So before I talk about my shadow shift adventure let me explain what exactly this is. As a broadcast two student at the University of Missouri, we are required to shadow four shifts ( a producer, reporter, live truck operator and re cuts) at KOMU-8 news channel. Shadowing can basically be explained as "go to work with parents day." Unlike elementary school where one was excited to skip school, this is an awesome opportunity to soak in the advice and lessons from people working a specific job since it will be the future job. Shadowing let's a person observe how a specific job works and how it contributes to the newsroom and to media in general.
It may have come across one's mind, but how exactly does a person on the local, network or cable news appear live on television? It's not magic, but yet the help of what's called a live truck.
Tuesday January 27, 2009 I went to KOMU-8 news room to shadow live truck engine operator Stephanie Tabor. It was the State of the State address here in Missouri and live shot was being done at the steps of The Capital in Jefferson City, Mo. Kaylin Krashesky was the live shot reporter for the 10:00 p.m. newscast so I got to learn two important roles that helped contribute the newscast.
In order to shoot a live shot with the live shot it takes team work of the reporter and the engine operator. Usually the Live truck operator will arrive a an hour to two hours before the live shot. Now , typically this time can change depending on a lot of things, breaking news, location, and the story that is being covered. For an event like the State of the State, KOMU-8 sent out two live trucks about two hours before it began. This is due to the fact that there is time needed to set up and also find a good spot. Remember, there are other media from around the state coming to do their live shots as well, so the early bird gets the worm.
Stephanie explained that once you get the hang of setting up a live truck, it takes about twenty-five to thirty minutes to hook up all the wires, set the lights, camera, set up the mast , and get ready to shoot the reporters live shot.
I learned that doing mock practices of setting up the live truck is a good idea before going out to a real situation and having no clue what you are doing.
Kaylin and I were pressed for time back at the news room. Right after watching the State of the State, she had to put together a script that gave a overall summary of what Gov. Nixon covered. I know she was stressed, but I felt her pain. I even jumped in and tried to help her highlight key points in the governors speech. We were both concerned about time and the fact that the roads were not the best , it was snowing and the roads were slick. We left the station at around 9:00 p.m., rushing to get to Jefferson City by 9:30 to finish setting up, and practicing the script. Fortunately we made it on time, and Kaylin had a good amount of time to practice and do what she needed to do.
As Stephanie and Kaylin informed me, it is very important that reporters come to live shots with their scripts ad ideas of where they want to shoot their shot. It is the job of the live truck engineer to shoot the shot, but the job of the reporter to decided where exactly would be the best place to set up the shot. The report must think visually, and how to convey a shot that makes sense to viewers and help enhance the feeling of really being there at the scene.
If you have ever seen a news truck with a satellite on top and tall looking pole. That pole is called a "mast" it helps transmit the signal back to the control room at the news station.
Stephanie would dial in an "IFB," Interruptible Feedback , to the control room at KOMU-8 news. The IFB allows the engine operator as well as the reporter hear the cues from the producer, or control room back at the news station. The earpiece that a reporter or anchor is wearing during the live shot is the little voice in their head ( also known as the producer or news director) letting them know what is coming up next, if there are any changes and when to cue. This is very important because it is the basis of communication to which make the live shot and the news cast make sense. It allows the viewers at home to make sense of the situation of what is going on.
I had always figured that's what the earpiece was for, but wasn't sure if reporters had a direct link to the FBI or something. I'm just kidding. About ten to fifteen minutes before it was time to go live, Stephanie had dialed the IBF. For my future expriences , I always want to be early for this and have everything practiced and rehearsed a million times before, but learned that you must be prepared for the unexpected, and be ready to go at all times.
So it was time "3-2-1," and Kalyin did her thing. It was actually really exciting to watch this unfold and understand the work that goes behind the live shot. It really pumped me up and look forward to working hard and under pressure to make something like this come together. The live shot probably lasted a couple of minutes, but it takes a lot of practice to get those minutes just right.
Again, and again Stephanie and Kalyin explained that a reporter can truly help a live truck engineer by tearing down after the live shot is over. Usually the live truck operator will set up, because mean while the reporter is putting together the story and writing their script. At the end though, it's always important to be polite and thankful for the live truck operator. Yes , it's their job, but they not only help shoot the story , but make a reporter look good on camera. So at KOMU-8 always help them tear down the equipment.
Unlike a reporter who is wearing business attire, the live truck operator will wear clothes in which they can function well. It is a hands on job, so wearing jeans, and sneakers is A-okay. They would probably wear a shirt or jacket representing their jobs logo, but depending on weather, wearing the proper attire is crucial since one can be out on the field for long periods of time. So wearing snow boots when it's snowing is okay. Don't expect to go out there in heals or nice dress shoes, not only will you freeze, you will also look pretty silly.
Stephanie said she has seen some funny things while shooting live shots. She said it's critical that reporters arrive EARLY. The most common mistake or problem that plagues reporters doing a live shot is arriving late, looking at their script and saying "um..". Of course, in this business arriving ten minutes before a live shot could happen due to traffic, changes in the story back at the station, getting lost etc. To prevent all these things, I learned one must be on the ball and seriously either have a GPS, get the directions before hand, and pay attention to the news about traffic.
Shadowing Stephanie and Kaylin was pretty exciting! Even with snow filled roads and frigid temperatures seeing the final product live was inspiring. After watching the Kaylin putting together her script, driving to the site, doing her make up practicing and trying to compose herself, I was awed. I came to the realization that hey, this is broadcast journalism and that is what you have to do , under pressure.
The three of us tore down the set and packed up and headed back to KOMU around 10:30 p.m. It was very interesting yet fun and exciting at the same time.
This was indeed a very long blog, but I wanted to share with everyone some of the behind the scenes magic of TV journalism. More shadow shift blogs are to come as well as other blogs about journalism, stories and reflections. So look forward to the behind scenes look of television journalism and my thoughts.
Cheers!
-Sophia Beausoleil
