them more likely to address you when they start
speaking and that will give you the better looking
. Most press conferences will have a microphone
stand or a mult-box already setup for the public
DO NOT SET YOUR
MICROPHONE IN FRONT OF THE
PUBLIC ADDRESS SPEAKERS! This will
produce over-modulated sound. If you do not
have a place for your own microphone stand to
be placed, clip your microphone onto a
microphone already in place. Your lavaliere clip
should clamp nicely on the cord of someone
l Avoid taping the microphone to the lectern
that the speakers will use. Most speakers will
tap, grab or shuffle papers on the lectern surface,
and if your microphone is taped to the same
surface, you will get a lot of noise in your audio.
. Always check your audio on the VU
(volume-units) meter and confirm it with an
earplug. Never trust a dancing needle on the side
of a camera. You may be just picking up the
rustling of your own jacket from the camera
microphone. Listening with an earplug will also
let you check the quality of the sound and not just
. Keep quiet during the shoot. Nothing is more
infuriating in the editing room than having a great
sound bite ruined by the giggle or gabbing of the
news team. You may think a soft whisper will not
be picked up by the microphone or could not
possibly make its way onto the finished product,
but it will and can.
The basic editing techniques described in the
JO 3 & 2 training manual give you an idea of what the
pieces of the editing puzzle look like. In the following
section, you will get a working knowledge of how to use
those skills learned earlier in your career and an
understanding of the editing process that will make your
job of training fledgling broadcast journalists easier.
Editors must be aware of two time concerns. The
first is the journalists old nemesis, The Deadline.
Much of Navy video editing takes place within
relatively leisure deadlines of days. These are feature
pieces that are timely within a few weeks of the event.
However, when you are working at an NBS detachment
or a large afloat command that produces a nightly news
program, you will know what the word deadline means.
Time is the demon on the shoulders of the video editor.
If the photographer did not shoot in sequences or shot
20 minutes of tape for a 90-second story, the editor will
have to search the entire tape for usable material.
The second time concern is called filmic time. This
is the compression of hours, days or even years of real
time into a minute or two-minute story. The passage of
time in the movie Gone With The Wind spans the entire
Civil War, but of course, the movie only takes three
hours to view. Again, with the use of cutaways and
cut-ins and correctly taken shot sequences, compressing
real time to filmic time is an easy and natural process
for the editor. For example, the building of a bridge on
your base took eight months. During the construction
phase you have done stories about the work and in the
end you can do a final story showing the entire
eight-month construction process within a minute or so
of filmic time.
Most Navy broadcast journalists will act as reporter,
editor and often even as camera operator during their
own ENG shoots. This is also the norm for civilian news
organizations that employ one-man-band news
bureaus in various towns within their general area.
When you are in such a situation and a deadline is to be
met, the following story production process works best.
You already know the gist of the story and the angle
you are going to take with it because you have been
thinking about it since you received the assignment, did
whatever background research possible and finished the
last interview. Now it is time for you to sit down with
your notes you took during the interviews and decide
what sound bites will best enhance the story. Determine
the exact time length of these sound bites as well as your
stand-ups and proceed to write the rest of the story. If
you are working for a newsroom that wants intros
written by the reporter, then write the intro last. Intros
are supposed to be the hook to keep the viewer interested
in the upcoming story and are not to be used as a
dumping ground for information the reporter could not
figure out how to put into the story.
Once you have your narrative written, read it aloud
and time it. This time amount, plus the lengths of your
stand-ups and sound bites, will give you the length of
your story minus any cold start video openings, the short