Creating Contrast and Caparative Essay Topics

Creating Contrast and Caparative Essay TopicsComposition questions regarding contrast and comparative essay topics are relatively simple. Just make sure that the topic is not too broad. A common mistake among students is to use too many contrasts in one essay. One may have too many examples of two products that are similar and not in a contrast, resulting in too many examples.Contrast should be used in very few instances. In fact, it should not be used at all. Instead, just use one or two positive and negative examples.If a student has too many examples of contrasts in one essay, they are no longer thinking clearly. By using two examples instead of one, you allow the student to think more clearly. By showing that the two examples are not all true, the student can analyze and see if they are true.Students often find that the contrast and comparative essay topics are the most difficult to write. You may need to practice writing this type of essay. There are many resources that you can use for practice.If your students have been doing poorly with contrast and comparative essay topics, there are some strategies that you can use to help them become more successful. They need to pay attention to the colors and textures of their paper. In addition, they need to pay attention to the appearance of their colors and text. This can sometimes be a difficult task because often papers are very bright, shiny, and glossy.Colors and textures on your paper should be warm, natural, and natural looking. For example, you may choose to use beige for a casual, home environment, and black for a formal, business setting. You may also choose to use both types of colors indifferent colors, and choose to use different textures in different areas of the paper.However, if you choose to use only one texture in your paper, you should avoid choosing the same texture or colors in different areas of the paper. It is best to use textures and colors in different locations in the paper. In addition, you may choose to have different textures and colors in different regions of the paper. As a result, you are more likely to be able to see the textures and colors in other areas, which allows the student to see the difference between textured and color paper.As you can see, there are many different ways that you can change the appearance of your paper, to change the different textures and colors, to change the appearance of textured and color paper. This will help you enhance the effectiveness of your contrast and comparative essay topics.

Studio Based non-Fiction Television Production Essay Example

Studio Based non-Fiction Television Production Essay Although the production could not happen if one member of the crew were missing, the role of the PA is pivotal. The PAs job is to ensure that the programme runs to the correct time and therefore has to be aware of the exact timing of every piece within that broadcast. The PA must know the exact time of every video feed and the point at which it has to start. This enables a ten second count to be given for the video to have enough time to get up to speed and start at the correct time. The second important aspect concerning the PA and the video feeds is to know the count to the end of the piece. This is essential information for the floor manager to pass onto the presenters and auto-cue operator, this enables the next piece to start as soon as the video feed has finished because all relevant parties know in advance exactly when that point will be. We will write a custom essay sample on Studio Based non-Fiction Television Production specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Studio Based non-Fiction Television Production specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Studio Based non-Fiction Television Production specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Another task of the PA is to keep track of the times of any live events such as interviews and to make sure that they fill the required time without over-running. Again this information is fed to the floor manager (or directly to the presenters if they have ear pieces.) The outcome of all this meticulous time keeping is that the PA should know exactly how much time the remaining pieces have to fill. This way the PA will know if there is going to be any dead time in the programme that would need to be filled. Again the communication process runs through the floor manager to the presenters to pad things out. The result is that many news broadcasts; especially local ones have a few seconds of banter towards the end. This may be discussion of the news items, however, its only reason for inclusion is to make sure that the programme runs to the right time. The alternative scenario would include a smaller item being cut completely or a long piece having some peripheral information left out to ensure that the production does not run over. The essential nature of the PAs role is highlighted in a live new broadcast. Major news events (such as those of September 11th) take precedence over the news items that are planned (or indeed scheduled programmes.) In this scenario the PA must think on their feet to ensure that they know the exact duration of any additional material and decide what is going to be the most appropriate material to cut to keep the programme within its allocated slot. With this brief to follow, the PAs tools are a series of stopwatches and a heavily annotated running order. The stopwatches keep track of the overall programme length and each piece on separate clocks. The PAs running order is concerned with the times of each piece, to ascertain these the PA must liaise with the presenters to find out how long it takes them to read each part of the script. The PA can then ascertain at what time and which section of script corresponds to the cue for the VT operator. Evaluating our own production. Several problems were faced during the making of our programme. Firstly the inexperience of the people involved which the module aimed to rectify. Secondly we were not equipped with earpieces for the presenters. This meant that any communication from the gallery to the presenters had to be channelled through the floor manager, this lead to some confusion as well as the presenters focussing on the floor managers non-verbal signalling rather than looking straight to camera. Thirdly, there was only one out of three cameras equipped with auto-cue. In order that the presenters eye-line was straight out to the audience, the one auto-cue camera ended up being pivotal. There was a stretch of four stories which had to be delivered by one presenter straight to the same camera as there was no way of feeding the script from another angle. Finally, the position of the monitors within their housing in the gallery was such that it was very difficult for the VT operator to see the clocks on the tape before each VT piece. This problem was solved by the producer giving instructions to the VT operator as to the state of the clock. This solution took more time and meant that is was sometimes quite a close call as to whether the VT was ready in time to be played. This situation also meant more noise in the gallery, which must have been detrimental to the concentration of the other members of the team in there. A human caused shortcoming of our broadcast was that it ran thirty seconds under the required time. This was caused by a combination of events. We were given a newsflash to insert with no warning at all. This meant that the timings for the rest of the programme were out. It was decided to cut the interview that was to take place later by thirty seconds to make way for the newsflash. Unfortunately, the presenter cut the interview by almost a minute, this situation was difficult for the PA to convey to the presenter because of the afore mentioned lack of earpieces. At the end of the programme when it was realised how long had to be filled, the request was sent to the presenters to pad the end of the programme out, however, this banter failed to materialise, this lead the cue for the VT to start being late which resulted in a ten second shot of the presenters looking to camera without saying anything and the programme ending early. A further fault with the production was the lighting. The lighting operator had been absent for a number of weeks, which meant that the soundman was filling in with rudimentary control of the lights. However, the arrangement of them was left as it had been found, this resulted in some of the shots having rather more shadow than would have been preferred. As well as having control of the lights our soundman did a wonderful job, there were no instances where the microphones were left on longer than they should have, and they were always turned on in time for the presenters voice to be heard. During the VTs the sound was perfect, and the transition from read over to using the sound on tape during one of the sports VTs went smoothly. The section of the programme that couldnt be scripted the interview also went ok. The presenter had a library of questions to refer to so was never stuck for something to say. The vision mixing in this part of the production was also done without being set out before hand. We used two cameras, one for each participant and cut between them as the speech swung from one conversant to the other. Bearing this fact in mind, that particular piece of the broadcast went perfectly well. My own contribution. I was involved in the writing of one of the pieces (the Smoking Kids item) and was a member of the team that filmed the NTL story and part of the Drugs story. I was also involved in editing these pieces. Being the VT operator meant that I was responsible for all the videotapes which were needed. Several problems were faced with one of the tapes (the control track had corroded apparently) this involved some frantic editing to get all the pieces available for the broadcast. As a consequence of these technical problems we had to do several rehearsals without some of the VTs being properly ready. My role meant that I had to work quite closely with the PA, I collected the exact times of each of the VTs and was able to supply the ten second count down at the end of each piece, this spread the PAs load making the production run smoother. As well as having the standard running order and script, I produced myself a VT running order, which had all the VTs in the order that they appeared, complete with their running time including the ten second clock and a note giving the exact time the ten second end call was needed. For my job to run smoothly it was essential that I was organised. Each tape was correctly labelled and the three tapes I was using were set out in order to make changing them easier. As previously mentioned my personalised running order was also present, this had notes on it regarding the best time to change the tapes and when I had enough time to fast forward the tape with the titles on. To make sure that each video piece was ready in time, I had to make sure that as soon as one piece had finished I got the tape ready for the next piece as quickly as possible as there was only twenty seconds between two of the VTs, this meant that I had ten seconds to wind the video on before I had to set it running again so that it would appear at the right time. Again working closely with the PA meant that I had in depth knowledge of all the times that concerned me. As I was the only member of the team with a detailed knowledge of each tape and its relation to the overall programme I also had to work with the vision mixer and sound operator ensuring that they knew the right places to cut to the video and the sound respectively. It was also essential that the sound operator knew which video pieces were intended to be read overs so that the presenters mikes were kept up. Another point at which teamwork was essential was for one of the sports pieces were the first half of the video clip was read over and the second used the sound on tape. Several run throughs were needed in order to get the sound levels and the video start points right. At the beginning of each session I also had to work with the sound operator so that a check could made that the sound on tape came through ok. A further problem was the NTL VT, there was a section of the piece which was filmed in a noisy environment, the sound operator needed prior warning of this to ensure that the sound was mixed live to reduce the difference in levels within the piece. Taken as a whole, I feel that the team worked well together to produce the piece. Each person was aware of their job and how it related to everyone elses position within the team. This enabled us to get the programme running smoothly and for us to be able to cope with the unexpected when it happened.