Shooting Same-Day Stories
also known as "Look-Lives"
Same-day stories are produced the same day as the newscast. They require a two-person crew, one as the reporter and the other as photographer. During the Fall 2011 semester, to accommodate the need for two same-day stories in the newscast, we will assign SOJO reporters to be the Same-Day Photographers.
Here is the best way to shoot the same-day story in the field.
- Call ahead of time to set up interviews and do pre-interviews to gather information that will help you with your on-cam interview, story content and shooting. You can even call the night before if it is a story that can be planned ahead of time. If it is a story that comes up in the morning, make calls as soon as you can. If no one answers or you don’t get a call back immediately, go to the location and try to find people in person.
- Gather background information from the interviewees – facts and basic info. Save your on-camera questions for when the tape is rolling. People usually give their best answers when they haven’t been preparing what they’ll say.
- Work together to find backgrounds that are related to the subject matter, are well lit (or take the light kit) and relatively quiet. You’ll use one or two backgrounds for your interviews and another for your opening and closing standup. Your opening and closing standup should be shot in the same location to create the “look live” appearance. There is no standup in the middle.
- Shoot your interviews first. That will help you decide what broll you need and your story focus. Make sure to get the person’s name ON PAPER. Then you won’t have shuffle through the tape to find their name for the cg’s. That slows you down tremendously at a time when every second is important.
- Photographer shoots broll while reporter makes a rough plan/outline for how the story will be written/organized. FIRST - write anchor intro and tag. It can be a very rough draft, but if you do it this way, you’ll focus your story and you’ll make sure the anchor reads the lead, rather than having a double lead – one for them and one for the start of your package. By writing the anchor intro – you will make it much easier on yourself to then write the rest of the story. Next, write your opening and closing stand-ups. You may elect to do voice over in the middle of your story. But…you need to record that voice over in the field, not in the edit booth when you get back. Think about what soundbites you’ll use and in what order. You’ll make a final decision on that when you look at the bites in the edit bay.
- Shoot stand-ups and, if you choose, record voice over in the field. (You do not need voice over in the middle…you can simple string together a few bites between your first and last stand-ups.)
Writing/Editing LLPKGS for NewsTeam
Here is the best way to complete the assignment after you have shot the story in the field.
- Quickly watch the video, to make sure everything worked and so you know what shots and bites you have.
- Choose your sound bite or bites. Note the timecode where they are on the tape, transcribe the whole bite if time permits. If not, write down incue and outcue of what the person says. Write down the total length of the bite.
- While the photographer/editor starts logging and capturing shots, the reporter should return to the newsroom (Rm. 209) and write your script for the anchor intro/tag, cgs. Turn in the cgs with the location and names. You can add the cg times to the anchor intro script later, once the story is edited. You DO NOT need to type out the taped script for a LLPKG. But it is a good idea to make a rough outline with the order of the soundbites and timecode to help the editing process.
- Collaborate with editor on the video choices story structure.
- Get cg times and total package run time. Type those on the anchor intro script. If you don’t think you will finish until after 11:15, turn in your script without the times. You’ll have to hand write the times on the scripts for the director and technical director at the studio.