Television journalism professions. Specialty "Television" (bachelor's degree) All professions are very important in television

JOURNALISM PROFESSIONS

ON TV

Editor (producer) - organizer of the creative process

TV reporter

Commentator and columnist

Interviewer, showman, moderator

News presenter

Criteria for evaluating journalistic work

In the sixties, any journalist working in the frame was called a “commentator”. With the passage of time, the main "roles" in which the journalist appears before television viewers have been more precisely defined. Each of the types of screen activity is characterized by a special method of work, special rules corresponding to its specialization; mixing them would be unprofessional.

1. TV reporter (correspondent).

2. Commentator.

3. Browser.

4. Interviewer (master of large interviews, analyst or "portraitist").

5. Leader (discussion or other dialogical program; the moderator is called abroad).

6. Host of a talk show.

7. Presenter of the news program (in the USA the term "anchorman", which means "anchor man", or the phrase "news presenter" - "presenting news" is used; specialist from a commentator, reporter, etc.).

The practice of the domestic television screen does not always make it possible to see any of the listed "roles" in an ideal, pure form. Sometimes the very form of a complex, combined transmission requires a journalist to "switch" to one or another role: for example, some leading Moscow city TV channel perform the duties of an interviewer, commentator, sometimes a moderator, not to mention their indispensable editorial participation in the selection and compilation of material. It is only important that at each of the moments of the broadcast the laws of the genre are observed, for example, interviewing would not be mixed with commenting (and such a disadvantage has been inherent in the same Moscow channel by several presenters for many years. And in other programs it happens that the interviewer says much more, than his interlocutor, considers himself obliged to speak out on every occasion, to declare himself and his thoughts).

A young journalist sooner or later defines for himself a certain framework of professional opportunities, that is, he tries to do what he does best. With age, the role of a journalist can change, but the limits of change still exist: these are psychophysiological characteristics of the body that should not be ignored. One of the brilliant masters of the commentary on international topics, thought out to the last sentence, suddenly turns out to be helpless, having undertaken to conduct a teleconference, which requires lightning-fast reaction and the ability to witty improvisation. And vice versa, a reporter who works well in street reporting, in communicating with interlocutors on the field or at the stadium often does not stand a studio monologue, a close-up depresses him, at the table, in an armchair he looks unnatural, inorganic.

Even in the theater, the concept of the role is associated not only with the external data and psychophysiological characteristics of the actor. Theater theorists emphasize that the synthesis of physical, moral, intellectual and social traits is important. This cannot be ignored in journalism either. It happens that a portrait interviewer who has gained fame for small talk with artists fails when interviewing a politician, and an excellent presenter-informant turns out to be ridiculous as an analyst commentator or awkward on a talk show. Unfortunately, there are enough such examples: no one helps journalists “find themselves”, their role, their consciously formed screen image. Affected by the lack of directors who would be interested in such work with screen characters - journalists.

The famous Walter Cronkite, whose appearance instilled comfort and a sense of reliability in the American television audience of the 60s and 70s, was admitted to the console of the CBS news program host only after many years of work as a correspondent. The bet on young presenters in the United States has not justified itself: Americans tend to trust middle-aged men more in political analysis and selection of news. Reflecting on his successors, Cronkite wrote with some bitterness: “Many young people from those who used to go on stage or star in films now come to television. These are beautiful people who want to be "stars", but they have little interest in journalism. They are much more interested in money, fame, popularity. They are trained in communication schools, which is not very helpful because no one teaches young people there how to write. And without this it is impossible to become a good journalist. " There is also a widespread opinion among students in Russia that it is not necessary to be able to write on television. The deepest delusion! The abundance of people with little skill on Russian television in the early 90s was associated with a change in political structures and the departure of professional, but politically inappropriate in the new environment, journalists and filmmakers.

Arthur Haley's novel Evening News mentions that young men with journalism degrees are offered first rough jobs on American television stations, such as looking at the local press and collecting material for in-house reporters. They only dream of independent reporting, this kind of work is not given to everyone and not at once. This is due to the high professional standards developed in the competitive environment of TV stations and networks. An ordinary American TV reporter in the late 1980s earned about 100 thousand dollars a year (7-8 times more than the average American), leading national networks - up to three million dollars a year.

The ascent of the future TV star begins, as a rule, at a small provincial TV station, followed by a move to a larger city, and only then the noticed talent receives an invitation to the national network. In general, American society is more mobile, if only because of the lack of a residence permit system and the "housing issue", this ensures an influx of the best forces from the provinces, which is so lacking in Russian central institutions. Peter Jennings, Dan Rather, Tom Brokaw, Phil Donahue made their way from the American hinterland to the heights of popularity. In the United States, a reporter, interviewer, commentator is called "talent" without any irony, since talent is an indispensable professional quality of a person who claims to be regularly present in millions of homes. The rest of the news gathering participants work for the "talent", since the rating of the program and the income of the station depend on him. The ability to work in a team is a necessary quality of a TV journalist, it is invariably present in the list of mandatory professional qualities in all TV journalism textbooks. Here is one of these lists in full:

“In addition to physical data - good looks, a pleasant voice and correct pronunciation - a speaker-journalist needs: broad education, knowledge of life and people; intelligence and resourcefulness; sense of humor; patience; imagination; enthusiasm; modesty based on self-confidence; ability to work in a team ". The authors of the manuals are unanimous that most of these qualities are the essence of the personality itself: either they exist or they are not. However, what is given by nature must be developed throughout the entire professional journalistic life.

to the begining

EDITOR (PRODUCER)– ORGANIZER

CREATIVE PROCESS

In collective television creativity, it is very important that all its participants share the basic principles of a common cause. And the main role in achieving this understanding belongs to the producers and editors. These people, as a rule, do not work in the frame. The division of labor between the specialists occupying these positions in Russia is just emerging, and therefore we will confine ourselves to the following reminder: the producer, unlike the editor, is also responsible for the financial side of the preparation of programs. Otherwise, their functions are similar. Found in the credits "creative producer" means creative, "executive producer" - the organizer of filming, editing.

A special course is devoted to the skill of a literary editor at the faculties of journalism. Editing on television begins with drawing up plans for the rubric (and sometimes its concept), with the selection of authors - performers of the editor's intention, and ends with adjusting the script for a live broadcast or filmed and edited video material in accordance with the creative tasks of the rubric. Editing a news bulletin is radically different from working as an editor in a "magazine" type of program, for example, once a month; the TV editor works in a very different way from his colleague in charge of organizing the talk show. But in any case, the literary worker of television deals not only with the word, but also with the screen, and therefore, first of all, he cares about the dramaturgy of a television show, which is any program. Newspaper journalists who come to TV do not always think about this side of the matter, and therefore their programs are often boring and do not evoke an emotional reaction from viewers, although a newspaperman is often better versed in the problem discussed on the screen than his counterpart from television. Therefore, in practice, the most successful is the collaboration of two people: one knows the problem, the other - the specifics of television. These two are the author and director (for example, A. Strelyany and M. Goldovskaya in the film "The Arkhangelsk Man" mentioned here) or the author and editor.

Delicate problems, which have no analogues in print journalism, arise before a television editor when selecting and inviting program participants. If for a newspaperman, when choosing an interviewee for an interview, only the competence of a given person, a specialist in a particular field of activity or an eyewitness to historical events is of decisive importance, then this is not enough to participate in a TV show. The person himself participates in the transfer, and not only the information that he owns. This means that the editor needs to have an idea of ​​the appearance of the prospective interlocutor (it always reflects his spiritual appearance); you need to be sure that there are no obstacles for the effective expression of thoughts associated with the physical disabilities of the interlocutor (stuttering, loss of voice from excitement, etc.). Therefore, it is dangerous to come to an agreement with the future interlocutor by phone - having arrived right at the hour of the broadcast in the studio, he can involuntarily present the editor with such surprises that will call into question the very conduct of the program. It is best to hold a preliminary meeting - in order to agree on the content of the on-air conversation, and at the same time to look at the person and tactfully give some advice regarding his clothes, for the ladies - cosmetics and jewelry. For example, you can remind that an intricate brooch or heavy earrings will distract the audience's attention from the content of the conversation, the blue dress on the air can "disappear" (if the studio uses the "bluebox" technique - replacing the blue background with some image). Of course, if it is supposed to invite several dozen people, then a preliminary meeting with each (or a general meeting in advance) is problematic - and here it remains to rely on the will of the circumstances; among the mass of people, there are almost always several interesting characters. However, an experienced editor can also "introduce" into the crowd several knowingly reliable, capable of original judgments and lively reactions of familiar people, and these will not be fake "decoy ducks", but initiators of uninhibited, informal, meaningful communication in the studio.

Research editors, senior and junior producers make up an indispensable "entourage" of any more or less prominent Western "TV star". Their preparatory work ensures the success of the broadcast, which is always prepared by a well-coordinated "team". This style of work has yet to be mastered in the vastness of our independent states. For domestic journalists, it is sometimes preferable to demonstrate personal independence from anything, including colleagues, and sometimes from common sense. As a result, the "stars" go on the air unprepared and sometimes literally "drown" before the eyes of the viewer. As an example, we will cite the replica of the host of the Good Evening, Moscow! (May 1992) in a conversation about the last days of the royal family. Hearing the surname of the regicide (Yurovsky) from an Italian writer invited to the studio, the journalist perked up: “Ah, Yurovsky! Yes, I know, they say he teaches at the university and even appears on our television. "

Preparing a program about the execution of the family of Nicholas II, the producer or editor could provide the "star" with the appropriate dossier - after all, enough materials have been published about the fate of all persons involved in this tragedy. The interviewers met, in particular, with the retired vice-admiral A. Ya. Yurovsky in his apartment on Okhta (one of the districts of St. Petersburg), and he talked about his father, who had long gone after the king he had killed. Of course, if the presenter was smarter, she herself would have understood that one cannot shoot in 1918 and teach in 1992.

As a result of an insufficient culture of preparation and editing of a TV program, not always reliable information is broadcast, which undermines the authority of television.

A high-level editor (producer) in a leading position in the television hierarchy thinks out the broadcasting strategy; ensures the balance of the position of television, taken on the most important and rather controversial public issues. The organization of the collection of information and the work of numerous reporters who must feel the constant support of their television company, sometimes working in front-line conditions, sometimes in the very literal sense of these words, also depend on an editor of this level. And here it is quite appropriate to cite a fragment of an article from the Izvestia newspaper.

“Alas, SSR reporters in the war zone are a rather miserable sight compared to their counterparts working for Western companies and agencies. Squeezed in the grip of a meager travel budget, with primitive technology, or even without it at all, they lose to their prosperous brothers in all respects. Sadly, what is happening in Nagorno-Karabakh, which is close to us, is known abroad much better than we are. While domestic television broadcasts the views of the embassies of Azerbaijan and Armenia in Moscow, and not too fresh reports received from Baku and Yerevan journalists, a person who turns on a TV in the United States or in any European country sees the events that took place in our "hot spot" for only a few hours ago. Permanent brigades of foreign editions operate on both sides of the front. Their employees, as a rule, in bulletproof vests, insured for large sums, absolutely not constrained in funds, use satellite dishes several times a day to deliver the latest news to customers. They are always ready to pay generously for any information, for help. As representatives of one TV company boasted, they even managed to "buy" a salvo of "Grad" installations for a decent amount for the sake of spectacular shots.

So, a television editor is not only a literary worker, but above all the organizer of the "extraction" and design of the screen "picture" - visual information in all its diversity. And if the ITAR-TASS messages in Vesti throughout the month are accompanied by the same footage (for example, the fight on the roof of the bus in Tbilisi was thoroughly studied by all TV viewers in a month), this testifies to the weakness of the editorial service on television, about the orientation of yesterday's newspapermen by word, not by image. If the news is supported by deliberately old footage, then the telecast will be "undocumented." It is absolutely unacceptable that news bulletins (in "video reviews") resemble the editing of old newsreels. An editor who replaces fact with a dateless image, just a “fitting picture,” does not understand the true specifics of television journalism.

The news editor has a lot of rights over reporters. He may ask the reporter to shorten the story or change the layout; the editor, finally, may not air the reporter's work at all.

to the begining

TV REPORTER

We begin our review of screen journalism professions with the profession of a reporter, as the most widespread, the most multifaceted, the most organic for the disclosure of the abilities of a young journalist. The profession of a reporter (correspondent) has many varieties: a reporter can specialize both "horizontally" - in a certain area of ​​human activity (news of science or medicine, criminal chronicle, politics, ecology, etc.), and "vertically" (all news from one region). There are generalist reporters whose work matches the prestigious newspaper position of “special correspondent” (in the US they are called “generalist”). Some poor TV companies prefer them to narrow specialists. Such a reporter should be able to apply the most general principles of impartial research to any subject. A generalist who knows little more about the subject than the audience can make reporting easier and more accessible than an expert. In addition, there is always the fear that the specialist reporter will be biased in unwittingly defending what he believes to be the truth. In addition, generalists can be used much more intensively than a specialist who does not have his own daily heading in the news. Most of the reporters around the world work in the operational television services, but there are also those who are engaged in thorough and rather lengthy television investigations. Some have tied their fate with a certain heading of cultural and educational sense, with a television magazine. We can cite as an example the Russian programs "Before and after midnight", "Under the sign of pi" and others, where a famous presenter relies on a group of professional reporters who, in fact, do the entire outside part of the program, each giving it originality with their own personal style ...

Reporter work is the penetration of television into real life. Without reporting, television journalism would be reduced to showing "talking heads" in the studio. The reporter is an impartial and accurate mediator between the viewer and reality. The essence of a reporter's professional skill comes down to three components: 1) to be together with the shooting equipment there and then, where and when something of general interest, generally significant happens; 2) together with the operator, select, fix, build a series of frames that would give a vivid idea of ​​what is happening, and, finally, 3) accompany the frames with a laconic story that reveals the essence of visible events.

The fulfillment of the first part of the task depends both on the reporter himself and on the system of work established in the given teleorganization. The system is based, as a rule, on careful planning of events, about which something can be learned in advance (then the reporting group arrives at the scene in advance), and prompt response to sudden circumstances. One way or another, events can be planned: the weather report, for example, will tell you which direction the hurricane is heading or where to expect forest fires; special communications installed in a reporter's car or helicopter and tuned to the wave of police, ambulance and firefighters, will allow you not to miss urban incidents, etc.

A reporter's responsiveness depends on his resourcefulness, the technique at his disposal, and the team's teamwork. “One winter day at a St. Louis TV station, returning from a mission, they get stuck in a traffic jam on a snowy slippery road. She's carrying two videos for the six-hour news bulletin, and it's already 3:30 pm. It is clear that there is no time to get to the TV center in time. The film crew quickly gets out of the situation: the OB van pulls over to the side of the road, the video engineer raises the antenna on the roof, and the reporter contacts the editorial office via a mobile communication system. In a few minutes, the videos were transmitted to the station, despite a strong storm. At the same time, the reporter communicates the editing instructions by radio. The editor quickly brings the material into proper form. Everything takes 20 minutes. Moreover, the stuck film crew decides to use their position for the benefit of information: after all, a blizzard is also an important event of the day. A live report from a traffic jam fits perfectly into the section on the weather and traffic conditions. " These are episodes from the book by I. Fang (USA, 1985).

In addition to general editorial planning of news, each reporter has his own sources of "advanced" information: about upcoming events, about interesting things happening in various spheres of life. Viewing large and small newspapers, listening to the radio also allows the journalist to be constantly aware of what is happening and, if necessary, quickly find himself on the spot.

It should be noted that at least half of all news stories of any television station in the world do not refer to super-fast news (for example, a story about a new scientific development or about street restaurants in an exotic corner of the planet can be filmed and broadcast without unnecessary haste). A formal "event occasion" is often used. Example: "Today the Perm factory of Goznak prints postal envelopes with new symbols" - although it has been printing them, perhaps, for a month already.

Leaving for the shooting, the reporter in his thoughts already sees in general terms the future screen material, since shooting and editing are always subject to certain laws, which, however, leave enough room for reporter's ingenuity and cinematography. The patterns are associated with time constraints: if a 20-second plot is planned, then you will have to limit yourself to the most general idea of ​​the event; in the most common one, 60-75 seconds, one has to take care of the composition and elements of drama. “Every news story should have a clear structure and conflict, a problem and its solution, development and curtailment of the action, that is, the beginning, middle and end,” writes NBC evening news producer Reuven Frank, practically following the rules of Aristotle. which are considered archaic for the theatrical avant-garde, but turned out to be quite appropriate in television documentary. The authors of both Russian and foreign television journalism manuals with rare unanimity advise reporters (if we are not talking about filming a fire) to conduct preliminary reconnaissance at the facility, get acquainted in advance with the participants of the alleged event, outline a shooting plan and candidates for interviews, think over questions for them, general scenario "move" of the reportage, all the "turns" and "highlights". Reporters of domestic television almost equally unanimously consider this to be a "invention of theorists" and come to the shooting right away with the group. The result is stereotyped footage, but this is not the most distressing thing. With this method of work, the reporter puts an obstacle to the development of his own personality. He will no longer become a researcher, author of films, without having the skill to look for the essence behind external manifestations. Just as there are people in the newspaper for whom it is unthinkable to write an essay (they spent their whole life in the information department), so on television there are reporters who get lost if the presenter of a news program asks them about anything left out of the frame; it turns out that such a journalist did not learn or understand anything at the shooting site. For complex forms of reportage television (live broadcast, two-way communication with the presenter), not only special training is required, but also a generally different professional level than the ability to do everything “on wheels”. There are cases when a reporter, due to circumstances, had to stay on the air for 20-30 minutes instead of the planned two or three, and only personal intellectual resources and solid preparation, knowledge of the material helped to avoid failure.

The reporter must convey his understanding, vision of future events and their desired display to the operator before filming. Two operators can bring completely different shots from the same facility. Therefore, it is so important for the reporter to know the capabilities of the camera and complete mutual understanding with the operator who owns the means of on-screen expressiveness. This problem is discussed in more detail in the corresponding section of this textbook, but in relation to informational plots created without the participation of the director, it sometimes acquires decisive importance.

In the name of what is the material being filmed, what is the purpose of the show, the internal position of the reporter in relation to what is happening? Who is the report for? The requirement of objectivity does not at all mean giving up any emotion. For example, here are two reports from the Moscow Motor Show in 1992. A Russian reporter attaches importance to technical innovations in cars, and the operator's camera captures interior design details, on-board computers, retractable headlights, etc. And for the operator of the British ITN, all this is not news, and under the text of the reporter (that with the opening of the salon it was a little late, as with many in Russia, since the previous auto show took place 80 years ago), he shoots genre scenes before the opening, paying more attention to visitors than cars, because, according to the reporter, to buy such a car, any of these people would have to spend a lifetime's earnings. Nevertheless, the armored Mercedes found a buyer on the first day (it was bought for R. Khasbulatov). That is why the operator turned to the demonstration of this particular machine in more detail.

On CNN news, we see a meeting of American military personnel with their families after the completion of one of the UN operations in the Middle East. The most touching moments were selected: two twins were hanging around the dad's neck; a family with a dog, joyfully greeting the owner; a long-legged young woman climbing a ladder into a fighter's cockpit to hug a pilot. The certain artificiality of the latter situation makes us assume the reporter's work on the "organization of the frame" - a beautiful frame, of which there are many in almost every report of a world-class TV company. How such shots are made is described by R. Tyrrell in a study guide, examining the actions of a reporter-operator on the simplest task: to shoot a flower exhibition without an interview. Such work is performed in the West by one person who owns both a camera and a pen, and also the ability to organize the material (such an organization, it is emphasized in all manuals, should not cross ethical boundaries, beyond which the operator could be accused of staging and falsification).

So, the reporter-operator is on assignment. “If he is shooting a flower exhibition, his bosses are unlikely to be satisfied with a few beautiful shots ... Perhaps some public figure or some celebrity is expected to visit there, or whole crowds of people may rush to the exhibition, and a traffic jam will be created on the nearby street , which itself will become an event ... The time spent on "exploration" bears fruit. We must try to arrive at the shooting location early to have a look around ... If we are talking about a new variety of roses, the operator must find a way to dramatize this theme, to distinguish these flowers from the crowd of others at the exhibition. When will this bush be delivered, where will it be placed, how and who cares for it? Are there any precautions? But then the operator found out that the roses would be delivered by a special car to the back door. This scene can turn out sluggish and uninteresting, or, on the contrary, with a certain aura of mystery. The operator still decides to film it, but plans to prepare another version of the beginning in case this idea does not work. A car with a rose bush is met at the door by a group of representatives from the exhibition committee, as well as uniformed guards. At the request of the operator, the messenger brings in the bush two or three times: duplicates of the same scene, filmed at different angles, will allow the editor to prepare a clearly arranged video sequence ... this simple task: find a beautiful girl in order to photograph her next to a rose, sprinkle water on the flowers - then the backlight will play in drops; and also to calm down the breeder, who is worried about the effect of lighting devices on his flower, and explain to people from the crowd that they should not look at the camera, but at the exhibits ...

Irina Davydova

Reading time: 13 minutes

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Who doesn't dream of working in television? Probably everyone would like, even for a short time, to plunge into this magical world of "looking glass" - into the atmosphere that reigns on the other side of the screen. For some it is just a dream, for others it is a clear goal.

Can you get on TV from the street, and what TV jobs are the most attractive?

How to find work on television and in cinema from scratch - extras, viewers on TV shows, contests, etc.

There are not so many ways that you can get on television. With their help, you can appear on TV, so that later (not without hard work, of course) you can gain a foothold in the same place.

True, one must remember that the path from an ordinary "mortal" to a TV star is thorny, difficult and long.

Video: How to get to the shooting of the program?

So, which paths can you take to get to TV?

• Well-crafted portfolio posted on the respective sites.
• Shooting in the crowd. This is one of the easiest ways to get into the movies. By the way, it may turn out that you will get the role with words. You can get into the crowd scene in two ways: through the portfolio found by the customer, or through an independent search for the desired ads (we search in newspapers, on the websites of channels and film studios) and through numerous auditions.
• Participation in a TV show. For example, as a hero of a program, a participant in a program, or a spectator of an extra. True, it will be very, very difficult to jump into a serious movie from a reality show later.
• One of the professions in the film industry ... As you know, cinema is created not only by actors, and many people of various professions work behind the scenes. For example, directors and producers, screenwriters and cameramen, make-up artists and decorators, photographers, etc.
• Don't miss casting on TV channels ... Leave yours, suddenly you get lucky.
• Education is our everything. In addition to higher specialized education, courses aimed at improving qualifications will not interfere.
• Be clear about your job title ... What kind of job would you like to find - a creative or technical job you are missing in your life?
• Make useful contacts that can lead you to the holy of holies.
• Write scripts and call producers ... If your script turns out to be interesting and low-cost, you will definitely be noticed.

Important:

Remember that scammers today are becoming more sophisticated in their scams: many people have already suffered in their search for fame and work on TV. Please note that even a cameo must be paid. And for participating in the crowd you should pay, not you.

In addition, there are a lot of scammers in the field of teaching TV business: the offices that promise to glorify everyone are growing like mushrooms after the rain - but, alas, the applicant will not find anything besides disappointment and loss of finances. That's why be careful and check carefully similar organizations before attributing money.

Preparing a portfolio for job searches on television - all the secrets

Career in television and cinema, salary - what to prepare and strive for?

What awaits you in the world of television?

Whichever profession you choose, this is a number of pros and cons (there is no other way in life).

If you want to become a public person (not a make-up artist whom no one sees, not an operator, but a public person), then you will be pleased to learn about the benefits of working on TV:

1. Recognition. That is, fame, interviews, your face in photographs in magazines, autographs and other joys of "stardom".
2. High income ... TV salaries have always been higher than those of mere mortals, but in the end, everything will depend on your level of popularity.
3. The ability to communicate with famous people , the development of the necessary connections, overgrowing with useful acquaintances.
4. Expanding horizons in all senses.
5. The need to always be in shape. A public person should look impeccable even when the garbage runs out to be thrown into the garbage chute.
6. Creativity, self-realization, interesting work. Wherever you drop an anchor on television, it will be interesting everywhere.

Among the disadvantages of working on TV are:

• Constant overload of the nervous system.
• Inability to relax because you are always in sight. You cannot "blurt out, without thinking" or go out into the world, whatever.
• Personal life under the gun of photo and video cameras... Every act, mistake, mistake - they will discuss everything, interpret it in their own way, condemn, etc.
• Irregular work schedule.

As for the salary and career, everything, again, depends on the chosen profession.

For example…

1. Director starts as an assistant director and grows to (this is the peak of his career) director-director. The directors' fees are more than substantial. Both film directors and television directors.
2. Actor. A beginner with no experience will receive about $ 10 per day for filming in the crowd (for a shooting day, which can stretch for more than 24 hours). An actor with experience in episodic roles will receive about $ 140 per day of shooting. If the starring role appears in an actor's luggage, the salary jumps to $ 220 / day. Popular actors are considered the highest paid - their earnings for 12 hours of filming usually exceed $ 3,000. But you still need to grow to this level.
3. TV presenter ... Their salary starts from 30,000-100,000 rubles. However, it all depends on the popularity of the host and the program.
4. The screenwriter also makes pretty good money. And the start of a career usually begins with a writer, journalist, playwright. True, it is extremely difficult to break into this sphere of television, even if you can boast of serious connections.

“Rich people have a large library.

Poor people have a big TV. "

Dan Kennedy

FOR CHILDREN ABOUT PROFESSIONS. CONVERSATION THREE

ABOUT PEOPLE WORKING ON TELEVISION. WHO WORKS ON TELEVISION?

Guys! Do you know who makes TV shows? I'll tell you.

First, for any transfer you need screenwriter ... He composes a plot, looks for heroes, thinks over what they will do, in what setting the action takes place.

The writer-scriptwriter shows the finished plot to the director. Stage director - the main face of the TV show. Together with the author, he discusses the plot. The director selects suitable artists, assigns roles. Each actor receives the text of the role and instructions from the director.

Listen to the poem.

My role

Even though I'm small for now

They gave me the role of an old man.

But I'm completely different

Carefree, mischievous,

I'm used to jumping, running,

What kind of old man am I?

To play a better role

I began to watch my grandfather:

Grandfather walks, groans,

Leans on a stick

He looks tired.

I'm very sorry for my grandpa!

I began to walk, bend

And lean on a stick.

I began to grumble at home,

Like the eldest in the house.

I began to groan: "Oh-oh-oh,

I feel pain in my knee. "

Everyone asked: "What's the matter with you?"

I'm trying to enter the role!

If the action takes place in a studio, scenery is needed. They are created decorators.

Illuminators adjust the light regime, and sound technicians - sound. Among television employees, play a significant role make-up artists. These are artists who, with the help of paints, creams, special cosmetics, false hair, change a person's appearance, give him the features that a production director needs.

However, the actor also needs to be dressed according to his role. This is done costume designers and dressers who monitor clothes and their condition. Seamstresses sew clothes, pick up fabrics.

Finally, a huge role in the creation of television programs is played by operator NS. They are filming the action. Music for TV shows is written composer s, lyrics - poet NS.

Which of the TV workers have we forgotten? Right! Leading ... This is a specialist who leads the program from the studio or from the scene.

TV presenter profession

Lecture hall "Tactics and Practice" with the participation of the legendary host of the programs "Good night, kids!" and "Good morning, kids!" Piggy

Profession TV presenter - lecture

The TV studio is a soundproofed room. The studio area can range from several tens to thousands of meters! The walls and ceilings are covered with sound-absorbing materials.

The studio has a lighting system. To remove heat generated by lighting devices, the studio is equipped with ventilation and air conditioning.

Answer the questions

What kind of TV professionals do you know?

Who thinks over and writes the plot of the TV show?

Who plays the roles?

Who sets up the light?

Who records?

Who makes up the actors?

Who wears them?

Who is filming the show?

Who is leading her?

Who creates the scenery?

Who composes the music for the show?

Who writes the lyrics to the songs?

What does a television studio look like?

Listen to a fairy tale.

In the dressing room

Make-up artists work in the TV dressing room. They have special brushes, makeup, false mustaches, beards, hair, special glue and other interesting items.

Each artist is seated in front of a large mirror, and the make-up artist gets to work. From a young man he can make an old man with wrinkles and gray hair. And the elderly, on the contrary, "rejuvenate" with a special make-up.

Anastasia Ivanovna - a very experienced, skillful make-up artist - somehow began to make up a young, but already famous actress, a rising star. Her name was Olga. She is famous, but she is very poorly brought up! The girl kept making remarks to the make-up artist: now it is not so, then the cheeks are not very pink, then the lips are pale. Anastasia Ivanovna tried as best she could, but she could not please the actress. Finally, she abruptly jumped up from her chair, was rude and ran off to the shooting

When the actress ran down the corridor, a magic butterfly touched her face with a wing. The paints immediately faded and shreddedfell from the face, the false braid was disheveled, the eyelashes stuck together and not a young beauty entered the shooting pavilion, but a real Baba Yaga!

Olenka! What's the matter? - the operator was surprised. - Are you sick? You feels bad?

Yes, I feel bad! The old make-up woman brought me up! Then Olya burst into tears and began to look even worse.

The old make-up artist, Anastasia Ivanovna, is the most experienced and skillful make-up artist. She couldn't make you up like that! - said the director. - Something is wrong here! - he said.

When I was running down the corridor, someone touched my face, - Olya remembered.

Well then, everything is clear. You offended Anastasia Ivanovna, and the magic butterfly, her favorite, stood up for her. You won't be filming today, - said the director. - Go and apologize to the make-up artist.

Olya did just that. Anastasia Ivanovna forgave Olga. After all, she was kind and not vindictive, like all talented people. She put a new makeup on the actress, she became a written beauty and hurried to the shooting. And the magic butterfly folded its wings and sat on a violet flower that grew in a pot on the window. So she became completely invisible.

Thank you little friend! - Anastasia Ivanovna thanked her. “You protected me with your magic wing.

The main success factor in the profession of a TV presenter

Answer the questions

Who works in the dressing room?

What do make-up artists use?

What was the name of the most experienced make-up artist?

Whom did she start to make up?

How was the young actress raised?

Who touched her face with a wing?

What happened to him?

What did the cameraman and director say?

Did Olya want to ask Anastasia Ivanovna for forgiveness?

Did the make-up artist forgive her?

Whom did she thank for her help?

Where is the magic butterfly hiding?

The Ostankino Higher School of Television is a leader in the field of training personnel for television and radio.
Teachers for future TV presenters, television journalists, actors, directors are active professionals in television and media journalism. Honored workers of culture and art also teach at the school: Alexander Politkovsky, Tatyana Pushkina, Evgeny Ginzburg, Dmitry Krylov, Lev Novozhzhenov, Alexey Lysenkov, Alexander Zhuravsky, Alexey Yakubov, Yulianna Shakhova, Elena Borzova, Daria Chervonenko.
Students have the opportunity to use professional audio and video equipment, all studios are equipped with the necessary modern equipment.
Based on the results of practical training, graduates of the television school find a permanent place of work on the leading Russian TV channels: Channel One, Russia, Kultura, NTV, STS, TNT, Stolitsa, Domashny, TVC "and many others.
The Ostankino Higher School of Television issues a diploma of the established sample in the following specialties:
"Mastery of a TV and Radio Presenter",
“Image maker. The art of style and make-up ",
"TV Director"
"Music video director"
"Film and Television Actor"
“TV operator. Photo artist ",
“Television journalism. Editing. Public relations",
"Video Editing Director"
"Sound engineer".
Everyone who wants to become a professional in multimedia journalism and in the creative field is invited to the Higher School of Television! Interesting master classes with famous figures of culture and journalism, a vibrant student life, and a decent foundation for your future profession await you.
Moscow Institute of Television and Radio Broadcasting "Ostankino" MITRO

Sources of

Shorygina T.A. Conversations about television: Methodological guide. M .: TC Sphere, 2016 .-- 64 p. (Together with children).

Dear students, in my opinion, this is important!

I advise you to go through other sections of "Navigation" and read interesting articles or watch presentations, didactic materials on subjects (pedagogy, methods of developing children's speech, theoretical foundations of interaction between preschool educational institutions and parents); material for preparation for tests, tests, exams, term papers and theses. I will be glad if the information posted on my website will help you in your work and study.

Best regards, O. G. Golskaya.

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Television professions: from TV presenter to make-up artist

Today, TV journalists are not inferior in popularity to pop and movie stars. They are always at the center of the most interesting events. The common man does not see the downside of this profession. Nevertheless, this is the hard work of many people who remain behind the scenes of the TV camera, sometimes turning into a tedious routine.

TV presenter.

The face of almost any television program. He is a welcome guest in every home. Everyone has their own favorite and unloved presenter, who is trusted or not trusted, but no one remains indifferent. In the West, the hosts of talk shows, entertainment programs, and news programs are often called moderators - the participant and organizer of the conversation. In recent years, it has become fashionable to invite pop and film "stars" to this role to attract the attention of the audience and increase the rating, but such a move does not always work. A separate caste is political talk shows run only by professional journalists.

TV program editor.

The editor's work begins long before the program goes on the air. It consists in choosing a theme, a hero of the program, participating in the development of a script. Therefore, the editor must be aware of all possible problems and current topics. The editor prepares and submits the finished product - a TV program. Sometimes he, together with the director, participates in organizing and conducting filming, editing and dubbing. A good editor is in demand on any TV channel.

Director of television programs.

One of the most difficult professions on television. Unlike the work of a filmmaker, the work of a director on television is more multifaceted - it includes staging work with actors and non-actors, live broadcasts and recording, editing and dubbing.

TV operator

A profession that combines creativity and technical skills. On the one hand, a TV operator must master the laws of composition, color and light, and on the other hand, an excellent knowledge and mastery of the most modern digital technology and optics is required.

Editor.

This is the most often called the profession of a television editing director. He must know computer technology, the latest software, be aware of a huge number of editing solutions, know the history of cinema and television, the theory of directing and editing, have a sense of tempo and rhythm. Work on the release of news programs is a daily work on the air with several sources of images, which requires great dedication and professionalism from the editor.

Sound engineer.

The specialist in charge of the sound design of an audiovisual work. Its functions include mixing music, internoise, organic sound mixing. The sound engineer must master the most modern computer technologies in sound processing and recording.

Music editor.

Another very important profession for television. A music editor not only needs to know musical culture, but also the basics of editing, sound engineering, and television directing. He must understand how to create a certain atmosphere and mood, to create a unity of music and images.

Linear and executive producers.

People of these professions are involved in organizing the production of television programs and television series. The work includes coordinating a large administrative team, distributing finances (from the salary of the film crew to the cost of purchasing and manufacturing the scenery), writing the script and dining on site. The well-coordinated work of all production departments depends on these specialists.

Make-up artist.

Responsible for the makeup of all people in the frame. In the lobby of one of America's leading television companies, there is a slogan "We even have a president wearing make-up." This is no coincidence. In the early days of the television era, studio guests often refused to wear make-up. If for the actors make-up is an integral attribute of their profession, then for the guests in the studio it seemed an optional procedure. Of course, this is out of the question now. Before entering the frame, everyone is made up by real professionals in their field.

Of course, this is not the entire list of television professions, but only the most important ones. In recent years, it has become possible to master these professions in many educational institutions. And the number of institutions that train personnel for television is growing steadily.

Open source

And again, a remark: before considering what positions will be present in student television, it may be advisable to consider what journalistic professions exist, their functions and characteristics. This must be done at least in order to correctly determine what a person will have to do in a particular field of activity. And vice versa - what should be called a person engaged in this or that activity in this area.

Editor

Literary editing per se is a small part of the editor's functions on television. Television is a collective creativity, and therefore the role of people who own the general principles of television production is increasing. These are the program editor and producer.

Literary the same editor on television differs from the editor in print and radio journalism, first of all, in that, in addition to the word (in print), the sound (on the radio), there is also an image. That is, editing on television takes place, as it were, in three planes, in three dimensions.

Program editor, in addition, he is also one of those people (and perhaps the most important one) who determines the strategy of the program, its ultimate goals.

Producer

Producing as a kind of professional television activity in the television companies of the post-Soviet countries can hardly be considered a definitively formed profession with a strictly regulated set of functions. On Western TV, a producer is usually understood to be the same editor who is also responsible for the organizational and financial aspects of the preparation of programs.

Correspondent (reporter)

A reporter or correspondent is the most massive and multifaceted of "screen" TV. In fact, reporting is the backbone of modern television; without correspondent material reflecting real life, television would be a collection of studio programs plus the broadcast of films and other recreational programs. Reporter work is carried out in different planes. There are universal reporters who do not specialize in anything, and the basis of their work is the principle of the necessary degree of complete research of any topic, any subject. There is very often a specialization in the larger TV companies and authoritative news programs. Reporters specialize "horizontally": in a specific area of ​​public life and activities (politics, economics, crime, science, ecology, etc.). In some programs (for example, Vesti, RTR) there is an even narrower specialization: individual correspondents not only deal with the sphere of politics, but also within it specialize more specifically: someone reflects the activities of the president and his administration, someone - the government, parliament, foreign ministry, defense ministry, etc. Specialization "vertically" means the work of a correspondent with all the news, but only in one region, one country. Another division of correspondents is based on genre specialization. The overwhelming majority work with the operational information of news and information programs. There are reporters who are engaged in investigative journalism, preparing special reports, and sometimes special programs.

Reporting is the most versatile of the screen professions. This is the ability to deliver a monologue, this is the skill of the interviewer, this is the work of the scriptwriter and director of the stage director, this is the ability to impartially present independently collected information and the ability, if necessary, to be an analyst, to predict the development of events. The reporter is the intermediary between the event and the audience. And the further development of the event itself largely depends on how he performs the work of a mediator, sometimes thankless. Therefore, a reporter is also a responsibility.

Commentator and columnist

A comment is a point of view on a fact, event, process. As a rule, the commentator is a journalist who has sufficient experience, who knows the history of the issue, who is an expert on this topic, and thus has the moral right to make assessments and forecasts. Its function is to explain to the audience a complex issue, to show it in context, to present existing points of view, arguing, if necessary, his own and subjecting all others to well-reasoned criticism. The commentator is not always necessarily a professional journalist. Perhaps an invitation to comment on someone from a specialist who does not work on television. True, in this case, the author or producer of the program must take into account the abilities of this person: not only is he an expert on the problem, invited as a commentator must also have a number of qualities that allow him to appear on the air (for example, diction is necessary; even if the content of the comment is extremely interesting, slurred speech can negate the interest of the audience, and the result will be zero.In this case, it is better to use this specialist as a consultant before the broadcast, and a professional journalist-commentator to use the specialist's information, referring to his authority if possible). Despite the commentator's right to have his own point of view, it must be remembered: in addition to logic and temperament, the audience is always convinced by a certain distance of the commentator in relation to the broadcast material. An exception may be reasoning or conclusions related, for example, to universal human moral values. The work of a commentator and a columnist has a lot in common. First of all, it is the right and the need to convey to the audience views, opinions, judgments, assessments.

Showman, moderator, interviewer

The profession is based on the ability of a journalist to communicate with people. This is common. The quality that unites them also includes refraining from expressing their own opinions and assessments, which distinguishes these journalistic specializations from the role of a commentator or observer. At the same time, each of these journalistic specializations has a number of fundamental differences, including genre ones.

Showman- host of a mass (usually studio) program, talk show. The most important element of this genre is entertainment, therefore the showman is a high-class mass entertainer. It is very difficult to keep a large group of program participants in the given channel of the general conversation, creating from this communication a single action that is interesting to the audience.

Moderator Is a western term. In the understanding that has developed in the post-Soviet space, this is the host of the "round table". And if a showman needs such qualities as artistry, dynamism, very often wit, resourcefulness, then the leader of a discussion on serious topics should behave in a balanced manner, an extremely important condition for this work is as deep knowledge of the subject of the conversation or discussion as possible. Having knowledge about the subject and having gathered around the "round table" supporters of different, sometimes opposite, opinions about this subject, the moderator is obliged to remain neutral. Especially when conducting such a kind of genre as televised debate. A vivid example is the pre-election TV debates: playing along with one of the candidates in the pre-election TV debates, a journalist puts an end to his professional career.

Interviewer- a separate journalistic profession, although fragments of interviews as forms of journalistic work are present in almost all genres of television journalism: in a reportage, review or commentary, etc. For the interviewer, the most important qualities and at the same time the conditions for successful work are two: the ability to pre-plan in detail the conversation with the future interlocutor and the ability to instantly respond to unexpected turns of the conversation. It is necessary to master the topic so as not to follow the lead of the interviewee, but to be able to gently and unobtrusively insist on your line of conversation. The latter is especially important if the conversation is on the air. The intonations and general atmosphere of a long interview sometimes play a role no less than the content of the conversation. To overcome the artificiality, deliberateness of the atmosphere in which the conversation is actually taking place (the presence of a camera, lighting, etc.) by yourself, to help the interlocutor in this overcoming, to establish an intuitive contact, understanding at the level of exchange of views means creating conditions for fulfilling tasks.

The law of the big interview: if there is no eye contact, then there is no interview. Another law is unconditional attention and understanding to the interlocutor. Even if you are many orders of magnitude smarter than your interviewee, you have many times better command of the topic of conversation - since you have chosen him for an interview for one reason or another (maybe the social status of this person is important, etc.) please be kind to treat him with respect and in any case, do not show your superiority even with a hint. For the countries of the post-Soviet space, the work of Urmas Ott can be considered a certain standard of a large interview - he also has mistakes. And one of them, recognized by the master himself, is "self-importance" in front of the guest in the studio. In Western journalism, there is an unwritten rule on this score, worthy of being taken into the arsenal: questions that are unpleasant to the interlocutor, questions that can anger him - all this is left at the end of the conversation.