One thing I’ve learned from my early forays into video journalism is that there are a lot of talented writers in my newsroom that can help make my videos more compelling than if I produced them alone.
Some of my first videos I shot included Spokesman-Review police reporter Thomas Clouse doing stand-ups from the scenes of breaking news events. Yes, they were rough. I hadn’t quite figured out that I didn’t need to be like TV and show the reporter on camera. Clouse would be the first to admit he didn’t have that certain blow-dry helmet hair look that is needed to be considered in same league as our TV reporter comrades.
Voice-over work scared me early on. Like most people, I hated the sound of my recorded voice ( I got over that quickly). Writing a script was also unfamiliar to me, so I turned to people who could help me out. I was amazed at how open print reporters were to doing voice-over and script writing for a video or audio slideshow that I was working on. Only a few times did I have to twist an arm gently.
Everyone in the Spokesman-Review newsroom knows they need to eventually have multimedia skills. Most reporters are most open to the idea of doing multimedia, yet they seem lost as to what skills they should be acquiring.
When I look at the big picture, I see that multimedia production doesn’t have to be an island unto itself. We can use the traditional newsroom structure of: A reporter writes and photographer handles the visuals. Except now it is: The reporter writes scripts and does voiceovers, and photographer (or multimedia producer) shoots and edits the video. In the end, the production has more depth because it plays to the strengths of each person’s talent.
I watch a lot of newspaper-produced video from around the country. I’m surprised how few people use the writing talents of their newsrooms to add objective narration in their videos.
I have my favorite writer in the S-R newsroom. Kevin Graman is the most open to working with me as team. He can bang out a script in a short amount of time. Best of all, he has a killer low voice that resonates confidence and truthfulness. Over time, we have worked on a half dozen or so videos, many of which I consider my best work.
We go to a story together, like a traditional reporter/photographer would. He gathers information like normal for the story he’ll write for the newspaper. I do my thing, interviewing subjects, gathering b-roll. We talk a lot about defining the video story so that it does not go off on a tangent.
Back at the office, Graman takes the time in his normal story writing workflow to come and see how my video edit is shaping up. We have a conversation about the voice-overs I need and what they should say. Usually it is something to the effect of: “I need a 20 second opener that defines what this story is about. And, “I need a lead-in to this subject’s interview.” Or my favorite: “Get me out of this video. I need an ender that sums up the story.” About twenty to thirty minutes later, with a well-written script in hand, Graman is ready to record his voiceover. It usually takes about three or four takes for him to get his cadence right. When I drop the recorded voice-overs onto the timeline in Final Cut , my video just comes to life.
My advice is to find your own Kevin Graman in your newsroom. It will instantly raise the bar in your video storytelling. Just remember, newsroom reporters don’t need to be in front of your camera. We’ll save that spot for the pretty people of broadcast news.