ANCHORING AND PRESENTATION:

NEWS ANCHORS:

Anchors are also called presenters or hosts. A news anchor or newsreader is

a person that works in television or radio that hosts a regular news
program or provides occasional on air news updates. These are people who
come in front of the camera and introduce a news item. Earlier these people
were called News Readers but this nomenclature has changed with the roles
of anchors changing over the years. Nowadays all anchors are expected to
be journalists and not just read news. Hence they are also expected to
interview and cross question guests in the studio. They analyze,
interpret, and broadcast news received from various
sources.

News anchors generally read prepared scripts, but in emergencies,

they often have to ad-lib commentary on the air. Many news anchors
are also involved in writing and/or editing the news for their programs.
Sometimes news anchors interview guests and moderate panels or
discussions. Some provide commentary for the audience during
parades and other events.

News anchors present news stories and introduce videotaped

news or live transmissions from on-the-scene reporters.
Newscasters at large stations may specialize in a particular field.
Weathercasters, also called weather reporters, report current and
forecasted weather conditions. They gather information from
national satellite weather services, wire services, and local and
regional weather bureaus. Some weathercasters are trained
atmospheric scientists and can develop their own weather forecasts.
Sportscasters, who are responsible for reporting sporting events,
usually select, write, and deliver the sports news for each
newscast. Anchors read news items and provide other
information, such as program schedules and station breaks for
commercials or public-service information. Traditional tapes
and CDs are used only as backups in case of a computer failure.
Announcers and disc jockeys need a good speaking voice.
WHO ARE ANCHORS ?

 They are the faces you see on television. Even if you can’t always
put a name to the face.
 Faces people welcome into their living rooms every morning,
afternoon or evening.
 Faces they trust
 Faces that take then to their window of the world

Qualities of an anchor :

 A good voice
 credible /trust worthy
 ability to speak well … an extension of public speaking
 well-read, Knowledgeable, a more rounded worldview.
 Presentable
 An objective person
 Confident
 knowledge of the technique of TV.
 Language skills
 Combativeness, an assertive style
 not scared of anything
 basic homework (film star to politician)

Things one can build on as an Anchor:

 Create your own style

 On TV, you can’t hide “ who you are.”
 Wit
 Emphasis and pause

What does an anchor have to be :

 Intuitive
  Good at connecting with the audience
 character artist
 responsible for the contributions of many in the team
 deal with the unexpectedness
 affirmative ……..the viewer knows nothing
 puts guests at ease.
 ready for disaster: technical or journalistic.

A good NEWS ANCHOR :

 doesn’t just read the news, he or she must follow the news on the
field as a reporter
 learns to give his/her own headlines
 Has to be part of news meetings, giving ideas, going for
assignments, logging the tapes.

How to Anchor a TV Newscast?

No one is born with the ability to effortlessly read from a
teleprompter and appear to be just talking. It is a skill that is
developed through many years of experience. Still, there are
short cuts to attaining anchor proficiency. It is all about the
tricks of the trade.

Anchoring a TV Newscast is very different than reporting for one.

Anchoring involves very different skills than reporting. It is far more
complex than simply reading and looking good. Anchors must be
effective communicators while multitasking and processing an
avalanche of information constantly bombarding them. Good anchors
deliver the news in a sincere and believable way. You still need to
project and deliver with authority, but it should be in a natural way.

Connect with your stories. Anchors don't read, they

communicate. You should know your material and be thinking
about what you are saying while telling the story. If you are
too focused on the words in front of you, it will sound like you
are reading. If your teleprompter goes out, you will not know
what you are talking about. Think about the story you are
telling and you will be able to talk about it with confidence
even if something goes wrong. Since things always go wrong
during live newscasts, it is important for all anchors to develop
ad lib skills.

Reading a Teleprompter:
Reading a Teleprompter effectively is a lot more difficult than
many people think. First of all, most people don't read aloud as
well as they think they do. Add to that the difficulties of the
sentences being cut up to two or three words per line and
those lines moving at a distance while you have lights in your
face. Meanwhile there are thousands, maybe millions, of people
watching you closely. Deal with all this while appearing to not
to be reading at all.

Do not fixate on the words as they roll past you. Usually

teleprompter readers squint and stare at the words without
realizing it. Moving words tend to frighten people. They start
reading them faster because the words seem like they are
escaping. This encourages mistakes. When you stammer and
the words keep rolling by, panic sets in and many people fall
apart.

This is why it is painfully obvious when watching someone with

little experience with a teleprompter. Look at the teleprompter
naturally. Notice what is happening to your face. If you are
straining to focus on the teleprompter then stop.

Dictate the pace. Don't let the pace dictate you. There is a
temptation to read faster when the words are scrolling off the
screen. Always remember that it is not your obligation to play
catch up. Read the teleprompter at your own speed and make
the operator adjust to you.

Know your material. It is imperative that you know the story

you are reading before you see it on the teleprompter. If you
are already familiar with the script you are less likely to strain
to see the words. Reading a teleprompter effectively is all
about not appearing to be reading. If your face is contorted and
eyes moving around it will be obvious that you are.

Use the teleprompter as a guide. Do not try to read every word

exactly as it is written on the teleprompter. Every anchor
makes mistakes. Sometimes words are misspelled.
Occasionally a long word will be cut in half because it is too
long for a line. Whatever the problem, if you get lost in your
script you will fall apart on camera.

If you already know your story well then you can adapt to
whatever happens. The teleprompter is a helpful tool but you
must be able to communicate without it. Every teleprompter
goes down at some point. If you are completely reliant on it
you will be in big trouble when it eventually fails you.

Be natural and just talk. You may be looking at words on the

teleprompter but all those people on the other side of the
camera are looking at your face. They aren't thinking about the
fact that you are reading. You should therefore not give them
any reason to think you are reading. Speak fluidly with natural
pauses and inflection. Every time you catch yourself reading,
stop and just talk.

Practice. Effectively reading a teleprompter is all about

confidence and comfort in front of the camera. The only way to
gain that is through repetition. When reading a teleprompter
comes as naturally as breathing you will be ready. Eventually
you will forget the teleprompter is even there.

Know your material. A television news anchor is not just a nice

looking talking head. A television news anchor is supposed to
be a journalist first. Having strong reporting credentials is an
essential prerequisite to being a respected television news
anchor.

Tell your stories in an active voice. Have energy and

enthusiasm in what you are talking about. Most viewers watch
the news passively. They aren't paying much attention to
what's going on. The TV is usually on in the background while
they do something else. The anchor's job is to get a passive
viewer to pay attention. Use that active persuasive voice to
convince the audience that your story is worth listening to. This
is not a stereotypical anchorman shout. It is an engaged
delivery with energy.

Relax. Anchoring isn't brain surgery. No one will die if you

mess up. Viewers will sense your fear, so you must be at ease
and natural. This is especially true when things go wrong
during a newscast. The anchor must be calm and collected at
all times. Good anchors keep going when there are problems
and the audience often doesn't realize there was a mistake. Be
the pillar of confidence especially while the world is crashing
down around you.

Look the part. Viewers expect news anchors to exude

confidence and class. Dress professionally not provocatively.
Don't make your wardrobe the focus. Stick to solid colors with
splashes of bright accessories, such as ties or jewelry. Avoid
complex patterns and stripes. The camera doesn't like them.
Hair and makeup should also be classy. If viewers tune in and
immediately wonder what you did to your hair they won't be
paying attention to what you are saying

Be aware of the cameras. During a show you can pop up on

camera any time. This is true while others are talking and even
during commercials. Don't do or say anything that you don't
want the whole world to observe. Always be aware of what
camera shot is coming up next. You can make natural
transitions turning from a two shot camera to your solo camera
if you know what is expected. Nothing looks worse than an
anchor reading to the wrong camera.

Work with your co-anchor. If you have a partner, it is

important to make natural transitions when you hand off
stories. Listen to what your co-anchor is saying. If you listen
then you will have the appropriate tone of voice when
transitioning to your story. It will be painfully obvious to
viewers that you were not listening if you come off a tragic
story sounding happy and insensitive. Listening also allows you
to chat intelligently on two shots. Bad anchors say
inappropriate things during two shots because they didn't
listen to the story they are commenting on.

Adapt to every situation. There are many things going on

during a newscast. Breaking news, unpredictable television interviews,
technical problems and unexpected glitches force anchors to
constantly adjust. Anchors need to handle everything with
grace and confidence. Don't get upset or frustrated. Viewers
don't care why things go wrong. All they see is your melt down.
They won't blame you for other people's mistakes as long as
you seem to be taking it in stride. Remember, it is your face up
there. Be above the fray.
THINK BEFORE YOU SPEAK

 Difficult words
 Controversial topics
 Subjective conclusions
 quick witted,
 observant
 adaptable to unforeseen situations.
 Homework at all times

The dictionary says :

 Because speaking usually involves at least two parties in sight of

each other, a great deal of meaning is conveyed by facial
expression, tone of voice, and movements and postures of the
whole body but especially of the hands; these are collectively
known as gestures.

FOR EXAMPLE
Kerela bans coca colas, pepsi

♦ END line – Should have punch

♦ Throwback

EXAMPLE
♦ Murders of old couples in south Delhi

TECHNICAL SUPPORT TO A NEWS ANCHOR:

PCR: PRODUCTION CONTROL ROOM

 A production control room (PCR) is the coordinating center for
studios. The PCR coordinates the selection of media source, video
effects, audio effects and other processing that is needed to produce
media programs.
The production control room also known as the Studio Control Room
is the place in a television studio in which the composition of the
outgoing program takes place. The basic Equipments in a PCR include
video monitor wall, with monitors for program, preview, videotape
machines, cameras, graphics and other video sources. In some facilities,
the monitor wall is a series of racks containing physical television and
computer monitors; in others, the monitor wall has been replaced with a
virtual monitor wall or more large video screens, each capable of
displaying multiple sources in a simulation of a monitor wall. The PCR
crew includes:

Director: The production unit is headed by the Director. He decides

the look and feel of the programme and eventually executes what has been
finalized on paper by the News Producer. In some channel this person is
called the producer of the show. He also has the task of controlling the
Production Control Room (or PCR) when the news is being compiled.

Vision Mixer: They are online editors who cut from one camera to
another Or from a camera to a Video Recorder based on the Director’s
instructions. They work with a series of monitors which are available with
him on location. The Vision Mixing Console is a machine which makes this
possible for the Vision Mixer, a large control panel used to select the video
sources to be seen on air and, in many cases, in any monitors on the set. The term
'vision mixer' is primarily used in Europe, while the term 'switcher' is usually used
in North America..

Sound Recordists: They record and control sound levels on location

and in studios.They also look after audio mixing console and other audio
equipment such as effects devices.

Character Generator:CG machine creates the majority of the names

and full screen graphics that are inserted into the program.

• Digital video effects, or DVE, for manipulation of video sources.

In newer vision mixers, the DVE is integrated into the vision
mixer; older models without built-in DVE's can often control
external DVE devices, or an external DVE can be manually run
by an operator.
 • A still store, or still frame, device for storage of graphics or other
images. While the name suggests that the device is only capable of
storing still images, newer still stores can store moving video clips.
• The technical director's station, with waveform monitors,
vectorscopes and the camera control units or remote control
panels for the camera control units (CCUs)
• In some facilities, VTRs may also be located in the PCR, but are
also often found in the central machine room
• Intercom for communication between the PCR crew and the
studio.

Teleprompter: TP (also known as an autocue) is a display device that

prompts the person speaking with an electronic visual text of a speech
or script. Using a teleprompter is similar to the practice of using cue
cards. The screen is in front of the lens of the camera, and the words on
the screen are reflected to the eyes of the speaker using a two-way
mirror.

As the speaker does not need to look down to consult written notes, he
or she appears to have memorized the speech or be speaking
spontaneously, and will look directly into the camera lens. Cue cards, on
the other hand, will always be placed away from the lens axis, making
the speaker look at a point beside the camera, which leaves a
"distracted" impression.

Modern teleprompters for news programs consist of a personal

computer, connected to video monitors on each camera. The monitors
are often black-and-white monochrome and have the scanning reversed
to compensate for the reflection of the mirror. A peripheral device
attached to the serial port has a knob that can be turned to speed up,
slow down, or even reverse the scrolling of the text. The text is usually
displayed in white capital letters on a black background for the best
readability, while cues are in inverse video (black on white).

MCR:MASTER CONTROL ROOM

"MCR" is the place where the on-air signal is controlled. It may include
controls to play back programs and commercials, switch local or
network feeds, record satellite feeds and monitor the transmitter(s). The
description of an MCR given above usually refers to an equipment rack
room, which is usually separate from the MCR itself. The term "studio"
usually refers to a place where a particular local program is originated.
If the program is broadcast live, the signal goes from the production
control room to MCR and then out to the transmitter. MCR sends the
completed programme signals to the earth station from which
they are sent to the satellite. They also control the signals
coming from other studios and OB Vans (Outside Broadcast
Vans)

The master control room is too noisy or runs too hot for the production
control room. It also makes sure that wire lengths and installation
requirements keep within manageable lengths, since most high-quality
wiring runs only between devices in this room. This can include:

• The actual circuitry and connection boxes of the vision mixer,

DVE and character generator devices
• camera control units
• VTRs
• patch panels for reconfiguration of the wiring between the various
pieces of equipment.

STUDIO: THE FLOOR:

The studio floor is the actual stage on which the actions that will be
recorded take place. A studio floor has the following characteristics and
installations:

• decoration and/or sets

• cameras (sometimes one, usually several) on pedestals
• microphones
• lighting rigs and the associated controlling equipment.
• several video monitors for visual feedback from the production
control room
• a small public address system for communication
• A glass window between PCR and studio floor for direct visual
contact is usually desired, but not always possible