Chapter 13 of Kenneth Kobre’s book Photojournalism: The Professionals’ Approach details the world of journalism via video, covering the differences between photo and video and how to effectively master the concept.

1. Though any newsworthy story can be told through video, the most successful ones are those that find compelling, central characters to build a story around. Whether it’s a profile piece or the subject represents a larger cause or problem, they must be both articulate and engaging to create an interesting story. (pp. 311-312)
2. One of the drastic differences between camera and video camera (and beneficial to a videographer) is that instead of waiting for a singular moment to catch the perfect image, a video photographer can roll for multiple minutes. Because of this, one can focus on capturing extended sequences as opposed to moments. (pp. 313-314)
3. In building a sequence, the book provides a few handy tips on the subject. Even in the case of shooting a static (still) shot, shoot for a minimum of 10 seconds. Anticipate reaction with your subjects, and pan from the emotion to the “motivation.” One should also focus on closing each sequence effectively, either by pulling back on the shot, or allowing the subject to walk away from, or entirely out of, the frame. (pp. 324-326)
4. Once the footage has been collected and placed in the video editing software of choice (the book references the standard Apple Final Cut Pro), it’s wise to name and organize the footage to streamline editing. If large-scale segments have been shot over a period of days, separate each day of shooting with a bin, before naming the clips. Standard industry names for differing types of clips include SOTs (sound on tape, for interviews) and b-roll (general video used for the voiceover sections). (pp. 328-329)
5. Avoid the jump cut! Though this is a fairly obvious tip to those who have edited video before, it’s an important note nonetheless. The book only references a jump cut as two pieces of SOT merged together, so the subject’s head jerks at the edit point. However, from working in television for a little bit now, I also know a jump cut can occur in b-roll, when the subject appears in back to back sequences without ever leaving the frame in the previous one. Both types of jump cuts are the result of sloppy editing, and should be avoided at all costs. (p. 332)