Performance Coaching for Television News & Sports Talent

LOOKING GOOD IS NOT AN OPTION

It’s still not unusual for clients to ask us, “Shouldn’t viewers be more focused on what I have to say than how I look? If my content is significant, why does my appearance matter?”

Screen Shot 2016-04-19 at 2.45.38 PM

We understand the frustration. Most of the anchors and reporters we work with did not pursue a career in journalism to spend lots time and energy focused on personal style and color choices. But, those choices have a significant impact on the viewers’ ability to focus and concentrate on you, as well as what they think about you as a person and how well you do your job.
Because the brain processes what it sees so quickly, you generally cannot separate what you do from how you look doing it.  Human beings are hard-wired to subconsciously make quick and lasting judgements based on what they see. This means that any judgement of you and perception of the quality of your work begins with your appearance. It is, literally, your first line of appeal for viewer attention and approval.

Making Peace with the Medium

Even acknowledging the importance of appearance, there can still be frustration with the guidelines we recommend to people – no busy patterns, only solid colors, don’t wear these certain colors, try not to show a lot of skin, limited or no accessories, etc. “I get a ton of compliments when I wear this outside of work. I don’t understand why I can’t wear it on television,” is a common statement.

The reality is, even with dramatic advancements in picture quality, the most advanced cameras still have limited capabilities. The images they capture become distorted and appear differently on television than they do in person. Good guidelines exist for the purpose of minimizing any visual distractions that might limit the viewer’s ability to fully focus on the information being delivered.

Color Restrictions

Our eyes, specifically our optic nerves, are much more adept at exposure than even the most advanced of camera lenses.  Cameras have sensors that pick up on the predominate colors found in a shot and use them to create a baseline, or middle value, with which to judge how to expose every other color.  Because of this, the darkness or brightness of what you have on isn’t determined by how you see it, but by the exposure settings on the cameras shooting you.  So, that hot pink dress or tie that looks fun and cheerful in the bathroom mirror ends up screaming at viewers during their morning coffee and becomes the only thing they remember from that morning’s newscast.  Or that dark burgundy sweater that paired well with black pants reads as all black to viewers, making them wonder if you’ve just come from a funeral.

AppearanceMatter-Part1Notice how in the photo collage above, even the dresses that are the same color can look different in each individual photo.

No Patterns Please 

Small, intricate patterns, such as herringbone, houndstooth or pinstripes are no problem for the naked eye to discern but again, the sensors on a camera are not as sophisticated as the optic nerve.  These prints interfere with those sensors’ processing abilities and the result is what’s called a Moire Pattern.  In the image on-screen, the small details in the pattern begin to overlap each other and, for the viewer, it appears that the article of clothing is waving or swimming. That movement can fatigue the eyes and is a quick way to solicit a fast channel change.

You can see an example here.

Screen Shot 2016-04-07 at 2.37.06 PM

Minimal Reflection

Accessories and clothing items that have any kind of shiny finish –gemstones, polished metals, glass, sequins, etc. —  will generate a reflection when exposed to light. When hit by direct sunlight or professional studio lights, which can be incredibly bright and powerful, that reflection can become extremely intense – and very tiring to the eyes.  If you are moving and gesturing as aggressively as you generallyScreen Shot 2016-04-07 at 2.34.42 PM should be, the distraction can magnify and significantly diminish the resonance of your story. The glare flashes in and out of view as you move,
increasing the possibility that viewers will remember more about how you sparkled and less about what you had to say, if anything at all.

 

When viewers are freed from visual distractions and able to put their full focus and attention on you they begin to make immediate judgements about the type of person you appear to be.   Their feelings about your trustworthiness and intelligence level can be determined solely on what they see in the first few seconds of viewing you and how a viewer feels about you will be a defining factor is whether or not they continue to tune in from day to day.  Knowing how your appearance effects the psychological response of the people watching you is key to being sure that response is a lasting and positive one.

Next Time:  We will discuss even more specifically how your appearance directly influences what viewers think about you.

 

Our Team

Barry Nash

Barry has been coaching television news and sports talent at all levels since 1982. Every night around the world, millions of people get their news from anchors and reporters he has trained and consulted.

Tony Martinez

Tony is an award-winning journalist and a master coach. In addition to his extensive work with news and sports talent, he leads our work with Spanish-language newscasts and coaches MMJs.

Barrett Nash

Barrett is a performance coach and visual image specialist, She is an especially good resource when improving the look of your team is a priority.

Jonathan Knopf

Jonathan is a veteran newsroom manager and coach. He understands how much performance depends on the people who support it, and he works as effectively with producers and writers as he does with talent.

Jenni Steck

Jenni specializes in the development and care of the speaking voice. Contact her especially when you have concerns or questions about the way your talent sound and read.

Patty Pressley

Patty is our long-time office manager. When you have an administrative question for us, she'll have an answer.

WE COACH ONLINE

When you have an immediate need, we can respond faster than ever. When your resources are limited, we can work with your team without incurring travel expense. And if we are visiting your station regularly, we can followup more powerfully than ever before.

All you need on your end is a computer with high-speed internet access and a camera. We take care of the rest.
Contact us

COACHING FOR SPANISH-LANGUAGE TALENT

All of our services are also available of Spanish-language news and sports talent and for the news and sportscasts that they serve. Contact Barry Nash or our Spanish- language coach, Tony Martinez, for more information.
Contact us

LOOKING FOR TALENT?

Any search for talent should include a visit to Collective Talent, where agents and self- represented talent post updated resumes and reels. There's an important bonus: Let us know you found your new hire on CT and we'll review and coach your new team member for free!

WE’RE IN THE NEWS

February 3, 2016

The New Yorker Magazine sits in on one of Barry Nash's sessions with NFL Hall-of-Famer, Jerome Bettis.

By Barry Nash

ABOUT US

We are a team of coaches who specialize in the training and development of television news, weather and sports talent.

In all cases, our goal is to provide the resources talent need to achieve "Breakthrough Performance" -- delivery that engages the minds and hearts of viewers, demands their attention, and inspires their loyalty.

Contact us

WHERE WE WORK – AND PLAY!

When performance feedback is a priority on your end, we make it one on ours. Do send us an email, we'll take a look and come back to you confidentially without obligation.

Barry Nash & Company

Address : 2410 Farrington Street
Dallas, Texas 75207
Phone. 214.520-2000
Email: barry@barrynash.org