Constructing a Package (1)

The biggest test of all-round journalistic ability comes with the creation of ‘packages’ combining the basic reporting skills with an understanding of television production techniques.

Packages have no set shape or duration, but as the reporter’s way of storytelling they must follow a clear, logical thread and sustain interest, whatever the subject.

Occasionally, especially at first, you may have an editorial help-mate to guide you through the intricacies. Mostly, you are on your own. In the past, an experienced camera team could always be counted on to make an important contribution, but with the scaling down of camera units to a size where you might be expected to operate some of the equipment as well, knowledge of production methods is an essential ingredient of your professional education.

For the purpose of this exercise, assume that the team consists of three– reporter, camera operator and recordist.

Research

As we have already seen, some research, however limited, is a prerequisite for all good television reporting. It does not have to be sophisticated, consisting at its most basic only of ensuring that you and the crew are together in the right place at the right time.

Then it is important to know what the story is about. The treatment and degree of difficulty involved clearly vary according to the subject. With proper planning, including a reasonable amount of preparation time, some information can be established before you set out; background material if it exists, names of potential interviewees on or off camera.

Planning the shape

Unless they are straightforward ‘hard news’ stories calling for an intuitive approach on the spot, most news packages fall within a predictable framework. Variety comes from the order, number and duration of each ingredient, so the overall shape of a package can be considered and a provisional treatment planned without prejudging editorial value.

The ‘recce’

Where possible take the opportunity to conduct research on the spot. While a full-scale ‘recce’ is a bonus–in documentary-type work it ought to be mandatory–simple matters settled in advance will add to the speed and efficiency of the camera operation when it takes place. Journalists are indeed required to be flexible in their approach, but if ‘making it up as you go along’ can be avoided, so much the better.

At worst, aim to arrive on the scene a few minutes before the camera team to spy out the land, make contact with contributors, decide the location of the main interviews and note requirements for supporting shots.

Current theory suggests that longer, thoroughly researched packages may also lend themselves to pre-scripting.

Whatever the subject, the typical reporter package should be so well-constructed that the audience is unaware of the joins. Voice-over commentary should dovetail neatly into and out of interview extract; the stand-upper should pick up smoothly, verbally, visually and acoustically–a tribute to the hard work, thought and professionalism which has gone into the construction of the item.

Knowing what to shoot

Camera crews rarely turn up at the scene of a news story, leap from their cars and record everything in sight. Most news gathering is better-ordered and more organised than that. It is as bad to have too much coverage as it is too little. Someone eventually has to view it, and having to plough through an hour’s video rushes to select the relevant rushes for a three-minute report is unhelpful and unnecessary. The cheapness and reusability of videotape is a constant invitation to over-shooting, but this should be resisted. Raw newsfilm in its heyday in the 1960s and early 1970s came in 400-foot rolls of 16 mm, and there was much discussion about the ratio of footage shot to footage transmitted, and the cost involved.

Editorial partnership

By now it should be clear that a well-constructed report is the product of a satisfactory working relationship between reporter and camera crew. But it is necessary to be aware of the limitations of equipment and the time it takes to arrange complicated camera set-ups. Understand that technical difficulties can disrupt the best-laid plans.

Usually, with experienced and co-operative camera crews, it is enough to give a general outline of what you want, but don’t hesitate to act positively and direct the work to ensure that your ideas are followed through.

Accompany the crew

Every reporter should make a habit of accompanying the camera crew as they go about their business to make detailed notes about each shot or sequence. In circumstances where this is not possible, brief your colleagues as fully as possible.

The aim is to ensure that voice-over commentary makes fullest use of the available pictures, and this cannot be achieved without knowing exactly what they contain. With the right video equipment it is possible to view recorded material on site, but writing blind to other people’s descriptions invariably leads to bland and unimaginative scripts.pment it is possible to view recorded material on site, but writing blind to other people’s descriptions invariably leads to bland and unimaginative scripts.