures. Events that terbina and dilemmas that arise in the flow should be able to bring change and development to the leaders of birth on the identification of a figure that appears as a hero or as a antagonis doghouse.

Pilar is the third background. Events in the story can be interesting if it was built with a background of time and place where the background is done appropriately. Because the background associated with the figures and associated closely with the characters. Building a good background story shows that the particular can not be moved to another area because latarnya can not be moved to another area because latarnya does not support the figures and the events that typically occur only in a specific background. In other words, the background shows their unique stories in the series of so able to build characters with specific attributes that exist only in that particular area. Thus, the figures appear to reinforce the background and the events that built in the groove, making specific and unique stories.

Flow is the fourth pillar. Flow primary author of the ability to attract readers. With the simple flow can be said as a sequence of events that occurred in the story.

Flow can be built straight, where the chronological story built. Current events in order to directly relate to one another until the story ends. Flow can also be built in episodik, where the stories bound by a particular episode-episode, each episodenya found gawatan, climax, and leraian. Especially in the long stories, this flow episodik can lure readers keingintahuan because the dipertinggi by mysterious things that may happen in the next chapter. Flow can also be built with a flashback or forward flow (foreshadowing). Flashback is exposure of information or events that occurred in the past, dikisahkan back in the situation of the present, while the “foreshadowing” is a form square off to receive the events that occurred later.

An interesting story is not possible without the events and conflicts. Events that occur a specific conflict, such as the conflict in the self (person-against-self); figures conflict with another person (person-against-person), and conflict between leaders and people (person-against-society). With a fit because the flow of events that conflict with the generally synchronous convince readers of the children and things that bring them pleasure, fear, sad, angry, and so forth. With the help of a language that is enthralling, the children feel happy to continue reading.

Fifth pillar is the style. In addition to the other pillars, the style determines the success of a story. Traditionally it is said that success is not a story on what is said, but how you say it. Sentence-the sentence that reads well;-expression and expression of a new life; suspense that keep confidentiality; breaking a complex issue, but challenging, new experiences that nuanced humanity, and so is a cargo style makes the reader spellbound. In addition to the signs as an author, a particular style is able to suck up the attention of readers to continue reading. Together with other elements such as the use of the right perspective, the opening and closing to give the impression that a certain style is one of the key that determines the success or failure a story

Action Films have tremendous impact, continuous high energy, lots of physical stunts and activity, possibly extended chase scenes, races, rescues, battles, martial arts, mountains and mountaineering, destructive disasters (floods, explosions, natural disasters, fires, etc.), fights, escapes, non-stop motion, spectacular rhythm and pacing, and adventurous heroes – all designed for pure audience escapism with the action sequences at the core of the film. Action films and adventure films have tremendous cross-over potential as film genres, and road films often overlap with action films. (See the adventure film genre listings for examples of these action/adventure pictures.) Both types of films come in a variety of forms or genre-hybrids: sci-fi or space, thrillers, crime-drama, war, horror, westerns, etc. Oftentimes, action films are great box-office hits, but lack critical appeal because of their two-dimensional heroes or villains.

The main action centers around a male action hero or protagonist – portrayed by these most prominent actors: Bruce Lee, Steven Seagal, Sylvester Stallone, Harrison Ford, Bruce Willis, Chuck Norris, Arnold Schwarzenegger, Douglas Fairbanks Sr., Bruce Lee, Charles Bronson, Steve McQueen, Jean-Paul Belmondo, Chuck Norris, and Jean Claude Van Damme. Women in action-films usually play the roles of accomplices or romantic interests of the hero, although modern action films have featured strong female characters to broaden demographic appeal.

They almost always have a resourceful hero(ine) struggling against incredible odds, life-threatening circumstances, or an evil villain, and/or trapped or chasing each other in various modes of transportation (bus, auto, ship, train, plane, horseback, on foot, etc.), with victory or resolution attained by the end after strenuous physical feats and violence (fist fights, gunplay). Action films have traditionally been aimed at male audiences, ages 13 to the mid-30s in both American and world-wide markets.