LECTURE NOTES: MAC 431– ANNOUNCING & PRESENTATION

Organs of speech.
Tongue, lips, teeth, soft palate, hard palate, nasal cavity, alveolar ridge, larynx (Adams apple)
lungs, velum, glottis, uvula, and vocal cords.
Places of Articulation: refers to the point in the vocal tract where the flow of air is
interrupted for the articulation of a particular consonant sound.
- Bilabial: involves the two lips /b, m, p/
- Labio-dental: involves the lower lip and the upper teeth /f, v/
- Dental: involves the tip of the tongue in a light contact with the upper incisors /the sound
thin and this/
- Alveolar: the tip of the tongue articulates with the alveolar ridge /t, d, l, r/
- Palate-alveolar: while the front part of the tongue is raised towards the hard palate, the tip
or blade of the tongue also articulates with the alveolar ridge for /chain, jam/
- Velar: the back of the tongue is raised and pressed against the soft palate and /k, g, n/ are
produced.
- Glottal: the sound /h/ is produced when air passes through an open glottis.
Manner of Articulation: shows how speech sounds are produced in terms of the degree of
obstruction to the airstream.
Total obstruction: shows complete obstruction of the airstream at some point in the vocal tract.
- Plosives /p, b, t, d, k, g/ the air pressure which builds behind the articulators is released
with an explosive noise.
- Affricates: /chain, jam/ there is an obstruction, but the air is slowly released because the
organs are slowly separated.
- Nasals: /m, n, n/air flows through the nasal cavity as they are produced.
Partial obstruction: articulators come in contact but not enough to obstruct the air completely.
- Fricatives: /f, v, s, z, thin, this/ two articulators come in contact to obstruct the flow of air
partially so that as air passes through them, there is a frictional noise.
The sound segments in English are made up of 20vowels and 24 consonants.
The most active articulator is the tongue.
Diphthong is a Greek word which means double sound.
English alphabets have 5vowels and 21 consonants.

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Voice acting
Voice acting is the art of performing voice-overs or providing voices to represent a character or
to provide information to an audience or user. Examples include animated, off-stage, off-screen
or non-visible characters in various works, including feature films, dubbed foreign language
films, animated short films, television programs, commercials, radio or audio dramas, comedy,
video games, puppet shows, amusement rides, audiobooks and documentaries. Voice acting is
also done for small handheld audio games.
Performers are called voice actors or actresses, voice artists or voice talent. Their roles may
also involve singing, although a second voice actor is sometimes cast as the character's singing
voice. Voice acting is recognised in Britain as a specialized dramatic profession, chiefly owing to
the BBC's long tradition of radio drama.
Voice artists are also used to record the individual sample fragments played back by a computer
in an automated announcement.
Types of voice acting
Character voices
The voices for animated characters are provided by voice actors. For live action productions,
voice acting often involves reading the parts of computer programs, radio dispatchers, or other
characters who never actually appear on screen.
Producers and agencies are on the lookout for many styles of voices such as booming voices,
which maybe perfect for more dramatic productions or cute, young sounding voices that are
perfect for trendier markets. Some just sound like regular, natural, everyday people and all of
these voices have their place in the Voiceover world, providing they are used correctly and in the
right context.
Narration
In the context of voice acting, narration is the use of spoken commentary to convey a story to an
audience. A narrator is a personal character or a non-personal voice that the creator of the story
develops to deliver information to the audience, particularly about the plot. The voice actor who
plays the narrator is responsible for performing the scripted lines assigned to the narrator.

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In traditional literary narratives (such as novels, short stories, and memoirs), narration is a
required story element; in other types of (chiefly non-literary) narratives, such as plays,
television shows, video games, and films, narration is merely optional.[citation needed]
Commercial
One of the most common uses for voice acting is within commercial advertising. The voice actor
is hired to voice a message associated with the advertisement. This has different subgenres;
television, radio, cinema, and web-advertising. The subgenres are all different styles in their own
right. For example, television commercials tend to be voiced with a narrow, flat inflection
pattern (or prosody pattern), whereas radio (especially local radio) commercials tend to be voiced
with a very wide inflection pattern in an almost over-the-top style.
Translation
Dub localization is a type of voice-over. It is the practice of voice-over translation altering a
foreign language film, art film or television series by voice actors.
Voice-over translation is an audiovisual translation technique, in which, unlike in Dub
localization, actor voices are recorded over the original audio track, which can be heard in the
background. This method of translation is most often used in documentaries and news reports to
translate words of foreign-language interviewees.
Automated dialogue replacement
Automated dialogue replacement (ADR) is the process of re-recording dialogue by the original
actor after the filming process to improve audio quality or reflect dialogue changes (also known
as "looping" or a "looping session"). ADR is also used to change original lines recorded on set to
clarify context, improve diction or timing, or to replace an accented vocal performance. It is also
called "post-synchronization" or "post-sync".
Automated announcements
Voice artists are also used to record the individual sample fragments played back by a computer
in an automated announcement. At its simplest, each recording consists of a short phrase which
is played back when necessary. Automated announcements can also include on-hold messages
on phone systems and location-specific announcements in tourist attractions

Continuity announcer

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A continuity announcer is a certain announcer who is seen or heard in TV during continuity,
i.e. between shows, to bridge the gap and give the viewer some information about what is to
come next. The continuity announcer reads up on the programmes and present them to the
viewers in a factual tone, sometimes also telling what is coming the next day or on other
channels, if the other channels belong to the same broadcasting company.
Sports commentator
In sports broadcasting, a sports commentator (also known as sports announcer, sportscaster
or play-by-play announcer) gives a running commentary of a game or event in real time,
usually during a live broadcast, traditionally delivered in the historical present tense. The
comments are normally a voiceover, with the sounds of the action and spectators also heard in
the background. In the case of television commentary, the commentators are on screen rarely if
at all during the event (although they may appear on camera at the start or near the end of the
broadcast).
Types of commentators
Main/play-by-play commentator
The main commentator, also called the play-by-play announcer or commentator in North
America, or lap-by-lap commentator in the case of motorsports coverage, is the primary speaker
on the broadcast. They are valued for their articulateness and for their ability to describe each
play or event of an often fast-moving sporting event. Because of their skills, some commentators
like Al Michaels in the U.S., David Coleman in the UK and Bruce McAvaney in Australia may
have careers in which they call several different sports at one time or another. Other main
commentators may, however, only call one sport.
Analyst/color commentator
The analyst or color commentator provides expert analysis and background information, such as
statistics, strategy on the teams and athletes, and occasionally anecdotes or light humor. They are
usually former athletes or coaches in their respective sports, although there are some exceptions.
The term "color" refers to levity and insight provided by analyst. The most common format for a
sports broadcast is to have an analyst/color commentator work alongside the main/play-by-play
announcer.
Although the combination of a play-by-play announcer and a color commentator is standard as of
2014, in the past it was much more common for a broadcast to have no analysts and just have a

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single play-by-play announcer to work alone. Vin Scully, longtime announcer for the
Brooklyn/Los Angeles Dodgers baseball team, was one of the few examples of this practice
lasting into the 21st century until he retired in 2016.
Sideline reporter
A sideline reporter assists a sports broadcasting crew with sideline coverage of the playing field
or court. The sideline reporter typically makes live updates on injuries and breaking news or
conducts player interviews while players are on the field or court because the play-by-play
broadcaster and color commentator must remain in their broadcast booth. Sideline reporters are
often granted inside information about an important update, such as injury, because they have the
credentials necessary to do so. In cases of big events, teams consisting of many sideline reporters
are placed strategically so that the main commentator has many sources to turn to (for example
some sideline reporters could be stationed in the dressing room area while others could be
between the respective team benches).
Sports presenter/studio host
In British sports broadcasting, the presenter of a sports broadcast is usually distinct from the
commentator, and often based in a remote broadcast television studio away from the sports
venue. In North America, the on-air personality based in the studio is called the studio host.
During their shows, the presenter/studio host may be joined by additional analysts or pundits,
especially when showing highlights of various other matches.
Sportscaster
In North American English, sportscaster is a general term for any type of commentator in a
sports broadcast. It may also refer to a sports talk show host or a newscaster covering sports
news.

Announcing/Introduction
What is announcing?
Before we can clearly discuss any concept, we need to define it. That sounds easier than it
actually is. Defining any concept involves some risk that someone might disagree with your
definition. Define a term too narrowly, and you're likely to miss something important. Cast your
net too widely, and you're likely to include things that probably should be considered something
else.

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So it is with the terms "announcer" and "announcing." What is the first thing you think of when
you hear the term "announcer?" A disc jockey on the radio? Perhaps a television news anchor?
Maybe a sportscaster calling the play-by-play of an athletic competition? Or someone providing
the "voiceover" for a commercial message?
Announcing is the professional practice of vocally communicating messages to an audience
through broadcast media. And by extension, an announcer is someone engaged in this
profession, for love or for money (and hopefully both).
Let's expand upon the seven components of this definition:
1. ...professional... Announcing is not just a "job" that anyone can do. Announcing is a
profession: an occupation that demands specialized skills and unique talents. Indeed, it's
not uncommon to hear people in the industry refer to announcers as "talent." For that's
what the announcer has that others are willing to pay for: talent. That doesn't mean
announcers make a lot of money (although a few make quite a bit). But it does mean that
announcers are able to do something others are willing to pay for. And as in other
professions, announcing has its own associations and unions dedicated to protecting and
enhancing the profession, like AFTRA, the American Federation of Television and Radio
Artists. Some announcing specialties have professional ethical codes that seek to
establish professional standards, such as the Radio and Television News Directors Code
of Ethics. So while announcing can be fun, it's not something people usually do just for
the fun of it. Announcing is a career choice that most announcers take quite seriously.
2. ...practice... Because skillful announcing requires talent, announcing is a practice as well
as a profession. Announcers are continually practicing their craft, trying to make the most
of their talents. Although some announcers may be blessed with a naturally pleasant
voice or an attractive appearance, most announcers find they must work hard to develop
and maintain their "on-air presence." A nice smile and "good pipes" won't get you very
far if you don't know how to use them. So announcers practice; they practice how they
sound on a microphone, how they appear on a camera, and how they interpret and deliver
messages. Announcing is a very competitive field; only a few make it to the top of their
profession. Those that do, know that becoming a successful announcer takes practice, and
typically, a lot of it.

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3. ...vocally... The voice is perhaps the announcer's most valuable asset. It is the primary
"tool" announcers use to convey messages to an audience. While announcers don't
necessary have to have a "beautiful" voice, announcers must be able to effectively use
their voices, sometimes for long stretches at a time. The voice is important for performing
on both radio and television: whether an announcer is behind a microphone or in front of
a camera, it is the voice that carries most of the "content" of a message. That doesn't
mean that announcers don't need to know how to communicate in other ways; some
announcing jobs require writing as well as speaking skills, some give considerable
attention to physical appearance, and some require specialized knowledge in a particular
area, like popular music, current events, or sports. But all announcers use their voices,
and vocal quality is often what distinguishes the most successful announcers.
4. ...communicating... Fundamentally, an announcer's job is to communicate. Announcers
just doesn't read words out loud; they use their skills and talents to effectively
communicate the meaning of those words. If the message an announcer is trying to
convey isn't successfully communicated, the announcer has failed to do what he or she is
being paid to do. Announcers should thus possess a solid understanding of the process of
communication in order to organize, synthesize and present information in a compelling
manner. Many announcers have advanced training in public speaking, rhetoric and
communication studies. But regardless of their academic credentials, successful
announcers demonstrate they know how to effectively communicate. Because
communication is the fundamental purpose of what they do.
5. ...messages... The meaningful content of what announcers seek to communicate is
embedded in the messages they communicate. Sometimes announcers are directly
involved in the writing of scripts, commonly called "copy" in industry lingo. Sometimes
announcers are asked to "ad lib" a message for a specific purpose. And sometimes
announcers are asked to quickly create messages that capture the essence of a news story
or a sporting event. But regardless of whether they are involved in creating the messages
they convey, announcers must be able to interpret, understand and communicate the
meaning of those messages. Announcers "breathe life" into these messages, using their
talent to convert simple words into an engaging message.

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 6. ...audience... Ultimately, the success of an announcer is dependent on the audience. You
can't communicate a message if no one listens to it. And announcers typically don't have
captive audiences; they rely, at least in part, on the power of personality to attract
listeners and gain and maintain their attention. Put another way, announcers try to be
people other people want to listen to (and perhaps look at). Announcers are often
assessed by how well the audience responds to them, which is typically measured in
audience ratings. It may seem unfair, but many announcers live or die by the ratings.
They must use their talents to attract and "connect" with the target audience...and keep
them coming back for more.
7. One of the announcer's primary tools is the microphone.
Most people equate the term "broadcasting" with "over the air" radio and television.
Certainly the term "broadcast media" includes radio and TV. But in a more general sense,
broadcast media can include any technology that extends the power of the human voice to
"cast broadly," that is, to "cast" (convey) messages to a "broad" audience. That could
include technologies for sending audio and video signals over cable systems, via satellite,
or over the internet. It could include technologies used to record and playback
prerecorded messages. I would even include public address systems, such as that used by
announcers at sports stadiums, race tracks and night clubs. Of course, using the term
"broadcast media" in such a general fashion does stretch its meaning a bit, but does so in
a way the more completely captures the variety of technologies used by announcers.
Announcing specializations
While people who practice this profession can be called announcers, most prefer to use a more
descriptive title to describe what they do. As a result, not everyone in the announcing profession
likes to be called an announcer. There are some good reasons for this. One reason is that the term
"announcer" is often associated with radio and television, and not everyone in the announcing
profession works in radio and television (although most probably do at some point in their
careers). Another reason is that the term "announcer" has come to be associated with the reading
of scripts, and not everyone in the announcing profession reads scripts. Another reason is that the
term "announcer" sounds rather dated and "old-fashioned." But perhaps the biggest reason is that
some people hold a somewhat negative stereotype of announcers. For some, the term
"announcer" implies a person who is in love with the sound of their own voice, is probably a bit

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pompous, and uses an overly polished and somewhat artificial tone of voice. Even though the
vast majority of those who work in the announcing profession don't fit this unfair stereotype,
there is just enough of a subtle stigma attached to the word "announcer" that most professionals
prefer to use a more specific term.
And there are plenty of more specific terms to go around. Here are a few:
 Disc Jockey Many announcers prefer to use the term disc jockey, especially if they
primarily announce recorded music on radio. The term reflects the adroit handling of
phonographic discs that once was a required part of the job.
 Radio Personality Some disc jockeys specialize in providing entertaining and often
humorous banter between selections. Sometimes called "radio personalities," these
announcers often talk more than they play music.
 Radio Journalist Those who work in radio news often must wear multiple hats, serving
as field reporter, news writer, audio producer and studio anchor.
 Television Newscaster Television journalists tend to have narrower job descriptions than
do their counterparts in radio news. The title "newscaster" is typically reserved for those
who routinely appear on a news program. The primary newscasters on a program are
typically called "anchors."
 Voice Artist These announcers often specialize in providing character voices, such as the
voices for characters in animated films. However, many people use the term "voice artist"
in a more general sense to apply to anyone who uses their voice in an "artistic" manner.
 Voiceover Talent Many announcers work at providing the voices you hear on
commercials, station promos and public service announcements. The term comes from
the fact that only the announcers' voices appear "over" the video. If an announcer appears
on camera, the term "on-camera talent" or "spokesperson" might be used.
 Sportscaster An announcer who specializes in sports broadcasting is often called a
sportscaster, although there are a number of more specialized titles as well. An announcer
who "calls the action" of a sporting event is typically called a "play-by-play announcer,"
while an announcer who provides commentary between plays is called a "color
commentator."
 Club DJ This is a general term for an announcer who primarily works at a nightclub,
dance hall or disco. Because most radio announcers no longer play discs, the terms "Disc

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 Jockey" and "DJ" are increasingly used to refer to announcers who primarily "spin
music" in a public setting.
 Public Address Announcer Most public sports venues, including baseball parks,
football fields and racetracks, hire announcers to make announcements during an event.
Sometimes these announcements are also broadcast (such as the racing call of the "track
announcer").
 Program Host Many programs, like game shows, talk shows and some "reality TV"
programs, use announcers as hosts or to supplement the hosts. Most game shows, for
example, include both on-camera hosts and off-camera announcers.
 Narrator Some announcers specialize in providing narrations for documentary films and
educational videos. Some specialize in reading literary texts as audiobooks. Here's one
area of announcing that clearly bridges that "fuzzy line" between announcers and actors
noted above.
INTONATION AND ITS FUNCTIONS
Intonation helps to recognize the language that you hear in the same way as the melody of a song
helps to recognize the song that you hear. Key components of Intonation is based on several key
components: Pitch, Sentence stress, Rhythm.
Pitch is the degree of height of our voice in speech. Normal speaking pitch is at midlevel.
Intonation is formed by certain pitch changes, characteristic of a given language.
Sentence stress makes the utterance understandable to the listener by making the important
words in the sentence stressed, clear and higher in pitch and by shortening and obscuring the
unstressed words. Sentence stress provides rhythm in connected speech.
An important feature of English intonation is the use of an intonational accent (and extra stress)
to mark the focus of a sentence. Normally this focus accent goes on the last major word of the
sentence.
Functions of intonation. Attitudinal functions, Accentual functions, Grammatical functions and
Discourse functions.
ATTITUDINAL FUNCTIONS: Allow us to express emotions: finality, confidence, interest,
surprise, doubt, joy, pain, irony, etc.
ACCENTUAL FUNCTIONS: When it is said that intonation has accentual function, it implies
that the placement of stress is somewhat determined by intonation.

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GRAMMATICAL FUNCTIONS: The listener is better able to recognize the grammar and
syntax structure of what is being said by using the information contained in the intonation. For
example such things as: A - The placement of boundaries between phrases, clauses and
sentences. B - The difference between questions and statements.
THE DISCOURSE FUNCTIONS OF INTONATION: Intonation can signal to the listener what
is to be taken as “new” information and what is already “given”. It can indicate when the speaker
is indicating some sort of contrast or link with material in another tone unit. In conversation it
can convey to the listener what kind of response is being expected from him.

Types of English intonation

In general, linguists distinguish several main types of English intonation. The two basic types
are: falling intonation and rising intonation. Other main types of intonation include: high fall,
low fall, fall-rise, high rise, midlevel rise, low rise.
Falling Intonation is the most common type of standard unemphatic intonation in English. It is
used for asking and giving information in normal, quiet, unemphatic style. Sounds more
categorical, confident and convincing than rising intonation.
Standard patterns: Falling intonation is used on the last stressed syllable of the sentence in:
Statements (declarative sentences): We live in MOScow. He doesn’t have a CAR. Special
questions: Where do you LIVE? Commands (imperative sentences): STOP it! Sit DOWN.
Exclamatory sentences: What a wonderful surPRISE! The last part of alternative questions (after
“or”): Do you want /TEA or COFfee? Tag questions (When we the speaker is sure that the
answer will be “yes ” ): You LIVE here, DON’T you? (The speaker is sure and expects the
answer “yes”.)
Rising Intonation in English is a pretty complicated phenomenon. It can express a number of
various emotions, such as: non-finality, surprise, doubt, interest, politeness, lack of confidence.
Rising intonation in English is very different from rising intonation in Russian. Standard rising
intonation in English first goes down a little and then up, and doesn’t go as high as the rise in
Russian does.

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Standard patterns. Rising intonation is used in: General questions: Was she glad to /SEE him?
Dependent or introductory parts of sentences: If he /CALLS, ask him to COME. The first part of
alternative questions (before “or”): Would you like an /APple or a PEAR? Direct address: /SIR,
you dropped your NOTEbook. Enumerating items in a list: She bought / bread, / cheese and
toMAtoes. Tag questions (When we the speaker is not sure that the answer will be “yes” or
wants your opinion): It’s a beautiful TOWN, /ISN’T it? (The speaker thinks that the town is
beautiful but asks for your opinion and confirmation.)

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There are several tools of delivery which can either make or mar the message.

i) Presentation skill. Work on your voice, breathing and gestures.

ii) Research skill. You must keep up to date on current issues at all time.
iii) Interview skill. Have interpersonal skills to put the guest at ease encourage them to
contribute.
iv) Flexibility. Be ready to react quickly and calmly too.
v) Technical skill. You must be familiar with production techniques. The program directors,
sound engineer, camera operator and the control room team.

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The checklist below, if well answered, will help you understand your voice and personality
and will be a pointer to whether you will make a good broadcast announcer.

ANNOUNCER SELF-EVALUATION CHECKLIST

Name: _______________________ Date: __________
Read each statement and indicate how frequently that statement applies to your individual
situation.
S/ CONSIDERATIONS ALWAYS OFTEN SOMETIMES SELDOM NEVER
N 5 4 3 2 1
1 I speak with a
pleasant voice.
2 I smoke.

3 I am interested in
many things.
4 I run out of air when
I speak.
5 I utilize correct
grammar when I
speak.
6 I speak with a
regional accent.
7 I am a responsible
person
8 I pronounce words
correctly.
9 I feel I have to strain
to produce vocal
sounds.
10 I am able to handle
stressful situations.

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11 I get plenty of rest at
night.
12 I speak with vocal
variety (don’t sound
monotone).
13 I speak utilizing my
lower register or
pitch
14 My voice sounds
“creaky” or “dry”.
15 I have a perfectionist
attitude.
16 My voice is “weak”
or difficult to
understand.
17 I am in good physical
condition or health.
18 I am able to complete
assignments on
deadline.
19 I speak with vocal
fillers (“um,” “uh,”
“like,” etc.).
20 I speak with an
obvious problem
(lisp, stutter, etc.).
21 I am confident if
using broadcast
equipment.
22 My voice is “raspy”
or “hoarse”.

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 23 I have a conservative
appearance (hair
length, clothing,
etc.).
24 I sound
conversational (rather
than “reading” or
“saying
lines”).
25 My voice is “clear”
or “resonant”.
26 I have good posture,
both sitting and
standing.
27 My voice is “shrill”
or “harsh”.
28 I am willing to work
“as long as it takes”
to complete a
project.
29 I have an attractive
appearance (well-
groomed, no obvious
physical defects,
etc.).
30 When I speak, I seem
enthusiastic

For all other statements, just add up the numerical score of the column you checked. The higher
your total score, the more likely you are to become a good announcer

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MICROPHONE FRIGHT AND WHY BROADCAST PERFORMERS GET IT
mic fright is nothing more than a mild case of anxiety that many announcers experience when
called on to perform in front of an audience. On the other hand, it can be nervousness so severe
that the broadcast announcer can’t even communicate with his or her audience! It occurs just at
that moment when you open the studio microphone or when you are cued that you are on-air, and
it doesn’t matter if you’re in front of an audience or if you’re all alone in a studio. If you
experience a dry mouth, slightly trembling hands, a sweaty brow, or ‘‘ butterflies ’ ’in your
stomach, you’ve got a case of mic fright.
Some broadcast performers feel that a small amount of mic fright can actually help your
announcing as the adrenaline rush ‘ ‘ pumps you up ’ ’and this extra energy leads to a better
performance. While this may be true for a few people, mic fright, even a mild case, more often
has a negative impact on your performance. The nervousness associated with mic fright often
raises the pitch of your voice and, as was noted previously, lower-pitched voices are preferred
for broadcast performance. You might also fi nd yourself running out of breath, having to gulp
for air before reaching the end of a sentence or other appropriate breathing spot. Mic fright often
makes the performer lose focus and read too quickly or slowly or speak too softly. Extreme mic
fright can cause a performer to ‘ ‘ freeze ’ ’and not be able to perform at all.
Most instances of mic fright are caused by one, or a combination, of these four situations: 1)
disliking one’s voice, 2) fearing failure, 3) being inexperienced, and 4) being unprepared

OVERCOMING MIC FRIGHT

Here are 25 ways to overcome microphone fright:
1. Prepare and practice your material in advance
2. Know your audience and tailor your performance to them
3. Visualize a successful performance
4. Take deep breaths to calm your nerves
5. Use relaxation techniques such as meditation or yoga
6. Exercise regularly to reduce stress and anxiety
7. Get a good night's sleep before your performance
8. Eat a healthy meal before your performance

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 9. Avoid caffeine and other stimulants
10. Wear comfortable clothing that makes you feel confident
11. Focus on the message you want to convey rather than on yourself
12. Make eye contact with the audience to connect with them
13. Smile and use positive body language
14. Use humor to break the ice and connect with the audience
15. Use props or visual aids to enhance your presentation
16. Record yourself practicing and listen for areas of improvement
17. Seek feedback from others to gain perspective
18. Practice deep breathing and muscle relaxation exercises
19. Use positive self-talk to boost your confidence
20. Remember past successful performances to boost your confidence
21. Learn from past failures and use them as opportunities for growth
22. Don't aim for perfection, aim for improvement
23. Take breaks during long performances to rest and regroup
24. Don't rush through your performance, take your time and stay focused
25. Reward yourself after a successful performance to reinforce positive feelings.

CAMERA PANIC
It is a queasiness that occurs just before a performance when the camera tally light comes on or
when the talent is cued that he or she is on the air. Like mic fright, camera panic can range from
mild to wild. For many performers, it is a stronger feeling than mic fright because television adds
the element of being seen as well as being heard. There is a sense of anonymity in radio that
offers some comfort, whereas the camera removes any barrier between the performer and
audience. Further, fear of failure is strong for television performers because nobody wants to
make fools of themselves when everybody can see them. On television, you must be concerned
with not only your actual performance (for example, reading the script properly) and your
general appearance, but also your posture, your movements, your facial expression, your attire,
and so on. A flop in any area can play on your anxiety about failure. Of course, being
inexperienced and unprepared will cause camera panic, just as it will cause mic fright. Beginning
performers can be overwhelmed by television. The lights and cameras in the studio and the crew

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members necessary for the production process all add to the distraction. However, with practice
in this environment it becomes easier and easier. Use every opportunity available to get camera
practice. This is the surest way to get over the discomfort. Work on keeping your concentration
up and your focus on the task at hand. Adequate preparation is necessary for broadcast talent and
will lessen any chance of camera panic or mic fright that comes from not being ready to go.
Because the visual element is so dominant in television, a cause of camera panic can be a dislike
of one’s appearance. However, if you apply all the things covered in this text, you have no
reason to worry. Proper dress, posture, preparation, and delivery will make you look like a pro.
Doing those things will likely mean that you are the only one uncomfortable with your
appearance. Occasionally, nearly all broadcasters encounter situations in which they are unsure
of, or disturbed by, the circumstances they are covering, and feel off balance. Keeping your poise
and letting your professionalism and experience take over will go a long way toward getting you
through a difficult time

OVERCOMING CAMERA PANIC

1. Practice, practice, practice. The more you practice, the more comfortable you will
become.
2. Start with simple tasks to build your confidence.
3. Learn your script or talking points thoroughly to avoid stumbling over your words.
4. Take deep breaths and use relaxation techniques to calm your nerves.
5. Visualize success before filming or taking photos.
6. Focus on your breath and the present moment.
7. Use positive self-talk to build your confidence.
8. Wear clothing that makes you feel confident and comfortable.
9. Choose a location that feels safe and familiar.
10. Use props or visual aids to help guide your performance.
11. Take breaks as needed to rest and recharge.
12. Use humor to help ease tension and connect with your audience.
13. Focus on the message you want to convey rather than on yourself.
14. Get feedback from others to improve your performance.
15. Practice in front of a mirror or record yourself to see how you look and sound.

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 16. Use eye contact to connect with your audience.
17. Have a backup plan in case something goes wrong.
18. Prepare for unexpected situations, such as technical difficulties.
19. Use positive affirmations to build your confidence.
20. Remember that mistakes are normal and everyone makes them.
21. Seek support from friends, family, or a therapist if needed.
22. Focus on what you have control over and let go of what you can't control.
23. Remember to have fun and enjoy the experience.
24. Practice gratitude to shift your mindset to a positive one.
25. Remember that you are not alone and many people experience stage fright.

20 GUIDELINES FOR BEING THE PERSON IN FRONT OF THE CAMERA

1. Practice good posture and body language to appear confident and engaging.
2. Dress appropriately for the occasion and make sure your clothes fit well and are
comfortable.
3. Wear minimal jewelry and accessories to avoid distracting from your message.
4. Use makeup and hair styling that is natural and enhances your features without being
distracting.
5. Avoid wearing clothing with distracting patterns or colors that may detract from your
message.
6. Speak clearly and at an appropriate volume for the camera and microphone.
7. Avoid filler words such as "um" and "ah" and practice speaking without them.
8. Maintain eye contact with the camera to connect with your audience.
9. Avoid fidgeting or moving excessively, as it can be distracting.
10. Use hand gestures to emphasize key points and make your presentation more engaging.
11. Smile and use facial expressions to convey emotions and connect with your audience.
12. Be mindful of your body language and avoid crossing your arms or legs, which can
appear closed off.
13. Use pauses to emphasize key points and give your audience time to absorb information.
14. Avoid distractions such as looking off camera or checking your phone during filming.
15. Stay hydrated and avoid foods that may cause bloating or discomfort.

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16. Be well-rested and avoid excessive caffeine or other stimulants that may cause jitters or
nervousness.
17. Practice your presentation or performance in advance to build confidence and familiarity
with the material.
18. Listen to feedback and be willing to adjust improve your performance.
19. Be yourself and allow your personality to shine through, as it can make your presentation
more relatable and engaging.
20. Remember to have fun and enjoy the experience, as it can help you feel more relaxed and
natural in front of the camera.

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