CHAPTER – 3

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TELEVISION NEWS

Structure
3.0 Introduction
3.1 Unit Objectives
3.2 TV News room operation
3.3 Basics of TV News
3.4 Structuring a TV news report
3.5 V/O’s
3.6 Packages & Story formats
3.7 News gathering and writing
3.8 TV interviews
3.9 Process of Live inputs
3.10 TV features and News analysis
3.11 Gatekeeping
3.12 News anchoring
3.13 Visual sources
3.14 MSR and OB
3.15 Live reporting
3.16 Further Reading

3.0 INTRODUCTION

Television news programs inform and discuss current events via the medium of television. A
"news bulletin" or a "newscast" are television programs lasting from seconds to hours that
provide updates on events. Programs can vary their focus; some newscasts discuss largely
international or national matters, while others will focus on regional and local news events.

Newscasts, also known as bulletins or news program(me)s, differ in content, tone, and
presentation style depending on the format of the channel/station on which they appear, and
their timeslot. In most parts of the world, national television networks will have bulletins
featuring national and international news. The top-rated shows will often air in the evening
during "prime time", but there are also morning newscasts of two to three hours in length.
Rolling news channels broadcast news content 24 hours a day. The advent of the internet has
allowed the regular 24-hour-a-day presentation of many video and audio news reports, which
are updated when additional information becomes available; many television broadcasters
provide content originally provided on-air as well as exclusive or supplementary news
content on their websites. Local news may be presented by standalone local television stations,
stations affiliated with national networks or by local studios which "opt-out" of national
network programming at specified points. Different news programming may be aimed at
different audiences, depending on age, socio-economic group, or those from particular
sections of society. "Magazine-style" television shows (or newsmagazines) may mix news
coverage with topical lifestyle issues, debates, or entertainment content. Public affairs
programs provide analysis of and interviews about political, social, and economic issues.
News programs feature one or two (sometimes, three) anchors (or presenters, the terminology
varies around the world) segueing into news stories filed by a reporter (or correspondent) by
describing the story to be shown; however, some stories within the broadcast are read by the
presenter themselves; in the former case, the anchor "tosses" to the reporter to introduce the
featured story; likewise, the reporter "tosses" back to the anchor once the taped report has
concluded and the reporter provides additional information. Often in situations necessitating
long-form reporting on a story (usually during breaking news situations), the reporter is
interviewed by the anchor, known as a 'two-way', or a guest involved in or offering analysis
on the story is interviewed by a reporter or anchor. There may also be breaking news stories
which will present live rolling coverage.

Television news organizations employ several anchors and reporters to provide reports (as
many as ten anchors, and up to 20 reporters for local news operations or up to 30 for national
news organizations). They may also employ specialty reporters that focus on reporting certain
types of news content (such as traffic or entertainment), meteorologists or weather anchors
(the latter term often refers to weather presenters that do not have degrees in meteorology
earned at an educational institution) who provide weather forecasts – more common in local
news and on network morning programs – and sports presenters that report on ongoing,
concluded, or upcoming Packages will usually be filmed at a relevant location and edited in
an editing suite in a newsroom or a remote contribution edit suite in a location some distance
from the newsroom. They may also be edited in mobile editing vans, or satellite vans or trucks
(such as electronic news gathering vehicles), and transmitted back to the newsroom. Live
coverage will be broadcast from a relevant location and sent back to the newsroom via fixed
cable links, microwave radio, production truck, satellite truck, or via online streaming. Roles
associated with television news include a technical director, floor director audio technician,
and a television crew of operators running character graphics (CG), teleprompters, and
professional video cameras. Most news shows are broadcast live.
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3.1 UNIT OBJECTIVES

After reading this lesson, you should be able to

 Understand the process of Television News Production
 Get insight about the structure of Television News Organisation
 discuss the role of television news in our society.
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3.2 TELEVISION NEWSROOM OPERATION

A newsroom is the most important part of that News Organization. Now, let us understand
what really happens in the newsroom. A newsroom, as the name suggests, is that place where
news stories come in raw form. They then get polished there by skilled experienced persons
and made ready for broadcasting. In other words, right from the stage of planning of news
gathering to making of news shows, everything is done in the newsroom. Journalists as well
as technical experts are part of the newsroom. The important parts of a typical TV newsroom
 are – editorial team and technical team with journalistic sense. In this section, we shall discuss
the functions of each of them, so that it would be easier for us to understand how the new
bulletins are prepared.

Editorial Team

Journalists constitute the backbone of the news world, so they are the core component of any
newsroom too. They form the editorial department of a newsroom and take major decisions
regarding the content of any television news channel. Editorial has two major divisions- input
and output. Both departments work on a particular newsroom software.

 Input: An important section of editorial department is input. This has the task to bring
in stories and visuals to the newsroom. Assignment and reporters’ bureau are the main
parts of input.

i. Assignment: One significant group of journalists form the assignment section. Their
primary task is to derive story ideas from reporters and decide on the news inputs on a day-
to- day basis. They also assign tasks to reporters on routine events.

ii. Reporters Bureau: Reporters and correspondents are the other very important component
of editorial department. It is because they are the ones who hunt and bring in the news stories
from every nook and corner of the outside world to the newsroom. A news channel with a
national character has National Bureau with reporters to look after the happenings in the
capital city, State Bureau which is usually located in the state capital and looks after the
happenings in the respective states, and stringers who are present almost in every district and
sub division to collect news stories from their respective locations. Stringers are usually not
the regular employees of news channel but work as freelancers. Thus, any major national news
channel has a well-knit network of Television News reporters across the whole country.
Regional channels do not have that type of network. Reporters are also divided according to
their area of specialization.

 Output: This department has the responsibility to put the news on air or broadcast. Journalists
belonging to the output team first judge and analyze the news items, stories and visuals
provided by input team and then plan the bulletins accordingly. Also, the content, format,
importance and on-air time of any news item are decided by the output team. In other words,
the output team is responsible for what is broadcast through the TV sets. Copy writers are
also the part of the output team.

Copy Writer: Many journalists work with TV news channels as a copy writer
wherein their primary task is to write news scripts. While reporters usually file news items,
but at times, they may also file scripts of the stories covered by them. Often it so happens that
reporters tend to get involved in some other routine work and hence, may not find enough
time to write the detailed script. In such cases, the copy writer pitches in. Many a times, the
copy writer also prepares scripts for the news stories pouring into the newsroom from
different news agencies.

Anchor: News presenter or the anchor is also part of the editorial team. In
addition to anchoring, they may also be assigned other tasks such as production and
reporting. In television news, the anchor plays a very crucial role. It can be said that without
an anchor, any TV news programme cannot be complete. The anchor also acts as the interface
between reporters who bring in the news, producers who shape the news and the viewers
who receive the news. It is pertinent to remember that it is the anchor who delivers and
communicates the news to the masses. The anchor reads and analyzes the news, and then
carries it forward. Although, usually they get the news written on the teleprompter but at
times they have to deliver on their own taking lead from the producers.

In every news-station there is a specific place called the studio for the anchors
to read the bulletin from. There are real studios as well as virtual ones. It is the editor or
producer-in-charge of specific bulletins who decides from which studio the anchor should
present the bulletin.

Anchors are often also referred to as the ‘face’ of news channels and in most
cases, a bulletin or a news channel may be recalled associated with specific
anchors. Most anchors tend to have their own fan following. These days multi-tasking
workforce is required and anchors may be entrusted with other tasks in addition to news
presentation such as writing, reporting and other production related works as per the need of
the TV news channel and their own expertise.

Technical Team with Journalistic Sense

There are some people who primarily do technical work, but they certainly have journalistic
sense because they have to work with journalists and for news production. They are:

i. Cameraperson: Since visuals are very important for television news, camerapersons form
an essential part of newsroom. Camerapersons working
with TV news channels collect the visuals with the help of professional cameras. So, they must
be professionally qualified, technically sound and at the same time editorially smart. It is said
that to get good visuals of any happening or any event, the cameraperson should have good
journalistic sense.

ii. Video Editor: Video editors are those who edit the visuals. Raw visuals are
not generally put on air as they may have many unwanted things or sequences.

Apart from this, raw visuals might have audio or video glitches. Before broadcasting, video
editing is necessary from journalistic as well as technical
point of view. So, when the shoot is complete, they are put onto the server of the news channel
and then they are edited as per demand of the script. Video editors also edit special
programmes and news shows. They work with journalists as a team. Different types of
software are available for video editing.

iii. Creative team: The creative team generally also comprises of graphic designers and
‘promo’ producers. As the television news has evolved graphic
work has increased. Under the following circumstances, graphics become an
integral part of news bulletin:

 When the news has just come in and ‘breaking news’ plates have to be ‘fired’.

 When additional information has to be provided and there is no new visual (video or
photograph) input.

 When there is no visual (video or photograph) of particular scene, graphics or

animation may be used. Suppose, a train accident happens and causes the death of
more than a hundred people. While the news is important, but it may not easy to get
visuals of what exactly happened. In such a case, animation may be used to show how
the accident took place.

 Sometimes graphics are used as a tool to give information to the audience in a more
interesting way. In election and political news, it becomes necessary to present
different equations and tallies with innovative graphics.

 Graphics are also used within the studios of news channels to create virtual sets.

Use of graphics in television news is increasing day by day. You would find very fascinating
and aesthetically attractive graphics during news bulletins on your TV screen.

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3.3 BASICS OF TELEVISION NEWS

The newspapers are printed for the eye; the TV news story is presented for both eye and ear;
while radio news is meant to appeal to the ear. The golden rule for TV news is: write like you
talk, not like you write. To communicate information, it must speak in simple language most
viewers would understand. The following rules must be remembered in writing the news for
television.

Clarity

The first rule of TV news is that the story must be clear at once. Unlike the reader, the viewer
has no second chance to go over the material. TV news is written on the wind-here for the
instant, gone the next moment.

A viewer left wondering, about the meaning of what has been said at the beginning of a
sentence will probably be too distracted to comprehend what is being said at the end of it.
Just as the person who writes science articles for a popular magazine must be able to translate
complicated scientific jargon into the general reader's language, the writer of TV news must
be able to make complicated stories simple.

In short, understanding must be immediate in the TV News Bulletin. The golden rule to follow
is "never underestimate the viewers' intelligence or over-estimate their knowledge".

Brevity

Clarity comes not only from writing simple sentences but also from writing short ones. Long
sentences cannot be read easily by the newscaster, and a viewer has a hard time following
them. Every sentence that you write for broadcast should be short, simple and easy to
understand.

The average acceptable number of words per sentence in a TV copy is 13 to 14. TV news has
been described as a headlines service. It is intended to give the viewer only an outline of the
event. In short, there are more words in a traffic accident news item in a newspaper than there
are in the entire news bulletin.

Conversational

TV news writers use everyday words: the language of conversation. TV journalists use a
vocabulary that corresponds to the one used in daily conversation. Words used in everyday
speech ought to be included when drafting news for television. Take this story written @ per
newspaper style:

"The vice-president of the New York branch of the Red Cross stated in a press conference
today that many Christmas toys can inflict injury upon unsuspecting youngsters".

That is not exactly conversational. Instead, a TV journalist would write:

"A Red Cross official warns that many Christmas toys can. be dangerous for kids".

Time Reference-Present Tense

The element of immediacy is one of the biggest assets of the TV medium in reporting news.
Every effort should be made to include up-to-date reports and to write copy in a manner that
sounds fresh and timely. With this in view, the present tense is encouraged. For example:

Police were searching for clue. (unacceptable)

Police are searching for clues. (acceptable)

The present tense is the most engaging tense in the language. It indicates that the action is still
going on, It conveys currency of the news. It is more appropriate to phrase a sentence as,
"There is a huge fire in the old city", than, "there was a huge fire in the old city".

The dynamic nature of news is better carried in copy that incorporates the present tense. Here
are a few illustrative sentences:
Iraq announces that it accepts the UN proposal for a cease fire in West Asia. /

or

The Chinese have test-fired another hydrogen bomb.

Active Voice

Avoid the passive voice; it is the voice in which the subject is acted upon. Use instead the
active voice where the subject acts upon the object.

Passive voice: An airliner was hit by a private plane.

Active voice: A private plane crashed into an airliner.

Active voice is clearer, packs more punch and uses fewer words.

Weak: The' policeman suddenly took away the gun.

Better: The policeman snatched the gun.

It is important to keep the action in the verb. The active voice (the subject of the sentence does
the acting) is stronger than the passive voice (the subject of the sentence is being acted upon).

Weak: The building was destroyed by the fire.

Better: The fire destroyed the building.

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3.4 STRUCTURING A TV NEWS REPORT

Structure of TV News

 Short one-line summaries of key items appetiser or hooks to engage and retain
viewers’ interests.
 On commercial TV process repeated before and after the break, now being copied in
BBC’s bulletins half way through.
 News reports begin with a lead of about 25 words.
 TV news is written for people not paying attention so leads must catch and hold
attention.
 Lead is written in conversational or narrative style; designed to highlight most
dramatic part of the story.
 Who/ what / when /where in this order is the aim of all news stories but TV news
tends to emphasise only a couple of these aspects
 Types of leads:
o Hard news – new / immediate
o Feature – background / immediacy not so important e.g. global warming
o Soft news – human interest / celebs / gossip
 o Throwaway – in case people aren’t listening a few key words are used then
added to in next sentence when interest has been piqued (but still mostly
repetition.)
o Umbrella when items are linked together.

Be brief. A good newspaper story ranges from hundreds to thousands of words. The same
story on television or radio may have to fit into 30 seconds—perhaps no more than 100 words.
If it is an important story, it may be 90 seconds or two minutes. You have to condense a lot of
information into the most important points for broadcast writing.
Use correct grammar. A broadcast news script with grammatical errors will embarrass the
person reading it aloud if the person stumbles over mistakes.
Put the important information first. Writing a broadcast news story is similar to writing a
news story for print in that you have to include the important information first. The only
difference is that you have to condense the information presented.
Write good leads. Begin the story with clear, precise information. Because broadcast stories
have to fit into 30, 60, or 90 seconds, broadcast stories are sometimes little more than the
equivalent of newspaper headlines and the lead paragraph.
Stick to short sentences of 20 words or less. The announcer has to breathe. Long sentences make
it difficult for the person voicing the script to take a breath.
Write the way people talk. Sentence fragments—as long as they make sense—are acceptable.
Use contractions. Use don’t instead of do not. But be careful of contractions ending in -ve (e.g.,
would’ve, could’ve), because they sound like “would of” and “could of.”
Use simple subject-verb-object sentence structures.
Use the active voice and active verbs. It is better to say “He hit the ball” than “The ball was hit
by him.”
Use present-tense verbs, except when past-tense verbs are necessary. Present tense expresses the
sense of immediacy. Use past tense when something happened long ago. For example, do not
say, “There were forty people taken to the hospital following a train derailment that occurred
early this morning.” Instead, say, “Forty people are in the hospital as a result of an early
morning train accident.”
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3.5 V/Os (Voice Overs)

Voice over is a production technique where a voice is recorded for off-screen use. While
prominently used to reference movies and television, voice over can also be used for telephone
services, along with other informational service.

The question of whether it’s “voiceover” or “voice over” is that you will usually (and maybe
even officially) see it as “voice over.” So, just to be safe, always make sure there’s a space
between the two words.

Voice over is popularly shortened to “VO” and we will be using this shortened two-letter
version of voice over in the article for brevity.
A voice-over is a narration done by a broadcast reporter, usually reading from a script. The
reporter's voice is recorded over a sequence of video clips that tell a story.

____________________________________________________________________3.6
PACKAGE AND STORY FORMATS

A package is a recorded script accompanied by one or more actualities. Sometimes it's called
a wrap, as the reporter's voice wraps around the actualities. There are various types of
packages: from the simple one, with only one actuality, to more complex ones with more than
one actuality and ambient sound (nat). It makes the report more vivid. Like the actuality, the
package is launched by anchor intro that ends with the reporter's name and the angle of the
report.

A news package is usually the longest type of storytelling found on television newscasts. They
are also found in long-form news programming, such as the News program 60 Minutes.

A package is a self-contained taped news report. Usually, the news anchor will read an
introduction live, then the pre-recorded story will be shown.

A common part of a news package is the appearance of a reporter talking into the camera.
This is called a "standup" because the reporter is often seen standing in front of the camera on
the scene of the story.

News packages usually run for 1:15 to 2:00 in length. In the case of magazine-style news
programming, packages can be 20 minutes or longer. This type of news presentation is best
for complicated stories or ones that have multiple interviews.

13 Steps for Creating a Student News Package

1. Start your video with NAT Sound (natural sound) and BROLL. Therefore, look for great
NAT Sound and BROLL opportunities on the shoot.

What is B-Roll?

The modern day use of broll (or b-roll) is with broadcast TV as supplemental footage inserted
as a cutaway to help tell the story. B-roll includes the shots that are shown to introduce a
segment and/or in between the live or taped interviews. B-roll does not include sound so that
custom voice-over or music can be inserted by the TV producers. Today, it is often shot in
high-definition to be compatible with network TV.

It is not necessary to produce a "b-roll package" for your company, but it can be helpful if you
anticipate a high volume of TV news coverage. Having b-roll limits the need for camera crews
disrupting your office and producers appreciate the efficiency of having the basic footage
available. In addition, producing your own b-roll gives you the ability to control some of the
storytelling, though it is subject to editing.

A standard company b-roll package is about 5-10 minutes long and is divided into sections
that should include:
 CEO/founder and executives working and walking

Internal shots of employees working

External office shots, preferably with company signage

Product shots with various angles

Everyday people using the product in different environments

2. Get wide, medium and tight of every single shot, at least 10 seconds from each distance.
(Tips for better shooting)

3. Make subjects stand at least one foot from the backdrop. It looks way more interesting.
(Depth of field)

4. Establishing shot. Get one. Don’t assume viewers know where you are or what you’re
talking about.

5. Make sure ANYONE you interview, is also included in at least a few shots of your BROLL
footage.

6. Light goes behind the camera; don’t leave your subjects in the dark. Check out these tips on
3-point lighting techniques:

7. Look nice on camera. Dress Professional.

8. Always shoot with editing in mind. Look for the action shots, the reaction shots, and
interesting activities/people.

Motion = Emotion!

Don’t shoot inanimate objects and use as your BRoll. BORING!

Action – Reaction

9. Test your equipment BEFORE you leave for the shoot.

Camera

Battery (bring 2)

Tripod

Tape/SD card

Microphone

Headphones

10. Check your AUDIO levels on the camera and the mic if needed.
11. Basic editing techniques

Edit at LEAST 3 different shots of BRoll together in a series

Don’t put 2 of the same CAM angles back-to-back (MS-MS or WS-WS or CU-CU)

3-5 seconds long for each shot.

Show a sequence – WS-MS-CU, or MS-CU-WS, or CU-WS-MS

- WS = wide shot

- MS = medium shot

- CU = close up (tight shot)

12. Begin recording any interview with, “Say your name and spell it.” This is a great way to
test your audio levels, while recording the correct spelling of their name. And then spell their
name correctly on the lower thirds in post-production.

13. And remember, if there is a technical problem, it is probably YOU! The camera is not
broken. The microphone and tripod DO work. 99% of all technical problems are user related.
Know how to troubleshoot your equipment!

3.7 NEWS GATHERING AND WRITING

Since television was first introduced, news has been a very important aspect of programming.
It allowed people to find out about newsworthy information as it was breaking instead of
having to wait for it to be printed in a newspaper. It also allowed for audiences to see footage
of events that were associated with news story.

However, the issue with broadcasting news on TV was that the footage wasn’t accessible for
several hours after something newsworthy took place. This means that washing breaking
news on TV involved a reporter reading about the events. The introduction of electronic news
gathering changed that.

Television news is a skillful mixture of pictures and words. Electronic News Gathering allows
the television news reporters the flexibility of recording events and even transmitting live
from the news spots using portable equipment. This has made television news gathering
faster. Electronic News Gathering, introduced to improve the immediacy of news
broadcasting, replaces the film camera with a television camera, videotape recorder, and a
microwave relay.

Electronic news gather involves using electronic technologies, including video and audio, so
that news reporters can report newsworthy evens from various locations outside of the studio.
The process of electronic news gathering can involve a single reporter using a professional
video camera to report a story to a full TV crew bringing a production truck on-site in order
to conduct a live news report.
Writing for Television News

USE SIMPLE SUBJECT−verb−object sentence structures.:

The writer of TV news must be able to make complicated stories simple. In short,
understanding must be immediate in the TV News Bulletin. The golden rule to follow is
"never underestimate the viewers' intelligence or over-estimate their knowledge". Stick to
short sentences of 20 words or less. The announcer has to breathe. Long sentences make it
difficult for the person voicing the script to take a breath.

CLARITY: The first rule of TV news is that the story must be clear at once. Unlike the reader,
the viewer has no second chance to go over the material. TV news is written on the wind.

BREVITY: Clarity comes not only from writing simple sentences but also from writing short
ones. Long sentences cannot be read easily by the newscaster, and a viewer has a hard time
following them. Every sentence that you write for broadcast should be short, simple and easy
to understand. The average acceptable number of words per sentence in a TV copy is 13 to 14.
TV news has been described as a headlines service. It is intended to give the viewer only an
outline of the event. A good newspaper story ranges from hundreds to thousands of words.
The same story on television or radio may have to fit into 30 seconds—perhaps no more than
100 words. If it is an important story, it may be 90 seconds or two minutes. You have to
condense a lot of information into the most important points for broadcast writing.

USE CORRECT GRAMMAR. A broadcast news script with grammatical errors will embarrass
the person reading it aloud if the person stumbles OVER MISTAKES-

PUT THE IMPORTANT INFORMATION FIRST. Writing a broadcast news story is similar to
writing a news story for print in that you have to include the important information first. The
only difference is that you have to condense the information presented.

Write good leads. Begin the story with clear, precise information. Because broadcast stories
have to fit into 30, 60, or 90 seconds, broadcast stories are sometimes little more than the
equivalent of newspaper headlines and the lead paragraph.

WRITE THE WAY PEOPLE TALK. Sentence fragments—as long as they make sense—are
acceptable.

USE CONTRACTIONS. Use don’t instead of do not. But be careful of contractions ending in
-ve (e.g., would’ve, could’ve), because they sound like “would of” and “could of.”

USE PRESENT TENSE VERBS, except when past-tense verbs are necessary. Present tense
expresses the sense of immediacy. The present tense is the most engaging tense in the
language. It indicates that the action is still going on. Use past tense when something
happened long ago.

3.8 TV INTERVIEWS

TV interview can be as simple as asking questions of people on the street, or it can be as

involved as a one-on-one, sit-down discussion with the president. Getting good answers in a
TV interview can make a news story come to life and build your reputation as a probing
journalist.

How to Conduct a TV Interview

Whether you’re conducting an on-air television interview for a news story or taping one for a
talk show, there are a few TV interview tips you should keep in mind when sitting down in
front of your subjects:

Know your subject

Do your pre-interview homework before sitting down to ask someone questions. Know their
credentials or their background, research their expertise, and be aware of any controversial
discussion topics.
Prep your subject

The interviewee should have the chance to prepare for the questions they’ll be asked. While
you don’t usually need to provide a complete list of specific interview questions, give them a
general idea or the key points of what they’ll be asked and the topics that will be covered. You
want an element of spontaneity without catching your subject completely off-guard.

Start slow

Have a goal in mind for the kind of information you want to glean from this interview, and
slowly work your way towards it by asking simple questions. Interviews can be emotional,
and hammering people with ‘gotcha-style’ questioning or asking the tough questions too soon
can cause the interviewee to feel uncomfortable, especially if this is their first TV interview.
Remember that this is an interview, not an interrogation. You want to gain your subject’s trust
and build to the intense, revealing moments naturally, while also making sure to cover the
main points of the story.

Use active listening

Use your body language to indicate your attention and focus is on the person you’re
interviewing. Letting your interviewee talk and tell their story with only minimal guidance is
the ideal way to conduct your interview. You want your audience to see a person freely
sharing their story, product, experience, or knowledge—not someone being prodded for
sound bites. Even after your subject has answered your question, maintain eye contact and
leave a small pause. It’s likely your interviewee has a few prepared answers, so give them a
moment to try and fill the silence themselves. What they offer may be more of value than
continuously trying to steer the conversation yourself.

Ask open-ended questions

Ask follow-up questions to gain more information from your subject, but rather than
searching for ‘yes’ or ‘no’ answers, ask questions that will lead to a story, or an emotional
share. For instance, “how did you feel when you sold an album for the first time?” Or, “when
did you realize you wanted to be a doctor?” These questions may not be part of your outline,
but it’s important to react with follow-ups that can expand the story—and questions you
know your viewers would want to know the answers to.

Television interviews

There are three types of TV interviews - live studio interviews, recorded studio interviews
and location interviews (usually at your place of work).

Before the interview:

 On TV your message is about how you look as well as what you say. Avoid bright
patterns and tinted spectacles, as these are accentuated by TV.
  Get to the studio at least an hour in advance. This gives you chance to calm down,
have a glass of water, check the questions and become familiar with the environment.
 Don't take notes into the studio - you'll keep looking to check if you've made all your
points. If you've only got have three points to make you should be able to remember
them.

Try to find out:

 What's the purpose of the interview - why you are there?

 What's the first question you will be asked - and more if possible? If you can, chat to
the person who will be interviewing you. This will help you build up a rapport and
you may even be able to steer their questions in the right direction. Don't be afraid to
tell them what you feel is the most important aspect of the issue and the implications
this may have for their viewers.
 Will the interview be live or recorded? If it's recorded, will the tape be edited? If so,
you know you can apologise and ask to do your answer again if you get something
wrong.
 How long will the interview last and, if recorded, how long will the finished piece be?
This will help guide you as to whether you must be succinct or if you can be more
leisurely. It's always worth having a punchy sound bite ready, as this might be all they
can use.
 What's their source of information? If it's a press article make sure you read it fully
beforehand.
 How much does the interviewer already know, and what do they want to learn?
 Will you be interviewed alone or is there another guest? If there's someone else, find
out about their views so you know if the interview will be mutually supportive or
confrontational.
 How will you be introduced? Make sure they get your name, title and place of work
correct.

During the interview:

 Don't move around or wave your arms - or you could disappear out of shot.
 Don't look straight at the camera unless the situation demands - your eye contact
should be with the interviewer.
 Keep it relevant. It may be really important to you, but what about the viewer? If it
isn't relevant or interesting to them don't say it.
 Repeat your key point - it's better to say the same thing several times in different ways
than to say several things once.

3.9 PROCESS OF LIVE INPUTS

Live coverage: a reporter goes live from the scene of events. Typically, the live report runs
over two minutes. Live reporting may help overcome the challenges of visualizing political
news. A reporter at the scene of the news telling the story to viewers without ‘irrelevant’
pictures may be remembered better and be perceived as attention grabbing, credible or
emotionally involving, since the story is reported from the authentic scene of the news in real
time.

While previous research shows mixed results concerning the effects of specific visuals and
their relation to the news text, the effects of a live cross-talk vs a traditional field report have
not yet been investigated. The first goal of this study is to contribute to the literature on
learning from news in the context of live reporting and to test the prevailing assumption in
the newsroom concerning the positive effects of live coverage on recall of news.

Live reports are seen as the epitome of connecting audiences and events, live reports have an
authenticity that comes from reporters’ real-time proximity to events, the unpredictability of
broadcasting events outside of the newsroom. Live reporting is also logistically challenging,
giving them an ability to demonstrate their technological sophistication.

Live reporting is criticised as there isn’t much explanation of events or what they mean, and
there is non-stop information without interpretation and sometimes non-stop interpretation
without information.

While for live reporting, it is usually believed that it is unpredicted, unscripted and
spontaneous, the reporting still heavily relies on official sources to frame and interpret events.

3.10 TV FEATURES AND NEWS ANALYSIS

A feature story for TV news can be more difficult to write than a hard news story. There are
rules that govern hard news coverage, but feature stories are all about the reporter's
storytelling ability. A "feature" is a story with limited hard news value that is still worthy of
being featured on television. Examples of this type of story are festivals, parades and "good
news" human-interest stories.

Ask yourself why someone would care about the feature story. It is not enough that you or
your co-workers find it interesting. The reporter must make the viewers care. Look for a theme
that will appeal to most people. This could be a struggle against adversity, selfless work for a
good cause, or something really funny or unique.

Think about your pictures first. Visuals are more important in a feature story than a TV news
story. A news story can be driven by facts, but a feature story must have compelling pictures,
or there is no reason to show it. Consider the pictures you have and can get, then build the
rest of the story around them.

Interview people with the pictures in mind. Ask your interviewees specific questions that
relate to your visuals and encourage them to reference the pictures. Make your interviews
dynamic and active. Talk to the subjects while walking around an environment that has
significance to the story. Interviews with people like festival cooks, animal handlers and
cheerleaders always make for good TV.

Let the feature story tell itself. Walking and talking with an interview subject often work well
in a feature story. Allowing him to talk while showing compelling video over his words is
also a great device. Use plenty of natural sound in a feature story. Watching and listening to
people going about their lives tells a great story without the reporter doing a thing.

Craft your feature story to build curiosity. Fill in the gaps by leading the viewers gently
through the story. Use as few words as possible. Introduce the main subjects of the feature
story, get viewers to care about them, present the challenges they face, then reveal the
resolution or what is left to be done. The reporter's job is to get the audience engrossed in the
story.

News Analysis

News analysis is probably one area that requires a clear and basic understanding of the news
concepts.

A news analysis attempts to explain and make sense of complex news issues and ground
reality for the public in a manner that has not been conceived previously.

It incorporates some elements of interpretative journalism.

It employs critical methods of reasoning and social, scientific research methods and analysis
to do a logical, balanced critique of an important current news events.

3.11 GATEKEEPING

Gatekeeping occurs at all levels of the media structure—from a reporter deciding which
sources are presented in a headline story to editors choosing which stories are printed or
covered.

Gatekeeping is the process of selecting, and then filtering, items of media that can be
consumed within the time or space that an individual happens to have. This means
gatekeeping falls into a role of surveillance and monitoring data. These gatekeeping decisions
are made every day to sort out the relevant items that audiences will see.

In a world where “fake news” often competes with “real news,” gatekeeping can be
programmed to tell the differences between the two types of content so that only the preferred
data points are consumed by each individual. Gatekeeping may also hold influence on policies
and procedures, playing the role of a watchdog within society or simply playing into the
audience’s confirmation bias. Humans are also their own gatekeepers at the point of
consumption, creating a secondary filter for information.
Gatekeepers are individuals in the television newsroom who choose which story copy is to be
used for a given broadcast. Gatekeepers then decide in which format the content will air.
Gatekeepers have the power to affect the flow of information. Gatekeepers often believe that
they know what the viewers want thus creating the content template for their newscasts.

3.12 NEWS ANCHORING

News anchors are journalists who inform the public by reporting news stories and events
happening on a local, national, and international level. In the role of lead journalist on a
television news broadcast, they use their public speaking skills to accurately and concisely
deliver the news to their audience. As the job title suggests, they are the professionals who
anchor or hold a news program together. They maintain program continuity between
segments after field reporters deliver their respective stories.

3.13 VISUAL SOURCES

TV being a visual media, visuals are of prime importance there. Every news channel wants to
be the first to air the visuals. They also want to air the best visuals available. You can get an
idea of this race only by being in a TV newsroom. It is the duty of the assignment/input team
to fulfil this need of the channel and they keep pressurising reporters on the spot, to send the
visuals as soon as possible. As the visuals are uplinked, they immediately inform the output
team and as the visuals arrive, they give all the related details to them.

In addition to channel’s own sources, the assignment/input team have to continuously track
the agencies, like APTN, REUTERS and ANI. Most of the channels subscribe to the services of
these agencies and are dependent on these agencies for the visuals of the events and the
developments happening in the foreign countries.

The assignment/input desk is also expected to keep an eye on the foreign broadcasters, so
that they are aware of the events taking place in the areas
or countries of interest of the viewers of that particular channel. By overseeing these channels,
they also get an idea of the visuals that might be available in due course to their channel

 The satellite/microwave video feed is television's own unique version of wire service.
It is an electronic transmission of news stories originally recorded on film or video and
sent by closed circuit microwave or through satellite to subscribers who record it on
their own video tape and then decide which stories to use for inclusion in their own
local TV news-shows.
 Most stations employ correspondents/reporters who gather news by going gut with
a camera crew to report an incident event such as a fire, an accident, a conference, etc.
At times, owing to the absence of a visual, the reporter may file a dry story (a story
without any visual) or instead speak to the camera and narrate the story.
  Film/video coverage of many spots news events such as accidents, fires, floods,
earthquake, and the like is often difficult to procure if staff correspondents/camera
person are not available at the time of event. However, such an event is sometimes
covered by a freelance camera person scouting around near the scene. This visual
coverage is purchased from the freelance camera persons who are known as stringers.
The stations have to rely on stringers for unexpected news stories, particularly if the
staff cameraperson is unable to reach the scene fast enough to record it.
 Most television stations monitor radio news bulletins and vice versa for important
news stories. If the story is very significant and there is no time to obtain visuals, such
stories are telecast dry.

3.14 MCR AND OB

MCR is the abbreviation for the Master Control Room. This is the room from where all air
ways are monitored and controlled. If some feed is coming from outside or something is being
sent from the channel, all traffic takes place from the MCR. The MCR sends telecast signals to
the satellite, controls the OBs, and receives feeds from the visual news agencies.

MCR is the technical hub of a broadcast operation, where the signals from both audio and
video pass through prior to transmission. Master control is the technical hub of a broadcast
operation common among most over-the-air. The production control room (PCR) or studio
control room (SCR) is the place in a television. The Master Control Room (MCR) is the heart
of all broadcast operations, providing services for broadcasting, direct-to-home (DTH), video
contribution and cable distribution. The MCR Engineer is responsible for the core of the
station's technical facilities, the MCR Engineer is responsible for the acquisition of live and
recorded media via. The MCR Engineer is responsible for the core of the station's technical
work.

OB

Outside Broadcast ("OB") refers to any television or radio programme which is broadcast from
a location away from the normal studio setting. The location doesn't actually have to be out-
of-doors — the "outside" simply means "outside the studio".

Television outside broadcasts can be any size and complexity, from a single camera to dozens
of cameras and staff. Generally, the term OB implies multi-camera coverage co-ordinated and
directed from a mobile control room.

Mobile Presentation Area

An "OB Unit" is a mobile production unit (with equipment and crew) which is able to travel
to a location and provide broadcast coverage. A simple OB unit could include any of the
following:

 A number of cameras (usually at least four)

  A mobile control room, staffed by a director, vision controller, sound operator and
VT (videotape) operator
 Equipment and housing for a presentation area
 Transmission equipment

Events commonly covered by OB units include sports, concerts, ceremonies, etc. OB units may
specialise in a particular area; for example, a motorsports OB unit would carry specialised
camera equipment for in-car coverage and have staff which know this particular sport well.

Outside Broadcasting (OB) is the electronic field production (EFP) of TV or radio programme:
usually covering news, sports and other events, from a mobile remote broadcast television
studio or van. The camera and microphone signals are fed to the van/truck equipped with a
production control room (OB van), to process it and further transmit it. In today’s time, many
events happen outdoors/outside the confines of a studio and thus, cannot be shot inside a
studio. This is where OB is summoned. OB vans are a central element in outside broadcast
events such as sports events, music concerts, performing arts and cultural functions. This type
of production forms the basis of the majority of locally-produced airtime. Government
broadcaster, Doordarshan, actively uses OB vans stationed across the country, to gather and
broadcast news in India.

Unlike in a studio, where the director can re-take a shot if necessary, OBs are live, edge-of-
the-seat productions. This is what makes them exciting. Everything happens real-time, the
sound, visuals, special effects, graphics and commentary are recorded to the second, and with
little or no lag. OB setups are thus, highly-charged environments, keeping each crew member
on his toes. This also makes it challenging for the crew, where split-second timing can make
or break the production. Television outside broadcasts can be any size and complexity, from
a single camera to dozens of cameras and staff. Generally, the term OB implies multi-camera
coverage co-ordinated and directed from a mobile control room. Trained staff and advanced
technology gives the viewers on their TV or the listenership on the radio the opportunity to
be with the crowd in the stadium, opera house or theatre when far away from the action. End
customers use hi-tech video and audio devices to be ‘drawn’ into the event, e.g. immersive
audio, and this at best quality. Rights holders and advertisers build on high-quality content
and high-quality production and transmission. Beside the production technology for video
and audio production.

It is the complete technical infrastructure which must be capable of integrating all resources
with full access to optimally use all devices and operators or engineers. Most OB vans are now
based on IP which is the answer to all the requirements for great productions.

OB trucks are mobile broadcast units and are able to broadcast from most any remote location.
They are used in many live and prerecorded events, both: indoor and outdoor. Typical use
would be at remote locations away from broadcast stations, such as arenas or sports stadiums.
An OB van is essentially a mobile studio. Cameras, vision control, sound mixing, vision
mixing and everything else needed to produce a television production – are housed within
one vehicle. Once again, all equipment is broadcast quality with the van being used in
numerous broadcast programmes. An OB van is usually equipped with high quality reliable
broadcasting equipment, which is capable of content production in the required format such
SD/HD/4K. This kind of production station is very useful for reliable live sports coverage,
high profile government event coverage, and other cultural events. “OB Vans are essential for
the outside broadcast market and are the backbone of the broadcast industry. OB Vans vary
in size from small sprint trucks to long ‘expando’ tractor trailer behemoths that rival the most
sophisticated broadcast mothership control rooms. Without these essential studios-on-
wheels, we would have to truck-in fly-packs and assemble and disassemble the entire control
rooms for each broadcast,” said Rom Rosenblum, applications engineer, Clear-Com.

The concept of OB can be traced back to late 1920’s. The first large-scale outside broadcast was
the televising of the Coronation of George VI and Elizabeth, in May 1937, done by the BBC’s
first Outside Broadcast truck, MCR 1. After the Second World War, the first notable outside
broadcast was of the 1948 Summer Olympics. The Coronation of Elizabeth II followed in 1953,
with 21 cameras being used to cover the event.

Current-day outside broadcasts employ designated and specially-designed OB vehicles,

many of which are now built around the omnipresent IP technology—giving the conventional
coaxial cable a run for its money. The broadcast industry has witnessed a noteworthy
transition in terms of the rise in the use of flyaway Portable Production Units, which facilitate
a heightened level of customisation and can be rigged in a larger variety of venues.

An OB unit or van, is a mobile production unit, and encompasses equipment and the crew.
Some OB units may specialise in a particular area; for example, a motorsports OB unit would
carry dedicated camera equipment for in-car coverage and the crew members would know
the sport well. A typical OB unit comprises of a number of capture devices including cameras
and microphones, MCR (Mobile Control Room) staffed by a director, switcher, CCU/ SPG,
vision mixer, PCR (Production Control Room), vision controller, sound operator, equipment
and housing for a presentation area, and essential transmission equipment which is typically
an antenna. With the advancement of technology, more and more technology is getting
integrated and implemented within the workflow.

3.15 LIVE REPORTING

Live reports are seen as the epitome of connecting audiences and events, live reports have an
authenticity that comes from reporters’ real-time proximity to events, the unpredictability of
broadcasting events outside of the newsroom. Live reporting is also logistically challenging,
giving them an ability to demonstrate their technological sophistication.

Live reporting is criticised as there isn’t much explanation of events or what they mean, and
there is non-stop information without interpretation and sometimes non-stop interpretation
without information.
While for live reporting, it is usually believed that it is unpredicted, unscripted and
spontaneous, the reporting still heavily relies on official sources to frame and interpret events.

ORGANIZING THOUGHTS

Because they broadcast live so often, radio reporters learn early in their careers how to
organize their thoughts quickly. They also develop the skill of ad-libbing, which means they
can improvise an impromptu speech without preparation. Radio reporters are often expected
to report from the scene of a breaking story for much longer periods than their TV
counterparts—this is because radio is normally not under the same time limitations as
television. It is much easier to interrupt a music format on radio with a breaking story, for
example, than it is to interrupt a soap opera on television. Lost advertising revenue is far less
expensive for a radio station than for television, and it is much easier for a radio station to
make up those lost commercials.

The best way to organize material for a live report is to use a reporter's notebook. Its slim
design is particularly handy because it fits into a handbag or jacket pocket. Also, reporters
should always take more than one pen or pencil. (In freezing weather or pouring rain, a pencil
works much better than a pen.)

In anticipation of going live from the scene, broadcast reporters must keep notes on a variety
of happenings. First, they must keep track of important comments that are made, whether
during a news conference or a one-on-one interview. They must note exactly when the
remarks were made so they can be located quickly on the videotape or audiotape. Some
reporters take courses in speedwriting. Others develop a shorthand system of their own; thus
their notes are illegible to anyone who happens to look at the page.

Experienced reporters learn that they cannot get so involved in taking notes that they lose
control of the interview. They make entries only when comments are important enough to be
used as a sound bite or in the narration that will surround it. Television reporters who
synchronize their video camera with a time code recording system that shows the actual time
of day that each scene is recorded only have to note the time when they record something
important.

Reporting live presents different problems for radio and TV reporters. For starters, radio
reporters work alone, whereas TV reporters have at least one and sometimes two people with
them in the microwave truck.

The production of the live report also is handled differently by a TV reporter than by a radio
reporter. Sometimes the news conference or individual interview is microwaved back to the
station while it is in progress. An associate producer or a writer at the station may monitor
the feed and make notes. When the feed is over, producers can quickly confer with the
reporter on which sound bites he or she wishes to use and then instruct the tape editor to cue
them up. The reporter then does a live open from the scene, and the sound bites are played
from the station. The reporter returns after the bites to do a live close.
It is also possible to do everything from the mobile unit. New technology allows TV crews to
record and edit video in the truck, add the reporter's narration, and actually play the story
from the truck without using any of the support equipment at the station. This type of
sophisticated equipment was once found only in larger markets, although it is becoming more
accessible to smaller markets as the technology becomes more affordable.

Another major difference between reporting live for radio and TV is obvious; the audience
does not see the radio reporter. It does see the TV reporter, which adds some complications.
The radio reporter can get comfortable in the front seat of the mobile unit, cue up her tape,
spread her notes out, and concentrate on delivering her narration without worrying about
anyone seeing her. Meanwhile, her TV colleague may be reviewing his script so he is not
looking at his notebook constantly while on camera.

Let's examine a typical live report filed by a radio reporter from the scene of a fire:

Two people are known dead in a fire that swept through an apartment house on Rose Avenue
in the suburban West End community of Wheatland. Fire Chief Kenneth Daw says he doesn't
know if everyone else in the building escaped.

(sound bite)

“We think everyone but the one couple got out of there, but it's too early to tell. So far no one
has reported anyone missing, so we are hopeful.”

(reporter)

The dead have been identified as Barbara Swift and her husband Robert. It's believed the fire
started in their apartment shortly after midnight and spread to the rest of the building. So far,
there's no information on what caused the fire, which was brought under control about an
hour after it started. More than two dozen people were in the building. One woman who
escaped, Val Hills, said she is happy to be alive.

(sound bite)

“There was so much smoke, that's what scared me the most. When I heard some shouting, I
got up and I knew there must be a fire. Fortunately, I was able to get to the stairs and get out.”

(reporter)

Some 50 firefighters and ten pieces of equipment are still at the scene. Some of the firefighters
are still hosing down the building and others are going through the debris just to make sure
no one else is in there. Once again, two people are dead in this Rose Avenue fire in the West
End. It's believed that everyone else escaped from the building. This is Cynthia Nells. Back to
you in the studio, Bill.
Meanwhile, a TV station was carrying this story from its reporter at the scene via microwave.
The story opens up with the reporter on camera and the fire scene behind her.

O/C Heather Two bodies have been removed from this burned-out apartment
building on Rose Avenue, and it's not yet known if there were any
other fatalities. The fire started around midnight in one of the
apartments and spread quickly through the rest of the building.
Earlier, we spoke with a couple who escaped from the burning
building.
SOT Font: Frank Lewis SOT

“We were asleep when we heard shouting and jumped out of bed. I
could smell smoke. I grabbed some trousers and my wife tossed on a
robe and we got the hell out of there.”
Font: Laura Lewis “I was scared stiff. I'm just happy to be alive.”
(Heather)
O/C two shot With me now is Fire Chief Kenneth Daw. Chief, do you think
everyone is out of there?
(Chief)
“Well, we're hopeful. So far no one has reported anyone missing so
that's a good sign. But you never can be sure.”
(Heather)
Do you know how the fire started?
(Chief)

“Well, we think it started in the apartment of the couple who died in

the fire and then spread to the other apartments, but so far we aren't
sure how it started.”
(Heather)

Thank you, Chief.

O/C tight shot ofThe couple who died in the fire have been identified as Barbara and
Heather Robert Swift. There was no other information available about them.
V/O Shots of buildingV/O
and firefighters wetting
it down Shots of smokyThis building is completely gutted, and if everyone else got out alive
building it would be amazing. Apparently, some two dozen other people were
in the building. About 50 firefighters have been battling the blaze.
They brought it under control around one o'clock—about an hour
after it began. Some of the firefighters have been moving slowly
through parts of the burned-out building in an effort to determine if
anyone could have been trapped inside. Meanwhile, other firefighters
continue to hose down the smoldering remains of the building.
O/C Heather O/C
 Once again, two people dead and apparently everyone else escaped
from this apartment complex on Rose Avenue in the West End section
of the City. This is Heather Nelson, KTHU News.

After the radio and TV reporters finished their live reports, they would probably be asked a
few questions by the anchors. In a perfect scenario, the anchors and reporters confer in
advance on what questions the anchors will ask. Not only does this allow the reporter to
prepare to deliver an answer, it lets the anchor ask a solid question that will receive a
knowledgeable answer.

Of course, such advance communication between the studio and the field is not always
possible (or, on occasion, the anchor might just throw out a curveball question the reporter
can't answer). If this is the case, the reporters must try to field whatever questions come their
way without any advance preparation. That's when ad-libbing ability is important.

AD-LIBBING

Certain methods can help reporters improve their ad-libbing ability, or speaking without a
script. Word association is one common method used by reporters to make sure they do not
run out of things to say during a live remote.

FAST FACT: Ad-lib is an abbreviation of ad libitum, which is Latin for “at one's pleasure.”

Many reporters write down a list of key words or phrases in the order in which they want to
cover their material. When they exhaust all the information dealing with a key word, they
move to the next one on the list until they have covered everything. Good ad-libbing reporters
need only that one word or phrase to keep them going, which is important because reporters
are often forced into remote situations that require a considerable amount of ad-libbing.

ABC News correspondent Barry Serafin says the best way to learn how to ad-lib is by doing
it. He says he never thinks about reporting to an audience of 20 million people but
concentrates on the idea that he is conversing with a single person in a “natural and human
manner.” Serafin adds that “the main thing about ad-libbing is not to sound perfect.…Don't
try to tell what you don't know. Don't speculate.”

DSNG

Television news has changed dramatically in the past few decades, and that's largely due to
digital satellite news gathering (DSNG). We are able to watch events and reporting from
around the world, such as wars and natural disasters, unfold in real-time because of DSNG
technology. DSNG is a kind of electronic news gathering (ENG), which simply refers to all the
electronic technologies that allow news reporters to broadcast from remote locations outside
of a TV studio. ENG began with the transition from using film to using videotape in the 1970s.
But since then, the TV news industry has abandoned videotape and analog land-based
transmission signals in favour of digital formats and satellite technology.
Before digital technology was fully developed, satellite feeds were sent via analog signals,
which are essentially wave signals. Using analog satellite connections, news organizations
were able to report from remote locations, notably the Falkland Islands during the conflict
there in 1982 and up through the Gulf War in 1990 and '91. As video compression improved,
however, the 1990s saw the transition from analog to digital satellite signals. Digital signals
are not waves (like analog) but a binary system -- signals of simply "on" or "off" -- that can also
be sent via microwave transmission.

Digital satellite news gathering (DSNG) is a system that combines electronic news gathering
(ENG) with satellite news gathering (SNG). The first types of ENG systems were extensively
used during the dispute over Falkland Islands between England and Argentina in 1982. As
time passed and electronic devices become smaller, a whole DSNG system was fitted into a
van. DSNG vans are now common; they're extensively used in covering news events.

The DSNG van, also known as an “outside broadcast” (OB) van, is a mobile communications
systems using state-of-the-art equipment to produce and transmit news as it happens, where
it happens. A typical DSNG van is outfitted with a two-way high-power amplifier satellite
system, a production component and an energy framework. The DSNG van also comes with
a custom and powerful electrical system, as it needs to power all the equipment it carries
without the need for any external source. There are also several additional equipments inside
the van: a traveling wave tube amplifier (TWTA) administrator system, an
encoder/modulator, primary and secondary monitors, video synthesizer/mixer and an audio
mixer. External equipment includes high definition cameras, a solid state power amplifier
(SSPA) and a low noise block (LNB) down-converter.

Production and Common Sections

Most DSNG manufacturers can outfit vans with the necessary equipment with ease. Some
manufacturers even offer stand-alone modular DSNG equipment systems, whereby qualified
operators can move and install equipment from one vehicle to another easily. DSNG vans
have five main working sections: the monitoring section, the audio engineering section, the
data and power storage area, the video control area and the transmission area.

Transmission Mechanics of Older Systems

With older DSNG setups, as soon as a camera captures news images, the satellite in the OB
van transmits real-time images to an uplink satellite, which in turn sends raw footage to a
geostationary network. The network produces a local copy of the received images for editing.
During this editing process, archive images from the network’s libraries are sometimes
integrated into the edited video as the network sees fit. The edited video is then ready for
play-out.

Transmission Mechanics of Newer Systems

With the advent of interactive tapeless methods of DSNG, editing is done simultaneously
through a laptop-based rewriting/proofreading terminal. The van is equipped with
transmission and reception facilities, which allow rough and condensed files to be transmitted
to and received from a remote geostationary network. A prime video server processes the files
for storage and eventual broadcast. The DSNG system maximizes bandwidth to allow faster
turnover of news in real time.

VOICEOVERS FROM THE FIELD

A voiceover, which is described in much greater detail in the following chapter, is a story in
which you hear the anchor talking while video footage is aired; the voice is aired over the
visual images, thus the term voiceover.

A growing trend when crafting live reports is for video to be rolled in while the reporter is
narrating.

To accomplish this, the field videographer will beam footage to the news-room prior to the
live shot. This footage may either be raw, which is unedited field footage, or be cut into a
voiceover. When the live shot is then under way, the newsroom will roll the footage over the
reporter's narration. While this is a bit trickier than a standard live shot, it gives the viewing
audience more to look at than the reporter merely presenting from the field.

Adding a layer of video requires more preproduction than a regular live shot, plus there must
be precise communication between the field and the news-room during the actual report so
the video rolls at the right time. These technical considerations can be managed with a clear
communication chain, which is addressed in the next section.

TECHNICAL CHALLENGES

In no other aspect of broadcast journalism is the reporter more at the mercy of technical
difficulties than during a live field report. There is a communication chain that must be
followed during the report. This chain ensures several elements will flow in both directions
between the newsroom and the field reporter.

The most obvious elements are the video and audio that emanate from the field report. The
video is the simplest to define; it's a clear visual image from the remote location that's beamed
back to the studio's engineering center. The on-air audio is usually limited to one handheld
microphone that is handled by the reporter, although there may be a second microphone for
either ambient audio (such as at a political rally) or an interviewee who has a dedicated
lavaliere microphone.

____________________________________________________________________
3.16 FURTHER READING
Television News: A Handbook for Reporting, Writing, Shooting, Editing & Producing by
Teresa Keller and Steve Hawkins

Writing and Producing Television News: From Newsroom to Air by Alan Schroeder