The National Academy of Television Arts and Sciences


January 2006

San Francisco/Northern California Chapter

The three top-tier categories will be Station Excellence (awarded to a station’s general manager), News Excellence (awarded to a station’s news director) and Community Service (awarded to the producer or manager who oversees a station’s community service projects). In all three categories, stations will submit a montage of this past year’s work along with a one-page synopsis. These new awards have opened up the “best newscast” categories. This year, there are six “newscast” categories. They consist of “newscast evening” and “newscast daytime” – both divided into large, medium and small markets. In these categories, there is no longer a designated day. Show producers pick whichever newscast they feel was their best in 2005. Anyone who worked on that show is eligible to be part of the entry. Other categories have been combined or streamlined. The rules and more information can be found on the web site: www.emmysf.tv .

NATAS members in Fresno will hear what it takes to be a good television journalist when Emmy® winning reporter Wayne Freedman visits the nation’s 58th largest TV market in early January. Freedman, the recipient of 47 regional Emmy® awards, will speak from 10 a.m. to noon on Saturday, Jan. 7, at the KSEE studios. Freedman will discuss his years as a reporter as well as the basics of broadcast journalism found in his book “It Takes More Than Good Looks to Succeed at Television News Reporting,” that was released last year. continued on page 2

Call for Entries
January 20, 2006
There are only a few weeks left. The deadline for this year’s regional Emmy® competition is drawing closer, and Friday, January 20 will arrive before you can say, “Where’s that aircheck?” The 2005 Emmy® Awards feature several new categories as well as some adjusted ones.

2005- 2006

Entry Deadline

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A final date was just set for HD Seminar. Listen to the biggest change in the experts discuss issues such industry since the introduction as the new high definition of color TV: the transition to DVD players, HDV all-digital television which camcorders & editors, HD includes HDTV. Last month, flash & hard drive storage, legislation passed in the professional & prosumer HD equipment & HD graphic Senate that requires broadsoftware. See HD demos in casters to end their traditional analog transmissions by Feb. all areas of videography & By Keith Sanders production from companies 17, 2009. President Bush such as Apple Computer, Sonic Solutions, Adobe, Sony, praised the vote and House approval is expected. How will this change affect you? Panasonic, Canon and many others. NATAS is providing a free forum to learn about the Our growing list of panelists includes HD filmmaker latest HD solutions for television shooters, editors, and Adobe workflow expert Jacob Rosenberg, who continued on page 3 producers and viewers at the 5th Annual San Francisco


Off Camera, January 2006, page 1

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In addition, Emmy® entry fees have been lowered this year. Entrants from the Bay Area pay $65 per person per entry. People in the Sacramento market pay $60. Competitors in Fresno and Hawaii pay $50 while TV professionals in Reno, Chico, Redding, Eureka, Santa Rosa, Salinas and Monterey pay $40. “We’re excited about the new categories and we’re excited about the lower fees,” said NATAS chapter president David Mills. “We feel it’s opening up the Emmy® competition to people who haven’t participated before.” The deadline for submitting Emmy® entries is Friday, Jan. 20. Nominations will be announced April 20. The Emmy® show will be held on Saturday, May 20, at the Palace of Fine Arts in San Francisco.

The Board of Trustees of the National Academy of Television Arts and Sciences has approved a new Regional Emmy® Award Statuette to be presented for the first time this year. The new statuette has a round base matching the larger National Emmy® Award statue.

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The ABC-7 reporter will also answer questions on the best ways to win an Emmy® Award. The seminar will be FREE for NATAS members. Nonmembers will pay $20. To register for the seminar e-mail: freedman@emmysf.tv or call the Academy office 650-341-7786.

Eight cities down. One to go. NATAS chapter president David Mills visited an octet of stations in early December as he ventured to Fresno and Sacramento as part of the organization’s annual membership drive. Mills talked about this year’s Emmy® competition, lower Emmy® fees, new Emmy® categories and the benefits of joining NATAS as he dropped by KCRA, KOVR, KMAX, KXTV, KFSN, KFTV, KSEE and KGPE. Earlier in the fall, Mills visited Hawaii, Reno, Chico, Redding, Salinas and Monterey. He has one stop left. The chapter president will visit TV industry employees in Santa Rosa on Jan. 9.

Small Media Business Tax Seminar
This media business tax seminar is for professionals in the broadcast, film and video business. Whether you own your business or freelance, even a little, this tax seminar will give you many tax tips that can help you know what to expect this year while preparing your returns. This seminar will also offer you tips on how to run your business more efficiently. Jim Spalding will set you straight in this Media Business Tax Seminar that is being held at the Bay Area Video Coalition, 2727 Mariposa, SF, on Wednesday, February 15th from 7-9 p.m. Jim Spalding, CPA & MS Tax, Principal of Spalding & Company is the finance chair and former treasurer of the National Television Academy, SF/Nor Cal Chapter, former Board Member of the Film Arts Foundation, former CFO, San Francisco Bay Area Film/Tape Council, former VP & CFO, One Pass Film & Video, Inc., Former CFO of KQED Inc. and Audit Supervisor for Ernst & Young. Jim is also a BAVC-recommended accountant. There will be media networking to kick it off at 7 p.m. with light refreshments. At 7:30 p.m., Jim will lead a discussion and answer your questions on media business’ accounting requirements and taxes for company owners and workers, broadcast professionals, film and video freelancers and independent filmmakers.

Jim Spalding, CPA, MS Tax

* What is new for 2005 tax filings for
business and individuals? * How to start up your business.

Topics will include:

* What is the difference between independent contractor (1099) and employee (W-2)? * Limited liability and incorporation.

Send your news items to: offcamera@emmysf.tv

* What is deductible on your return and where? * What is a business entity, income forecast method, grant accounting? * Sales tax for production entities. The admission charge is $10 for NATAS and BAVC members, $25 for non-members. There is a limited seating capacity for this event, so please RSVP to tax@emmysf.tv or call (650) 341-7786.

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directed “Dust to Glory,” “Bleach” and “Cactusflower.” Brett Shapiro is an Apple HD beta tester who wrote and directed “The Chocolate Curse.” Sonic Solutions’ Western Regional Manager Kristopher Koch will talk about HD DVD production. Leigh Blicher from Videofax specializes in customizing equipment packages for theatrical & broadcast HD production crews. Questions are encouraged. Snader & Associates presents the 5th Annual San Francisco HD Seminar, 4 – 7:30pm on Wednesday, February 1st. It’s part of the Snader Visual Solutions Expo at the South San Francisco Convention Center, 255 South Airport Blvd. in South San Francisco. There’s plenty of parking, plenty of food and admission is free. RSVP to claim your seat at e-mail: hdtv@emmysf.tv. Visual Solutions Expo attendees should register at events@snader.com, or visit www.snader.com.

KCRA3-TV has added another dash of technology to its evening newscasts. On Dec. 12, the Sacramento NBC affiliate began offering text messaging communication with its viewers. During KCRA’s 6:30 p.m. newscast, viewers are asked to give their opinions on a particular story either via email or by sending a text message from their mobile phones. The poll results are announced at the end of the newscast. The viewers who sent text messages are then asked if they want to join “KCRA 3 Mobile” and receive breaking news alerts on their mobile phones. The goal, say KCRA officials, is to provide viewers with a chance to interact with the station as well as to generate a database of mobile phone users. “The response has been better than we expected,” said Jessica Rappaport, KCRA’s director of marketing. “We’re finding that the Sacramento market is a textmessaging savvy city.” Rappaport adds the response is usually heavier if the nightly question is controversial or asks for the viewer’s personal experiences. The station plans to expand the text messaging program to its sister station, KQCA, during WB58’s 10 p.m. newscast. They also plan to experiment with new marketing concepts using text messaging.

Last month KQED was the first PBS station to agree to purchase high-definition production equipment under a cooperative program with Sony to cultivate highdefinition television production by public television stations. Through this initiative, KQED will replace its standarddefinition television production equipment with Sony high-definition cameras, switchers and video recording equipment. KQED’s initiative is expected to jumpstart the creation of local, regional and national high-definition programming from KQED’s studios in San Francisco. The PBS/Sony High Definition Production Pilot allows a representative cross-section of public television stations to acquire Sony’s high-definition production equipment, with support from Sony. These pilot stations, in turn, will share what they learn with the public television system and serve as model stations for other PBS stations considering the value of an upgrade to HD production. Steve Welch, Executive Director of TV Engineering and Operations at KQED said, “The order includes six Sony HD cameras, including three HDC1000LW and three HDC1500L models, as well as Sony’s MVS8000A HD production switcher.” “This is an exceptional opportunity for KQED to complete our strategic transition to high-definition production with terrific partners who will help put KQED in the forefront of HDTV production for public television,” said Jeff Clarke, President and CEO of KQED Public Broadcasting.” KQED completed its conversion to digital television in July 2003. This transformation enables KQED to broadcast up to five different program channels simultaneously and to air programs in high-definition television.

A First For Public TV Stations

Off Camera, January 2006, page 3

Reporters, videographers and editors now do all three jobs at once
By Michael Stoll “Grade the News” www.gradethenews.org

If you’ve been watching KRON Channel 4 lately you may have noticed that it looks a little less like standard local news fare and a little more like MTV’s original reality show, “The Real World,” neither amateur nor totally professional. Sometimes you might see a smart story, but be distracted by a hand on the screen or a disembodied voice. Other times you notice great video, but thinner reporting. You’re not imagining things. This season the San Francisco station has embarked on a radical — and some would say risky — journalistic experiment. It is the first major-market TV newsroom in the country to supply nearly everyone with hand-held digital video cameras and laptop computers, allowing them to produce stories all by themselves. KRON hopes that low-cost techniques perfected on reality shows will bring the once high-flying station back to both journalistic excellence and competitiveness in Nielsen ratings. But critics say forcing journalists to become “one-man bands” who report, shoot and edit at the same time will lead to shoddier journalism, and eventually leaner news staffs. The collapse of three distinct jobs into one delights the station’s tech-savvy consultants for the same reasons it alarms some union officials and veteran journalists. KRON reporters, who rarely used to touch a camera, now are shooting their own video every day. Many photographers are reporting for the first time, which is sometimes apparent in video that ignores obvious story angles.

Newsroom or Internet cafe? KRON’s “video journalists” cluster around work tables digitally editing their own stories on deadline — a sharp break from the past, when everyone had specialized jobs. (Photo by Tim French & Kelly Korzan.)

Back to school: Cameraman Charles Clifford learns also to be his own reporter and editor. (Photo courtesy Charles Clifford.)

Cameraman Charles Clifford described himself in a blog entry about his retraining as “a guy who hasn’t done any real writing since college.” The reorganization has eliminated most editors. While a producer is supposed to review every story, outside observers worry about the loss of quality control. “It sounds great, and I’m thrilled that it’s happening

in our backyard so we can watch it,” said Robert Calo, associate professor at U.C. Berkeley’s Graduate School of Journalism and longtime network TV producer. “But we have to be on the lookout for some of the unintended questions about what’s happening. You need an editor. Somebody else needs to say, ‘You need this; what about that?’ There’s no substitute for that.” Technology made the reorganization possible. The equipment is finally small, cheap and good enough for broadcast: lightweight digital cameras, do-it-yourself editing software that’s already being used in junior high schools, and the proliferation of Internet cafes where reporters can log in to send video to headquarters on deadline. The immediate results may look a little rough, but the station’s management promises that in the long run, it will be able to do better journalism with the same number of people. Before the change, KRON fielded no more than a dozen reporter-photographer news crews each day. By early next year, said consultant Michael Rosenblum, the station will deploy 50 independently operating “video journalists,” Michael Rosenblum also called “VJs.” “We’re going to have three or four times the number of cameras on the street as any other TV station,” said Chris Lee, the station’s news director. “That’s going to allow us to invest in stories that don’t pan out — but also to go for stories that could pay off big. We’re going to have the flexibility to practice journalism in that way, and the other stations in the market won’t. You’ll see the difference.”
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Off Camera, January 2006, page 4

KRON’s Video Journalists
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The technical revolution is supposed to take KRON beyond its recent reliance on contextless mayhem. Thus far, there’s little indication that shift has occurred. On one Saturday evening in November, for example, the broadcast featured nothing but violence for the first eight minutes. More enterprise reporting ahead The VJ training process has been turbulent, but worth the trouble, Mr. Lee said. He said that like many other stations, KRON has not been producing stellar journalism in recent years, but the VJ system allows more self-initiated, in-depth enterprise reporting. Reporters used to be generalists, covering one or two events each workday, he explained. But now some will specialize on particular KRON News Director beats or topics, and have several Chris Lee days to develop the typical story. Eventually he hopes to increase coverage of important societal, economic and political trends, and become less reliant on press releases, car crashes or “games” that all local TV stations employ these days to distract viewers from their owners’ newsroom cost cutting. “We’ve got this bag of tricks where we say, ‘Hours ago, something behind me happened,’” Mr. Lee said. “It’s a trick when none of us has any more reporters to cover stories. There’s a body of techniques that everyone in local news uses, probably invented in 1980. Teases that say, ‘The tap water is killing people in the area, and we’ll tell you where later.’ Viewers don’t appreciate being treated like that.” Broadcaster’s falling fortunes KRON admittedly has little to lose in retooling its news operation. Six years ago, when the family that owned the San Francisco Chronicle also owned KRON, and the station enjoyed a profitable affiliation with NBC, it was among the Bay Area’s most watched news stations. Since then, KRON’s premier 9 p.m. news broadcast has fallen to fourth place, compared with the market share of other stations’ late evening newscasts. Even Young’s sharpest critics acknowledge the company has been in financial trouble ever since it concluded its purchase of the station in June 2000 for a reported $737 million, and lost its NBC network affiliation at the end of 2001 to KNTV. The share price of Young Broadcasting has plummeted to $2.51 this week from more than $45 when it first bid on KRON in 1999. Financial analysts at the time argued that Young took on far too much debt to acquire KRON; the deal was the highest purchase price for any television station in U.S. history. ‘Brainwashing’ the newsroom At first, Mr. Rosenblum said, he wasn’t allowed into the newsroom at all. But a few weeks into his stay his influence grew. A fast-talker dressed in a techno-bohemian uniform of thick black-framed glasses and a blazer over a black T-shirt, Mr. Rosenblum boasted that the VJ class, which takes six 12-hour days, is his form of “brainwashing.” A few months into the conversion, even Mr. Lee found himself using a few of Mr. Rosenblum’s

mantras, such as “Local news sucks.” “All of a sudden I find myself in enormous demand,” Rosenblum said. “All I’m doing here is introducing the most obvious thing in the world. Thankfully, there’s a lot of resistance. That’s how I get paid.” Top talent leaving Citing the ongoing effects of newsroom disinvestment and lowered standards, some of the station’s most experienced journalists have left the station this year. With 33 years on the job, reporter Vic Lee (no relation to Chris Lee, the news director) is the station’s ranking editorial employee. He left KRON in January for KGO Channel 7, saying he no longer recognizes the culture of the newsroom where he spent most of his working life. “I realize what they’re doing is different,” Vic Lee he said. “I’m not a good mix in this environment. I’m leaving because KGO is giving me a great offer. The changes here are dramatic.” When he joined KRON, it was one of the best stations in the country, he said. “Heavy on investigative reporting. One of the largest investigative teams. At one time we had three or four investigative producers. We did a lot of stories that really mattered and made a difference.” When KRON was king Several longtime staff placed the journalistic heyday of the station during the leadership of Mike Ferring, the news director from 1981 to 1987. “KRON at that time was a distant third, so we had to do something, and what we chose to do was put on good news.” Mr. Ferring recalled. “We tripled the audience for it in that period of time. We increased staff as well. I think we peaked at about 175 people, including the Washington bureau, Sacramento bureau and the East Bay bureau. Reporter Greg Lyon, who worked at KRON from 1977 until this year, recalls the Ferring era wistfully. “There’s just no way in hell that anyone there would be able to do anything close to that now,” said Mr. Lyon, who is now working on freelance documentary projects for the National Geographic Channel and the History Channel. Greg Lyon “Overall, it’s a tragedy what happened to that station,” he said. “They lost NBC after the first year. They haven’t had much to sell. They did not seem to be prepared for the actual event when NBC left. What they did have lined up was universally crappy — cheap dating games and infomercials. The infomercials pay the light bills, but they sure don’t pay the staff.” The journalism suffered noticeably, he said. Managers assigned stories straight out of the morning newspaper. If it was already in print, it was a sure thing that a reporter wouldn’t come back at the end of the day empty-handed. He expects Young Broadcasting will continue cutting staff over time, to the point where KRON will have “the minimum number of VJ’s necessary to just get the news on the air.” News Director Chris Lee said emphatically that’s not KRON’s plan. He says he’s even looking to hire more staff who get the VJ thing. “I firmly believe,” he said, “that we’ll come out of this a far better station journalistically.”

Off Camera, January 2006, page 5

By Adam Housley Fox News, December 13, 2005

I have seen death before, but never actually witnessed a last breath. Tonight that changed. Tonight I saw the deep breaths of nervousness, the breaths of annoyance when an I-V couldn’t be inserted…and the last quick breaths of air as a man’s chest went still. This man wasn’t a friend, a member of my family, or even an acquaintance. This man, Stanley Tookie Williams. was convicted of brutally murdering four innocent people, then bragging about their last breaths. Tonight I saw his. 12:29pm: I have been picked as a witness to the Williams execution. 6:30pm: We leave for the west gate of San Quentin. Satellite trucks are lined up. I am sitting in ours waiting for the officers to waive us into the outer range of the prison. 7:04pm: We get clearance and into San Quentin State Penitentiary. 9:00pm: We’re briefed inside the prison. We’re told Williams has refused a last meal. 11:00pm: I am now removing all my personal effects. I am only allowed the clothes I am wearing and a watch inside the viewing room. No jewelry, no wallet. A pencil and paper will be provided once we get inside. 11:14pm: I am escorted onto the shuttle along with 16 other media witnesses. Each witness is patted down and assigned a prison guard escort.

11:54pm: We enter the death chamber witness room. The room is small with 20 foot ceilings. We are asked to stand on two risers, similar to ones used by church choirs. The setup reminds me of being at an aquarium. The execution chamber looks like a tank and is obviously air tight. 11:58pm: Five officers escort the prisoner into the room. Williams is older than the pictures, his hair is speckled grey and cut short. He shows no fight as officers lie him down on the green padded doctors table. He is strapped across the ankles with large black straps. His chest is large and expands and contracts deeply and rapidly, it appears he is nervous. 12:03am: The officers finish securing Williams. All prison personnel inside the chamber now wear surgical gloves. A female officer quickly inserts an I-V into the condemned man’s right arm. In our room, all witnesses are fixated on the process behind the air tight glass. 12:08am: There seems to be some problem with attaching the second I-V to Williams left arm. 12:10am: After surveying the room with the head movement he is allowed, Williams turns his head to his right. He stares at the media, as if to intimidate. He turns back after about 10 seconds. 12:14am: As the work continues to find a vein in Williams left arm, he sighs and then leans his head up and says disgustedly, “Still can’t find it?” 12:17am: The I-V process is finally finished. 12:21am: A small metal round hole opens in the vault like door that separates the execution chamber from the viewing room. A paper is handed through that is read by a female officer inside our viewing

room. Her words echo through the lifeless chamber. The announcement ends with “Stanley Williams has been found guilty of first degree murder and special circumstances…the execution shall now proceed.” 12:24am: The first drug has been administered through the I-V. Williams gulps several times. He appears to pass out as his deep quick breaths become quicker and shorter by the second, until he no longer moves. 12:34am: The witness room seems to be getting smaller. People shift from one leg to another. We hear talking inside the execution chamber. We cannot discern what is being said, we believe it is the attending doctor confirming the inmate has now been put to death. 12:36am: The small hole in the door is opened again and another note is passed through. The female guard’s words once again echo through this stale environment. She says in part, “Warden Steve Ornoski declares inmate Stanley Williams dead.” The pencils have stopped and a few of the victim’s family members have begun to quietly cry. 12:37am: The lifeless body is still strapped to the table. There are no officers in the room, he is alone and the subject of stares. Two officers now slide two curtains and separate the dead inmate from the room. My closing thoughts are simple. I was nervous at first, unsure what to expect. I now understand this process is choreographed down to the number of surgical gloves in the execution chamber. The lethal injection execution is clinical, it is sterile and in the minds of a majority of California voters, it is a just process. I leave with an understanding and with an experience I will never forget.

Adam Housley is a correspondent for Fox News and a former Governor of the Northern California Television Academy.

Off Camera, January 2006, page 6


A fun time was had by all at the NATAS Holiday Showcase Party, December 15th at UCSF’s Cole Hall. (1,2) AKIMBO’s Nicholas Stahl, manager, partner services, demonstrates product to NATAS president David Mills and chats with guest. (3) NATAS trustee and activities chair Cynthia Zeiden was the mc for the event. (4) NATAS board members chat during networking time. Each presenter showed clips and answered questions about their video.

Showcase presenters Tina Salter, KQED; Emerald Yeh, KVIE; Duffy Wang, D3 Productions; Sharon Navratil, KTVU Channel 2;

Patty Zubov, KRON; Rod Laughridge, Access SF; Lori Halloran, KQED; Rick Bacigalupi, KRCB; Photos by Robert Mohr ©2005 Special thanks to our TV Trivia contest sponsors: ADOBE, AKIMBO, HBO, Peachpit Press, ABC 7, WB 20, KTVU 2 and See’s.

Tony Lopez joins KOVR-TV in Sacramento as weekend anchor/reporter & primary weekday fill-in anchor from KCNC-TV in Denver. Sam Shane joins CBS 13, KOVR as its new weeknight co-anchor in January. Sam was previously an anchor at MSNBC and anchored at KCRA in Sacramento from 1991 - 1997. Ryan Yamamoto joins KXTV in Sacramento as a sports anchor and reporter from KSWB-TV in San Diego. Serene Branson joins KOVR-TV in Sacramento as a reporter from KESQ-TV in Palm Springs. Andrew Finlayson, former news director, KTVU 2, currently at Meredith’s WSMN in Nashville, is moving to WLFD in Chicago. Sue Levine has left KHNL/KFVE, Honolulu after two and a half years as news director. Gary Gunter, former news director/anchor at KRCR, Redding has left KDBC, El Paso after three months as news director. Don McKinney to studio operations technician, CBS 5 (KPIX-TV) from KSWB, San Diego, director/technical director. Erik Wong to web producer cbs5.com, CBS 5 (KPIXTV) from kron4.com, same title. Haven Daley to field producer, Associated Press Television News, San Francisco from reporter/producer, WLVT-TV, Bethlehem, PA.

The NATAS Cinema Club offers FREE movie screenings for members who most of the time may bring a guest. Most of the screenings are on short notice. Our Cinema Club chair Lynn Friedman e-mails Lynn’s list to all interested members with information and instructions. Lynn’s list is for Bay Area screenings. Bryan Shadden is setting the program up in Sacramento and Annika Wood for the South Bay. We are working on expanding the program to other chapter cities. To join the Cinema Club send an e-mail to cinemaclub@emmysf.tv with your contact information.

JOB BANK at www.emmysf.tv

Off Camera, January 2006, page 7

John F. Cannon Colllege Scholarship Deadline December 12, 2005

Employees at KPIX-TV as well as the television community throughout Northern California bid a somber and fond farewell to former anchor/reporter Doug Murphy last month. Murphy, 55, died of smoke inhalation during a fire at his Lafayette home in early December. The Ohio native had been in declining health a year prior to his death. He had left KPIX-TV in February on medical leave. In September, the San Francisco CBS affiliate announced Murphy was no longer employed there. At his Dec. 9 funeral, friends and colleagues remembered Murphy as a jovial, friendly person who loved to sing and make conversation. They also said he took his role as a newscaster seriously and was well-prepared whether he was on the anchor desk or in the field reporting. Murphy worked for more than 20 years at KPIX. He anchored the weekend evening news during most of that tenure. Barbara Rodgers co-anchored with “Murph” for 13 years. She told Off Camera she used to joke she was the only co-anchor Murphy didn’t date. She also recalled he made friends wherever he went. He used to tease Rodgers that he knew more African-Americans in Oakland than she did. “Murph would start up a conversation with anyone,” she said. “He loved to talk and he truly met no strangers. I often kidded him, saying he would have a conversation with a lamppost.” Juliette Goodrich, who shared the anchor desk with Murphy for three years, had a close relationship with her co-anchor. “I adored Murph and loved anchoring with him on the weekends,” she recalled. “Two things that stand out in my mind. Every night before the show, he’d call his two children (Maddie and Jack) and tell them he loved them. Then, he’d stand up in the middle of the newsroom and in his loud, commanding voice say, ‘It’s show time at the Apollo!’ That was our cue to head upstairs to the studio.” Editor Katherine Kemiji-McDonald remembers when he started at KPIX in 1983. She was the tender age of 20. Murphy was in his early 30s. She said he was the “older brother” to the young weekend news team. “I will miss his smile, his wit and his endearing laugh,” Kemiji-McDonald said. “He was truly one in a million and I am proud to have called him my friend.” Photographer Zack Heene put it simply. “Doug never had a bad thing to say about anybody,” Heene said. “He was down to earth and truly a ‘Class A’ kind of guy.”

OFFICERS: David Mills, KPIX, President Lynn R Friedman, KGO, VP, SF Keith Sanders, Perfect Pitch TV, VP, SJ Dan Adams, KXTV, VP, Sacramento Nancy Osborne, KFSN, VP, Fresno SAN FRANCSISCO Terri Russell, KOLO, VP, Reno CALIF ALIFORNIA NORTHERN CALIFORNIA Pamela Young, KITV, VP, Hawaii 4317 Camden Avenue Janice Edwards, KNTV, Secretary San Mateo, CA 94403 Sharon Navratil, KTVU, Treasurer (650) 341-7786 F: (650) 372-0279 NATIONAL TRUSTEES: Linda Giannecchini, KQED (Museum) Ronald Louie, KTVU (Alt. Trustee) Alison Gibson, Media Cool (Education) Terry Lowry, LaCosse Productions Cynthia Zeiden, Zeiden Media (Activities) Tamar Maghdissian, KHSL GOVERNORS: Deanne Moenster-Poitras, KTVU Terri Amos, Cornerstone Prod. (Membership) John Murray, JM Communications Bob Anderson, KBWB John Odell, CCSF Duncan Armstrong, KHNL Sheraz Sadiq, KQED Dan Ashley, KGO Javier Valencia, KRON (Awards) Brian Avery, Avery Media COMMITTEE CHAIRS: (not listed above) Samuel Belilty, KFTV John Catchings, Catchings & Assoc. (Museum) John Burgess, KFTY Darryl Cohen, Cohen & Cooper (Legal) Martin Christian, KVIE James Spalding, Spalding & Co., (Finance) Thomas Drayton, KTXL Rick Zanardi, Notra Dame de Namur (Marketing) Janice Edwards, KNTV EXECUTIVE DIRECTOR: Deirdre Fitzpatrick, KCRA Darryl R. Compton, NATAS Albert Garcia, KUVS Off Camera Bob Goldberger, KGO Bob Goldberger, Editor Stewart Heller, York Productions Darryl Compton, Publisher Valeria Hernandez, KDTV Emmy® Awards ENTRY DEADLINE - FRI. JAN 20th Robert Mohr, Photographer Justin Kanno, KOLO Jack LiVolsi, KBWB (Marketing)

Off Camera, January 2006, page 8