this is a draft provided for workshop...

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This is a draft provided for workshop discussion. ! !

Task%Breakdown%and%Workloard%Factors

Task%1:%Radio%Entertainment%Program%(Live):%

Show host researches and compiles command information (local reader and prerecorded spots) andnon4information elements (liners, IDs, etc.) to present during the show, primarily using radioautomation<equipment<and<database<software.A5Plans<live<(in4studio<or<telephone)<or<recorded<interviews.Constructs<entertainment<bits<and<contests,<completes<Road<Map<and<In4Touch<checklist<in<accordance<Conducts<show.

Cleans<work<area,<files<information<used<during<the<show,<files<playlists<for<future<reference.<WLF:%%Allow%1.3%manAhours%per%hour%of%live%Radio%Entertainment%programming.%

Task%2:%Radio%Interview%Program%(Live,%1%hour):%%

Client<contacts<AFN,<event<is<scheduled<(if<it<is<not<a<regular<calendar<item).Researches<data<for<developing<questions<for<the<program,<or<questions<are<provided<by<subject’s<staff.<<Talent<meets<with<PAO/OPR<for<the<program,<reviews<<drafted<questions,<<gathers<other<information.<<Holds<pre4show<meeting<with<the<interviewee<or<his/her<staff<before<airtime.<<Configure<studio.<<Conduct<interview.Conduct<after4action<review,<determine<areas<to<improve<or<replicate.<Note: This is a scheduled interview with a local or visiting leader, generally the installation commander,representative from the senior staff or a visiting VIP. It is not low4level live or recorded interviews withcommunity<representatives<or<entertainment<guests<that<are<conducted<within<a<Live<Radio<WLF:%%Allow%2.5%manAhours%per%live%interview%program%aired.%

Task%3:%Radio%Remote%Broadcast%(Live):

Station POC coordinates with the appropriate client/agency to determine time, date, location and eventfocus<IAW<existing<guidance.<<Operations Manager or Radio Section supervisor coordinates with the station staff to arrange forsupport<from<Technical<Services<and<the<operations<staff.<<Event team is identified consisting of two maintainers and at least two broadcasters. From these, twocrews<are<formed,<one<for<on4site<and<one<for<in4studio.<<Prior to the day of the event, on4site crew visits site to conduct site survey to determine logistical andtechnical<requirements<for<the<event.On4site<crew<packs<equipment<needed<to<conduct<the<remote<broadcast,<travels<to<site<and<sets<up<In4studio<crew<operationally<checks<equipment<and<connection<to<remote<site.<<On the day of the event, on4site crew travels to site and conducts live operations; in4studio crewconducts<operations<from<on4air<studio.<<Upon conclusion of the broadcast, on4site crew breaks down and packs up equipment for transportsback<to<station;<in4studio<crew<closes<down<or<resume<normal<studio<operations.On4site<crew<travels<back<to<the<station<and<returns<the<equipment<to<storage.<Additional<time<is<allotted<for<supervisory<oversight<of<operations.<<WLF:%%Allow%28%manAhours%for%each%radio%remote%live%broadcast.%

Task%4:%Radio%Newscast%(Under%5:00):%%

Reviews<and<selects<available<stories<or<other<command<information<elements.<

Compiles<elements<into<a<structured<sequence.Writes<and<edits<script<including<reader<stories,<lead4ins,<tags<for<produced<story<elements<drafted<by<Script<is<reviewed<and<approved<for<production.Newscast<is<produced<live,<or<recorded<“live4to4tape”<or<post4produced<for<multiple<broadcasts.Recorded<product<is<reviewed<for<quality<control<and<loaded<into<radio<automation<for<broadcast.<<Final<product<is<archived<for<future<reference.<WLF:%%Allow%3%manAhours%per%radio%newscast%produced.%

Task%5:%Radio%News%Story%(2:00%or%less)Original:Supervisor<or<assignment<editor<assigns<task<to<individual.Producer<collects<information<through<research<and<meeting<with<subject4matter<experts,<collects<sound<bites<needed<for<the<story.<<Drafts,<proofreads<and<edits<story<script.<<Script<is<coordinated<for<approval.<<Creates<news<story<by<voicing<and<editing<narrative<with<soundbites<and<other<elements<of<the<story.<<Story<is<reviewed<for<quality<control.<Story<is<posted<for<use<in<newscast<and<other<distributionStory<and<script<are<archived<for<future<reference.

From%TV%News%Story:Producer<rewrites<TV<news<story<for<radio<(removes<references<that<require<supporting<video).Script<is<coordinated<for<approval.<<Creates<news<story<by<voicing<and<editing<narrative<with<sound<bites,<and<other<elements<of<the<story<taken<from<the<video<recordings.<<Story<is<reviewed<for<quality<control.<Story<is<posted<for<use<in<newscast<and<other<distribution.Story<and<script<are<archived<for<future<reference.WLF:%%Allow%2%manAhours%for%each%story%produced

Task%6:%TV%News/Sports%Story%or%Feature:%%Supervisor or assignment editor determines story focus and assigns task to individual by email, calendarentry<or<at<a<meeting.<<Stories<found<by<producers<on<their<own<must<be<approved<by<supervisor<before<Producer<coordinates<with<the<point4of4contact<for<the<event<being<covered.Conducts<research,<plans<angle<of<approach,<lists<supporting<video<(b4roll)<and<natural<sound<opportunities,<drafts<questions<for<interviews.Assembles<and<loads<ENG<equipment<and<travels<to<the<event<site.<<Captures<interviews,<supporting<video,<natural<sound.Equipment<is<packed<and<loaded<in<the<vehicle<for<transport<back<to<the<station.<<The<ENG<equipment<is<Reviews<gathered<material,<creates<edit<decision<list.<Writes<script<for<news<story<IAW<established<guidance.Script<is<coordinated<for<approval.Creates<package<by<voicing<narrative<and<editing<it<with<interviews,<supporting<video,<natural<sound,<graphics<and<other<supporting<elements.Story<is<reviewed<for<quality<control<by<the<supervisor<or<news<director.Story<is<close4captioned.

Story<is<rendered<to<final<form.Story<and<script<is<posted<for<use<in<a<newscast,<newsbreak,<on<web<site<or<other<distribution.<Story<and<script<are<archived<for<future<reference.WLF:%%Allow%18%manAhours%per%news%story.%

Task%7:%TV%Newscast%(10%to%15%Min)%(Live,%liveAtoAtape%or%postAproduced):Producer<reviews<and<selects<available<stories<and<other<command<information<elements.<Compiles<elements<into<a<structured<sequence.Writes and edits script including reader stories, lead4ins, tags for produced story elements drafted bythe<story<contributor,<and<transitions.Script<is<reviewed<and<approved<for<production.Script is loaded into the teleprompter and checked for completeness. Newscast elements (open, close,bump,<weather,<exchange<rate<donuts,<credits,<etc.)<are<edited<to<update<the<information.Anchor prepares for executing the newscast by donning the appropriate attire and makeup. Studio isreadied<for<production<of<the<newscast<by<operating<the<cameras<and<lighting.<<If live, studio crew and anchor rehearse newscast, then execute the live production. If “live4to4tape,”studio crew and anchor rehearse newscast, then record the final production. If post4produced, thenewscast<anchor<segments<are<recorded,<reviewed<and<approved<for<use.Anchor<returns<to<duty<uniform.Studio<equipment<is<shut<down<and<readied<for<the<next<process.For post4produced newscasts, elements (anchor segments, stories or story elements, pre4producedelements,<graphics,<font<information,<etc.)<are<edited<on<a<timeline.Final<newscast<(live4to4tape<or<post4produced)<is<reviewed<for<quality<control.Newscast<is<close4captioned.Newscast<is<rendered<to<final<form.Newscast<is<uploaded<for<broadcast<or<other<distribution.Email<notification<of<completed<upload<sent<to<end<users.Newscast<is<archived<for<future<reference.WLF:%%Allow%26%manAhours%per%newscast.

Task%8:%TV%Newsbreak%(2:00%or%less):Producer<reviews<and<selects<available<stories<and<other<command<information<elements.Compiles<elements<into<a<structured<sequence.Writes<and<edits<script<including<reader<stories,<lead4ins,<tags<for<produced<story<elements<drafted<by<the<story<contributor,<and<transitions.Script<is<reviewed<and<approved<for<production.Script<is<loaded<into<the<teleprompter<and<checked<for<completeness.<<Anchor prepares for executing the newscast by donning the appropriate attire and makeup. Studio isreadied<for<production<of<the<newscast<by<operating<the<cameras<and<lighting.<<If “live4to4tape,” studio crew and anchor rehearse newscast, then record the final production. If post4produced,<the<newscast<anchor<segments<are<recorded,<reviewed<and<approved<for<use.Anchor<returns<to<duty<uniform.Studio<equipment<is<shut<down<and<readied<for<the<next<process.For post4produced newsbreaks, elements (anchor segments, stories or story elements, pre4producedelements,<graphics,<font<information,<etc.)<are<edited<on<a<timeline.

Final<newsbreak<is<reviewed<for<quality<control.Newsbreak<is<close4captioned.Newsbreak<is<rendered<to<final<form.Newsbreak<is<uploaded<for<broadcast<or<other<distributionNewsbreak<is<archived<for<future<reference.WLF:%%Allow%4%manAhours%per%newsbreak.

Task%9:%Radio%Reader%Spot:%%Receives<information<from<a<client<or<through<a<supervisor<or<command<information<manager<electronically<or<in<paper<form.Edits<information<into<broadcast<style,<files<in<computerized<system<or<reader<book.Monitors<spot<for<timely<removal<from<the<rotation<of<spots,<files<alibi<copy<IAW<established<guidance.<WLF:%%Allow%0.25%manAhours%per%reader%spot.

Task%10:%Radio%Spot,%Tier%1:Receives<tasking<or<identifies<a<need<to<create<a<spot.Coordinates<with<client<to<develop<an<understanding<of<the<information<objective<for<the<spot,<ensures<script<is<correctly<focused<on<local<or<regional<audience.Writes<draft<of<script,<selects<music<bed.Coordinates<script<for<approval.Creates<spot<by<combining<voice<and<music.Spot<is<reviewed<for<quality<control<and<edited<to<final<form.Coordinates<finished<product<with<client<to<ensure<information<objective<of<the<spot<is<met.Spot<is<loaded<into<radio<automation<for<broadcast.Spot<is<archived<for<future<reference.Note:<Tier<1<spots<are<simple<voice<over<music<with<kill<date<no<later<than<14<days<from<production.<WLF:%%Allow%2%manAhours%per%spot.%

Task%11:%Radio%Spot,%Tier%2:Receives<tasking<or<identifies<a<need<to<create<a<spot.Coordinates<with<client<to<develop<an<understanding<of<the<information<objective<for<the<spot,<ensures<script<is<correctly<focused<on<local<or<regional<audience.Develops<theme,<identifies<target<audience.Writes<draft<of<script,<to<include<sound<effects<and<production<music<to<support<the<information<Coordinates<script<for<approval.Creates<spot<by<combining<voice<and<non4voice<elements.Spot<is<reviewed<for<quality<control<and<edited<to<final<form.Coordinates<finished<product<with<client<to<ensure<information<objective<of<the<spot<is<met.Spot<is<loaded<into<radio<automation<for<broadcast.Spot<is<archived<for<future<reference.Note: Tier 2 spots are more complex, using one or more voices, music tracks and sound effects, anddesigned<for<an<extended<air<duration<of<longer<than<14<days.<<WLF:%%Allow%5%manAhours%per%spot.%

Task%12:%TV%Spot,%Tier%1%(Community%Calendar%or%Blue%Page):

Receives<information<from<a<client<or<through<a<supervisor<or<command<information<manager<electronically<or<in<paper<form.Writes<information<into<broadcast<style.<<Ensures<script<is<correctly<focused<to<either<local<or<regional<Records<audio<track<of<information<(if<used).Using<template,<add<audio<track<and<relevant<text.Render<to<final<form.Review<for<accuracy<and<technical<quality.Spot<is<posted<for<broadcast.Spot<archived<for<future<reference.Tier 1 Video Spot: Community Calendar (Blue Page): The Comcal or Blue Page uses a graphics4basedtemplate to present written information to the TV audience. This process and WLF also is used toaccount<for<formatted<donut<spots<that<typically<are<updates<to<a<template,<such<as<the<exchange<rate<WLF:%%Allow%0.5%manAhours%per%spot.%

Task%13:%TV%Spot,%Tier%2%(Minimum%Production):Receives information from a client or through a supervisor or command information managerelectronically<or<in<paper<form,<or<identifies<a<need<to<create<a<spot.Coordinates<with<client<to<develop<an<understanding<of<the<information<objective<for<the<spot.Writes<information<into<broadcast<style.<<Ensures<script<is<correctly<focused<to<either<local<or<regional<Identifies<necessary<backgrounds,<video,<graphics<or<other<imagery<as<well<as<music<bed<if<used.Records<audio<track<of<information<(if<used).On<a<timeline,<compiles<audio<track<and<relevant<imagery.Spot<is<closed4captioned.Render<to<final<form.Review<for<accuracy<and<technical<quality.Coordinates<finished<product<with<client<to<ensure<information<objective<of<the<spot<is<met.Spot<is<posted<for<broadcast.<Spot<is<archived<for<future<reference.Note: TV Spot, Tier 2 (Minimum Production) applies to “quick kill” spots using pre4recorded video suchas<animated<backgrounds<or<video<already<acquired<by<other<means.WLF:%%Allow%5%manAhours%per%spot.%

Task%14:%TV%Spot,%Tier%3%(Full%Production):Receives information from a client or through a supervisor or command information managerelectronically<or<in<paper<form,<or<identifies<a<need<to<create<a<spot.Coordinates<with<client<to<develop<an<understanding<of<the<information<objective<for<the<spot.<<Ensures<script<is<correctly<focused<to<either<local<or<regional<audience.Develops<theme,<identifies<the<target<audience.Writes<script<and<storyboard,<incorporating<all<narrative,<dialogue,<music<beds,<sound<effects,<video,<graphics<and<other<imagery.Coordinates<script<and<storyboard<with<supervisor.Production<team<draws<equipment<and<travels<to<a<chosen<location<to<record<A/B4roll<for<the<spot,<returns<to<the<station<and<stores<equipment.Creates<spot<on<a<timeline,<incorporating<all<sound<and<imagery<elements.Spot<is<reviewed<for<quality<control,<necessary<changes<made.Spot<is<closed4captioned.

Render<to<final<form.

Review<for<technical<quality.

Coordinates<finished<product<with<client<to<ensure<information<objective<of<the<spot<is<met.

Spot<is<posted<for<broadcast.

Spot<is<archived<for<future<reference.<

Note:<TV<Spot,<Tier<3<(Full<Production)<applies<to<“enduring”<spots<that<have<an<indefinite<or<“’Til<

Further<Notice”<(TFN)<broadcast<duration.

WLF:%Allow%36%manAhours%per%spot.%

Task%15:%TV%Scheduling%(Command%Information):Downloads<"STB"<scheduling<files<from<AFRTS<site<for<all<8<AFN<channels.

Moves<files<to<TV<Automation<system,<replaces<old<files.

Creates<daily<TV<schedule<using<"STB"<files<for<each<channel,<the<system<places<local<command<information<spots<

into<commercial<breaks<of<regular<programming.

Imports<schedule<from<one<system<to<another,<inserting<it<into<live<television<system,<which<plays<local<CI<over<

(Additionally)<Regulates,<updates,<and<cleans<spot<library,<ensuring<current<information<is<playing,<while<also<

cleansing<system<regularly<for<regualr<media<mgmt.

WLF:%Allow%2%manAhours%per%day.%

DEPARTMENT OF DEFENSE DEFENSE MEDIA ACTIVITY

6700 TAYLOR AVENUE FORT MEADE, MD 20755-7061

PUBLIC AFFAIRS

1"

AFRTS&PRODUCT&CONTENT&STANDARDS&"1."PURPOSE""This"Standard"Operating"Procedure"(SOP)"describes"the"philosophy"behind"the"product"content"standards"for"the"American"Forces"Radio"and"Television"Service"(AFRTS)."The"information"contained"in"this"document"provides"a"basic"overview"of"the"expectations"for"production"quality"in"AFRTS."It"also"describes"the"purpose"of"critique"sessions"using"the"enclosed"content"standards,"and"the"requirements"for"documenting"critique"sessions"for"training"purposes.""2."APPLICABILITY"AND"SCOPE""This"SOP"applies"to"all"production"personnel"and"supervisors"assigned"or"attached"to"AFRTS."Production"personnel"assigned"to"AFRTS"stations,"outlets,"bureaus"and"Regional"Media"Centers"should"be"familiar"with"the"product"content"standards"and"strive"to"meet"them"in"all"products."These"standards"should"be"shared"with"any"DoD"agencies"that"are"contributing"products"to"AFRTS"for"broadcast.""3."PROCEDURES""HQ"AFRTS"Operations"develops"and"publishes"product"content"standards"for"operations"personnel"assigned"to"AFRTS"Regional"Media"Centers,"bureaus,"branches,"and"AFN"stations"and"outlets."These"standards"provide"personnel"with"broadcastSindustry"measures"for"meeting"information"objectives"with"radio"live"shows,"and"radio"and"television"news"and"spot"production.""

a."Background."Historically,"AFRTS"outlets"operated"on"standards"set"forth"by"the"individual"station"managers"or"program"directors."During"the"preSdrawdown"era,"this"individualized"practice"succeeded"as"stations"were"well"staffed"with"large"postSVietnam"era"talent"pools."Skills"were"passed"largely"through"onStheSjob"training"(OJT),"with"little"written"down."Broadcasters"moved"from"one"AFRTS"location"to"another,"taking"with"them"the"skills"and"techniques"learned"at"their"previous"duty"stations.""This"system"was"adequate"until"the"drawdown"of"the"90's"began."AFRTS"was"not"fully"prepared"to"meet"the"consequences"of"the"drawdown"with"respect"to"the"craft."Advances"in"technology"and"automated"systems"were"used"to"justify"reducing"manpower"by"the"broadcast"services,"cutting"station"manning"by"more"than"half."Subsequently,"it"was"learned"that"automation"was"not"the"great"force"multiplier,"as"systems"required"an"unexpected"amount"of"operator"

AFRTS Product Content Standards SOP, December 31, 2014

2

assistance."Manpower"was"spent"tending"automated"systems"rather"than"producing"content."The"result"was"a"workforce"compelled"to"“feed"the"beast”"(the"“beast”"was"the"demand"for"onSair"products),"a"situation"in"which"quantity"took"precedence"over"quality."As"a"result,"advances"in"tooling"the"broadcast"craft"took"a"backseat"to"filling"the"spot"and"news"availabilities"with"formulaic"productions.""The"effect"of"these"changes"was"amplified"when"the"service"components"began"merging"the"different"career"fields"in"the"Public"Affairs"(PA)"arena"into"a"single"specialty"that"encompassed"most"PA"skill"sets.""Personnel"trained"as"broadcasters"were"suddenly"finding"themselves"in"a"PA"Office,"performing"purely"PA"tasks."Meanwhile,"PA"personnel,"Graphics"specialists"and"those"in"other"specialties"were"being"assigned"to"AFRTS"stations"as"broadcasters,"with"no"formal"broadcast"training."The"end"result"was"a"severe"dilution"of"pure"broadcast"production"skills,"requiring"more"and"more"OJT"for"AFRTS"producers"even"as"qualified"trainers"disappeared"from"AFRTS.""

b."Purpose"and"Usage."The"AFRTS"product"content"standards"attempt"to"1)"shift"the"focus"back"to"a"productSoriented"culture"that"allows"producers"to"hone"their"broadcast"skills,"and"2)"provide"a"basis"for"OJT"and"selfSimprovement"for"broadcast"producers"working"in"an"environment"where"there"may"be"few"or"no"experienced"broadcasters"to"provide"training.""

(1)"The"standards"are"designed"to"help"producers"meet"the"command"information"expectations"and"objectives"of"the"host"command."Standards"guide"producers"to"develop"high"quality"broadcast"products"that"send"targeted,"compelling"and"relevant"messages"to"customer"audiences.""

(2)"All"radio"and"TV"news"and"spot"products"should"be"reviewed"for"quality"control"(QC)"and"the"producer"receive"feedback"on"them"in"a"critique."Types"of"critique"and"how"to"apply"them:""

Informal."Informal"critiques"happen"for"most"products."Upon"review,"the"QC"authority"immediately"gives"at"least"one"feedback"element"that"the"producer"did"well"and"should"attempt"to"replicate,"and"at"least"one"element"that"was"substandard"and"the"producer"should"attempt"to"rectify"in"future"productions."The"QC"authority"may"also"require"the"producer"to"rectify"problems"with"the"product"before"it"is"allowed"to"go"on"air."This"critique"is"usually"verbal,"brief"and"rarely"documented.""

Formal."Formal"critiques"occur"less"frequently"and"are"much"more"detailed."The"person"performing"the"critique"should"be"the"supervisor,"trainer"or"other"QC"authority."The"checklist"from"the"appropriate"standard"should"be"used,"either"handSwritten"or"electronically,"to"track"all"feedback"of"every"item"discussed."Any"line"item"from"the"standard"that"is"scored"as"a"‘1’"should"be"accompanied"by"comments"written"in"the"“Notes’"block."""

Frequency."Critiques"should"be"done"for"every"original"product."Original"radio"and"TV"news"stories"and"spots"should"all"receive"at"least"informal"critiques"as"part"of"the"QC"review"


3

prior"to"release"or"broadcast."Radio"live"shows"should"also"receive"informal"critiques"on"a"regular"and"frequent"basis."Formal"product"critiques"are"required"for"all"qualified"producers"on"a"monthly"basis."Producers"in"training"for"qualification"or"certification"will"receive"formal"critiques"weekly."""

(3)"Critiques"are"not"expected"for"shell"or"donut"products"such"as"blueSpages,"weather"updates,"movie"schedules,"exchange"rates,"etc.,"which"only"need"to"be"reviewed"for"technical"quality"and"accuracy."""

(4)"All"formal"critique"checklists"will"be"retained"as"training"documentation"by"the"supervisor"as"long"as"the"producer"is"assigned"at"that"affiliate,"and"copies"will"be"given"to"the"producer."Supervisors"may"be"asked"to"produce"formal"critique"sheets"during"an"internal"staff"assistance"or"inspection"program"as"evidence"of"compliance"with"this"SOP."

"(5)"The"standards"have"been"created"in"such"a"way"that"producers"can"easily"use"them"

to"critique"their"own"products"when"no"other"QC"authority"is"available."They"are"also"meant"to"be"shared"with"any"agency"that"produces"radio"or"TV"products"for"use"on"AFN."""

c."Developing"the"Three"Attributes"of"Success."As"a"management"tool,"the"standards"focus"on"three"key"attributes"vital"to"the"product"improvement"process."""

(1)"Replicate"Success."Replicating"success"allows"managers"to"ensure"producers"use"the"aspects"of"a"product"that"worked"well"over"and"over"again."Some"tasks"are"easier"to"replicate"than"others;"it"depends"on"experience"levels."It"is"important,"however,"to"ensure"producers"know"when"an"aspect"of"a"production"worked"well."This"practice"encourages"producers"to"improve"no"matter"what"their"experience"levels."For"example,"a"shooter"comes"back"with"wide"shots"that"are"rockSsteady"(shot"on"a"tripod"or"godpod)."This"person"needs"to"be"told"to"do"that"again"on"future"shoots.""

(2)"Identify"trends."By"identifying"trends,"good"or"bad,"managers"and"supervisors"can"quickly"praise"or"correct"behavior."Identifying"trends"can"also"serve"as"a"means"to"highlight"the"good"in"a"product"from"which"producers"can"grow."For"example,"a"producer"comes"back"with"a"story"that"has"sound"bites"from"just"one"subjectSmatter"expert."By"looking"at"past"feedback"forms"the"supervisor"can"look"at"the""Multiple"Interviews""element"and"determine"if"the"producer"is"developing"a"negative"trend"or"if"this"story"is"an"isolated"incident.""

(3)"Maintain"Accountability."Accountability"is"a"key"tool"for"management"to"use"to"document"product"improvement"over"time."For"example,"if"a"producer"has"six"feedbacks"over"the"last"six"months"and"still"has"problems"with"shaky"video,"even"though"a"course"of"action"has"been"given,"then"the"producer"must"be"held"accountable"for"his/her"actions."The"critique"sheet"serves"as"documentation"that"the"producer"has"not"followed"the"course"of"action"outlined"by"the"trainer,"and"is"not"working"to"meet"the"standard."On"the"other"hand,"if"a"producer"who"had"difficulty"with"shaky"video"has"now"improved,"a"record"of"the"improvement"is"documented.""


4

These"attributes"serve"to"assist"managers"in"helping"producers"improve"their"products"over"time."As"simple"as"these"attributes"may"seem,"each"is"vital"to"the"overall"success"the"AFRTS"mission."As"such,"managers"and"supervisors"must"work"to"make"these"attributes"a"part"of"the"culture"of"the"station"in"daily"operations.""

d."The"Standards"(Checklists)."The"standards"are"basic"feedback"checklists"that"list"the"elements"that,"by"broadcast"industry"measures,"are"crucial"for"product"success."The"checklist"serves"two"purposes."It"becomes"a"guide"for"producers"as"well"as"a"tool"for"supervisors"to"conduct"and"document"feedback"sessions."Some"of"the"key"aspects"of"the"standards"checklist"are"the"elements,"common"language,"the"rating"system"and"technical"considerations.""""

(1)"Elements."Each"standard"contains"subject"headings"such"as""Communicative"Qualities.""Specific"elements"are"listed"under"each"subject"heading."These"elements"reduce"to"the"lowest"level"the"basic"qualities"that"will"help"the"producer"to"achieve"the"information"objective"of"his/her"product."The"producer"should"attempt"to"include"every"element"into"every"product."While"successfully"doing"this"is"a"virtual"impossibility,"as"no"product"is"ever"perfect,"the"more"elements"included"in"any"given"product,"the"more"likely"it"is"to"meet"its"information"objective."Each"element"is"designed"to"make"the"overall"product"more"accessible"and"understandable"to"a"typical"audience"member."With"the"possible"exception"of"errorsSinSfact,"no"single"element"will"cause"a"product"to"fail"to"meet"its"information"objective."Usually,"a"combination"of"elements"omitted"or"executed"poorly"causes"the"failure.""

(2)"Common"Language."The"checklist"is"followed"by"an"explanation"and"description"of"each"element,"forming"a"common"language."The"common"language"is"a"key"aspect"of"the"standard."It"allows"broadcasters"to"assign"specific"meaning"to"elements"in"the"standard."Once"the"common"language"is"established"within"the"broadcast"environment,"the"elements"within"the"products"become"engrained"in"every"broadcast"product."The"common"language"also"allows"managers"and"supervisors"to"provide"informal"feedback"on"products"in"minutes"instead"of"explaining"the"techniques"in"detail"every"time"a"product"is"reviewed."If"every"producer"understands"the"common"language,"the"standard"becomes"a"part"of"the"culture.""

(3)"Ratings."The"person"responsible"for"providing"feedback"has"three"choices"in"grading"a"specific"element"within"the"standard:"Unsatisfactory,"Satisfactory"or"Excellent."These"choices"are"designed"to"make"the"person"grading"the"product"make"a"definitive"decision."An"area"marked"as"Unsatisfactory"needs"attention"and"the"producer"should"make"progress"in"that"area"on"the"next"product."The"standards"are"not"designed"as"a""go/no"go""tool"for"the"QC"process."Just"because"a"product"airs"does"not"mean"it"has"an"overall"Excellent"rating,"nor"should"a"single"Unsatisfactory"rating"of"an"element"necessarily"keep"that"product"off"the"air."Station"Managers,"Operations"Managers"and"section"supervisors"must"look"beyond"just"the"standards"to"determine"if"a"product"should"air."Station"management"is"responsible"for"deciding"if"the"product"is""airworthy."""The"standards"only"facilitate"product"improvement.""Here"is"an"example"of"how"to"use"the"rating"system."A"producer"fails"to"use"a"windscreen"on"the"microphone"during"a"windy"day"and"subsequently"the"interview"contains"wind"noise."The"


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manager"or"supervisor"should"give"the"producer"an"Unsatisfactory"rating"for""Microphone"use"and"placement."""Let's"now"say"the"interview"is"with"a"visiting"combatant"commander,"and"the"commander’s"PAO"insists"the"interview"be"aired."Even"though"the"wind"noise"is"distracting"and"communication"is"hindered,"the"interview"can"be"heard"and"understood."Station"management"should"decide"to"air"the"story"because"the"content"and"message"still"get"through."A"course"of"action"would"be"to"ensure"that"producer"uses"a"windscreen"for"any"future"shooting"outdoors."The"producer"should"be"provided"the"proper"feedback"to"ensure"the"substandard"behavior"is"not"replicated.""

e."Technical"Aspects."Broadcasters"must"be"familiar"with"the"equipment"they"operate."They"should"treat"learning"the"systems’"operations"no"less"importantly"than"if"they"were"learning"the"operations"of"a"weapon"system."Broadcasters"must"be"serious"about"the"equipment"they"operate"and"learn"as"much"about"the"equipment"as"they"can."The"number"one"rule"when"it"comes"to"equipment"familiarization"is"practice,"practice,"practice."Station"training"must"include"equipment"familiarization"and"study"sessions"using"operator's"manuals"and"other"available"training"aids.""4."SUMMARY""The"AFRTS"Product"Content"Standards"SOP"is"designed"to"help"producers"meet"the"command"information"expectations"and"objectives"of"the"host"command"through"constant"feedback"and"improvement.""

"a."Managers"and"supervisors"should"use"the"standards"to"guide"producers"to"develop"high"

quality"broadcast"products"that"send"targeted,"compelling"and"relevant"messages"to"customer"audiences.""

"b."The"standards"are"not"designed"as"a""go/no"go""system"to"determine"whether"a"product"

should"air."Instead,"they"help"managers"and"supervisors"monitor"product"improvement"using"the"three"attributes"of"identifying"trends,"replicating"success"and"maintaining"accountability.""

"c."It"is"imperative"that"managers"and"supervisors"ensure"using"the"standards"becomes"a"

routine"part"of"operations"and"that"broadcasters"are"constantly"striving"to"improve"their"products.""""Addendum:"AFRTS"Standard"for"TV"News"Packages"AFRTS"Standard"for"Radio"News"ReportsSFeatures"AFRTS"Standard"for"Radio"Live"Shows"AFRTS"Standard"for"Radio"&"TV"Spots"AFRTS"Standard"for"Radio"&"TV"Newscasts""

AFRTS Standard for Radio News Reports-Features (Dec 2014)

Producer: Reviewer: Title: Date:

1 = Unsatisfactory 2 = Satisfactory or N/A 3 = Excellent

Communicative Qualities 1 2 3 1. Research/pre-planning 1 2 3 2. Tightly focused 1 2 3 3. Beginning, middle, end 1 2 3 4. Central character 1 2 3 5. Multiple interviews/action-reaction 1 2 3 6. Sound bite set-up 1 2 3 7. Answer all questions raised 1 2 3 8. Substantial anchor material 1 2 3 9. Command information focus 1 2 3 10. Correct grammar 1 2 3 11. Conversational, no clichés or jargon 1 2 3 12. Active voice 1 2 3 Field Audio 13. Microphone use 1 2 3 14. Quality natural sound 1 2 3 Editing 15. Audio levels/mixing 1 2 3 16. Natural sound beginning 1 2 3 17. Natural sound bridges 1 2 3

Communicative Qualities: 1. Research/pre-planning: Adequate advance work gathering information was done. The reporter planned the story, deciding on all aspects before beginning production. Story is made for radio, not a TV rip. 2. Tightly focused: Story addresses one subject only, does not bounce from one angle to another. The listener is not left confused by the story. After it’s over, the viewer doesn’t ask, “What was that about?” 3. Beginning, middle, end: The development is logical, with the ending tying back to the beginning. 4. Central character: Story uses a single person to communicate something larger to the audience. Story avoids focusing on policies, equipment, etc., stays focused on a person or people. 5. Multiple interviews/action-reaction: Reporter uses more than one subject-matter expert. For every action, there is a reaction. Story gives the reaction(s) of the person(s) impacted by the action. 6. Sound bite set-up: Narrative properly introduces the sound bites. Sets up or paraphrase bites without “echoing” or repeating them. 7. Answer all questions raised: All intrinsic questions (5 W’s + H) are answered, as well as any new ones raised by the reporter or SMEs. 8. Substantial anchor material: Solid lead provided for the anchor. Lead doesn’t give the story away, nor is it excessively soft, trite or ambiguous. The tag, if used, provides relevant information relating to the story. Lead and tag are geared towards regional or local audiences. 9. Command information focus: The story hits a relevant CI point from a key client. It is not simply “an idea in search of a message.” 10. Correct grammar: Correct subject-verb agreement, proper use of verb tense and simple sentence structures. 11. Conversational, no clichés or jargon: Written for the ear, so the listener can understand it the first time they hear it. Uses contractions. Avoids jargon that may be lost on a significant portion of the audience. Avoids using clichés. 12. Active voice: Uses action verbs in the active voice, subject-verb-object. Avoid forms of “to be” verbs. Field Audio 13. Microphone use: The interview audio isn’t captured with the camera mike. The natural sound was captured creatively. 14. Quality natural sound: The audio is clear, no interference, wind noise or other distracting background sounds. The natural sound is rich and present throughout the story. Sound used is loud and clear enough to understand what it is. Editing 15. Audio levels/mixing: Sound blends well from one scene to the next. Levels are consistent throughout the piece. Nat sound doesn’t cut harshly in and out of sound bites. 16. Natural sound beginning: Nat sound used effectively to start off the story and help capture the listener’s attention. 17. Natural sound bridges: Denotes a change in the story (scene, idea, surprise). Nat sound should be present throughout the story.

AFRTS Standard for Newscasts (Dec 2014)


Communicative Qualities 1 2 3

1. Story order/development 1 2 3 2. Local/regional relevance 1 2 3 3. Current information 1 2 3 4. Anchor material 1 2 3 5. Grammar, active voice 1 2 3 6. Clear, concise, correct 1 2 3 Anchor Qualities 7. Inflection 1 2 3 8. Authority 1 2 3 9. Pace/rate 1 2 3 10. Articulation/pronunciation 1 2 3 11. Military image 1 2 3 12. Credibility 1 2 3 Production Values 13. Switching/edits (TV) 1 2 3 14. Flow 1 2 3 15. Audio levels/mixing 1 2 3 Graphics (TV) 16. Font information 1 2 3 17. Simple font style 1 2 3 18. Consistent treatment 1 2 3 19. Relevant 1 2 3 20. Contrast ratio 1 2 3


Communicative Qualities: 1. Story order/development: All elements of the newscast are placed according to importance. The most immediate stories that impact the largest portion of the audience are at or near the top of the newscast. Personality spotlights, features and sports fall toward the end. Related stories are placed next to one another. 2. Local/regional relevance: All information is relevant to the intended audience and ties to the region or local community. Non-local/regional stories are presented with a tie to local/regional audience. 3. Current information: Stories are not old or outdated, especially those tied to a date or event. The most current information available is presented. 4. Anchor material: Story leads are clear. Leads don’t give the story away, nor are they excessively soft, trite or ambiguous. Clichés and jargon are not used. 5. Grammar, active voice: Correct subject-verb agreement, proper use of verb tense and simple sentence structures. Avoids use of passive voice. 6. Clear, concise, correct: Information is presented so the audience understands material presented. Writing shows an economy of words. The information must be correct, free of errors-in-fact. Anchor Qualities: 7. Inflection: Anchor properly interprets copy, correctly places emphasis on key words and phrases. 8. Authority: Anchor understands the script and delivers it with a style that conveys confidence, a mastery of the information. 9. Pace/rate: A varied pace appropriate to context and purpose. Pauses are natural and consistent. 10. Articulation/pronunciation: Accurate, distinct audible vowels and consonants. Voice quality has no distortions, omissions of sounds or sound substitutions. 11. M ilitary image (TV): Anchor exceeds service regulations for appearance (uniform, hair, make-up, jewelry, tattoos, etc.). Anchor does not appear to be overweight. 12. Credibility: Anchor projects a credible image through appearance (TV), knowledge and presentation. Production Values: 13. Clean switching/edits (TV): Transitions between sources are clean, no lag or clipping. If post-produced, no flash frames. 14. Flow: Newscast is seamless, flows logically and professionally from one element/segment to the next. 15. Audio levels/mixing: Audio levels are consistent throughout the newscast. Audio is properly mixed during transitions. Graphics (TV) 16. Font information: Proper rank, title, position and spelling. 17. Font style: Easy to read at first glance. 18. T reatment: Graphics are consistent, match throughout the newscast, including fonts, backgrounds, colors. 19. Relevant: Graphics supplement information being presented and do not distract the viewer. 20. Contrast ratio: Background at least 30% darker that the principal information.

AFRTS Standard for Spot Production (Dec 2014)


Communicative Qualities 1 2 3 1. Coordination/planning/storyboard 1 2 3 2. Targets an audience 1 2 3 3. Clear message 1 2 3 4. Strong attention step 1 2 3 5. Consistent treatment 1 2 3 6. Memorable/emotional 1 2 3 7. Promise/benefit 1 2 3 8. Call to action/strong ending 1 2 3 9. Correct grammar/active voice 1 2 3 10. Conversational 1 2 3

Editing

11. Clean edits (TV) 1 2 3 12. Audio levels/mixing 1 2 3 13. Pace/momentum 1 2 3

Videography (TV)

14. Color balance/exposure/lighting 1 2 3 15. Composition 1 2 3 16. Steady video/shots level 1 2 3

Graphics/Special Effects (TV)

17. Correct font info 1 2 3 18. Appropriate font style 1 2 3 19. Consistent treatment 1 2 3 20. Relevant 1 2 3


Communicative Qualities: 1. Coordination/planning/storyboard: Production has been coordinated with a local or regional client. Adequate advance work gathering information was done. The producer planned the spot production, including drafting a script and a storyboard (TV). All production aspects (angle, video selection, natural sound, music beds, sound effects, graphics, etc.) are planned prior to shooting. 2. Targets an audience: Spot targets a specific demographic. Different groups respond to different treatment, so a target audience determines tone, music selection, style of graphics, etc. A spot targeted at young, single military members living in barracks will employ elements that would not appeal to middle-aged parents, for example. 3. Clear message: Spot addresses one information objective that is clearly apparent. Avoids confusing the viewer/listener with multiple objectives. 4. Strong attention step: Attention step commands the viewer’s/listener’s attention in the first few seconds. Spot uses a strong opening image, sound or other attention-getting device. Avoids yes-no questions that lead to viewer/listener tune-out. 5. Consistent treatment: Spot stays focused on a single theme or treatment. Treatment is appropriate for the topic. 6. Memorable/emotional: Spot means something to the audience, leaves viewers/listeners with something to remember. Spot appeals emotionally to viewers/listeners, evokes an emotional response. 7. Promise/benefit: Spot offers some benefit or return on the viewer’s/listener’s investment of time or effort, or suggests negative impact of NOT acting. 8. Call to action/strong ending: Spot ending compels the viewer/listener to take action. Call to action may come earlier in the spot. Effectively uses repetition. 9. Correct grammar/active voice: Correct subject-verb agreement, proper use of verb tense and simple sentence structures. Avoids use of passive voice. Effective use of sentence fragments. 10. Conversational: Written for the ear, uses contractions, avoids jargon. Editing 11. Clean edits (TV): No jump cuts or flash frames (unless motivated). Edits do not distract from the message. 12. Audio levels/mixing: The audio is at the appropriate level throughout the spot. The different sounds (natural sound, narration, music, sound effects, etc.) blend together well without one dominating the other. 13. Pace/momentum: Effects used in edits or transitions are appropriate and effective for the topic and treatment. Videography (TV) 14. Color balance/exposure/lighting: Video has effective hues, chroma and skin tones to communicate the intended message. Video levels between 80-100 IRE, avoiding low light levels or hot video levels. Subjects or scenes are lit effectively. 15. Composition: Shots make good use of framing, lead room, and thirds as needed to communicate the message. 16. Steady video/shots level: Handheld shots follow action, all other shots steady on tripod. All shots are level, no keystone effect. Pans and zooms are steady and even. Graphics/Special Effects (TV) 17. Correct font info: Font information is correct, words spelled correctly. 18. Appropriate font style: The chosen font is readable and fits the intended message. Correct contrast ratio. 19. Consistent treatment: Graphics and special effects throughout the spot, including fonts, backgrounds and colors, should flow smoothly. Changes are deliberate, not random. 20. Relevant: Graphics and special effects supplement the information being presented, do not distract the viewer/listener. Each has a purpose that supports the information objective.

AFRTS Standard for Radio Live Shows (Dec 2014)


Overall Tone 1 2 3 1. Show prep 1 2 3 2. Structure 1 2 3 3. Topicality 1 2 3 4. Humor/entertainment 1 2 3 5. Bit construction 1 2 3 6. Audience interaction 1 2 3 7. Spontaneity 1 2 3 8. Compelling 1 2 3 9. Creativity 1 2 3 10. Consistency 1 2 3 Overall Sound 11. Pace/momentum 1 2 3 12. Production values 1 2 3 13. Communication skills 1 2 3 14. Vocal dynamics/quality 1 2 3 15. Time clock orientation 1 2 3 16. Information, key elements:

� Call sign 1 2 3 � Time 1 2 3 � Weather 1 2 3 � Traffic/driving conditions 1 2 3 � Exchange rate 1 2 3

17. Forward promotion 1 2 3 18. Cross promotion 1 2 3 19. Information-to-music ratio 1 2 3 Interviews 20. Prep 1 2 3 21. Control 1 2 3 22. Levels 1 2 3 23. Tempo/flow 1 2 3 Mechanics 24. Sound source 1 2 3 25. Source chop 1 2 3 26. Bleed through 1 2 3 27. Tightness 1 2 3 28. Levels 1 2 3


Overall Tone 1. Show prep: Show host prepared all materials, bits and command information in advance, using the “Road Map” from the AFRTS Radio Playbook. 2. Structure: Show flows well from one element to the next. 3. Topicality: Show host talks about things that interest the audience, touches on the big stories, knows what’s on their mind. Used the “In-Touch Checklist” from the AFRTS Radio Playbook to be tuned to audiences’ needs or tied to local events. 4. Humor/entertainment: Show has a sense of humor, listeners should be able to smile and feel good. WARNING: A humorous approach is not for everyone. Hosts are better off staying away from attempts at humor unless they have a lot of experience at the mike. 5. Bit construction: Show is well thought-out. Getting into and out of bits is well-planned. Bits are well-executed. Show host employed a hook, setup and payoff with each bit. 6. Audience interaction: On-air phone calls are entertaining with an economy of words, kept concise. 7. Spontaneity: Listener gets some surprises, planned or unplanned, during the show. Show sounds natural, fun and freewheeling, vs. stiff, planned and scripted. 8. Compelling: Creative hooks and teases are so good, listeners can’t turn the radio off because they’re afraid they’ll miss something. Show host finds ways to make people talk about the show. 9. Creativity: Show sounds fresh, progressive and original. Host puts fresh spins on old ideas. 10. Consistency: Each portion of the show is a snapshot of the entire show. Show elements are delivered regularly. Listeners know what to expect. Overall Sound 11. Pace/momentum: Show moves forward, host is brief and constantly resets the stage so listeners joining are brought into what is going on. 12. Production values: Proper sound effects, music beds, drop-ins, etc. are used. Phone call and snippets are used properly. Show does not sound over-produced. 13. Communication skills: Show host relates and communicates with the audience naturally, conversationally, rather than “announcing.” Putting thoughts into words your audience uses and understands. 14. Vocal dynamics/quality: Host projects properly, sounds confident, gets the most out of his/her voice. No excessive laughter or giggling; laughter only when appropriate. 15. Time clock orientation: Mood of the show matches the daypart (morning, midday, afternoon, other). How well does host relate to what listeners are thinking, feeling and doing? 16. Information: Service elements and key information items are delivered appropriately, creatively and the minimum required number of times per hour. 17. Forward promotion: Host promotes what is coming up later in the show or the show that follows. 18. Cross promotion: Show host gives listeners compelling reasons to listen to other local live shows, and local and/or regional radio and television newscasts. Promotes AFN web sites, AFN 360 and social media sites.

19. Information-to-music ratio: Morning show is based on information with music, other shows are based on music with information. Interviews 20. Prep: Host prepared for the interview, understands the topic, asks specific questions rather than catch-all questions like, “What is your group doing?” or “Tell me about your project…” 21. Control: Host controls and guides the interview. Interview stays on topic. Guest does not “hijack” the interview by going off-topic or on tangents to a new subject. Host keeps the interview to a reasonable time limit. 22. Levels: Host and guest have constant, matching levels. 23. Tempo/flow: Interview continuously moves forward, does not stall on run-on answers. Mechanics 24. Sound source: Proper source element is selected, show host goes to the right element at the correct moment. 25. Source chop: Elements start without being upcut, finish without being chopped off. Transitions are smooth and timely. 26. Bleed through: The only elements on air are those that are supposed to be on, no bleed through of other show elements or satellite feeds due to a channel inadvertently left open on the console. 27. Loose between elements: Elements do not have gaps of silence between them, nor is there any unintentional overlap. Host makes good use of song ramps and fades. 28. Levels: Elements are playing at full volume (80-100% on VU meter), avoiding “muddy” sound of low levels or distortion from high levels.

AFRTS Standard for TV News Packages (Dec 2014)



Communicative Qualities 1 2 3 1. Research/pre-planning 1 2 3 2. Tightly focused 1 2 3 3. Beginning, middle, end 1 2 3 4. Central character 1 2 3 5. Multiple interviews/action-reaction 1 2 3 6. Sound bite set-up 1 2 3 7. Answer all questions raised 1 2 3 8. Substantial anchor material 1 2 3 9. Command information focus 1 2 3 10. Correct grammar 1 2 3 11. Conversational, no clichés or jargon 1 2 3 12. Active voice 1 2 3 Videography 13. Color balance, exposure, lighting 1 2 3 14. Steady video/shots level 1 2 3 15. Composition: framing, thirds, lead room 1 2 3 16. Camera angles 1 2 3 17. Interesting backgrounds 1 2 3 18. Subject-in-action sound bite 1 2 3 19. Effective standup 1 2 3 20. Effective establishing shot 1 2 3 21. Effective closing shot 1 2 3 22. Composition: W-M-C shots 1 2 3 Field Audio 23. Microphone use and placement 1 2 3 24. Quality natural sound 1 2 3 25. Video and sound match 1 2 3 Editing 26. Clean edits 1 2 3 27. Tightly-referenced b-roll 1 2 3 28. Minimum pans/zooms 1 2 3 29. Minimum static shots 1 2 3 30. Proper audio levels and mixing 1 2 3 31. Natural sound beginning 1 2 3 32. Natural sound bridges 1 2 3 33. Action sequences 1 2 3

Communicative Qualities: 1. Research/pre-planning: Adequate advance work gathering information was done. The reporter planned the shoot before going out, or at least decided on all aspects (angle, video selection, natural sound, etc.) before arriving at the shoot scene. 2. Tightly focused: Story addresses one subject only, does not bounce from one angle to another. The audience is not left confused by the story. After it’s over, the viewer doesn’t ask, “What was that about?” 3. Beginning, middle, end: The development is logical, with the ending tying back to the beginning. 4. Central character: Story uses a single person to communicate something larger to the audience. Story avoids focusing on policies, equipment, etc., stays focused on a person or people. 5. Multiple interviews/action-reaction: Reporter uses more than one subject-matter expert. For every action, there is a reaction. Story shows the reaction(s) of the person(s) impacted by the action. 6. Sound bite set-up: Narrative properly introduces the sound bites. Sets up or paraphrase bites without “echoing” or repeating them. 7. Answer all questions raised: The story must be complete. All intrinsic questions (5 W’s + H) are answered, as well as any new ones raised by the reporter or SMEs. 8. Substantial anchor material: Solid lead provided for the anchor. Lead doesn’t give the story away, nor is it excessively soft, trite or ambiguous. The tag, if used, provides relevant information relating to the story. Lead and tag are geared towards regional or local audiences. 9. Command information focus: The story hits a relevant CI point from a key client. It is not simply “an idea in search of a message.” 10. Correct grammar: Correct subject-verb agreement, proper use of verb tense and simple sentence structures. 11. Conversational, no clichés or jargon: Written for the ear, so the viewer can understand it the first time they hear it. Uses contractions. Avoids jargon that may be lost on a significant portion of the audience. Avoids using clichés. 12. Active voice: Uses action verbs in the active voice, subject-verb-object. Avoid forms of “to be” verbs. Photography 13. Color balance, exposure, lighting: Video has the proper hues, chroma and skin tones. Video levels 80-100 IRE, avoiding low light levels or hot video levels. Subjects or scenes lit well not only for exposure but for effect and color. 14. Steady video/shots level: Wide shots steady on tripod or godpod, handheld shots follow action. Shots are level, with no keystone effect. Pans and zooms are steady and even. 15. Composition: Framing, thirds, lead room: Shots are balanced for mass. Objects are framed properly using rule of thirds. Proper angle and amount of lead room used in interview shots. 16. Camera angles: Angles are varied and relevant to the subject. Vary angles within a sequence. Take the viewer to where the action is. Shoot for three dimensional look. Use close-ups to tell the story. No violations of 180-rule. 17. Interesting backgrounds: Put the subject in the story setting. Avoid subject standing in front of a sign or blank wall. Avoid outdoor interview for indoor subjects, and vice versa. 18. Subject-in-action sound bite: Mini-interviews of the subject in his/her setting. Example: mechanic replacing a part on a plane describes how tough it is to take the old part out. 19. Effective standup: Used as transition, when no video is available or as chance to show and tell. Used to establish reporter in a location. Avoid stand-ups as openers and closers.

20. Effective establishing shot: Opening shot sets the tone or brings the viewer into a specific place. The establishing shot doesn’t have to be a wide shot. 21. Effective closing shot: Closing shot uses negative action to show the story is over. Examples: people walking or running away, cars moving away, door closing, culmination of event or action. 22. Composition: W-M-C shots: All three shots used to tell the story, wide, medium and close, in their appropriate place. Avoids too many of the same type shot in a row. Effective close-ups take the viewer to the action. Field Audio 23. Microphone use and placement: The interview audio isn’t captured with the camera mike. The lavaliere microphone is placed inconspicuously without the cable running across clothing. 24. Quality natural sound: The audio is clear, no interference, wind noise or other distracting background sounds. The natural sound is rich and present throughout the story. Sound used is loud and clear enough to understand what it is. The natural sound was captured creatively. 25. Video and sound match: The natural sound matches the images being shown. Editing 26. Clean edits: No jump cuts or flash frames in the story. Avoided adjoining scenes that do not match, and unnatural changes or jumps in the action. 27. Tightly-referenced b-roll: Shows the viewer what is being talked about. The reporter touches upon something in the script and then shows it. 28. Minimum pans/zooms: Zooms and pans have a purpose. Avoids unmotivated camera movement. Zoom or pan has a beginning and an ending. 29. Minimum static shots: Shows movement as much as possible. When used, static shots have variety, not the same angle or frame all the time. 30. Proper audio levels and mixing: Sound blends well from one scene to the next. Levels are consistent throughout the piece. Nat sound doesn’t cut harshly in and out of sound bites. 31. Natural sound beginning: Nat sound used effectively to start off the story and help capture the viewer’s attention. 33. Natural sound bridges: Denotes a change in the story (scene, idea, surprise). Nat sound should be present with virtually all video. 34. Action sequences: Sequences show action, a subject moving from one place to another or accomplishing a task. The producer cut the edits on the action of a sequence.

this is a draft provided for workshop...

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