The DTV Debacle
It is going to happen in Elgin. It is going to happen in Tow. It is going to happen in Taylor. It is going to happen in Smithville. It is even going to happen in many parts of Austin.
People are going to wake up Wednesday morning, February 18th, turn on their TVs, and find some their favorite shows and news broadcasts gone. The Washington Post said it succinctly Saturday, “On Tuesday, more than 400 stations [nationwide] are expected to drop their analog television broadcasts. It is not known how many people will lose programming.” [Underlining for emphasis] KEYE TV is one of them.
Locally, KEYE TV (CBS) will drop its analogue signal becoming Austin’s only purely digital station according to a longstanding plan. Public TV station KLRU TV will also axe analogue next month. KXAN/KXAM/KNVA says it will continue broadcasting in both spectrums, but they do not say how long: “We will continue to assist viewers while determining the most appropriate time for our station and viewers to transition to Digital TV.” KTBC TV says it will continue its analogue signal to the new federal cut-off date, June 12. KVUE TV’s web site is counting down to June 12 in milli-seconds—It’s kind of fun watching the clock tick down.
In an earlier post, I posited that all local stations should drop analogue February 17th as planned. It’s been in the works for a decade. TV stations have been spending hundreds of thousands of dollars for new digital transmitters while doing their darnedest to educate consumers. To continue in analogue will cost stations $10,000+ per month in electricity during a time of depressed revenues. If all who could flipped the switch, it would put pressure on Congress. It might even be a “stimulus”, pushing people to purchase one of those cool HDTVs if they can afford it.
Why is this happening? Basically, the Bush administration and Congress bungled the job. That’s not a political statement on my part. That is fact. There is a good breakdown of why this is happening in The Washington Post. Here’s a link: http://www.washingtonpost.com/wp-dyn/content/article/2009/02/13/AR2009021303504.html
I’ll leave the ugly details to you the reader and the Post or other reports out there. Just “Google” “digital TV conversion.” Some of them say that the delay is a good thing. I disagree.
Congress passed a bill pushing back the conversion date, but the bill did not include funds for more of those $40 coupons help underwrite the cost of conversion boxes. Therefore, even though the official date is pushed back, unless people want to and can afford full price of the conversion boxes, the boxes will still be on the shelf. There is a possibility, however, that the boxes may become hard to find, if the government starts sending coupons again.
Further, folks with limited means or abilities may not be able to hook-up the boxes if they have them. It’s just nuts. There should be a cadre of wire heads working with social-service agencies helping to hook up these people in Elgin, Tow, Taylor, Smithville, and Austin. But, of course, that would take time and money too.
KVUE TV has an excellent site answering lots of DTV questions at http://www.kvue.com/dtv/ and you can watch the cool countdown clock too. KEYE TV’s site, including the “Dr. DTV” blog is pretty good too. Here’s that URL: http://www.keyetv.com/content/entertainment/hd/default.aspx#Scene_1
Just as a reminder: If you have an HDTV, if you’re on cable, or if you have satellite service, you’re golden; you’re OK.
My main frustration lies not with the local TV stations. The TV stations held up part of their bargain. Your government, especially the previous administration, did not. If you are displeased with the way this digital debacle has been handled, say so. Be heard. Write your representatives in Congress. Tell them, if you can’t see them, you won’t vote for them. It might get their attention.
© Jim McNabb, 2009
Saturday, February 14, 2009
Thursday, February 12, 2009
A NewsMcNabb Investigation
Nanci Wilson Switches Stations
One of Austin’s top investigative broadcast reporters is moving to a new TV station. Nanci Wilson, perhaps the backbone of the investigative unit at KEYE TV (CBS) is moving to KXAN TV (NBC) as soon as her contract’s six-month “non-compete” clause is satisfied. “It was a hard decision to leave KEYE because I truly like everyone who works there,” Wilson says. [I get that: I also enjoyed my opportunity to work with Judy Maggio and Ron Oliveira again while getting to know Suzanne Black, news director, and Sousa Williams, web executive producer, along with many, many others. Great people.]
But, Wilson is looking to the future. She’ll be heading up KXAN’s investigation team, “pretty much what I did for KEYE, but with more resources. I'm really excited about it,” She said.
I truly believe that broadcast journalism is in Nanci Wilson’s DNA. That wasn’t always my opinion, I admit. At KVUE in the mid-1980s we in the newsroom were skeptical. Nanci was an older-than-average “intern” for an ill-fated mid-day show. She was always dressed better than any of us. We would see Nanci’s red Mercedes convertible in the parking lot and wonder. But, Nanci paid her dues by going to a small market, Sherman, Texas, I think, and did what came naturally. Further, she seized the Internet as an investigative resource, and she learned the learned the vagaries of government and the criminal justice system. When she arrived back here in Austin, she had become a force.
Other media allude to stories about so-called “ghost voting” in the Texas House of Representatives. Let’s set the record straight. Other stories had been done in the past, but it was KEYE-TV’s Nanci Wilson and photojournalist John Salazar who pressed the issue. It wasn’t a one-shot “sweeps story”. Like a dog shaking a rag, she never let up. It’s still not resolved. There is work to be done, and I have no doubt that Nanci Wilson will follow “ghost voting” to its conclusion. That’s just one example, one instance where she has held government’s feet to the fire when the feet weren’t in their mouths.
Nanci and Keith Elkins, arguably the most experienced and best broadcast news Capitol reporter in town, spearheaded KEYE’s investigative unit along with John Salazar. Elkins is still in Austin freelancing and blogging, but he should be on the air. It is only because of the economy and KEYE’s owner, Cerberus, that he is gone. Cerberus, as you know, is the private equity firm that also owns the controlling interest in the Chrysler Corporation.
Now, Wilson and Elkins are gone from KEYE. Nanci’s loss is not lost on Suzanne Black, news director. “We valued Nanci as a person and as an investigator,” Black said. “But things change and people move on. We are not any less committed to holding governmental agencies and lawmakers accountable. We have several reporters on staff who are capable and interested in taking on some investigative responsibilities.” Indeed, Gregg Watson and Jason Wheeler have contributed investigative reports in the past. Further, it is my contention that every reporter is an “investigative reporter”. The only caveat is whether they are given the time and resources. Investigative reporting is an emphasis at KEYE, and Black says they are now searching for a reporter with investigative experience.
It is hard to replace reporters who have roots, contacts, and reputations built over time. That is why TV stations write “non-compete” clauses into the contracts. If a valued reporter goes across town, that reporter could take audience with them. Certainly, the reporter takes their experience and contacts with them.
I’ve often said that Austin is a “destination”, even though it’s the 49th market. Wilson will be working for her third station here. Ron Oliveira has worked for three (four, if you count the one in which he owned an interest, KNVA TV.) Judy Maggio has worked for two. Robert Hadlock has worked for two. Michelle Valles has worked for two. Bettie Cross has worked for two. Jim Bergamo has worked for two. Troy Kimmel worked for three. And, I worked for four. I may have left out somebody. This list doesn’t even count those who are behind the scenes.
It would seem that we have moved seamlessly from one station to another. Not so. Often these non-compete contracts stood in the way. I do not like “non-compete” contracts. I think that reporters and anchors should have the freedom to work where they please when they please. I think that these strictures are, well, wrong. In this age of free agency in sports, why is it still acceptable in journalism? If somebody is so good, a station should try to keep them. If they can’t, then that journalist should be able to put their talents to work immediately elsewhere. “Non-compete” has been challenged successful elsewhere. Exceptions are made from time to time, even in this market which would, to me, create a precedent for their deletion. The clause, however, is still part of the boilerplate contract for all, and almost without hesitation, reporters, anchors, and others sign them.
As a post-script, two things: KXAN News Director Michael Fabac also confirms that he has hired a new “multi-platform”, AKA “One-man-band” bureau reporter for the Hill Country. Current Hill Country reporter Erin Cargile will be moving into town. Fabac also says KXAN is “not following any O&O (Owned and Operated) model (such as what is happening at NBC stations that are moving to “one-man-band” staffs), however [KXAN is] “simply maximizing all resources and making sure our staff is trained to use all newsgathering tools.” So much for that rumor. One other observation: Local TV stations are actually hiring! Whoa.
© Jim McNabb, 2009
Wednesday, February 11, 2009
More Than News
Subject: There is nothing like a line of thunderstorms. Nothing.
So, I’m watching, anticipating.
The garage where I’ve been keeping an eye on the weather while the Longhorns were winning faces west-northwest.
The trees start their silhouette dance with the sheet lightning around 9:15 p.m.
The pizza arrives at 9:20 p.m.
A downdraft from the racing storms slices through around 9:29 p.m. along with a few driven drops of rain. Rain. Precious rain.
By 9:35 p.m. the celebration begins with pouring rain, bracing wind, muffled thunder preceded by flashes of white light.
The air temperature drops ten degrees instantly.
By 9:39 p.m., it’s over. The trees are dripping, and the rumbling clouds race east.
The metrics? .28-inch.
The moment? Immeasurable.
© Jim McNabb, 2009
Editor’s Note: A good friend said that I should post the above, even though it isn’t about news. But, if one measure of news is “What people are talking about”, maybe it’s appropriate to post about last night’s rain.
So, I’m watching, anticipating.
The garage where I’ve been keeping an eye on the weather while the Longhorns were winning faces west-northwest.
The trees start their silhouette dance with the sheet lightning around 9:15 p.m.
The pizza arrives at 9:20 p.m.
A downdraft from the racing storms slices through around 9:29 p.m. along with a few driven drops of rain. Rain. Precious rain.
By 9:35 p.m. the celebration begins with pouring rain, bracing wind, muffled thunder preceded by flashes of white light.
The air temperature drops ten degrees instantly.
By 9:39 p.m., it’s over. The trees are dripping, and the rumbling clouds race east.
The metrics? .28-inch.
The moment? Immeasurable.
© Jim McNabb, 2009
Editor’s Note: A good friend said that I should post the above, even though it isn’t about news. But, if one measure of news is “What people are talking about”, maybe it’s appropriate to post about last night’s rain.
Friday, February 6, 2009
Shakespear Would Have Done it ...
Go Digital
“If it were done when ‘tis done, then ‘twere will it were done quickly,” mused William Shakespeare’s Macbeth. That thinking could well be applied to ending all analogue local TV transmissions on the hitherto mandated date of February 17, 2009, despite what Congress and the President say. After all, Congress and the President aren’t paying the electric bill.
Will you see TV in the Austin area after February 17th? If you have a converter, cable, or satellite service, you will for sure. Of course, your Congress, while voting to push the official conversion date into June, after the all important May sweeps, your Congress has yet to fund the $40 coupons making purchase of the conversion boxes only about $10. Poor planning on somebody’s part—not having enough coupons to go around. That blame is borne by the previous administration bureaucrats and the previous Congress.
Presently, Austin-based TV stations are paying to power two transmitters, broadcasting both digital and analogue. The digital switch has been planned for years by broadcasters who have laid out thousands upon thousands of dollars to be up and running as of February 17th. One by one they did it, believing that one of those transmitters would be turned off when the conversion date arrived. And, for the past several months, the TV stations have been counting the days on the air and holding town hall meetings to explain what is about to happen. It’s not their fault there aren’t enough coupons, and there may not be enough conversion boxes. After all, the conversion box market is a one-shot invention. Once the world fully converts to digital, the boxes are useless.
So, you ask, “What’s the big deal? Why can’t they keep broadcasting analogue and digital for a few more months?” Well, they can, but it will cost. The electric bill for running a transmitter can be $10,000 to $20,000 per month. KXAN TV has two of these analogue transmitters, broadcasting on full-power KXAM TV in the Hill Country. Further, TV stations, like most all traditional media are strapped for cash. In earlier posts I pointed out that KXAN TV’s owner LIN TV’s common stock is now around 70-cents per share. Not that long ago it sold for $26! LIN TV may be delisted from the New York Stock Exchange. It’s not pretty. You can see why TV stations want to turn off the analogue transmitter.
So, again, will you see TV in the Austin area after February 17th? KTBC TV apparently will continue broadcasting on both transmitters until June. KXAN TV (NBC) and KVUE TV (ABC) reportedly haven’t decided whether to continue broadcasting two signals. But, KEYE TV (CBS) is borrowing more lines from “Macbeth”:
MACBETH: If we should fail?
LADY MACBETH: We fail! But screw your courage to the sticking-place, And we'll not fail.
Of course, they were contemplating the pending death of Duncan at the time. Hmmmm. KEYE reportedly is sticking to the original timetable and flipping the switch February 17th. KLRU TV (PBS) will follow suite in March for the same financial reasons.
Once more, will you see TV in the Austin area after February 17th or whenever all go totally digital? It depends. As noted above (and over and over again on TV) if you have cable or satellite, you’ll be fine. If you’re receiving your signal on an antenna using a converter box, if you have it up and running now, you know that you are OK. But, you may find that you do not have your favorite station if you are in a fringe area. Before, if you had week reception, you would see “ghosts” and “snow”. That’s what led to the foil on the rabbit ears. With the digital signal broadcasters may not be sending their signal to the same place as before—it may have a different “footprint”. Further, there is no such thing as a week digital signal. You see it or you don’t. A better antenna may help. Hooking up both the UHF and VHF portions of the rabbit ears may help. Foil probably won’t help. That leads to the classic melodrama quote: “Curses! Foiled again!”
I say that all of the stations should flip the switches in February. It was the plan all along. Further, doing this may lead to two things: It may get Congress moving to help those who so far haven’t hooked up a conversion box because of a long list of reasons. And it may be, shoot, an economic stimulus! There is no coupon for a brand new, flat screen TV, but this might be what it takes push people into the market place and spend money! “Screw your courage to the sticking-place.” These times call for courage.
© Jim McNabb, 2009
“If it were done when ‘tis done, then ‘twere will it were done quickly,” mused William Shakespeare’s Macbeth. That thinking could well be applied to ending all analogue local TV transmissions on the hitherto mandated date of February 17, 2009, despite what Congress and the President say. After all, Congress and the President aren’t paying the electric bill.
Will you see TV in the Austin area after February 17th? If you have a converter, cable, or satellite service, you will for sure. Of course, your Congress, while voting to push the official conversion date into June, after the all important May sweeps, your Congress has yet to fund the $40 coupons making purchase of the conversion boxes only about $10. Poor planning on somebody’s part—not having enough coupons to go around. That blame is borne by the previous administration bureaucrats and the previous Congress.
Presently, Austin-based TV stations are paying to power two transmitters, broadcasting both digital and analogue. The digital switch has been planned for years by broadcasters who have laid out thousands upon thousands of dollars to be up and running as of February 17th. One by one they did it, believing that one of those transmitters would be turned off when the conversion date arrived. And, for the past several months, the TV stations have been counting the days on the air and holding town hall meetings to explain what is about to happen. It’s not their fault there aren’t enough coupons, and there may not be enough conversion boxes. After all, the conversion box market is a one-shot invention. Once the world fully converts to digital, the boxes are useless.
So, you ask, “What’s the big deal? Why can’t they keep broadcasting analogue and digital for a few more months?” Well, they can, but it will cost. The electric bill for running a transmitter can be $10,000 to $20,000 per month. KXAN TV has two of these analogue transmitters, broadcasting on full-power KXAM TV in the Hill Country. Further, TV stations, like most all traditional media are strapped for cash. In earlier posts I pointed out that KXAN TV’s owner LIN TV’s common stock is now around 70-cents per share. Not that long ago it sold for $26! LIN TV may be delisted from the New York Stock Exchange. It’s not pretty. You can see why TV stations want to turn off the analogue transmitter.
So, again, will you see TV in the Austin area after February 17th? KTBC TV apparently will continue broadcasting on both transmitters until June. KXAN TV (NBC) and KVUE TV (ABC) reportedly haven’t decided whether to continue broadcasting two signals. But, KEYE TV (CBS) is borrowing more lines from “Macbeth”:
MACBETH: If we should fail?
LADY MACBETH: We fail! But screw your courage to the sticking-place, And we'll not fail.
Of course, they were contemplating the pending death of Duncan at the time. Hmmmm. KEYE reportedly is sticking to the original timetable and flipping the switch February 17th. KLRU TV (PBS) will follow suite in March for the same financial reasons.
Once more, will you see TV in the Austin area after February 17th or whenever all go totally digital? It depends. As noted above (and over and over again on TV) if you have cable or satellite, you’ll be fine. If you’re receiving your signal on an antenna using a converter box, if you have it up and running now, you know that you are OK. But, you may find that you do not have your favorite station if you are in a fringe area. Before, if you had week reception, you would see “ghosts” and “snow”. That’s what led to the foil on the rabbit ears. With the digital signal broadcasters may not be sending their signal to the same place as before—it may have a different “footprint”. Further, there is no such thing as a week digital signal. You see it or you don’t. A better antenna may help. Hooking up both the UHF and VHF portions of the rabbit ears may help. Foil probably won’t help. That leads to the classic melodrama quote: “Curses! Foiled again!”
I say that all of the stations should flip the switches in February. It was the plan all along. Further, doing this may lead to two things: It may get Congress moving to help those who so far haven’t hooked up a conversion box because of a long list of reasons. And it may be, shoot, an economic stimulus! There is no coupon for a brand new, flat screen TV, but this might be what it takes push people into the market place and spend money! “Screw your courage to the sticking-place.” These times call for courage.
© Jim McNabb, 2009
Wednesday, February 4, 2009
A Blast From the Past ...
Edison Carter Lives Here
As print and broadcast news operations evolve, bean counters, not journalists, rule. That’s a scary thought, isn’t it? But, it’s the bottom line that seems to be motivating news managers’ decision-making processes. More and more, it is leading to a new hybrid-sort of reporter. Lean profit margins lead to layoffs, but the news beast must still be fed. Who will feed it?
The answer seems to be a blast from the past: The “One-Man (or Woman) Band.
When I started in the business back in the stone age, KCEN TV’s news director handed me a black-and-white film camera (I got a cool Bolex with a three-lens turret because everyone else like the simple Bell and Howells.) and a black box with a “mag-stripe” sound camera in it. They sent me off to slay the dragon and feed the beast. Shooting my own film, I “wrote” as a shot and “edited” in the camera. It was very economical. For a “stand-up”, I’d stage it and ask someone passing by to look into the lens to determine if I was in the shot.
That’s the ticket now for NBC owned and operated TV stations and others big and small. The gear is now digital, but the concept is the same.
Did you ever see “Edison Carter” the reporter on the classic ‘80s TV show “Max Headroom”? We’re there. Edison Carter could have been what they’re calling a “backpack reporter” who shoots back stuff with a lap top computer live via broadband.
KXAN TV is using that technique now with varying degrees of quality. Tuesday (February 3, 2009) KXAN News aired the aftermath of a SWAT stand-off in Kyle. Viewers might have wondered about the jumpy, digitized quality of the video since no one indicated that they were using that technology. I suppose it’s common place now, so it doesn’t have to be explained. And they didn’t even have to send a live truck to Kyle to accomplish it.
Of course KXAN has used the one-man band concept for years. Jim Swift shot, edited, and wrote his own stories for years, not so much as a throw-back to the past but as a creative path. Also, the first Hill Country bureau reporter, David Harder (Now working for a Christian satellite network based in Cypress) did it all before finally getting a photographer. The station is going back to that philosophy now advertising for a “multi-platform bureau reporter”. “The position,” the ad says, “will originate from our Hill Country bureau and be responsible for field shooting/producing/publishing content for our TV and digital platforms.” In other words, a one-man-band. Only nowadays, that one man or one woman must play many instruments—some of them at the same time.
Further, News 8, the Time-Warner news channel, has utilized the one-man-band concept from the very beginning. It is noteworthy to add that News 8 over the years won many awards. They will use a reporter/photographer team on occasion.
The what-was-old-is-now-new-again concept is popping nationwide. TV photojournalists are being hired by newspapers to bring video to their web pages. But, is this a good trend? At least one professional photographer who cut his teeth here in Austin doesn’t think so.
“Management says that with the great technology of computers, one-man-bands are the way to go, and there's no reason for a 'two-man crew' anymore,” says Kenny Kaplan. “Of course you can do more with the computers, but the workload and stress is tremendous and the quality is going downhill. And you know what, they don't care! Saving money is their main goal. While quality was important not so long ago, you can say that those days are gone!” Kaplan was chief photographer and sports photographer at KVUE . He now works in New York City.
It’s the quality that concerns Kaplan. In the not too distant past, local photographers competed regionally and nationally in National Press Photographer Association contests and attended workshops to improve their craft. Perhaps, they still do, but Kaplan claims stations no longer support photographic excellence. Feeding the beast is more important.
You say, “Oh, Kaplan’s concerned because he’s a photographer. Nobody else cares.” Actually, people do care. Lou Prato in the National Journalism Review wrote of these same concerns more than a decade ago in April, 1995:
“Charles Cravetz, who oversees the five-state New England Cable News channel based in Boston, respects New York 1 but says the one-man-band concept is not for him. ‘I think it's a wonderful product for what it does,’ says Cravetz, ‘but I think you compromise your reporting and you compromise your videography.”
And Prato, a former news director and then professor, quotes a news director at that time in Houston: ‘You don't get good storytelling with one-man bands, for the most part, but you get good B-level meat and potatoes that is very, very cost effective,’ says Mike Crew, news director at all-news KNWS in Houston.” These words were written fourteen years ago before our current technology existed. His contemporary’s conclusions? As younger J-school graduate, they will embrace the “one-band-man” concept more and more. Prophetic.
But, what about the audience, the users/consumers of the media? Will the audience care? If the audience doesn’t care, all is well. If they do care, where will they go?
© Jim McNabb, 2009
As print and broadcast news operations evolve, bean counters, not journalists, rule. That’s a scary thought, isn’t it? But, it’s the bottom line that seems to be motivating news managers’ decision-making processes. More and more, it is leading to a new hybrid-sort of reporter. Lean profit margins lead to layoffs, but the news beast must still be fed. Who will feed it?
The answer seems to be a blast from the past: The “One-Man (or Woman) Band.
When I started in the business back in the stone age, KCEN TV’s news director handed me a black-and-white film camera (I got a cool Bolex with a three-lens turret because everyone else like the simple Bell and Howells.) and a black box with a “mag-stripe” sound camera in it. They sent me off to slay the dragon and feed the beast. Shooting my own film, I “wrote” as a shot and “edited” in the camera. It was very economical. For a “stand-up”, I’d stage it and ask someone passing by to look into the lens to determine if I was in the shot.
That’s the ticket now for NBC owned and operated TV stations and others big and small. The gear is now digital, but the concept is the same.
Did you ever see “Edison Carter” the reporter on the classic ‘80s TV show “Max Headroom”? We’re there. Edison Carter could have been what they’re calling a “backpack reporter” who shoots back stuff with a lap top computer live via broadband.
KXAN TV is using that technique now with varying degrees of quality. Tuesday (February 3, 2009) KXAN News aired the aftermath of a SWAT stand-off in Kyle. Viewers might have wondered about the jumpy, digitized quality of the video since no one indicated that they were using that technology. I suppose it’s common place now, so it doesn’t have to be explained. And they didn’t even have to send a live truck to Kyle to accomplish it.
Of course KXAN has used the one-man band concept for years. Jim Swift shot, edited, and wrote his own stories for years, not so much as a throw-back to the past but as a creative path. Also, the first Hill Country bureau reporter, David Harder (Now working for a Christian satellite network based in Cypress) did it all before finally getting a photographer. The station is going back to that philosophy now advertising for a “multi-platform bureau reporter”. “The position,” the ad says, “will originate from our Hill Country bureau and be responsible for field shooting/producing/publishing content for our TV and digital platforms.” In other words, a one-man-band. Only nowadays, that one man or one woman must play many instruments—some of them at the same time.
Further, News 8, the Time-Warner news channel, has utilized the one-man-band concept from the very beginning. It is noteworthy to add that News 8 over the years won many awards. They will use a reporter/photographer team on occasion.
The what-was-old-is-now-new-again concept is popping nationwide. TV photojournalists are being hired by newspapers to bring video to their web pages. But, is this a good trend? At least one professional photographer who cut his teeth here in Austin doesn’t think so.
“Management says that with the great technology of computers, one-man-bands are the way to go, and there's no reason for a 'two-man crew' anymore,” says Kenny Kaplan. “Of course you can do more with the computers, but the workload and stress is tremendous and the quality is going downhill. And you know what, they don't care! Saving money is their main goal. While quality was important not so long ago, you can say that those days are gone!” Kaplan was chief photographer and sports photographer at KVUE . He now works in New York City.
It’s the quality that concerns Kaplan. In the not too distant past, local photographers competed regionally and nationally in National Press Photographer Association contests and attended workshops to improve their craft. Perhaps, they still do, but Kaplan claims stations no longer support photographic excellence. Feeding the beast is more important.
You say, “Oh, Kaplan’s concerned because he’s a photographer. Nobody else cares.” Actually, people do care. Lou Prato in the National Journalism Review wrote of these same concerns more than a decade ago in April, 1995:
“Charles Cravetz, who oversees the five-state New England Cable News channel based in Boston, respects New York 1 but says the one-man-band concept is not for him. ‘I think it's a wonderful product for what it does,’ says Cravetz, ‘but I think you compromise your reporting and you compromise your videography.”
And Prato, a former news director and then professor, quotes a news director at that time in Houston: ‘You don't get good storytelling with one-man bands, for the most part, but you get good B-level meat and potatoes that is very, very cost effective,’ says Mike Crew, news director at all-news KNWS in Houston.” These words were written fourteen years ago before our current technology existed. His contemporary’s conclusions? As younger J-school graduate, they will embrace the “one-band-man” concept more and more. Prophetic.
But, what about the audience, the users/consumers of the media? Will the audience care? If the audience doesn’t care, all is well. If they do care, where will they go?
© Jim McNabb, 2009
Monday, February 2, 2009
Meet Me On ...
The Dark Side
When a working journalist accepts that position as a public information officer, publicist, or public relations account executive, his colleagues usually wag their heads and say their friend has gone over to “The Dark Side”. As sure as Darth Vader is the front office, you swear you can hear the sucking sound of credibility slipping away. Actually, that’s not fair.
The best PIOs, publicists, and PR people were once journalists. Why? That’s easy: They know the details their journalist colleagues need for their stories, and they understand deadlines. When there is a big event, something sure to draw coverage from all local media and maybe more, it is comforting to reporters, producers, and editors that there is someone who knows what they’re doing, making the advance arrangements. There will be camera spaces or platforms. There may be “pool” cameras or even reporters. There will be a “mult box” with a direct audio feed from the sound system. There will be suitable, safe parking spaces for live trucks. Every question is answered. Every detail is anticipated.
Austin, being the state capital, has several strong groups capable of pulling off major events. The principals have been there and done that.
Earlier screeds railed against journalism-by-news-release in favor of enterprise. The facts are, however, public information officers, publicists, and public relations professionals play an important role in the smooth and factual dissemination of information in our free society. Sure, there are some hacks who are only spinmeisters. They’re easily identified. In today’s complex society with all of its layers of information and subgroups of consumers, it would be next to impossible to collate content without the assistance of these professionals. My previous post asked, where does news come from? A lot of it comes from a news release or a tip from a public relations pro, PIO, or publicist.
The really good PR people set the stage, lay out the facts, and get out of the way, allowing journalism to take place. Sure, they’re being paid to put their client in a good light. But, they also anticipate the problems. Further, the really good ones are transparent, honest, knowing that the truth will shine without excessive polishing.
As a former editor, I’ll admit that some news releases were dead on arrival. I’d read the first few phrases in Outlook and hit the delete button. Those releases really weren’t NEWS releases. They may have been written to satisfy a client and nothing more, while the writer knew all the while they would be DOA. That is a bad day for the PR professional—the release was written for the retainer, for the money.
A good news release should contain all of the elements of a well-written news story. Most of all, it needs a strong lead (To avoid the delete button in “Auto-Preview”). After that, the release must come close to a definition of news. There is a piece found at www.newsmcnabb.com on the question of “What is news?” My definition is: “Events or developments that interest or affect the greatest number of people in your audience on that day.” So, a good news release must make the case that it fits that definition.
Then, if an editor or reporter agrees, the release may be used in some form or fashion. The good news release may even suggest story angles or interviews. The release can be accompanied by useful attachments—Pictures or maps, etc.—just as a one might find as part of an enterprise news story. Another site, www.mcnabbcommunications, has a detailed primer on news releases under the “For Non-Profits” tab.
Just because a story idea originates with a news release or even a news conference should not make it automatically ignored. Knowing that the release went to all newsrooms, the challenge for the journalist is to tell the story better than the competitors, taking the story a little deeper, pushing it further. If it is “news” to start out with, an enterprising reporter knows what to do with it.
It is not by accident that “public relations” is part of the journalism curriculum at most universities.
In all fairness I should mention a couple of things. After all of my years in journalism, I’m a publicity and public relations consultant now, officially planting me on “The Dark Side”. Further, I was honored with the 2002 Silver Spur Media Award from the Texas Public Relations Association when I was managing editor at KXAN TV.
© Jim McNabb, 2009
When a working journalist accepts that position as a public information officer, publicist, or public relations account executive, his colleagues usually wag their heads and say their friend has gone over to “The Dark Side”. As sure as Darth Vader is the front office, you swear you can hear the sucking sound of credibility slipping away. Actually, that’s not fair.
The best PIOs, publicists, and PR people were once journalists. Why? That’s easy: They know the details their journalist colleagues need for their stories, and they understand deadlines. When there is a big event, something sure to draw coverage from all local media and maybe more, it is comforting to reporters, producers, and editors that there is someone who knows what they’re doing, making the advance arrangements. There will be camera spaces or platforms. There may be “pool” cameras or even reporters. There will be a “mult box” with a direct audio feed from the sound system. There will be suitable, safe parking spaces for live trucks. Every question is answered. Every detail is anticipated.
Austin, being the state capital, has several strong groups capable of pulling off major events. The principals have been there and done that.
Earlier screeds railed against journalism-by-news-release in favor of enterprise. The facts are, however, public information officers, publicists, and public relations professionals play an important role in the smooth and factual dissemination of information in our free society. Sure, there are some hacks who are only spinmeisters. They’re easily identified. In today’s complex society with all of its layers of information and subgroups of consumers, it would be next to impossible to collate content without the assistance of these professionals. My previous post asked, where does news come from? A lot of it comes from a news release or a tip from a public relations pro, PIO, or publicist.
The really good PR people set the stage, lay out the facts, and get out of the way, allowing journalism to take place. Sure, they’re being paid to put their client in a good light. But, they also anticipate the problems. Further, the really good ones are transparent, honest, knowing that the truth will shine without excessive polishing.
As a former editor, I’ll admit that some news releases were dead on arrival. I’d read the first few phrases in Outlook and hit the delete button. Those releases really weren’t NEWS releases. They may have been written to satisfy a client and nothing more, while the writer knew all the while they would be DOA. That is a bad day for the PR professional—the release was written for the retainer, for the money.
A good news release should contain all of the elements of a well-written news story. Most of all, it needs a strong lead (To avoid the delete button in “Auto-Preview”). After that, the release must come close to a definition of news. There is a piece found at www.newsmcnabb.com on the question of “What is news?” My definition is: “Events or developments that interest or affect the greatest number of people in your audience on that day.” So, a good news release must make the case that it fits that definition.
Then, if an editor or reporter agrees, the release may be used in some form or fashion. The good news release may even suggest story angles or interviews. The release can be accompanied by useful attachments—Pictures or maps, etc.—just as a one might find as part of an enterprise news story. Another site, www.mcnabbcommunications, has a detailed primer on news releases under the “For Non-Profits” tab.
Just because a story idea originates with a news release or even a news conference should not make it automatically ignored. Knowing that the release went to all newsrooms, the challenge for the journalist is to tell the story better than the competitors, taking the story a little deeper, pushing it further. If it is “news” to start out with, an enterprising reporter knows what to do with it.
It is not by accident that “public relations” is part of the journalism curriculum at most universities.
In all fairness I should mention a couple of things. After all of my years in journalism, I’m a publicity and public relations consultant now, officially planting me on “The Dark Side”. Further, I was honored with the 2002 Silver Spur Media Award from the Texas Public Relations Association when I was managing editor at KXAN TV.
© Jim McNabb, 2009
Thursday, January 29, 2009
Looking for an Edge
Why Does All the Media Look Alike?
Where does the local “news” come from? Does it come from the police scanner? Does it come from a story in some other media? Is it a national news story localized? Is it a page or email from the police department? Is it a news release from a public information officer or a public relations flack? Or, does it come from curiosity perhaps pricked by one of the above sources or, even better, elsewhere? In other words is it an “enterprise” story? If it is an enterprise story, does a TV station sit on it and save it for sweeps only to be swept by another TV station doing it first?
The answer for a given medium may be all of the above.
Viewers and readers complain that all of the stations and media “look alike”. They have the same stories. Sometimes, the TV stations coincidentally stack the same stories in the same order. The stations were all listening to the same scanners, getting the same news releases, receiving the same pages and emails, and acting on them in the same way. You know what that says to me? There is not much enterprise going on here. So-called enterprise stories are saved for contest days or sweeps. No wonder many users/consumers/viewers/listeners/readers think the media is all part of a conspiracy, or they all work for the government. No wonder they perceive what they see is biased. The audience thinks that they’re being fed the party line, whatever the party is, and the “real news” is on the Internet, in blogs, or, perhaps, on AM talk radio.
I’ve been watching. Particularly, on what may be termed “slow” news days, the stations do often all look the same. There are the same “spot news” stories (fires, fatalities, and homicides), news conferences, and (particularly if it is a weekend) fluff news events.
Some Austin TV reporters also seem to end up doing the same type stories all of the time, not because the stories may be on their “beat”, if they have one, but because these reporters are the type who hang around the newsroom waiting for something to happen. More often than not, it is these reporters who get the late-breaking stories. Why? Because they are good reporters? No, not necessarily. It’s really because they are lazy or lack curiosity and creativity. The aggressive reporters who came to work with a cool idea are long ago out the door leaving the lazy reporters at their desks, on the phone, or surfing the net. The reporters who remain are the reporters who are available. Therefore, the assignments desk sends them.
Besides, “spot news” stories are easy. Everything is right in front of them. Get the video and a few bites, and you’re done. If it’s a news release-generated story, the lack of challenge may be much the same. The news notice is about a late afternoon news conference. Great! Show up. Get the sound. Maybe the Public Information Officer or PR person has a “throw-down” interview opportunity with a “real” person. Get a few cutaways and some “b-roll” and you’re done. No sweat.
Why not be that person? Somebody’s needs to be that person, right?
No, not really. Not in this day of layoffs and cutbacks. That person who is just hanging around may also be viewed by management as “dead wood” that can be sawed off with a minimum of mess.
News managers nowadays may choose to ask the aggressive reporter to hold that enterprise story until tomorrow and cover the breaking news. Or, the story may be “busted down” to a VO/SOT, or just a few column-inches or a cutline on a photo, and the creative reporter gets the plum, late-breaking package or front page piece. Why? Because the news manager knows that this reporter will be looking for an edge—some different to set the story apart from the competition.
The goal of the news manager is to have the best people doing the right stories. Most of the time the curious, aggressive, energetic reporter will get to stay on the story. Further, it’s not just a slogan: Every day is contest day, and every day is sweeps. You don’t just do good stories four months out of the year and maintain or build an audience.
Just as important, it rewards those good journalists. It keeps them happy and satisfied with their very unusual jobs. It cuts down on the cliques and complaining in the newsrooms.
Most important: It puts the best product before the viewing or reading public. On those days, everyone leaves the newsroom tired, but happy—satisfied. Those are the days that stick in my mind. Good memories of good stories done well.
Meanwhile, the lazy reporter is putting together a portfolio, resume tape, or DVD, knowing it won’t be long before moving on.
© Jim McNabb, 2009
Where does the local “news” come from? Does it come from the police scanner? Does it come from a story in some other media? Is it a national news story localized? Is it a page or email from the police department? Is it a news release from a public information officer or a public relations flack? Or, does it come from curiosity perhaps pricked by one of the above sources or, even better, elsewhere? In other words is it an “enterprise” story? If it is an enterprise story, does a TV station sit on it and save it for sweeps only to be swept by another TV station doing it first?
The answer for a given medium may be all of the above.
Viewers and readers complain that all of the stations and media “look alike”. They have the same stories. Sometimes, the TV stations coincidentally stack the same stories in the same order. The stations were all listening to the same scanners, getting the same news releases, receiving the same pages and emails, and acting on them in the same way. You know what that says to me? There is not much enterprise going on here. So-called enterprise stories are saved for contest days or sweeps. No wonder many users/consumers/viewers/listeners/readers think the media is all part of a conspiracy, or they all work for the government. No wonder they perceive what they see is biased. The audience thinks that they’re being fed the party line, whatever the party is, and the “real news” is on the Internet, in blogs, or, perhaps, on AM talk radio.
I’ve been watching. Particularly, on what may be termed “slow” news days, the stations do often all look the same. There are the same “spot news” stories (fires, fatalities, and homicides), news conferences, and (particularly if it is a weekend) fluff news events.
Some Austin TV reporters also seem to end up doing the same type stories all of the time, not because the stories may be on their “beat”, if they have one, but because these reporters are the type who hang around the newsroom waiting for something to happen. More often than not, it is these reporters who get the late-breaking stories. Why? Because they are good reporters? No, not necessarily. It’s really because they are lazy or lack curiosity and creativity. The aggressive reporters who came to work with a cool idea are long ago out the door leaving the lazy reporters at their desks, on the phone, or surfing the net. The reporters who remain are the reporters who are available. Therefore, the assignments desk sends them.
Besides, “spot news” stories are easy. Everything is right in front of them. Get the video and a few bites, and you’re done. If it’s a news release-generated story, the lack of challenge may be much the same. The news notice is about a late afternoon news conference. Great! Show up. Get the sound. Maybe the Public Information Officer or PR person has a “throw-down” interview opportunity with a “real” person. Get a few cutaways and some “b-roll” and you’re done. No sweat.
Why not be that person? Somebody’s needs to be that person, right?
No, not really. Not in this day of layoffs and cutbacks. That person who is just hanging around may also be viewed by management as “dead wood” that can be sawed off with a minimum of mess.
News managers nowadays may choose to ask the aggressive reporter to hold that enterprise story until tomorrow and cover the breaking news. Or, the story may be “busted down” to a VO/SOT, or just a few column-inches or a cutline on a photo, and the creative reporter gets the plum, late-breaking package or front page piece. Why? Because the news manager knows that this reporter will be looking for an edge—some different to set the story apart from the competition.
The goal of the news manager is to have the best people doing the right stories. Most of the time the curious, aggressive, energetic reporter will get to stay on the story. Further, it’s not just a slogan: Every day is contest day, and every day is sweeps. You don’t just do good stories four months out of the year and maintain or build an audience.
Just as important, it rewards those good journalists. It keeps them happy and satisfied with their very unusual jobs. It cuts down on the cliques and complaining in the newsrooms.
Most important: It puts the best product before the viewing or reading public. On those days, everyone leaves the newsroom tired, but happy—satisfied. Those are the days that stick in my mind. Good memories of good stories done well.
Meanwhile, the lazy reporter is putting together a portfolio, resume tape, or DVD, knowing it won’t be long before moving on.
© Jim McNabb, 2009
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