• those built around a dynamic event, and
• those built around a reporter describing an event that has occurred, or being interviewed about an event at which nothing is currently happening
  

The Dynamic-Event Live Shot

In this case, something is unfolding before our eyes — Desert Storm veterans run into the arms of loved ones, or a fire rages out of control. The reporter’s performance is spontaneous as he or she watches along with the viewer and provides whatever narration is appropriate.

The goal is to let the sound and pictures tell as much of the story as possible.

These situations bring out the best in most reporters. Because there’s almost no time to plan and script, there’s no pressure to memorize copy or hit roll cues on the button. There’s no time to be self-conscious about delivery.

The result — a compelling performance that is conversational, animated and unforced.

The Non-Dynamic Live Shot

That compelling performance is tougher to achieve under this type of live shot. The reporter and the newsroom have more advance warning, so some aspects of the live shot can be planned.

The more you plan and the more technical expectations you create for yourself, the easier it is to bog down your delivery in a sea of details. You become cautious and your performance becomes stilted, studied and uncomfortable to watch.

The key? Make the planning process work for you instead of against you. In these instances, think of yourself more as producer than reporter. Make yourself responsible not only for the things you say ... but also for the way the anchors lead into the live shot and the questions they ask throughout.

You are, in effect, producing the live-shot sequence. Your success depends on your ability to make every moment as effective as possible.

Live Shots and Standups: