Reporter's Notebook

The art and science of the interview

Posts Tagged ‘Frequency

Gannett No Good for Portland

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TV Tower

This was the title of a press release issued by three union locals representing professional broadcasting; the International Alliance of Theatrical Stage Employees (IATSE), the International Brotherhood of Electrical Workers (IBEW) and the Screen Actor’s Guild – American  Federation of Television and Radio Artists (SAG-AFTRA). I called IATSE spokesperson Dave Twedell to learn more.

Essentially, these unions are worried by changes media corporation Gannett wants them to agree to, primary of which is allow “amateurs” or people not represented by the union to do union jobs.  This means, according to Mr. Twedell, bloggers, podcasters and possibly independent videographers would begin doing the work of professional writers, producers and field camera operators under what’s called a “Non-exclusive jurisdictional contract”.   And this is feared to lead to other changes, including:

(1) The firing of local television engineers at Channel 8 and turn local engineering responsibilities over to Gannett’s automated Master Control facility in Jacksonville, Florida,

(2) The possible elimination of Ch. 8 news altogether because Gannett may sell away the station’s bandwidth (including part or all of Ch. 8’s frequency) at the next FCC auction.

Mr. Twedell said the purpose of a planned rally at Pioneer Courthouse Square on Saturday is to distribute information on the proposed changes by Gannett and give the public a chance to make their concerns known to Gannett.

I asked Mr. Twedell if he expected any of the “talent” (any of the Channel 8 anchors or reporters) would show up.  He said he can’t speak for the SAG-AFTRA part of the coalition, since this event focuses more on the photographers and video editors side of TV operations.  But he said several SAG-AFTRA members are “active participants in our campaign” and we’ll see what we’ll see.

The release was issued on April 20th.  Let me know if you’ve heard anything about it on any news broadcast.

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Here is the full text of the release:

“Ever since Gannett took over KGW in late 2013, things have progressively gone downhill, including cost-cutting by bringing in amateurs and outsourcing work to machines located thousands of miles away.  That isn’t right”.

“KGW is a vibrant part of the community.  Because KGW is licensed to broadcast in the public interest, the public has a right to know what the new corporate owner, Gannett, wants to do with KGW”.

“The city goverment relies on Channel 8 to provide reliable real time information during emergencies.  The station’s advertisers rely on it to provide a large audience and the large audience is made up of stakeholders who can and we believe should speak up about the Gannett business model”.

“On Saturday, April 25, join us for a rally and celebration of KGW in Portland’s iconic Pioneer Courthouse Square.  Help us protect quality broadcasting and family-wage jobs, and stand up to corporate media.  KGW must maintain its standards and identity.  This is OUR air”.

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The rally takes place Saturday, April 25th at Pioneer Courthouse Square from Noon until 2 p.m.

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Measure Twice, Cut Once

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This is a quickie.

Listening to an interview with an interviewee that speaks nervously requires a drilling down on that interviewee with increasing focus to be able to edit the speech of that interviewee and accurately convey the message they are trying to share.  When you’re listening to an interviewee talk, you should listen first, in a general way.  What is the flow of how and what they are saying?

Then, start listening to exactly what they are saying and asking yourself, it is contextual?  Is it logical?  In other words, does it make sense?  Is the answer answering the question?

Then pay attention to things like tone, pitch, volume and frequency.  When you edit, you want to match these things if possible.  You can’t attach a word ending with a high pitch to a word beginning with a low pitch.  Or a word spoken quickly to a word spoken slowly.  This can be jarring and unnatural.

And finally, listen for personal quirks of speech, such as stuttering or run on sentences for example.  These are part of the person’s character.  You want them to sound good, because a poor speaker can be distracting.  But, you don’t want to sacrifice who they are because of a desire to sanitize their speech patterns.  It’s a balance.   One other thing about that.

Sometimes, it is hard to find a place to cut.  What you’re looking for is a complete thought; what’s called a natural break.  They may talk for five minutes about something, but they make the point in the first :45 seconds.  The problem is because they may ramble, it’s hard to find that natural break.  That breath where, in a conversation, someone listening might think, “OK, new thought.”  So, you may have to go forward a little ways past where you want to stop or backwards a little ways before you wanted to stop to find that natural break.  Just make sure you’re keeping all of the other elements in mind so that when you make the cut, it sounds like you hit the natural break exactly.

When it’s time to start editing, keep all of those elements in your mind like a juggler keeps balls in the air.  They are acoustical differences that can make it physically difficult to cut or move words, syllables or phones.  Challenges to retrieving a complete thought in the editing process while trying to not let an edit sound like an edit, can be like drawing a picture in the dark.  It takes patience, attention to detail and an appreciation of language and the human voice that might be likened to that of a music critic.

Written by Interviewer

April 28, 2014 at 13:46