TV News Live Shots: A Media Training Guide To Crush Your On Camera Interview!

By Scott Wolfson

You see guests all the time on television news shows. They look confident, focused, and present their core message on camera with ease. If only you had the chance to do one of these interviews, you feel certain you could do the same.

But how do you position yourself as the go-to expert without breaking the bank on expensive advertising? Th

• Language: English
• Publisher: Wolfson Productions, Inc.
• Release date: Mar 18, 2020
• ISBN: 9781734432435

Scott Wolfson

Scott Wolfson is the owner of Florida Sun Studios, an independent broadcast and production studio located in Fort Lauderdale, Florida. Scott is also the author of the book, TV News Live Shots: A Media Training Guide to Crush Your On-Camera Interview! His decades of broadcast news experience make him a highly sought after broadcast industry consultant and media coach in South Florida. Media Training Scott conducts both individual and small group media training sessions at the studio. The sessions are tailored to each client's particular needs and simulate real-life media interviews. All aspects of media training are covered including: preparing for a media interview, crafting an unique story angle, speaking in sound bites, how to handle "curveball" questions, reading off of a teleprompter, setting up your own Skype live shot, and most importantly, staying on message!

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Introduction

In today’s digital age, we’re surrounded by news 24/7. This fast-paced environment provides no shortage of broadcast outlets covering the news on television, radio, and the Internet. The abundance of news stations and channels has created a wealth of opportunities to those seeking news coverage. It’s an especially ripe time for remote guests wishing to insert themselves into the conversation, and have their voices and messages heard on television.

TV stations are under constant pressure to churn out stories to fill their shows. The need for continuous, rapid news production has meant that longer-form, edited stories, ones that involve more time and resources to produce, end up on the cutting-room floor; they’ve been replaced with remote interviews, where a guest is interviewed at an outside studio or location. It’s easier, faster, and more cost effective to book a remote studio guest to weigh in on a breaking story than it is for a news station to dispatch a crew, gather all the elements (interviews, b-roll video) and turn a story around for air.

This new reality has created prime opportunities for remote guests. Remote television news interviews offer an unparalleled platform to becoming a trusted, credible news source. If you’re someone with aspirations of becoming the go-to expert in your field, there is no better way to stand out from competitors than earning this highly valued media exposure.

You want to promote your brand and business, and for clients to view you not just as their best available option, but their only option. Someone who your competitors all respect, admire and aspire to be like. You know that a live television appearance on a trusted news station is the pivotal first step you must take to cement your authority and expertise. Becoming the go-to expert on live television is your golden ticket.

You’re excited, full of positive energy. You’ve watched other experts on television, and you know, if given the same opportunity, you could crush it on camera, too.

You know your content, feel comfortable speaking on camera, and are viewed as an authority in your field.

However, you’re just unsure how this whole live-shot thing works. Some of the lingering questions that consume your thoughts are:

How am I going to hear the anchor that’s interviewing me?

What am I supposed to do with my hands as I speak?

What if I stumble as I answer the question?

What if I freeze up on camera?

What if the show and audience aren’t impressed by my performance?

Your excitement now turns to self-doubt. You begin to ask yourself, Do I have what it takes?

There is nothing more challenging — or nerve-wracking — than staring into the lens of a camera and speaking with a news anchor you cannot see. It’s an unnatural, bizarre experience. We’re all used to looking into the eyes of those we are speaking with. There’s something mysterious about a remote live shot interview. The experience can intimidate even the most confident, polished and commanding of public speakers. I’ve witnessed some of the most seasoned trial attorneys, respected CEOs of large corporations, and experienced TEDx speakers buckle at the knees right before a national TV live shot.

The stress and uncertainty you may feel before a live shot is enough to erase all your self- confidence and replace it with fear. The cool, calm and relaxed person you once were is now a bundle of nerves, filled with anxiety, whose stomach is tied in knots. You no longer feel at ease; the thought of being on live television is enough to make you nervous, sweaty — even to lift the hairs up on the back of your neck.

You begin doubting yourself, and seriously contemplate whether it’s too late to back out. To put it bluntly, all this agonizing about your upcoming live television appearance scares the living crap out of you!

You need someone to coach you. Show you the ropes. Motivate you and lift your spirits up when you’re down. I understand the rollercoaster of emotions you are feeling. And I wrote this book specifically with you in mind. My name is Scott Wolfson and I’ve spent my professional career in the news business, behind the lens of a camera, shooting remote guest live shots. I am the owner of Florida Sun Studios, an independent television studio, located in Fort Lauderdale, Florida. We service all the major news and sports networks.

Shooting remote guest interviews is my niche business, my bread and butter. So, whether it’s your first time booked for a live remote interview, or you’ve done hundreds of these, I’m here to help prepare you for your live shot. Consider me your trusted media coach, someone who will guide you through the hills and valleys of this live shot jungle, teaching you all the necessary skills to succeed on camera. I’ve conducted countless media training sessions at my studio for guests like you. I’m confident that if you read through this entire book and follow my advice, you will gain the necessary skills to ace your interview and become a trusted news source.

I must make clear, however, I am not a publicist, nor do I play one on TV.

This book is NOT a replacement or substitute for a news publicist, although I will provide you with tips on how to craft a newsworthy story and key message points. In addition, I’ll provide advice, tips and techniques to help you with your on-camera preparation and performance.

The book is divided into eight sections. It’s designed to be a training guide with storytelling mixed in. The chapters are sprinkled with the unique perspectives, insights, and advice of several studio guests who I interviewed for the book. You’ll hear some of their real-life stories including:

an ex-con (turned good guy), known as America’s most infamous jewel thief, who spent 11-plus years locked up in maximum-security federal prisons

a Parkland, Florida teacher who hid 19 kids in a closet when a gunman opened fire, taking the lives of 17 innocent students and teachers

a survivor of the Fort Lauderdale Airport shooting, who was just feet away from the shooter, and wassaved when a man climbed on top of her and shielded her from the gunfire

a former commercial airline pilot, who discusses the unsolved mystery of Malaysia Airlines Flight 370

Also, you’ll hear from a law enforcement news analyst who discusses the dangers of live television news coverage in today’s fraught political times; he will tell us how a bomb threat forced the evacuation of an entire cable news network bureau, and explain how they ended up broadcasting outside, on the street, from an anchor’s cell phone via Skype! On a lighter note, you’ll also hear the incredible story of a studio guest who I — over the phone — walked through setting up and shooting his own live shot when the network forgot to hire a camera operator!

Part One of this book is about preparing for your live shot. It covers exactly what a live shot is, what makes someone a newsworthy guest, how to pitch story angles to producers, how to craft your key message points, what to wear, equipment setup and how to present yourself on camera.

Part Two focuses on studio live shots. We’ll discuss everything you need to know, including: how early to arrive at the studio, why you should try to get a tour of the studio, the benefits of using props on set to illustrate a story, some troubleshooting steps, and what it’s like to be in the hot seat!

Part Three discusses everything you’ll need when shooting your own live shot on a platform such as Skype. I provide a blueprint of how to successfully prepare, set up and shoot your own live shot.

Part Four looks at satellite media tours, which let you go live to news stations around the country, all without having to travel from city to city. In this section, you’ll hear from the Parkland teacher mentioned above, the survivor of the school shooting at Marjory Stoneman Douglas High. She, along with a colleague was booked at my studio for an SMT (Satellite Media Tour) to discuss the release of their book, We Say #NeverAgain, which is a collection of firsthand accounts of that tragic day, written by the school’s student journalists.

In Part Five, we pivot to another mass shooting, one that killed five victims at the Fort Lauderdale/Hollywood International Airport. I interview a survivor, whose story ties into the Parkland school massacre, as one of her sons is a survivor of that tragedy.

In Part Six, a former commercial airline captain gives us an inside look into the world of aviation, including insight into what is arguably the greatest civil-aviation mystery of all time: The disappearance of Malaysia Airlines Flight 370.

Part Seven looks at the dangers of live television news in a hostile political age, and the impact of sites like Facebook Live, where users can post live video online. In this chapter, we’ll discuss several disturbing news stories that were live-streamed on social media. We also get a firsthand account of what the scene was like when a news network itself was the recipient of a bomb threat, forcing the evacuation of their building. As employees scrambled to exit the building, the shows’ anchors continued the broadcast from a cell phone, until the network resumed coverage. You’ll hear from a former FBI supervisory agent, now serving as a law enforcement analyst for the network, who was right in the middle of all the chaos, covering the story.

In Part Eight, we wrap things up, and discuss ways of how to repurpose your live shot and give it an afterlife boost. I’ll show you how to leverage your website, blog, and social media channels to promote and solidify your position as the go-to media expert in your field!

My goal for this book is to teach you all the necessary skills to ace your next on- camera interview! I invite you to join me on this adventure, as we turn to chapter one: What Is a Live Shot?

Part 1

Prepping for Success

Chapter 1:

What is a Live Shot?

A live shot is a broadcast television segment where you’ll typically see a reporter, an anchor, or a studio guest speaking to an audience by looking directly into the lens of a camera. Live shots occur in the field and inside studio sets. Oftentimes, you’ll see an anchor on camera read the introduction to a news story and then toss to a reporter in the field. In such cases, you’ll see a full-screen image of the anchor reading what’s called the VO, or voiceover. The VO is a prepared script, approximately 10-20 seconds in length, read off a teleprompter. The anchor then introduces the reporter on location. This, essentially, sets the scene for the reporter’s live shot.

The full-screen image of the anchor then cuts to a split-screen image. The split-screen image shows a divided screen, with the anchor on one side and the reporter on the other. Once the reporter is introduced, the split-screen image then cuts to a full-screen shot of the reporter. This setup of the anchor in the studio, tossing to the reporter in the field, is an example of a field live shot. The reporter speaks directly to camera as he answers the anchor’s questions, addressing the audience at home. The reporter, unlike the anchor on set, does not read off a teleprompter. Instead, he’ll ad-lib on camera. Ad-lib refers to speaking off the top of your head, without the aid of a prepared script. The reporter may glance down at some handwritten notes.

Remote guest interviews are another example of a live shot. This is where you’ll see a studio guest seated or standing (if it’s a field live shot) with a background image behind them. Images include city skylines, library bookshelves, branded show graphics — backgrounds you are accustomed to seeing every day on television news and sports broadcasts. Much like the reporter in the field, a studio guest will address the camera directly, not reading from a teleprompter. Live shots are fluid and conversational, and should never be scripted, memorized or regurgitated as verbatim.

Live shots with studio guests run an average of three to four minutes in length. Some live shots may run shorter or longer, depending on the show’s format and timing considerations. Many variables determine a segment’s actual length or total runtime (TRT). Factors such as breaking news, other segments running too long or short, cancelled segments, and guests running late to a studio (because they’re stuck in traffic), affect how long a segment will run.

Sometimes breaking news stories will even bump a guest live shot. Bump means cancelling, or killing, a live shot. If a live shot segment is cancelled, the segment producer or someone in the control room, will have the unlucky task of notifying the guest they won’t be on TV. Classic examples include news stations cutting to live helicopter footage of high-speed car chases, or peaceful protests that turn violent, or reports of an active shooter at a school or place of worship.

Other examples include impromptu press conferences of the president addressing reporters live at the White House. Or news of the Fed raising interest rates, sending stock market indexes tumbling. You may be right in the middle of your live shot when the anchor interrupts and cuts to this breaking news coverage. If any of these scenarios play out just before your scheduled live shot, chances are your segment will either be postponed or cancelled. These unanticipated situations throw many guests for a loop. They’re left wondering how to react. Breaking news is unpredictable. These stories are fluid; developments unfold in real time. Breaking news trumps all other stories and planned event coverage.

What are the characteristics of a newsworthy live shot? They include:

Headlines in the news

Breaking news

Stories that inform, educate and entertain

Stories that elicit strong emotions like fear, anger and excitement

Stories that affect a segment of people and that are relatable to others

Stories that fascinate and mystify

The 24/7 news cycle provides an endless stream of stories broadcast by a multitude of media outlets. So many different news outlets compete for attention: traditional broadcast media, (local and cable news channels and radio), social media (Facebook, Twitter, LinkedIn), and podcasts to name a few. An abundance of channels and stories to fill these broadcasts means opportunities for would-be live-shot guests. In order to attract and maintain an audience, these channels must connect with viewers’ feelings, emotions and desires. The audience must care. Otherwise, viewers will just click to the next channel.

You may ask, how is a live shot transmitted? Have you ever wondered how the video of a studio guest or reporter in the field is transmitted and broadcast? It’s fascinating to think about. There are several different ways these signals are transmitted to air:

Satellite

Fiber

Skype

FaceTime

Phone Interviews

Live-streaming

Stories That Play on Viewers’ Emotions

Stories that pull at the heartstrings of viewers and elicit strong emotions – fear, excitement, hate, surprise and anger – tend to make the news. Usually, stronger emotions like fear and anger, dominate. But news stories can’t live in a vacuum. Isolated stories dealing with depression, drug addiction or suicide alone won’t move the news coverage needle. Neither will reports of a random shooting or stabbing. The story needs to relate to and affect a larger group of people, especially if it’s going to attract the news media’s attention.

Dramatic stories of personal tragedy or triumph attract news attention when they tie into the bigger picture of current events.

So, what stories actually attract media attention? One example of a story that made national headlines and remains in the public discourse (on social media, public forums, and dinner tables across the country) is that of the Parkland, Florida students. These students, after surviving the worst school shooting since Columbine nearly 20 years earlier, mobilized and started a nationwide movement, the March For Our Lives. Students took to the streets of Washington, D.C. a month after the shooting, attracting nationwide media attention. They made impassioned pleas for national gun reform laws, speaking directly to the American public and lawmakers.

Live to Tape

Are live shots always live? The short answer to that is no. The phrase live-to-tape describes pre-recorded interviews that appear live to the viewer; we call these as live, or look live segments. The interview is shot earlier, then broadcast at a later time. If the story isn’t time sensitive, then the producer has the option of broadcasting the guest interview or reporter’s story later. A guest interview may air in its entirety, unedited. Or sometimes, the producer may pull select sound bites or quotes from the interview to include in a reporter or anchor’s story. The entire interview may last 15-20 minutes, but only a few 10-15 second sound bites may be used.

A lot of shows shoot live-to-tape productions. As a viewer at home, you wouldn’t be able to tell, because of how the show is edited. The production crew shoots the show as live. If there is a technical glitch, or if the host or a guest is not ready to film at the slotted time, they can reshoot and adjust accordingly. But if the show is live, there’s no second chances or do-overs.

Some networks tape certain shows earlier in the day, and broadcast them live later in the evening, when they are scheduled to air. I remember when I worked at CNN, and later when I opened my own studio, we used to tape interview segments for the Nancy Grace show that aired live at 8 p.m. on HLN. The actual guest interview would be taped several hours in advance, between 4 and 6 p.m. If there was breaking news between