What does referencing video really mean?

If I had a dollar for every shot of generic video in a story, I would be rich, on the beach living the high life! It’s so common, it’s almost become accepted in the industry. And that’s a big mistake because generic video does nothing to help viewers trust that you know what you are talking about. It’s true. They can tell that you just slapped up some pictures hoping they would not really look. And nowadays, it’s just another reason to shake their head, grumble about fake news and look at social media instead. 

So how do you reference video, especially when you have no choice but to use generic shots? First, let’s define generic video. Generic video are images that are peripherally, but not always specifically, related to a story. Sometimes, generic video sticks out and seems to make little or no sense with the story. It’s video for video’s sake. And it’s a major danger zone.  That is especially true if you ask editors to “Just pad out the shots” to make sure the video doesn’t run out, or “just find me pics of people eating at a restaurant.” “Just show me avocados.” “I need video of a beach.” I have seen stations have advertising pulled over showing restaurant pics, that the chain viewed as identifiable during a food recall story. Same with images of produce. Is there a from Chile, or from Mexico sticker? These kinds of details have the potential to be hugely important. Even something as innocuous as pictures of a beach can create a fact error. Beaches in Hawaii do not  look the same as the ones in Florida or Maine and viewers DO notice. In other words, there is no such thing as generic video. Every image has a fact in it. Remember that.

So, let’s add this to the definition of generic video: It is images you are not mentioning in any way while the story is being read aloud. This is an important distinction because it gets to the core of this article: referencing video. You need to have the copy and video make sense together. Now, I did not say “match.” It’s just not realistic to pre-record every story that airs and sometimes the video is slightly ahead or behind the copy as it’s read. That’s not great, but better if the video is actually referenced in the telling of the story. 

A recent example I saw was a story of a man who worked at a religious day care center who was accused of molesting children there. The story showed the mug shot of the man, the sign of the place where he worked, a building (I assume is the same place??) and shots of an infant swing. Not great images to work with, right?  But with subtle writing references you can make it work, and not be generic and therefore confusing. Here’s how that can be done: “(mug shot) Name was arrested today, on child molestation charges. He worked at (show sign and say name of) daycare. (images of building and swing) You might recognize this building on and playground on (           ) street in (city). Police did not say what ages the children were in this case, but infants up to age 8 attend this daycare. (on camera) (name) faces 5 counts tonight. We will let you know what happens next in this case.”

I once had a news director require that we shot sheet every story in every newscast. The first couple of weeks I seriously thought my newscast would not make air. It took forever! But eventually I got the routine down and could still write quickly. With desktop editing so prevalent now, there is really little excuse to not write to video. This does not mean you have to shot sheet and reference every single image. I get that. But you can make sure that you at least reference the first shot seen, and if you add any file video, mention that it is past video, from whatever the source and/or time.

Also, as you are starting to teach yourself to write to video use these references:

 “As you see here”

 “you can see”

 “this is (_____)”

“here’s a good look at (_____)”

“take a look at (_____).”

These references can get cliche after a while, so you do not want to use them all the time everyday every story. But use them for a couple of weeks as you retrain your brain to think of images as you write your stories. They really help. As you get the hang of it, it’s easy to drop these catch phrases. 

Referencing video does not always mean that you have to overtly say what’s on the screen. Sometimes it’s just making sure that what the copy says plays off of the images. So referencing video is, truly, not as hard as it seems. Hopefully this article makes it easier for you, so you can start to reference more images in your stories. You want your newscasts and stories to stand out. You are writing for the ear, but also for the eye. Never forget that. Video needs to be part of the context of the story not a distractor.

Image by Josep Monter Martinez from Pixabay.

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Hey Producers. It’s Time.

The TV news industry is in flux. Crisis point: finding and retaining producers. Consider this: Your job will remain if reporters are phased out in the digital age. There is always a need for content finders and editorial context. Producers must be the best truth seekers, and BS detectors in the building, every day. You are the gatekeepers of truth. Gusty journalists with a job that has a high learning curve.

So let’s even that playing field. Let’s finally put what you really need to know to kick butt at your job, in one easy-to-reference spot.

This book is years in the making. Producers and managers spoke, listing skills most have to try and figure out largely on their own while on the job. Let’s make it easier.

Here’s a list of topics covered:
How to stack a newscast
How to choose leads
How to get your writing done in time
How to time your show correctly
How to write clearly
How to write to video
How to tease
How to avoid fact errors
How to showcase (describes several techniques)
How to handle team coverage and continuous coverage

And there’s more. Check it out.

Buy Here

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Hitting A Nerve. Time To Notice the Workhorses.

I don’t usually show statistics. But this number below, the impressions really set me aback a bit. I chewed on what it could mean for a bit. I know that there are a lot of journalists that lay low and do their jobs no matter how short-staffed and no matter the station politics. I know a lot of them are passionate about being journalists and put up with a lot to do the vocation they love. But to me, this reaction to the post, and reactions I have received about workloads on LinkedIn posts show many just do not feel valued.

On LinkedIn, I mentioned looking around and thanking those workhorses. Many reached out to let me know they rarely are thanked and rarely are noticed.

Two things. There are a number of managers that have been taught that your paycheck thanks you and that you show the staff they are appreciated by leaving them to do their jobs. I bring this up because it is important to know that for some managers this is why you do not hear from them. The intention is in a way to show respect. It just doesn’t fit well with a growing workforce of journalists that expect communication in the newsroom and on the news.

The other point to make is there are obviously a lot of journalists that want to know you see their efforts. That means many want to know that they are doing what you want. Most journalists are highly goal-oriented. Telling them they meet or exceed the mark is important. It helps them pull through on those really tough days.

The post hit a nerve. The idea that so many looked at this post hits a nerve. Workhorses deserve respect. They keep the news on the air. They weather the storms. So again I ask, look around the newsroom. When is the last time you thanked the workhorses?

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Time To Stand Up For EPs

I put this post up on LinkedIn and want to make sure it is here on the website as well. When I started this website 10 years ago the goal was to help with training. I still want to focus on that primarily but over the last several months I have felt called to also bring up important issues facing the TV News business as well. I hope the time is right for more to hear the calls and actually start to make changes many veteran journalists can tell you are long overdue.

Here is the post:

Now that we know producers can get some signing bonuses, let’s talk EP recruitment. Just this week I have seen EP job postings that state you will produce a newscast every day and still need to coach other producers and oversee the daypart. Can we just unpack this a bi

In order to really protect the brand and quality, executive producers need to oversee not do then check in between. It’s hard enough when they are the chronic backups for anyone who is sick or on vacation.

There simply is no way an EP can truly train, recruit, showcase, punch up daily writing, oversee coverage decisions, monitor live decisions, and protect the station’s newscasts and brand for quality and credibility and produce each day. That is like asking an assembly line manager to work the line at the same time. Things will slip through the cracks and the line will clog up.

For the last several years the job I get calls about the most where there are either no applicants or none qualified is EP. Setting up EP jobs so they can truly learn how to think bigger picture, attend management meetings and learn how to lead a shift is monumental for the future of this industry. These EPs are your future NDs.

It is cheaper to hire another producer or writer to ease the workload and invest in growing EPs in the long run. Your current newsrooms benefit. Your future newsrooms benefit.

To all the EP’s right now braving producing newscasts and leading dayparts especially those who sometimes are the ONLY EP for the whole newsroom, you are strong. You are courageous. You have a right to stand up and say when the workload is too high and ask some be delegated elsewhere. Do not forget you can be the future ND. So you need to try your best to pace yourself and advocate to protect your team in any way you think will work.

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