Making it big in small market TV

Rayanne2In the competitive world of television news, most journalists are told that moving up will require moving on.  Yet, there’s a lot to be said for staying put, according to Rayanne Weiss, assistant news director at Raycom-owned WLOX-TV in Biloxi, Miss.

“You can do amazing things in a smaller market; we’ve won every national award; the big news has come to us.  I’ve covered three hurricanes, including the largest natural disaster in America’s history.  Don’t think you won’t ever have big news in a small market — here we’ve had Katrina and the BP oil spill in the span of a few years — you can get the big meaty stories whereever you go,” says Weiss, who’s been at the station for 22 years.

Biloxi-Gulfport is ranked 162 out of Nielson’s 205 markets, but Executive Producer Natalie Campen is hitting the 25 year mark at the station this December.  She says having managers who’ve spent so much time in the community helps guide her station’s news coverage.Rayanne

“I tell young producers, ‘Hey, I live here, too.’ It’s important to me that what we report is correct, accurate, well-received and respected,” says Campen.

Many of the station’s reporters and anchors have worked there for decades as well, and that longevity has helped them foster relationships with the people they cover.

“Nine out of 10 times we get the story because they know how we’re going to handle it; we’re not just the stereotypical media coming out to stick a microphone in your face and then leaving,” Campen says.

On the other hand, you might think that knowing the people you cover on a personal level could lead to some uncomfortable encounters in the grocery store, for example.  Weiss says that’s typically not the case.

“You’ll get the occasional phone call from somebody who tells you not to run something, and you have to say, ‘It’s my job to run it.’”

Both Campen and Weiss have had job offers at other stations, and in fact, Weiss also worked briefly in New Orleans and Detroit.  But they now both say it’s unlikely that they’d take another TV job anywhere else.

“It’s a good place for real life,” Campen says. ”A small market offers opportunities to do news that impacts a large number of people; the big markets cover a lot of crime and corruption but that impacts so few.”

They both encourage young journalists to think beyond market size when they chart their careers.  If you’re working in a station that helps you stay passionate about journalism, it may be the right place, regardless of the Nielsen DMA number.

‘By the time you get 30 years in the business, if you don’t have that passion, the inconveniences to your life, the hours — you can’t rally past it,” says Weiss.

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The very best in TV news writing

The best broadcast journalists are always looking for ways to get even better at that their craft, and a great place to start is by watching KARE-TV’s Boyd Huppert.

But don’t take our word for it — Huppert is also the 2013 winner of the large market Edward R. Murrow Award for writing.

Over the years, Huppert has shared some of his best writing and storytelling advice with Advancing the Story:

Watching Huppert’s work is a pleasure — but be sure to look for the ways that he opens and closes his stories, the intricate play of natural sound in his pieces, as well as his meticulous attention to video referencing.  His stories don’t just happen — they’re crafted by a passionate storyteller who makes the most of this amazing medium.

Congratulations, Boyd!

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How to apply for a newscast producing job

TV-control-room-by-Dave-MalkoffBroadcast news researcher and educator Bob Papper says there’s one criterion essential for getting a producing job.

“You have to be able to breathe on your own,” says Papper.

So, that’s a joke, but it’s not that funny to news directors like Adam Bradshaw of FOX5 in Las Vegas.

“Producers, producers, producers; we need producers,” Bradshaw says.  “I get so many awful resume tapes for reporters.  There are people who have no business being on TV.  It’s a cruel business and you can’t teach look or voice, but you can teach producing.”

Bradshaw is right.  We did an analysis recently over a three-month period for all the TV jobs posted by the Top 10 broadcast news companies in the U.S.  Of the 449 TV news job postings, the top seven positions sought were producer (20%), reporter (14%), photographer (9.1%), editor (8.9%), anchor/reporter (7.1%), and anchor (6%).  These percentages have been consistent for the past five years.

That’s right — one fifth of all the jobs posted are for producers, yet for every reporter opening there may be hundreds of applicants and for every producer job, there may be fewer than a dozen, depending on market size.

So, whether you’ve always dreamed of putting together newscasts or  have resigned yourself to the fact that an on-air job may not be in your future, here’s some advice on putting together your application for a producer or associate producer position.

1.  If you have produced newscasts, either on an internship or for a college news program, submit the entire show — minus commercials.  Don’t submit a reporter reel for a producing job.

2.  Along with the show, provide a written show critique that explains your vision for the newscast and explores what went well and what didn’t — without making excuses.  Hiring managers want to know that you understand what makes a good newscast, even if you didn’t get the show you wanted on that particular day.

3. If you don’t have a show to send, getting a job will be tougher, but not impossible.  Send writing samples and/or create a blog with all kinds of work, including shooting and editing.  It’s likely you’ll be doing some work for the Web as well in your role as a newscast producer.

If you’re still in school and have the opportunity to do a producing-focused internship, do it.  If you aren’t allowed to produce an entire newscast, ask to produce one or more show segments for your supervising producer.  You’ll probably have a better chance to do this in small vs. a large TV market.

“Even if you want to be on the air, you will be a better reporter if you’ve worked awhile as a producer,” says Bradshaw.

The producing experience will give you more options on the job hunt and may lead to a satisfying career.  Papper puts it this way.

“If you’re out for ego gratification be a reporter, if you’re out for power be a producer.”

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Improving your reporter stand-ups

Few things get ridiculed more than the cheesy TV reporter stand-up, but the fact is, stand-ups can play an important role in storytelling.

Professor Dana Rosengard has been teaching young journalists how to create better stand-ups for years.  Here are his “Top 5 Reasons for Doing a Standup.”

1.  To tell a part of story for which you don’t have video.  These often come at the end of the reporter package and focus on what’s next in the story.  “Most standups are closers,” says Rosengard.  “If it didn’t happen yet, you can’t show it.”

2.  To tell a part of story for which you do not have audio. “When someone won’t talk to you, you can say, ‘We tried to get a comment’ in your standup,” Rosengard says.

3.  To transition the story.  These are often called stand-up bridges, they take you from one location to another or from one issue to another within a story.

4.  To show presence.  Stand-ups can add credibility to your reporting because the audience is able to see that you were on the scene of whatever story you are covering.

5.  To establish yourself.  Part of what makes a TV reporter effective is using the power of the medium to gain access to information and interviews.  If people recognize your face, that will be easier.

And let’s add one more reason to the mix:   No. 6 should be practice makes perfect. Or at least practice makes you more comfortable on camera, so when you’re just starting out, you should shoot a stand-up for every story.  You might not use every one you shoot, but the more you do, the better you’ll be when a stand-up is critical to the story.

To get your creative juices flowing, TV consultant Bob Kaplitz produced this compilation of stand-ups from San Diego reporter  Joe Little that help illustrate a number of different ways to deliver information directly on camera to the audience.

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How to put together a TV news package

Courtesy:  University of MontanaOne of the strongest broadcast journalism programs in the country is located at the University of Montana, and Professor Denise Dowling is one of the best instructors in the school.

She gets students started on video storytelling by following a simple formula.

“Begin and end every story with natural sound,” says Dowling, “include a nat pop in or out of every sound bite.”

Did you get that?

  • Begin and end every story with natural sound.  Natural sounds are those that occur naturally within your shooting environment.  This works best in stories that are rich with natural sound, i.e. a kid’s soccer game or a house fire with firefighters working hard at the scene.  However, at times, even traffic noise or people talking can be used as a natural sound break.  The trick is to be sure that you gather good natural sounds when you’re in the field, so you have them to use in editing.
  • Include a natural sound break or “pop” before or after sound bites.  Of course, the natural sound has to be relevant to what the interview is discussing.  Natural sound for it’s own sake is seldom compelling.

Dowling has also created a mantra to guide her students when they’re out shooting video.

“Wide, medium, tight, super tight, action, reaction,” says Dowling.  “The goal is to capture the moment.”

When people are new to video storytelling, they often do a great job of getting lots of wide and medium shots, but it’s the close-ups and extreme close-ups that draw the audience in.  A good rule of thumb is that 50 percent of the video you shoot should be made up of tight and super tight shots.

The reaction shots can be used to tell the audience what the story means.  For example, the face of a man shaking his head in disgust after the city council passes a new ordinance is likely to be a useful shot for telling part of that story.

To reinforce these concepts, Dowling asks students to produce packages that focus on something locally produced; the best of their “Made in Montana” pieces air on the local PBS affiliate.

Of course, folks who’ve been producing packages for years will probably frown at the idea of using a formula to tell stories, but for those who are just starting out, you could do much worse than following this path for your first TV packages.

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How to create the best reporter reel for 2013

It’s May and you know what that means… thousands of college journalism grads descend on news directors across the nation, all vying for hundreds of reporter jobs.  Yes, that’s right — thousands of graduates, hundreds of jobs — even if you’re not particularly good at math, you know that adds up to the fact that your resume reel has to stand out.

Most reporters will start off a reporter reel with a montage of stand-ups, but you can definitely overdo that approach.

“I would keep them to 40-45 seconds,” says Bob Noonan, news director at WPMI, Mobile/Pensacola.

Broadcast journalist Stephen Quinn is graduating from college in June.  He opens his resume reel with stand-ups and anchoring.

Keith Esparros of KNBC in Los Angles says some reporters might do better without the traditional round robin of stand-ups at all.

“I realize I’m a bit of a rogue on this; I’ve looked at a few thousand in my day,” says Esparros. “If you are particularly good at stand-ups – you look good and sound good, you’re working your stand-up, you’re taking me somewhere – then it’s OK to do four or five; however, it can work against you if they’re not very good.”

Job seekers must also figure out how many reporter packages to include.

“There’s no magic number,” says Esparros. “Keep it to less than five minutes, three packages at the most.”

For Noonan, it’s also important to see how the reporter will look in a live situation, even if that means including a “look live” for the reel.

“What I really like on a live shot is if the package and the live shot sound the same,” says Noonan.  He wants a reporter to sound as natural when narrating pre-recorded packages as he or she does live.

Both men say it’s fine to include a little bit of anchoring from a news desk, but it shouldn’t make up the bulk of your presentation.

So how do you get your reel and resume in front of a news director?

“I think URLs are best,” said Esparrso. “It’s not a bad idea to also send a DVD since I get about 400-500 emails a day. Sending a resume on a piece of paper and a physical reel is good reminder, but put the URL on the paper too.”

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The shame of starting salaries in TV news

Paying peanuts image via Shutterstock

Some issues just won’t go away. More than a decade ago, I wrote a column for American Journalism Review in which I posited that some of the best and brightest J-school grads probably weren’t going to work at local TV stations because the salaries were so low. Last week, I got a call from a journalism prof asking me if I thought things had changed. Sure, I said, some things have, but not the bottom line.

My case in point in the original column was a new college graduate named Jennifer. She had earned her degree in broadcast journalism from a large state university in the Midwest. She was bright, personable and her résumé boasted an impressive series of internships and summer jobs in newsrooms.

So where was she working? In public relations. Not because she couldn’t get a job in news, she said, but because she couldn’t afford to. Her PR position paid almost twice as much as she was offered by one newsroom.

Back then, a lot of news directors told me their job applicants left a lot to be desired. Their writing skills were weak, they had little or no knowledge of government or history. They appeared to think they were entitled to work the day shift, and by the way, they wanted their weekends off.

That was before the recession hit, of course. With jobs scarce in every field, my guess is that highly qualified graduates were more than willing to “settle” for local TV jobs, if they could get them. And after several years of slashing payroll, stations did start hiring again as the recovery took hold, particularly for entry level jobs.

But if employment was up sharply, salaries were not.

The median starting pay in television news was about $25,500 in 2011. According to the annual survey of journalism and mass communication graduates by the University of Georgia, that’s the lowest full-time salary paid in any journalism field. And it’s been that way for a very long time.

The bottom line is that new hires in TV newsrooms today make considerably less in terms of purchasing power than I did when I started in this business 40 years ago. My first television job paid $6,000 a year. Plug the numbers into a cost-of-living calculator and that turns out to be the equivalent of $33,412 in 2013 dollars, almost 24 percent more than today’s starting average. That’s grim.

Broadcast news has never been the business you’d choose if you’re trying to get rich. But as the economy improves and entry-level salaries in TV news stays flat, I suspect we’ll see many of the most qualified graduates once again taking jobs in some related, better-paying field.

Bob Papper, who conducts a separate salary survey for RTDNA, once said that broadcast news is rapidly becoming “one of the lowest-paying jobs a college graduate can find.” With student loan debt hitting $1 trillion, only those whose parents can subsidize them may be able to afford to work in news. And that’s just sad.

Originally published at NewsLab

 

Paying peanuts image via Shutterstock

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A video camera that turns back time

Phonse Jessome, CBCMissed it! It’s an awful feeling. You’ve been waiting and waiting for a specific shot for a story and when it finally happens, you hit record just a wee bit too late. Maybe you’ve captured some of what you need, but it’s going to be hard to edit. If only you could turn back time.

But wait, maybe you can. CBC videojournalist Phonse Jessome shared this tip on his blog. His new Sony XDCAM has a cache mode that records continually but only saves the last few seconds of video before the record button is pushed. The number of seconds is variable up to 15; Jessome has his set at six.

Here’s an example of how it works. Jessome needed a shot of a motorcycle in traffic. Rather than roll on everything that passed by, he waits.

In this case when the bike rolls into the frame I hit record. The camera then adds video to the past six seconds it has already saved. So when I get back to the station I have the option of backing the shot up to the point where the bike enters the picture just before I actually hit record.

Why not leave the camera in cache mode all the time? “It burns more power and battery life is critical out here,” Jessome says. But in some situations, “cache is a game changer.”

Maybe you’ve known about and used this trick for ages, but I hadn’t seen it before. And I wanted to give Jessome a shout-out anyway for documenting what he does in the field and sharing what he learns along the way. He’s a daily news reporter based in Nova Scotia who shoots his own stuff and files for radio and the website, too, so it’s not like he has a ton of “spare time.”

Jessome’s From the Field Live blog has tips on everything from coping with changing light conditions to shooting when the wind chill is minus 20.

When you shoot in that kind of cold the tendency is to rush the shots to get back in the truck. In a word, don’t. You still need the same volume of quality material in an edit suite.

Jessome’s been sharing stories from the road since last November as part of his network’s effort to enhance its web presence. Worth the effort? From my perspective, absolutely.

Originally published at NewsLab

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When and where to break exclusive news

Computer remote image via ShutterstockYou’re working on an exclusive story for tonight and the Web and social media team wants a piece of it, hours before air. Should you share? If you thought that question had been laid to rest years ago, think again. In some newsrooms, the answer still is, “It depends.”

Brandon Mercer, news director at KTXL in Sacramento, has developed a checklist to help his newsroom figure out what to break when and where. Among the key questions is the type of story and its relative value to the TV or online audience.

“If it’s newsworthy, you have to post it,” Mercer says. “If it’s got viral potential, you want to post it.  If it has ratings potential only, you don’t post it.”

So breaking news that everyone’s going to have eventually gets posted immediately, without question. A feature with amazing video that could get picked up everywhere gets posted, too. But an exclusive interview that’s likely to be of interest only to the local audience would be promoted online and in social media without disclosing details, and the full story would be held for air.

It gets tricky, though, when a story is of more than one type, or as Mercer puts it, when the Venn diagrams intersect. Those stories require a conversation and the TV and online EPs have to make the decision together. If they can’t, the news director steps in.

Most stories that are posted online are fed to all social media platforms at the same time. But in some cases, one platform might take priority over another. Here’s KTXL’s approach to different types of stories:

  • Breaking news: Twitter, then website
  • Complex stories of huge community interest: Website, then Twitter
  • Photos: Facebook, then website
  • Raw video: Online video player
  • Discussions and newsmakers: Google+ hangouts

Want an example of online video that went viral? 

Yep. Bird poop. CNN loved it. “If we’re first to get it into the video player, we become the ‘primary source’ and the major newspapers, networks, and affiliates will begin embedding our video player,” Mercer says.  ”If we’re late on video?  Even our newspaper partners will embed our competitors’ video.”

Originally published at NewsLab

Computer remote image via Shutterstock

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Would you make a good newscast producer?

Photo by Alysia SteeleBrit Stack was like many journalism students; she was learning about reporting and shooting, editing and writing and keeping her eye out for reporting jobs.  But Brit was also smart enough to grab an opportunity, so when she got a chance to take a 6-week producing internship in Jackson, Miss., she jumped at it.

“It was great,” said Stack with a laugh.  “You get to know everything that’s going on without leaving the building.”

Immediately following her internship, Stack was offered a producing job at KALB-TV in Alexandria, La.  Within months, she was promoted to executive producer.

“Being in a small, rural market makes it hard to generate stories,” Stack said.  “Our reporters have to email the news managers by 8 p.m. each night with stories they want to do the next day.”

Stack and news director Keith Weiss then evaluate what the reporters have sent and contribute their own stories into the mix.

In addition to the long days, Stack says producers need other key skills.

“You need to be well organized, love to write and be able to handle multiple projects at once.”

She says it’s not unusual for her to be listening to scanners, checking email and putting together two shows at once, all while she’s supervising reporters out on their stories.

So, how do you prepare to do the job of producer?

“An internship is absolutely vital.  In many journalism schools there aren’t classes that focus on producing, so an internship will help you learn a newsroom’s systems and get you writing every day.”

In fact, Stack says even without an internship, you can improve your ability to produce newscasts by writing every day – even if it’s not news writing.

“You’ll just get to know language better,” Stack said.

Of course, every job has its headaches and Stack says sharing responsibility for hiring people is stressful.

“Evaluating job candidates is probably my least favorite part of the job,” said Stack. “One job posting was up for just three days and we got more than 15 applicants.”

The best thing about the job was easy for Stack to articulate.

‘I love writing, being able to write and be in charge.  As a producer you get to help shape a newscast and you are putting your vision on the air.”

 

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