TV News Less Diverse?

There's a new study out looking at share agreements and their impact on TV news. The theory is that if we're all sending someone to get the Mayor's groundbreaking ceremony, why not just send one photog and share the video? How different is that than a courtroom or any other pool?

In general I think these arrangements are a bad idea. The talents of each individual photographer on staff add a lot to make your newscast and product look unique. But I think the horse is out of the barn on this one. These agreements aren't going away so how do you make the best of them? I was out of local news before share agreements became popular. What do you guys think of them.

The study I mentioned was commissioned by a labor group so consider the source.

Commercial: Boot Camp for Photogs

Thought this was fun...

In the Business of Communication

I watched a morning newscast the other day where a reporter doing a liveshot (a feature) had obviously not talked it through with his photographer prior to the liveshot. Do you know how I know this? Because the reporter was talking about one thing while the photographer was showing another-- and then had to make a hasty pan to the reporter's subject matter. Don't let this happen in your newscast. It makes both reporter and photographer (and your newscast) look like amateur hour. If you see this happen, have a follow-up conversation with the reporter.

It can sound something like this:

"Hey Bob, would you do me a favor? On your next liveshot, would you run through what you're going to do with Cindy beforehand so she can follow you better? It doesn't have to take a lot of time-- just tell her 'I'm going to talk about this first and then move over here and then do this.'"

If the reporter gives you pushback, pull the showtape and watch it together. Sometimes people don't realize how bad it looks until they see it for themselves.

If the reporter did discuss in advance and the photographer was just off his or her game, then that's another conversation-- you can follow up with the photographer or check in with the chief photographer.

Another way that you can head things off at the pass is talk with liveshots ahead of time. When you're checking reporters in, just ask, "Hey can you run through what you're going to do in your liveshot?" You don't have to do this with everyone-- just reporters you've noticed who seem to have an issue.

This sort of discussion makes all the difference in liveshots, especially feature stories. In breaking news of course, all bets are off, but even then, good reporters let their photogs know where they're going prior to going there.

Whistle While You Work/Write While You Log

This is a tip I wish I would have come to much earlier in my career. While you are logging, let the video you are watching inspire lines. You don't have to ever use them. You don't have to force to work them in. Just try to jot down whatever comes to you while you are logging video and sound. You'd be amazed after doing this for a while how more fluid your writing becomes. And by this I mean, instead of doing a script where this come here and that comes next, it sort of organically flows from one thing to the next.

You probably have some really talented and created photographers in your shop. Look for the shot that inspired them and let it inspire you, even if you don't use the line you come up with in the final version of your script. After all, without the pictures, we're just print or radio, so the writing process shouldn't be divorced from what should be driving your script- the video.

Some examples while I was logging tonight:

0030nk Nats from welder
“Believe or not… that’s the sound of money…”

00711q 1:41:26 Decent nats of construx. Pan up of bldg to crane
“Look around New Orleans and you’ll see a skyline punctuated by cranes…”

Not Emmy material but hopefully better than I would have come up with had I just saw down with my laptop.

GRANTED your average car crash might not merit this kind of attention, but give all the stories you are writing a quick look (at the video) to see what comes to mind. There might be something small that can distinguish your writing/story/show. Put a lot of these little things together and your overall package becomes better.

Cops Kick Out/Arrest One Man Band in South Texas

Reporter/photog was covering a scene and was asked by police to move back. Story and video below:

http://tinyurl.com/bbakge

Be Prepared for Bad Liveshots

There's a lot of new technology out there that can get us live. You can go live from your computer, live from your phone, etc. But as you may have noticed, the quality of these liveshots is not as good as if say, you had a live truck or sat truck transmitting the video. Keep in mind, the switch to HD makes the quality of the pictures stand out even more. I'm not saying don't use them-- I think you should always use whatever you have access to-- but I am saying compensate for bad pictures.

What to do? I've seen some of these liveshots put in a special graphic frame which makes the picture smaller and the poor quality less obvious. This doesn't have to be any big project-- just have something simple and generic made up that you can slip these shots into when they arise. That way you're not scrambling at the last minute and your show looks a little cleaner. You could also double box these shots with video on the other side... or squeeze into a full screen with bullet points. If your double box is big/little (big on one side, little on the other), I'd suggest you put anchor or video in big box, liveshot in the smaller. As always, use your best judgement and experiment.

Inauguration Pool

If anyone's interested on what it took to do the inauguration pool, one of the NBC photogs (@newmediajim) put out this post on twitter.com

Visit msnbc.com for Breaking News, World News, and News about the Economy

You're Hot

"You're hot." Two little words that can save your show from looking sloppy. It's one of the biggest complaints from photogs in the field... they put a picture up... and you take it without telling them. And because they don't know it's live... they readjust right in the middle. Make it standard operating procedure to give cues to anyone who is live in your show. Give them one a couple minutes out... a minute out... a standby... and you're hot. Follow up with "you're clear." Then the photographers can give you their best... and maybe do a cool move while you're live.

Bigger markets often assign someone to coordinate live shots in the booth. If this is the situation at your shop, make sure this person is on top of it.. and if not, have a follow-up conversation.

For HS/College Students Interested in Photography

A dear friend and fabulous photographer, Jim Cox, died in a helicopter crash last year in Phoenix. His family and friends have started a foundation to encourage young photographers. The deadline is fast approaching (Oct. 15) for anyone who'd like to apply. Scholarships and cameras are available.

http://www.jamesalancoxfoundation.org/application.php

Handy Tip for Photogs in Hurricanes & other Heavy WX

This tip courtesy of Guy Hernandez, three time NPPA winner, and Guy Morton, former NBC photog who now freelances for everybody.

Ever seen those big Ziploc storage bags, the ones for sweaters, extra blankets etc.?

They're huge. They're also rain gear.

The "Guys" use them in hurricanes and say they work better than anything. Guy H. puts his regular rain gear over the camera, then one of these Ziploc bags over that. He pokes a hole in the the bag and then stretches it to fit the lens perfectly. Then he makes another hole for the viewfinder. 

Attached is a picture of Guy Morton, who's using the Ziploc sans other rain gear while covering flooding in Marble Falls, TX (Texas Hill country outside Austin).