Remember to check the recording controls—and the level of the battery, if this is visible—before embarking on an interview, and never be frightened to do a test recording and playback before starting some important interview.
Record a brief introduction of conclusion giving the subject, place, date and time of the interview so that it is on tape together with the interview. Labels can easily be lost.
Remember that the microphone placed in even a slight breeze is likely to obscure the human voice with what sounds like a howling gale. While background effects may add atmosphere to a tape report, make sure the balance between background and foreground speech is correct. Remember when using a directional hand microphone to direct it towards whoever is speaking.
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When interviewing before the camera, remember that the camera has a limited field of vision and never point to something or someone out of shot without identifying it verbally in case the camera fails to catch it.
Go over with the cameraman in advance what you plan to say, and any gestures you are likely to make. Warn him if you intend to wave dramatically, to illustrate a measure with your hands, or otherwise need him to change from close-up to a general shot.
Try not to invent new ‘business’ in the middle of an interview: it may all be wasted. Learn the camera’s capabilities and stay within them.
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On overseas assignments reporters try to find appropriate backgrounds (otherwise they might as well be reporting from base). These must be chosen with care.
There are still countries where small boys find the camera of such obsessive interest that they must rush in front of it and wave. Choose a background that is interesting yet’ not distracting. A long line of vehicles passing behind the speaker at speed might well be distracting.
Wheeled vehicles are often distracting because they create a stroboscopic effect: at certain speeds, the wheels seem to be turning backwards (the actual speeds are 60 revs per second on American TV, 50 revs per second in Britain).
Harsh light contrasts are also best avoided. If the foreground speaker is in shade and the camera is set to focus on him, he will be clearly outlines while the background will be little more than a white haze.
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Some news reports start with the camera on a landscape while the reporter talks over it, and the camera slowly pans around to him. It is generally better the other way round start with the camera on the reporter—to identify the voice—and then if necessary pan away from him to the landscape. If possible avoid a wholly static background—it might just well be a still photograph, and wastes the cost of sending a reporter to film.