This document provides guidance for producing a video news assignment. Key deadlines include discussing the assignment on March 2nd and having a story idea due by March 16th, with the final video due on April 13th. Students will work in pairs to shoot and edit a 2-3 minute video news package on a newsworthy local topic. The document reviews considerations for video journalism, including choosing a topic, shooting footage, interviewing subjects, and editing the package together with b-roll, sound bites, and a voiceover.

1. Prepared by Mark Grabowski
for Online News class

2. Important deadlines
• We will discuss this assignment in depth
during class on Mon., March 2
• At that time, I will instruct you how to shoot
and edit video, including how to use the
appropriate software (iMovie) and
equipment (iPhone or iPad)
• Your story idea is due March 16. This
assignment will be due on April 13. You will
present your news video in class.

3. You’ll be producing
something like this…
http://www.youtube.com/user/AlabamaAudrey#p/a/u/0/eUs
VMGcDciE

4. Your video skills can
also be used to:
• Tape musical performances
http://poochaumusic.blogspot.com/2010/04/underground-cafe.html
• Capture sports highlights
http://johnotano.blogspot.com/2009/12/adelphi-dunk.html
• Show interview snippets
http://aupanthersbaseball.blogspot.com/2010/10/panthers-pitching-posing-early-threat.html
• Instruct or explain how to
https://www.youtube.com/watch?v=MbXzI-IAdSc
• Make funny videos, spoofs, parodies, etc.
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=8350671
… all of which can be posted on your blog
and/or website!

5. First, some history
• The advent of cheap digital video cameras
and free video-editing software has
ushered in the digital video revolution.
Instead of a $35,000 camera, an even
more expensive editing station, a two- or
three-person crew and years of training,
one college student can produce high
quality Web video with a $175 camera and
a computer.

6. Why learn this?
• Now that video is easier for everyone to produce
and to view online, any kind of journalist can
participate. As a result, some TV news stations
have broken up traditional news teams to create
video journalists or VJs. Also known as
backpack journalists, they work solo and serve
as both videographer and reporter on
assignment. Non-broadcast news organizations
have also jumped in, publishing documentary
video stories, breaking news, in-studio stand-ups
and all manner of other features in video.

7. OK, now let’s discuss
the specifics of
assignment along with
video journalism tips…

8. Select groups
• Break up into pairs of 2-3 students.
• Choose roles: cameraperson or reporter.
Everyone should contribute to
newsgathering, scriptwriting and editing.
• Set up meeting times outside of class
• Expect to spend several hours on this
assignment.

9. Choose topic
• Must be newsworthy
• Must be timely, but also “evergreen”
• Must be local
• Must interview sources on camera
• Must get video footage
• Must be able to tell story within a few
minutes or less – not 10 minutes or more
• Prof. Grabowski must approve your topic

10. Broadcast news judgment
Broadcast journalists view news a bit
differently – they need pictures and
sound.
One of the big differences between print
and broadcast is how those mediums
define “what is news.” The broadcast
mediums have a narrower scope. There
are four major criteria for shaping news
judgment for broadcast mediums…

11. News judgment
1. Timeliness: TV news magazines may have
proliferated, but “the breaking story” still rules the day.
However, in our class, your video will take a few weeks
to produce from the time of topic conception to the
finished video. Choose a topic that will still be “news” in
six weeks (“evergreen”); not something that has a short
shelf life (like a particular event occurring this week).
2. Information or content: Broadcast stories have to
answer the “what” question quickly because of the time
factor; there is not much emphasis on the “why” and
“how”

12. News judgment
3. Audio/visual impact: Being somewhat of a slave to
the technologies involved, TV doesn’t like stories without
pictures and sound bites
4. People: Humanizing the stories gives them greater
impact. It’s a first cousin of some of those anecdotal lead
approaches you’ve heard about in Newswriting and
Features Writing.

13. News judgment
Of course, there are other differences between print
and broadcast:
-- Broadcast folks are more concerned with “time” rather
than “space.” This time-forced focus on brevity fosters a
lack of depth, which is one of the major criticisms of
broadcast journalism.
-- The broadcast reporter is much more concerned with
their appearance and manner of speech than print
reporters. Voice and looks matter in their story-telling.
-- Broadcast reporters don’t have to describe sights and
sounds -- they can let the technology do that for them.

14. News judgment
But there are also similarities …
-- Both mediums are utilizing the Web
more and more to fill in the gaps in
their coverage.
--The main similarity is the need for
good writing (e.g. catchy lead) and
reporting (e.g. credible sources).

15. Before getting camcorder,
get story first
• Figure out what all of your 5 W’s are.
• Set up interviews
• Write your script
• Time it – say it out loud. Finished video
should be 2 to 3 minutes long.

16. Some things never change
• Many rules of print journalism apply: must
be newsworthy, must interview good
sources, have good info, be succinct, be
informative.
• Your story will be a mix of reporter
providing facts (NO opinions!) and
sources providing quotes on camera

17. Broadcast: Differences
from print journalism
• 1. Use a friendlier, more conversational tone (when
appropriate). “Watch out for construction on the East
Loop tomorrow as you’re headed to work.”
• 2. Keep it short, simple and easy to follow. One idea per
sentence; limit sentences to 15 words or fewer. Use
simpler words.
• 3. Say so long to the inverted pyramid. Broadcast stories
need a beginning, a middle and an end.
• 4. Use present tense. You want to sound new, fresh and
immediate

18. Broadcast: differences
• 5. Attribution, quotes get different treatment. In print, the
attribution generally goes behind the quote or statement.
In broadcast, it’s generally the opposite.
– Print: Jones gave a confession, police said.
– Broadcast: Police say Jones confessed to the crime. (note the
use of present tense)
• 6. Numbers: round them off, spell them out. Don’t use
$497,457; use “about 500,000 dollars” or “about a half
million dollars.” Make numbers easy to read:
– 0: Write as zero
– 1-9: Spell out as words. Maybe eleven also since it can look like
two L’s
– 10-999: Use numerals
– Above 999: try to round off; use combo of words and numerals

19. Writing the script
Because news is weighed a bit differently at broadcast mediums, the
writing takes on certain characteristics:
1. Immediacy: Focus on what’s happening now.
--Broadcast writers try to achieve a sense of immediacy by using the
present tense as much as possible. The price of gasoline hasn’t
“gone up” it is “going up.”
-- If there is no danger of inaccuracy or deceit, omit the time element
altogether
-- If you have to use the past tense in the story, include the time
element
-- Remember to update. The best way to avoid having “yesterday’s
news” is to update with a new development, attempt to localize, etc.

20. Writing the script
2. Conversational style: Write the way you talk
-- Use simple, short sentences
-- Use transitive verbs. Transitive verbs do things to things;
they demand a direct object.
* intransitive
We would like to stay longer, but we must leave. (In this
example, the verb "leave" does not take a direct object)
* transitive
The audience attentively watched the latest production of
Little Women. (In this example, the verb "watch" is used
transitively and takes the noun phrase "the latest
production of Little Women" as a direct object.)
-- Don’t use slang, colloquialisms or incorrect grammar

21. Writing the script
3. Tight phrasing: Remember, your foe is time instead of space. Time
is less forgiving
-- Sentences should be no more than 12-15 words
-- Cut down on adjectives and adverbs
-- Using active voice over passive voices will trim some verbiage
-- Concentrate on the bare facts; print and online folks will fill in the
details

22. Writing the script
4. Clarity: Unlike print and the Web, broadcast audiences can’t go
back over the copy (unless it’s in the crawler!). The audience only
sees it or hears it once -- or until the next news break.
-- In addition to short sentences, use nickel-and-dime words.
-- Avoid too many numbers
-- ** Don’t be afraid to repeat words or phrases. Repeat proper
names rather than use pronouns. Be sure to “tee up” (use
identifiers) for unfamiliar names. Longtime Houston businessman
John Smith died Wednesday……
-- Avoid foreign words and phrases
-- ** Keep the subject close to the verb. (NO: “Rodriguez, who has
been struggling at the plate recently, smacked a three-run homer in
the ninth inning.” YES: “Rodriguez smacked a three-run homer in
the ninth inning. He’s struggled at the plate lately.”)

23. Broadcast leads
Here’s a surprise: Broadcast leads, just like their print
cousins, strive to capture the attention of their audience.
It has to have enough substance or style to draw attention
but not so much information that it hinders
comprehension.
Unlike the print lead of 35-45 words, broadcast leads
should probably be fewer than 15 words -- 20 max. So,
don’t crowd the lead with too much information. Waiting
for certain questions to be answered will also keep the
audience listening or watching.
Also, just like the print lead, the broadcast lead must set
the proper tone and mood for the story. Don’t mislead!

24. Broadcast leads
Textbooks mention four types of broadcast leads:
– Single Act Leads
– Umbrella or Comprehensive Leads
– Chronological Narrative Leads
– Soft Leads
It wouldn’t hurt you to read about those types, but the two
types you will most often deal with if you go into some
form of broadcast are:
-- the “single act lead” and the “soft lead.”

25. Broadcast leads
The single act lead:
• Goes immediately into the “what happened” and
“who” aspects.
• The “what” is most important, followed by the
“who.”
• The time and place may be included.
• The “how” and “why” come later in the story, if at
all.
Example: A Texas House committee voted today to ban
gays and lesbians from adopting children.

26. Broadcast leads
The soft lead:
• This is also called “cuing in.”
• It is characterized by using a general statement
that will pique interest before going into the
specifics of the story.
Example: Gay rights activists hit another roadblock
today in the Texas House. (note there’s a bit of
suspense here; you don’t know yet what
happened, but you can deduce gay activists
won’t like it.)

27. Story format
• You’ll do a “package story” combining sound
bites, b-roll footage, voice-overs and
(optional) stand-ups..

28. Story Elements
• Stand-up: reporter appears and talks on camera,
usually at the beginning and end. (Optional: it’s up to
you whether to include this.)
• Sound bites: quotes from on-camera interviews with
sources. (This is a must.)
• B-roll: video footage that doesn’t involve either an on
camera talent or an interview face being on the
screen. (This is a must.)
• Voiceovers: audio from the reporter or a source mixed
with b-roll footage. (This is a must.)
• Nat sound: video accompanied by its own sound –
called “natural sounds.”(Recommended.)

29. Plan ahead
• If you’re borrowing video equipment, it
may not always be available when you
want it. So, reserve it ahead of time and
use your time wisely.
• Don’t just go out and shoot random
footage. Before you shoot, you need to
know what your story is. This will help you
determine what footage you need.
• Multiple shooting sessions may be
needed.

30. Equipment
• Borrow a digital camcorder that shoots
HD, if possible. If not, use your smart
phone or tablet. Use the best video
camera possible.
• Make sure the equipment has a charged
battery. Keep in mind that the battery only
lasts so long.

31. Equipment
• If you’re using your smart phone, there’s no
need to use a microphone. That’s because
it has its own built in microphone.
Unfortunately, this is one of its weak spots –
the audio isn’t very good. So, talk loudly and
have your sources talk loudly. Do a sound
check. Be sure to use the same camera to
record everything, including voiceovers,
otherwise your audio will sound inconsistent
(and the disparity will be obvious).

32. Equipment
• If possible, use a tripod. Video
doesn’t look good if the image is
shaky like you shot it during an
earthquake. If you find yourself
without a tripod, hold your camera
as steady as possible. Use the
stabilizing feature on iMovie. And
avoid using the zoom. As you
zoom in, it gets easier and easier
to see even the most subtle
camera movement.

33. Do an equipment check
• Make sure video and audio are working
before you start taping.
• Make sure your camera is set to record
video (not take photos, which is usually
the default mode)
• Do a sound check. Make sure you and the
people you interview are speaking loudly
enough so the camera picks it up well.

34. Look the part
• Don’t dress like a slob. You don’t have to
wear a tie or dress, but … Comb your hair,
wear clean, conservative clothes, avoid
colors that bleed or stick out and shirts
with offensive slogans. (Also: wear same
outfit if you shoot on multiple days.)
• Remember, you are reporting news on
camera, so be professional. Emulate TV
reporters.

35. Then get footage
• Determine what visuals will complement
your script.
• Create a sheet with two columns: on the
left (or top) will be very short paragraphs
that tell your story. On the right (or bottom)
will be the video footage you need to get
to illustrate your words. This is known as a
“storyboard.”
• Match the content of your video to the
content of your audio.

36. Storyboarding
• It’s a simple process. No artistic talent
necessary. On a whiteboard or sheet of
paper, start by writing the main idea on top.
Then draw boxes in a row from left to right (or
top to bottom), with labels that represent
each piece of the story (e.g. lead, interview
w/ source, etc.). Imagine the boxes are the
video viewer or screen and sketch a quick
representation of what the viewer would see.
(Stick figures work.) Adapt and change as
you gather info and footage.

37. Sample storyboard

38. Elements
Video stories have some basic elements that you
will carefully edit together. There are other types of
elements to include, but these will get you started:
1) video accompanied by its own sound – called
“natural sounds” or nat sound
2) snippets of people sharing information that
advances the story – “sound on tape” or SOTs
3) your vocal track over video – your vocal track
is the “voice over” or VO, and the background
video under your narration is called “b-roll.”

39. Shoot lots of short scenes
• Each location/scene you film should be no
more than 15-20 seconds.
• Think of it as a patchwork quilt that has
many different pieces of tiny fabric that all
add up to create a unified whole – all of
the little pieces contribute to the overall
visual effect of the quilt

40. Matching video & audio
• Shoot on location.
• If you’re reporting on the field hockey
team, shoot at their field. Preferably when
they are playing or practicing.
• If you’re talking about the school play, you
need to be at the theater and get actual
footage from the play (or rehearsal).
• Make sure what you’re showing matches
what’s being said.

41. Telling stories through video
• It’s also important to establish context. For
example, if you’re shooting a story about a
beloved local bar that is about to close down,
you want to show viewers the outside of the
store within its natural setting. Is the bar one
among many in a strip mall along a busy
thoroughfare? Or is it a stand-alone store at the
crossroads of a tiny no-stoplight village in the
foothills? You’ll need to anticipate the kinds of
questions your viewers will have and answer
them visually and through the narration.

42. Interviewing people on camera
• Set up interviews as soon as possible.
School officials, for example, are busy
people and may require a couple weeks
notice.
• Be sure sources know you’re interviewing
them on camera for a news video. Since
you’re a student, they’ll probably expect
you’re writing a newspaper article and just
bringing a notepad or tape recorder. They
may also want time to primp themselves.

43. Interviewing people on camera
• Interview people first without the camera
rolling.
• This way, they can think about their
responses and provide thoughtful
responses.
• Few people provide good quotes speaking
off the cuff with the camera pointed at
them.
• So, do a run through, get background info
you need, and then get quotes from them
on camera.

44. Interviewing people on camera
• While it’s OK to tell your source ahead of
time the topics you plan to discuss during
your interview, I would not recommend
sending them your questions in advance.
• If your source has too much time to
prepare, their answers are likely to sound
scripted and stilted and even fake – that’s
not the way people naturally talk.

45. Interviewing people
• People don’t really understand how to hold and
use microphones, so you should always be the
one to hold the stick mic (if you use one). This
puts you in control so you can get the best audio
possible.
• Leave a little headroom at the top of the frame.
• Position your subject a little to the left or right of
center and leave nose room to the opposite
side.
• And position yourself at same level as subject so
viewers won’t feel like they are looking up or
down.

46. Interviewing people
• If both you and your partner attend an
interview, make sure the source looks at
the person with the camera, not the other
student sitting across the room.
Otherwise, the source will look awkward
on camera.
• Use the LCD monitor on the camera to
watch the interview at the same time that
you look over the camera and make eye
contact with the subject. This puts the
subject at ease, gives her someone to
look at and makes the interview more
natural-sounding.

47. Interviewing people
• Don’t, for any reason, make any sound at all
when your subject is talking. The camera will
pick up every sound you make – a sigh, a
cough, a chuckle or anything you say. Even the
littlest laugh or “Ummm” from the camera
person sounds awful. So keep your lips zipped
when recording because you won’t be able to
edit out the unwanted audio later. Use body
language, such as nodding, to indicate to the
speaker that you understand him.

48. Interviewing people
• Don’t shoot your subject in front of a
window or with the sun behind her, unless
you want your subject to appear in
silhouette; the best light source comes
from behind the camera.
• Also avoid shooting your source with a
bright light right next to her.

49. General shooting tips
• Each shot should be 10 to 20 seconds.
• Use your tripod whenever possible.
• Clean your camera lens each time before
you shoot.
• Focus your iPhone camera by holding
your finger on the screen until it says
“AE/AF lock”

50. General shooting tips
• Let the tape run for about 10 seconds at
the beginning of a tape and leave a little
tape at the end as well.
• Get as close as you can to your subjects
and shoot close-ups whenever possible.
• Use “airplane mode” so you won’t be
interrupted by a text message or call.

51. General shooting tips
• When shooting video, hold your camera
horizontally ONLY.
• If you hold it vertically, you’ll get black
frames on the sides of your video footage.
Plus, it will be inconsistent when paired
with horizontal footage.
• This is really important!

52. General shooting tips

53. General shooting tips
• For online video, avoid pans (horizontal
movement of the camera) and zooms
(focusing in or out using the zoom feature
on the camera) because not only does it
look bad on the Internet, but unnecessary
movement also slows down the video
stream. If you need to zoom, step closer.
• Lighting is important. Don’t shoot outside
at night.

54. General shooting tips
• If you do a standup, reporter should
identify himself/herself at end of video
(e.g. “Reporting from St. John’s University,
I’m John Smith”), so be sure to get a shot
of this – and make sure this is shot on
location. So, if you’re covering the soccer
team, shoot this scene in front of the
soccer field. Also, don’t say you’re
“reporting live” -- you’re not. That’s only
appropriate when the video is airing live.

55. Save your footage!
• Very important: You may need to return your
camcorder soon after borrowing it, so you
need to make sure you copy the footage to a
flash drive or DVD. If you return your
camcorder without saving your work, it will
be erased. Even if you use your own smart
phone/camera, you may inadvertently delete
your footage. When you edit footage, be sure
to keep original unedited footage in case you
make a mistake or find use for it later.

56. -- Record yourself.
-- Adjust your
delivery.
-- Most common
problems can be
avoided.
-- Study the pros.
-- Practice.
It takes practice to
sound like a pro

57. Putting it together
• Sit down and create a log of everything
you’ve shot. Even the briefest list of the
video, audio and time code will help you
create your script and will provide a time-
saving tool during the editing process.
• It’s helpful to write your script in two
columns, with the audio narration on the
right and the corresponding video on the
left.

58. Putting it together
• Select the SOTs (interview sound bites)
that help move the story forward. Design
visual sequences to flesh out the narration
and be sure to include shots that help
establish location and context. Remember
that, except for SOTs, each snippet of b-
roll coverage will usually run about five or
six seconds at the most.

59. Putting it together
• Use still-screen graphics or illustrations, if
appropriate.
• But keep this to a minimal.
• When video is available, use video instead
of still images.
• Generally, still images are appropriate
only for things like charts/graphs or photos
of missing/deceased people.

60. Putting it together
• After you’ve finished writing, you will need to
record the chunks of narration between the
SOTs. You can do this using your smart phone
camera. iMovie allows you to delete the video,
just keep the audio and combine it with other
video and audio.
• For audio consistency purposes, it’s important to
do voiceovers and narration with the same
device you use to record your on-camera
reporting scenes and interviews.

61. Putting it together
• Record voiceovers in a quiet area. Closets
are surprisingly helpful (the clothes help
soundproof).
• Action is key. At every moment during
your video, there should be sound and
interesting visuals.

62. Putting it together
• You will use iMovie to edit your video
footage, insert credits (captions identifying
interview sources) and upload it to
YouTube. We’ll review how to in class.
• In addition, an iMovie tutorial is available
online at:
http://www.apple.com/findouthow/movies/

63. Caption
The bottom of the screen is where captions go.
Always include source’s name and title. Don’t forget.

64. Sample news videos
• Melissa Chan reports on new taco stand at AU:
http://www.youtube.com/watch?v=aoQid4J9fmg
• Leslie Fazin reports on new spinning class at
AU:
http://www.youtube.com/watch?
v=U_E1oHYuLCM

65. Spending a little bit of
money can help a lot!
• Third party apps for audio (e.g. $1.99
iTalk) and video (e.g. $4.99 MoviePro) can
greatly improve the quality of your footage.
• Smartphone microphones and tripods are
available online at very affordable prices
($20 or less)

66. Remember
• You need to start work on this immediately.
No extensions will be given. Equipment
likely won’t be available on short notice.
Interviewing people on camera won’t be as
simple as interviewing them with a notepad.
You may also struggle with some of the
technology and computer programs. So,
expect to learn through trial and error. As
such, you can’t do this at the last minute.

67. Questions?
E-mail Professor Grabowski:
grabowsm [at] stjohns.edu

68. Sources
• JournalismNext by Mark Briggs
• Professor Paul McGrath, University of Houston -
Clear Lake
• Inside Reporting by Tim Harrower
• Knight Digital Media Center
• Professor Mindy McAdams, University of Florida
• “How to Use Your New Flip Video,” eHow.com
• “How to Shoot Good iPhone video,” Courtney
Ware