The VJ experiment and cross training in the newsroom

Some folks in TV newsrooms across the country are keeping an out on the VJ experiments taking place at stations WKRN in Nashville and KRON in San Francisco. A good friend and former coworker is joining the effort in Nashville after the first of the year and looking forward to it. I think the brouhaha over this may be lost on some of those working in smaller markets. I know from experience in small markets, it’s not unusual for people to work as one-man bands or to even switch off. Those working in a switch off crew means one person will be the reporter on one story while the other person shoots the story and later in the day or the next day, they switch up jobs. IMHO that makes for a well-rounded person when he or she is ready to move up to a bigger market. It also gives a person some appreciation for the job that someone else is faced with. Back in the early 80s I worked occasionally as a one-man band. It was tougher then because the cameras were heavy and the record deck was a separate unit that weighed a ton. Add a heavy tripod, and battery belt for the camera or light and then try slogging through some mud. That’s some character building experience. After that, you’re a little more appreciative of what the shooters do day in and out. That’s why any videographer I worked with will tell you that I always offered to carry equipment from the camera or sticks to lights. Yet, I know some reporters whine about carrying a microphone or cable.

A few years back, there was a very brief effort down at the newsroom down on the river to “cross-train” everybody. The idea was a good one but it never really got going perhaps because of logistics. Anybody in a newsroom knows there’s nothing worse than a producer or assignment editor screaming about needing some video or a live shot in one part of town when you are way on the other side. Those folks who have never worked in the field sometimes get the idea that you should be there shortly after you get the phone or radio call. The folks who’ve never been in the field don’t know what it’s like to get caught in traffic or have to drag gear from the car to the scene, shoot it and then hoof it back to the live truck or sat truck for a feed. And if they’ve never had to power up a live truck, get the mast up, tune it in and feed tape, it makes the problem worse. They don’t care if you get a speeding ticket or maybe drive a bit on the reckless side.

Then there are those in the field who have never worked in the newsroom when the news director is trying to get folks scrambled so somebody can do a live report on. The producers have a ND, an assistant ND or executive producer breathing down their necks trying to beat the competition on the air. On top of everything else, the anchor about to hit the air or the reporter who just arrived on the scene is begging for information so they don’t look like a total doofus when that red light comes on. It’s pretty intense. That’s why I think it helps everybody to be cross-trained so they have some idea of the limitations and needs of everyone else. I’m talking about job swapping or at least job-shadowing. It helps people to not take someone else in the news operation for granted. Anchors need to get unhooked from the desk on a regular basis and go out and report and not just regurgitate what a line producer or field producer has written for them. I know reporters would sometimes like to remind anchors that there is more to reporting than just shooting a standup. Without reporters, anchors can get mighty lonely on the desk.

Reporters need to remember that without the video shooter, they’d just be just a voice…radio. (No, there’s nothing wrong with radio. I used to be a radio reporter). Reporters, also remember the shooter works with reporters, not for them. Ask to carry some gear.

Reporters and shooters need to remember to keep the folks in the newsroom abreast of what’s going on with them. Things such as where they are, how long it will be before they’re on the scene and ready to go. Producers need to remember that that the folks in the field are usually scrambling to get where they’re going and constantly calling them on the cell or radio isn’t going to do anything but add to the tensions. And those folks higher up on the food chain need to remember to not go into the production booth unless things are going to hell or you really don’t trust a producer. I’ve seen more than one producer along with the production staff get into a meltdown situation because a ND or EP decided at that time to come in and produce the cut-in or show over their shoulder. It doesn’t accomplish much and usually only aggravates a bad situation. After you get off the air is the time to ask what the heck someone was thinking, not during it.

And everyone should remember that if everything goes to hell, it’s the ND that the GM will be calling.

Just let me say, I’ve been there, seen that.