By Frank Macek
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| WKYC Senior Director & Blogger Frank Macek |
Ever watched a flawless newscast and thought, "Wow, they make it look so easy?" The reality is that what happens behind the scenes is a high-stakes symphony of precision, timing, and trust—especially for the newscast director, the unsung maestro behind every broadcast.
In today’s control rooms, directors aren't just calling shots—they’re operating complex automation systems like Sony ELC, Ross OverDrive, Grass Valley Ignite, and the newest disruptor on the scene, Cuez. These systems streamline the production process and increase consistency, but they don't replace the quick thinking, adaptability, and creative instincts of a seasoned director.
The Evolving Role of a Newscast Director
Traditionally, directing a newscast was a manual ballet of technical direction, communication with crew and talent, and hands-on control of video switchers, audio boards, and playback decks. Automation has evolved this role significantly. While the core responsibilities remain, how they’re executed has transformed.
Systems like Sony ELC (Essential Live Control), Ross OverDrive, and Ignite allow directors to automate complex sequences that once required multiple operators. For example, a single button press can now trigger a camera change, lower third, and video playback simultaneously. Cuez, the newest player, takes this even further with AI-enhanced sequencing and intuitive GUI-based control, minimizing the friction between editorial intent and technical execution.
But make no mistake: the director is still in the driver's seat.
Pre-Show: Laying the Groundwork
Before the red light goes on and anchors welcome viewers, a director’s day starts with intense preparation.
The process typically begins with reviewing the rundown in the newsroom's editorial system (like ENPS or iNews). Each story is coded with commands that the automation system will execute—camera shots, audio levels, graphic triggers, video playback cues, and more. Directors ensure that all these commands align with the editorial flow and are technically sound.
The director also works closely with producers to clarify transitions, anticipate timing challenges, and build contingency plans. Collaboration with technical staff is essential to verify equipment status, load graphics, and test live shots.
In short, it’s part checklist, part chess game.
Going Live: The Orchestration
As the countdown hits zero and the newscast begins, the control room becomes a high-tech cockpit. While automation systems run pre-programmed sequences, the director maintains real-time oversight and control.
Let’s say a segment opens with a camera move, graphic lower third, and a live shot. In Ross OverDrive, the director might trigger that entire sequence with a single keystroke. In Cuez, the interface allows for even more dynamic manipulation on the fly, with adaptive features that let directors drag-and-drop elements into the timeline if a change arises.
However, automation doesn’t mean passive. Directors are constantly:
- Monitoring live feeds
- Communicating with anchors and reporters
- Cueing unexpected video or graphic content
- Making last-minute adjustments to timing
- Handling breaking news or technical errors
A live broadcast is a fluid environment, and even with automation, improvisation is key.
Managing the Unexpected
No newscast goes exactly as planned. That’s where a director’s experience and quick decision-making shine.
Picture this: The anchor tosses to a field reporter, but there’s no signal. Within seconds, the director must:
- Kill the live shot
- Cue a backup package or graphic
- Reposition the anchors with a new camera shot
- Notify the producer to adjust the rundown
Even with the best automation tools, human intuition and flexibility remain irreplaceable.
The Strengths of Each System
Each automation system has its pros and cons:
- Sony ELC is known for its robustness in large-market environments and deep integration with Sony hardware.
- Ross OverDrive offers a highly customizable workflow, making it a favorite in hybrid manual/automated control rooms.
- Grass Valley Ignite is valued for its scalability and tight scripting capabilities.
- Cuez is gaining attention for its modern UI, ease of use, and real-time adaptability, making it appealing for stations seeking cutting-edge control.
Regardless of the system, directors must be fluent in its language—knowing where it helps and where manual overrides may be necessary.
Post-Show: Debrief and Debug
Once the credits roll, a director’s job isn’t over.
Post-show routines include reviewing any issues that came up, logging technical glitches, debriefing with producers, and making adjustments for the next newscast. Directors may update templates, tweak automation commands, or even rewrite part of the rundown for smoother pacing.
Automation doesn’t mean "set it and forget it" – it means continuous optimization.
Why Directors Still Matter
In an era when AI and automation are becoming the norm, the role of a director remains more vital than ever. Automation systems are tools—powerful, yes, but tools nonetheless. The creative, strategic, and leadership elements of directing can’t be programmed.
Directors must:
- Understand the storytelling arc of a newscast
- Anticipate where attention will shift
- Know when to speed up or slow down
- Lead the control room with calm authority
And most importantly, they need to be ready for anything.
Final Thoughts
Directing a newscast with automation systems like Sony ELC, Ross OverDrive, Ignite, or Cuez may look seamless from the outside. But inside the control room, it’s a dance of precision, planning, and pressure. Today’s directors are part-technologists, part-producers, part-emergency managers.
So the next time you tune into your local newscast and everything flows perfectly, give a nod to the director in the booth. They might not be on camera, but they’re the reason everything stays on course—even when the unexpected happens.
Because in live TV, it’s not if something will go wrong. It’s when.
And that’s when a great director shines.