This article sets out the basics for creating a news package for TV. It’s been created for those starting out in TV journalism.

No pictures, no story

The golden rule for all TV news is “no pictures, no story”; pictures provide the “what” – words provide the “why”.

Storytelling in pictures

• Three skills are necessary: Reporting, camerawork and editing
• You need at least a basic knowledge of all three
• The guiding principle: let the pictures tell the story

First steps – what is the story?

• Who is the subject?
• What are they doing?
• Why, and what is their motive?

Research – the evolution of the story

• Find out what has happened
• Uncover the who, why, when, where, and how of the story
• Ensure you understand fully all the elements

Next steps – plan your news-gathering

• Be sure you know what story you want to tell
• Discuss it with your camera operator
• Decide what shots you are going to need

How the elements work

• The hook – grabs the attention
• The context – gives essential background
• The unfolding – the details of the new story
• The wrap – reiterates the main points or throws the story forward

At the scene – get enough shots

• Anything showing action: arrivals, establishing shots, walking shots, noddies, cutaways, sitting-at-a-desk shots, interesting locations etc
• Film faces, especially those showing emotion
• Avoid getting to the edit suite without the shots you need

Interviews – what are we looking for?

• You will need only one or two short clips
• What will tell the story best? Emotion, analysis, an eye-witness account?
• Be neutral in your tone

Interviews – the skill is in the questions

• Don’t ask questions that can be answered with yes or no
• Don’t ask two questions in one
• Use the old favourites: who, what, when, where, why, and how

The stand-up – piece-to-camera

• Why are you doing it?
• How does it help with the story-telling or the editing?
• If it is really necessary, keep it short

Back at the office – consult and agree

• Make a shot-list
• Show your editor the pictures
• Agree on the treatment of the story

At the edit station – choose the pictures first

• Identify the shots which best tell the story
• Decide their optimum length
• Choose the right sequence (not necessarily in which they were recorded)

Editing dos

• Make sure each shot joins up smoothly with the next
• Keep points which attract the eye in the same area of the screen at changes
• Remove anything that can be cut without damaging the flow of the story
• Make a shot list of the finished edit
• Try to let the pictures tell the story
• Let the images speak and add as few words as possible
• With walking shots, end with them walking out of the picture if you can

Editing don’ts

• Don’t use the same shot twice in a package
• Don’t use jump cuts
• Don’t use the first question from an interview – start with the answer
• Don’t start or end a moving shot with a static shot
• If you cut away from an interview or a press conference, do not go back to it
• Don’t use noddy shots in edits; it could come across as agreement
• Don’t split clips and use them out of sequence

Packaging – putting it all together

• Understand – the story and the pictures you will need to tell it
• Capture – action, emotion, atmosphere, editing shots
• Discuss – agree the treatment with your editor
• Edit – use pictures to tell the story
• Script – add as few words as possible to complement the picture

Creating a compelling TV news package requires proficiency in three core skills: reporting, camerawork, and editing.

While specialisation is common, a basic understanding of all three is crucial for effective collaboration and a holistic approach to storytelling.

The guiding principle remains: let the pictures tell the story.

However, this doesn’t diminish the importance of strong reporting and thoughtful editing; rather, it elevates the visual element to its rightful place as the primary driver of the narrative.

Understanding your story

The first step is always understanding the story you intend to tell. This involves asking fundamental questions:

• Who is the central figure(s) in the narrative? Consider their background, motivations, and perspectives.
• What is the core event or issue being covered? What are the key developments and their implications?
• Why is this story important?
• What is its relevance to the audience?
• What are the underlying causes and consequences?
• When did the events occur, and what is the timeline of the story?
• Where did the events take place, and what is the significance of the location?
• How did the events unfold?
• What are the different perspectives on the situation?

Research: Unearthing the narrative

Thorough research is essential to understanding the evolution of the story. Don’t just scratch the surface; delve deeper to uncover the complexities and nuances. This involves:

• Background research: Explore existing news reports, articles, and other relevant materials to gain context and identify key players.
• Source verification: Critically evaluate the credibility of your sources and ensure the accuracy of your information.
• Multiple perspectives: Seek out diverse viewpoints to provide a balanced and comprehensive account.

Planning your news gathering

Once you have a solid understanding of the story, collaborate with your camera operator to plan your news gathering strategy. This involves:

• Defining the narrative arc: Determine the central theme and how you will structure the story to engage the viewer.
• Shot list development: Create a detailed list of the shots you will need to capture, considering different angles, perspectives, and compositions.
• Visual storytelling: Think about how you can use visuals to convey emotion, create atmosphere, and enhance the narrative.

The elements of a news package

A well-structured news package typically includes the following elements:

• The hook: A compelling opening that grabs the viewer’s attention and introduces the story’s central theme. This could be a striking visual, a powerful soundbite, or a thought-provoking question.
• The context: Provides essential background information and establishes the relevance of the story.
• The unfolding: Presents the main details of the story, including facts, figures, and different perspectives.
• The wrap: Summarises the main points and may offer a look ahead at future developments.

At the scene – capturing the story

When filming at the scene, aim for a variety of shots to provide flexibility in the editing process. This includes:

• Action shots: Capture the main events as they unfold.
• Establishing shots: Provide context by showing the location and setting.
• Walking shots: Add dynamism and movement to the story.
• Noddies: Record reaction shots of interviewees listening to questions. But be careful with noddies. They could suggest to the audience that you agree with the interview and enforce their point of view. Best not to use noddies.
• Cutaways: Use related visuals to break up interview footage and add visual interest.
• Emotional shots: Focus on faces and expressions that convey the emotions of the people involved.

Interviews: Gathering insights and perspectives

Interviews are crucial for gathering information and different viewpoints. Important points to consider are:

• Quality over quantity: Focus on obtaining a few powerful clips rather than a large number of mediocre ones.
• Open-ended questions: Ask questions that encourage interviewees to elaborate and provide detailed answers. Avoid yes/no questions.
• Active listening: Pay close attention to what the interviewee is saying and ask follow-up questions to probe deeper.
• Neutral tone: Maintain objectivity and avoid leading questions (and avoid noddies).

The stand-up (Piece-to-camera)

The stand-up should only be used when it adds value to the story. It can be used to:

• Provide context: Explain complex information or offer analysis.
• Bridge gaps: Connect different elements of the story narrative.
• Add a personal perspective: Share your insights or observations, but be careful not to lead of try to influence – that is not your job. Your job is to observe and report.

Collaboration and review

Before heading to the edit suite, consult with your editor to discuss the story’s treatment and agree on the main messages. Create a shot list to organise your footage.

Editing: Weaving the narrative

The editing process is where the story truly comes to life.

• Prioritise visuals: Select the shots that best tell the story and use them as the foundation of your edit.
• Smooth transitions: Ensure that each shot flows seamlessly into the next.
• Concise storytelling: Remove any unnecessary footage that doesn’t contribute to the narrative.
• Visual sStorytelling: Let the images speak for themselves and use words sparingly.

Editing dos and don’ts

• Do: Use a variety of shots, maintain visual continuity, and prioritise the narrative flow.
• Don’t: Use the same shot twice, create jump cuts, or start or end moving shots with static shots.

Packaging: The final product

The final stage is packaging all the elements together into a cohesive and compelling news package. Important considerations:

• Understand: The story and the visuals you need to tell it.
• Capture: Action, emotion, atmosphere, and editing shots.
• Discuss: The treatment with your editor.
• Edit: Use pictures to tell the story.
• Script: Write a concise script that complements the visuals.

By following these guidelines and continuously honing your skills, you can create impactful TV news packages that inform, engage, and resonate with your audience.

Storytelling is a craft that requires practice, patience, and a passion for sharing compelling narratives.

Questions

1. What is the golden rule for TV news, and why is it important?
2. Identify the three skills necessary for storytelling in pictures.
3. Explain the guiding principle of letting pictures tell the story in TV news.
4. Describe the initial steps in planning a news story according to the text.
5. What are the main elements to consider when planning your news-gathering process?
6. How do the elements of a news story—hook, context, unfolding, and wrap—contribute to effective storytelling?
7. Discuss the importance of capturing emotion in interviews and how it enhances the story.
8. What are some editing dos and don’ts mentioned in the text, and why are they significant?
9. How does the role of a stand-up, or piece-to-camera, contribute to storytelling or editing?
10. Explain the process of packaging a news story and the role of each step in creating a cohesive narrative.

Answers

1. The golden rule for TV news is “no pictures, no story.” It is important because pictures provide the “what” of the story, while words provide the “why.”
2. The three skills necessary for storytelling in pictures are reporting, camerawork, and editing.
3. The guiding principle of letting pictures tell the story emphasises the importance of visual elements in conveying the narrative, allowing images to communicate the story with minimal verbal explanation.
4. The initial steps in planning a news story include identifying the story, determining the subject, understanding their actions and motives, and conducting research to uncover the who, why, when, where, and how of the story.
5. Key elements to consider when planning your news-gathering process include knowing the story you want to tell, discussing it with your camera operator, and deciding on the necessary shots.
6. The hook grabs attention, the context provides essential background, the unfolding details the new story, and the wrap reiterates main points or advances the story, all contributing to effective storytelling.
7. Capturing emotion in interviews is important because it adds depth and relatability to the story, making it more engaging and impactful for the audience.
8. Editing dos include ensuring smooth transitions between shots and maintaining visual continuity, while don’ts include avoiding repeated shots and jump cuts. These practices are significant for maintaining the flow and coherence of the story.
9. A stand-up, or piece-to-camera, contributes to storytelling or editing by providing a direct connection with the audience, offering context, or summarising key points, but should be used sparingly and kept short.
10. Packaging a news story involves understanding the story and necessary visuals, capturing action and emotion, discussing treatment with the editor, editing with a focus on visuals, and scripting minimally to complement the images, creating a cohesive narrative.

Lesson plan for trainers

If you are a trainer of journalists we have a free lesson plan: How to construct a TV news package which you are welcome to download and adapt for your own purposes.

The post Constructing a TV news package first appeared on Media Helping Media.

While delivering a training course at a TV station I noticed that all the packages were made in exactly the same way. The reporters would go out with a camera operator, shoot some footage and get an interview or two. They would come back to the office, decide what interview clips to use in their package and start typing.

The scripts they wrote would have worked fine for radio or newspapers – but they had no connection with the pictures. Apart from the interview clips, all the other pictures they used were just wallpaper behind the reporter’s voice.

This misses the point of television reporting; let the pictures tell the story, wherever possible. Here’s one way of making a TV package by thinking first about the pictures:

Pictures come first

When the pictures have been ingested into the system, make a shot list then show the editor the pictures.

Which are the most interesting shots? What is their optimum lifespan (in seconds)?

What is the right sequence to tell the story? (It is not necessarily the order in which they were recorded)

Do you have a good opening shot? Do you have a good shot for the end?

What is the best place for your stand-up (piece-to-camera) if there is one?

Agree with the editor how the package is to be put together and the key elements of the text

Agree the target length of the package.

Now do your rough cut. Each shot should be as long as it is visually interesting.

Do not use the same shot twice in the package, unless there is a compelling reason to do so (helping with the edit is not a compelling reason).

Does each shot join up smoothly with the next?

The points which attract the eye should ideally be in the same area of the screen at each shot change.

Avoid jump cuts.

If someone is walking, try to end with them walking out of the picture (especially if they are in the next shot in a different place).

With moving shots, only use the moving part, not the static beginning or end.

If you cut away from an interview or a press conference, don’t go back to it unless there is a good reason to do so (helping with the edit is not a good reason).

Don’t use the first question in an interview – start with the first answer.

Watch the finished edit carefully. Does it flow, is there anything that can be cut without damaging the overall package, is there anything missing, is it visually effective?

Now write a shot list with accurate timings.

Now write your script.

By Bob Eggington

In the fast-paced world of television news, where deadlines loom and soundbites reign, it’s easy for journalists to fall into the trap of over-explaining.

We craft eloquent scripts, meticulously select our words, and often feel compelled to fill every second with narration. But sometimes, the most powerful stories are the ones we let the pictures tell.

Embracing visual storytelling isn’t just about adding pretty images; it’s about understanding the unique power of the medium and using it to connect with viewers on a deeper, more impactful level.

So, how can TV journalists effectively let the pictures do the talking?

Trust the visuals

The first step is recognising that visuals are not merely illustrations of the script; they are a language in themselves.

A well-composed shot can convey emotion, establish context, and tell a story in a way words simply can’t.

A close-up of a trembling hand speaks volumes about fear, while a wide shot of a devastated landscape paints a clearer picture of the scale of a disaster than any descriptive sentence.

Trust that your viewers are intelligent and capable of interpreting these visual cues.

Shoot with purpose

Visual storytelling begins long before the editing room. It starts with the camera operator and the journalist working together to capture footage that tells the story.

Instead of simply grabbing generic shots, think about what emotions you want to evoke.

What details are crucial to understanding the narrative?

Are there specific moments that can be captured visually to create a lasting impact?

Consider the framing, composition, and movement of each shot.

A deliberate and thoughtful approach to shooting will make all the difference in the final product.

Less is often more

It’s tempting to cram as much information as possible into a news segment. However, when it comes to visual storytelling, less is often more.

Resist the urge to over-narrate. Allow the images to breathe.

Silence, even for a few seconds, can be incredibly powerful. It gives viewers time to process what they’re seeing and allows the emotional impact of the visuals to sink in.

A well-placed pause can be more effective than a paragraph of explanation.

Craft a visual narrative

Think of your story as a visual journey. How can you use images to guide the viewer through the narrative?

Consider the pacing and rhythm of your edit. Vary the shots to keep the viewer engaged.

Use close-ups to highlight key details and wide shots to establish context.

Think about how the visuals can build tension, create emotional peaks, and ultimately deliver a powerful message.

Collaborate with the editor

The editor is your partner in visual storytelling. Work closely with them to ensure that the visuals are used effectively.

Share your vision for the story and discuss how the images can be used to enhance the narrative.

A good editor can bring their own creative insights to the table and help you craft a truly compelling visual story.

Increased engagement

Visuals are inherently more engaging than words. They capture our attention and hold it.

In a world saturated with information, compelling visuals can help your story stand out.

Emotional connection

Images have the power to evoke emotions in a way that words often can’t. They can make viewers feel empathy, sadness, joy, or anger.

By connecting with viewers on an emotional level, visual storytelling can make your stories more memorable and impactful.

Enhanced understanding

Visuals can help viewers understand complex issues more easily. A well-chosen image can clarify a complicated concept or illustrate a statistic in a way that words simply can’t.

Greater impact

Stories told through powerful visuals have a greater impact on viewers. They are more likely to remember these stories and share them with others.

In conclusion

TV journalists should embrace the power of visual storytelling. By trusting the visuals, shooting with purpose, and crafting a compelling visual narrative, we can create stories that are not only informative but also engaging, emotional, and impactful. Let the pictures speak, and you’ll be amazed at the stories they can tell.

Questions

1. What is the primary issue the author identifies with the TV station’s current approach to creating packages?

• According to the text, what should be the first step in creating a TV package?
• How does the author suggest determining the sequence of shots for a TV package?
• What is the significance of having a good opening and closing shot in a TV package?
• Why does the author advise against using the same shot twice in a package?
• What is the recommended approach when editing moving shots?
• How should an editor handle the transition between shots to maintain visual coherence?
• What is the author’s advice regarding the use of interview footage in a TV package?
• How does the author suggest ensuring the final edit of a TV package is effective?
• What are the final steps in the process of creating a TV package according to the text?

Answers

1. The primary issue is that the scripts have no connection with the pictures, using them merely as wallpaper behind the reporter’s voice
2. The first step is to ingest the pictures into the system and make a shot list
3. The sequence should be determined by the most interesting shots and their optimum lifespan, not necessarily the order in which they were recorded
4. A good opening and closing shot help to effectively tell the story and provide a strong start and finish to the package
5. The author advises against it unless there is a compelling reason, as it can disrupt the flow and coherence of the package
6. Only use the moving part of the shot, avoiding the static beginning or end
7. Ensure that points which attract the eye are in the same area of the screen at each shot change to avoid jump cuts
8. Avoid cutting back to an interview or press conference unless there is a good reason, and start with the first answer, not the first question
9. Watch the finished edit carefully to ensure it flows well, identify anything that can be cut without damaging the package, and check for visual effectiveness
10. The final steps are writing a shot list with accurate timings and then writing the script

Lesson plan for trainers

If you are a trainer of journalists we have a free lesson plan: ‘Letting the pictures tell the story‘ which you are welcome to download and adapt for your own purposes.

You might want to read our training module on ‘How to create a broadcast news package”.

The post Letting the pictures tell the story first appeared on Media Helping Media.

Discover how to create concise, compelling TV and radio packages that capture audience attention and deliver key information effectively.

This training module was written for journalism students in Jaffna, Sri Lanka. They were studying broadcast journalism, and in particular creating news features for radio. Many of those attending the course had no previous journalism experience or training.

TV and radio packages

Structure, timing, and letting the interview breathe are all essential elements for ensuring a general TV or radio news package works.

These are the packages where you introduce the audience to an issue and explore multiple elements of the story through interviewing different people.

It’s also important not to cram too much into an item, perhaps just three points.

And try to avoid noddies (shots where you, the interviewer, nod and which are edited in later) and walking shots for TV, they are overused and boring.

Try to think of original shots and sounds that will capture the attention of the audience.

1. Clarity: Before you start, have a clear idea of how long your finished item is likely to be and roughly how much footage of your interviewees you are likely to use.
2. Format: Map out a structure for the piece and try to work out a likely order for the interview clips and which points they will address.
3. Main points: Try to limit yourself to three main points for one item.
4. Interviewees: Make sure each of these three points is addressed by a different interviewee.
5. Review: Listen or watch the interview in full from start to finish at least once in order to ensure you haven’t missed anything. Take notes of the time on the recording of each potential interview clip, the words that begin the clip and the words that end it.
6. Coherence: When you have repeated the process for all the interviews in your piece, return to the structure you have mapped out and see if it is still coherent or if the order of interviewees needs to change.
7. Strength: Try to put the strongest interview near the start of the piece.
8. Selection: When you are selecting interview clips, choose ones which give opinion over ones which relay only information; information which is not controversial can easily be summarised by you in your linking commentary.
9. Pace: Try to leave a pause at the start and end of each clip. Life isn’t breathless; neither should a radio or television package be.
10. Clichés: In television avoid using noddies and walking shots to illustrate your material. They are the mind-numbingly boring to look at and do not make best use of the medium.
11. Editing: Avoid cutting excessively from the answer (such as taking one part of three seconds from the start of an answer, three seconds from the middle, and five from the end). This sounds and looks unnatural, misrepresents the interviewee, and is excessively difficult to process for television interviews.
12. Context: Never take an answer from one question and use it in response to another. This is gross misrepresentation.
13. Commentary: When you are writing commentary to link the clips together, try to avoid using the same words at the end of your text as the interviewee says in the beginning of the clip ie. : John Smith said he was delighted.. [John Smith] “I am delighted …”
14. Summaries: In TV and radio journalism, your package may often be mentioned in a news bulletin in the form of a clip before its broadcast slot. When writing the introduction for that clip, avoid summarising everything that is going to feature in the clip.
15. Positioning: In television reports, try to stick to the convention of alternate interviewees being on opposite sides of the screen. (First interviewee looking left to right, second right to left, third left to right etc.)
16. Voices: Try to avoid running two clips back to back without a commentary in between. Where this is unavoidable, for example in the case of vox pops, try to alternate between male and female voices. The reason for this is to avoid confusion.
17. Titles: Always make sure that you have the correct title for your interviewee and the correct spelling of their name. This is particularly important for TV captions. If they have a particularly long job title, agree a shortened version before you return from the interview.
18. Ending: Try to avoid ending a report with a clip of one of the interviewees. In TV this looks untidy. In radio, it complicates life for the studio presenter. It also gives one side or another of an argument the last word.
19. Answers: If you are editing an interview as a stand-alone item, try to put as much of the non-controversial information in the intro or lead-in to the item, and always make sure the intro ends with a question and the piece begins with an answer to that question.
20. Options: For stand-alone interviews, always give an option of an early ending, with a shorter duration and the right out-words. This will help the production team in case more urgent news breaks or they need to cut back your item.

Questions

1. What are the essential elements for creating effective TV or radio news packages?
2. Why is it important to limit the number of main points in a TV or radio package?
3. How should interview clips be selected to enhance the quality of a news package?
4. What is the significance of leaving pauses at the start and end of each interview clip?
5. How can the coherence of a news package be ensured during the editing process?
6. Why should noddies and walking shots be avoided in television packages?
7. What are the potential consequences of excessive editing in interview clips?
8. How should commentary be crafted to effectively link interview clips together?
9. What is the recommended positioning for interviewees in television reports, and why is it important?
10. How can a stand-alone interview be structured to accommodate potential changes in broadcast timing?

Answers

1. Structure, timing, and allowing the interview to breathe are essential elements.
2. Limiting main points helps maintain clarity and focus, preventing information overload.
3. Select clips that provide opinions rather than just information to engage the audience.
4. Pauses create a natural flow and prevent the package from feeling rushed.
5. Review the structure and order of interviewees to ensure logical progression and coherence.
6. They are overused, boring, and do not make the best use of the medium.
7. Excessive editing can misrepresent the interviewee and make the package difficult to process.
8. Avoid repeating words from the end of the commentary and the start of the clip to maintain flow.
9. Alternate interviewees on opposite sides of the screen to avoid visual monotony.
10. Include an option for an early ending with appropriate out-words for flexibility in broadcast timing.

The post How to create a broadcast news package first appeared on Media Helping Media.