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What field reporting means in broadcast journalism
Field reporting is the core skill of broadcast journalism: leaving the newsroom to gather audio and video at the location of a story. Even in an era of remote working and social media, broadcast journalism retains its strength precisely because reporters go to where the story is and bring it back to audiences in sound and pictures.
Modern broadcast journalists are increasingly expected to be one-man-band (OMB) or solo reporters — shooting their own footage, recording their own audio, and often editing and filing from the field. The kit required is smaller and lighter than it was ten years ago, but the principles are unchanged: get clean audio, get telling pictures, get the story, and get it back to the newsroom on time.
The golden rule of field reporting: always wear headphones when recording. Audio problems caught at the scene can be fixed; audio problems discovered in the edit cannot.
Kit lists by format
Radio field kit
- Portable recorder: Zoom H5 or H6 (H1n for solo, lower budget)
- Microphone: directional dynamic (e.g. Electro-Voice RE50, Beyerdynamic M58)
- Lavalier mic for clean self-recording (Rode Lavalier GO)
- Closed-back headphones (Sony MDR-7506)
- Foam and furry windshields
- Spare batteries (AA) and USB power bank
- XLR cables (2x, 3m)
- Notepad and pen (always)
- Phone with mobile data for filing
Solo TV / OMB kit
- Camera: Sony PXW-Z90 or similar broadcast-grade camcorder
- Tripod (fluid head for smooth pans)
- Microphone: directional shotgun (e.g. Rode NTG-2) on top-mount
- Radio mic system for interview (e.g. Rode Wireless GO II)
- Headphones on camera for audio monitoring
- LED fill light (e.g. Aputure AL-MX) for indoor or low-light
- Spare charged batteries and charger
- SD cards (minimum 2x 64GB)
- Reflector for outdoor fill light
- Laptop or iPad for field editing if required
Red flags in field reporting
- Recording without headphones — you cannot verify audio quality without monitoring.
- Leaving a location without recording 30–60 seconds of room tone / atmosphere.
- Not checking battery levels before leaving the newsroom.
- Shooting a PTC in strong sunlight facing the sun — the reporter will be silhouetted.
- Not labelling recordings immediately (file name, location, subject, date) — you will confuse them in the edit.
- Using a phone for the interview and a separate recorder for room tone — audio quality will mismatch.
- Recording narration in a car with the engine running — the engine frequency is difficult to remove.
Field reporting checklist
- Kit is packed and checked before leaving the newsroom (recorder, mics, headphones, batteries, cables).
- I have confirmed the location and arranged interview access before travelling.
- Headphones are plugged in and audio level is monitored from the start of recording.
- All recordings are labelled immediately with location, subject, and time.
- I have recorded at least 30 seconds of room tone before leaving the location.
- I have checked my interview clips have clean in-words and out-words noted.
- I have recorded enough B-roll (TV: minimum 10 shots at varied distances and angles).
- My PTC is recorded with at least two clean takes — one for safety.
- I have filed or backed up recordings before leaving the scene (to cloud, phone, or hard drive).
- I have noted any access restrictions, copyright concerns, or consent issues for the editor.
Plan your field report
Use our pitch generator to plan your field report before you leave — including contributors, B-roll requirements, and package structure.
Open Pitch GeneratorCommon mistakes
- Under-shooting B-roll — always shoot more than you think you need; it costs nothing in digital.
- Recording narration in a location with distracting or inappropriate background sound.
- Not checking framing before recording a PTC — check the screen or viewfinder before pressing record.
- Forgetting to press record — confirm the recording indicator light is active before starting.
- Leaving location without a safety copy or backup of all recordings.
- Assuming the interviewee’s name spelling and title without confirming — always confirm for graphics and scripts.
- Not taking a contact number for every interviewee in case you need a follow-up or clarification.
Related guides
Interview techniques for broadcast
Open questions, usable clips, and managing interviewees.
Audio editing basics
Using your field recordings: cuts, levels, room tone.
Working with camera operators
When you have a crew: shot requests, framing, and B-roll.
Voice and presentation skills
Recording a clean PTC: technique and microphone basics.
Primary sources
Frequently asked questions
What is the minimum kit I need for solo radio field reporting?
For radio, the minimum viable kit is: a portable audio recorder (Zoom H1n or H5), a directional or cardioid microphone (many recorders have built-in mics adequate for interviews in quiet conditions), a pair of closed-back headphones (Sony MDR-7506 or similar), and spare charged batteries or a USB power bank. For outdoor recording, add a foam windshield and a furry windshield (a “dead cat”) for anything above light wind conditions. A padded carry case protects the recorder.
How do I frame my own PTC without a camera operator?
For solo PTC shooting: use a tripod and set the camera or phone to a medium close-up (head and shoulders, with some chest and background visible). The camera lens should be at eye level — not below (looking up at you) or above (looking down). Leave headroom (a small gap between the top of your head and the top of the frame) but do not leave too much. A remote shutter release or timer mode allows you to start recording and walk into frame if needed. Always record more than you think you need — you can cut; you cannot add.
Why is wearing headphones while recording non-negotiable?
Headphone monitoring is the only way to verify in real time that you are recording clean audio at the right level. Wind noise, handling noise, electrical interference, traffic, and equipment failure are all caught instantly on headphones — but can ruin an otherwise good take that you discover too late in the edit. The rule in broadcast is absolute: always monitor on headphones. No exceptions for quick clips, solo recording, or time pressure.
How do I deal with wind noise in outdoor recording?
Wind noise is one of the most common problems in outdoor field recording. In order of effectiveness: (1) use a furry windshield (“dead cat”) over your microphone at all times outdoors; (2) find a sheltered location — a vehicle, a doorway, a wall; (3) position yourself so the wind is behind the microphone rather than blowing directly into it; (4) ask your interviewee to stand close and keep the mic close to their mouth; (5) use a dynamic microphone (less sensitive to wind than a condenser). If wind noise is present on a recording, it is very difficult to remove cleanly in post-production.
What is room tone and why do I need to record it?
Room tone (also called atmosphere or atmos) is 30–60 seconds of the ambient sound of your recording location, recorded silently after your interviews and narration. Room tone is essential in editing: it provides a “bed” of consistent background sound that you can use to fill gaps between edits without creating jarring silences or abrupt changes in background noise. Without room tone, edit points can sound “clicky” or unnatural. Always record it before leaving a location.
Related guides
Primary sources
- BBC Academy — Filming and Audio in the Field— BBC
- BJTC — Broadcast Journalism Training Standards— BJTC
- Zoom Recorders — H5 and H6 Field Recorders— Zoom
- Rode Microphones — Field Recording Guides— Rode
- NUJ — Freelance and Safety Guidance— NUJ
- BECTU — Equipment Insurance and Member Resources— BECTU
- Royal Television Society — Technology and Production— RTS