DCMF trains Libya Alhurra TV reporters

DCMF trains Libya Alhurra TV reporters

The DCMF has launched a television training programme to the future stars of Libya's media.


Moataz Terabulsi
The workshop was one of the best I have ever participated in.

Zaid Hadia Abdulla
I learned how to write news stories and what it takes to be a correspondent

Mohamed Yusri
Every minute of the workshop was valuable. The trainers were generous in providing us with theoretical and practical information. 

Khaled Khamis
I learned how to work with professionalism and accuracy.

Wael Ali
I learned to respect the roles of media profession.

Mohamed Ahmed
The workshop changed my perception of preparing reports in terms of time and method of delivery. 

Mohamed Neboot
I am lucky, because I was taught by senior professors in media field  during the workshop.

Khaled Rizq Al Hawaz
What we have learned in this workshop will help us build a free Libyan media

Yahya Ali Al Jabi
Thank you for your efforts.

Ahmed Zarooq
The workshop was very beneficial for me especially since I work in a news room.

Mohamed Ibrahim
The workshop improved my abilities in in technical issues.

Muataz Belseed
I learned a lot and I hope to complete the rest of the workshops.

Abd Al Hameed Husain
Thanks to the workshop, I can now convey the voice of the Libyan people to others

Ahmed Mohamed
I learned the basics of video editing and shooting as well as the internationally recognized terminology in reporting.

The Doha Centre for Media Freedom (DCMF) has completed a training workshop for Libyan journalists from

Libya Al Hurra TV channel titled ‘Multi-skilled Reporter and the Basics of TV Reporting.’

Fifteen TV reporters took part in the ten-day workshop that was held in Benghazi from December 10-20 under the supervision of media expert Hassan Rashidi.

The programme equipped reporters with packaging techniques and rules as practiced by leading international broadcasters.

Most sessions featured desk presentations which relied on tools of explanation and expositions to assure better assimilation by the trainees.

There were also practical exercises that tackled technical, editorial and behaviour-based aspects of journalism.

The training kicked off with a focus on TV as a news medium, comparing it with print, electronic media as well as radio. It also introduced the participants to the basic concepts of filming and video editing.

The video editing session dealt with issues including the arrangement of shots, cutting and adding and getting the right colour.

It also involved sound recording and all kinds of video editing like linear and non-linear editing and live editing.

In one of the sessions, journalists were trained on how to move the camera to better capture the story and improve the quality of the shot.

To this end a tripod camera was used to show the movements of Pan and Tilt, among other movement of the camera to a whole lot of other different directions.

Various kinds of shots, including wide, medium and close-up shots and how to use pictures for packaging and story writing in order to get a certain message across to the public were also studied.

Writing for films and the techniques that can make or break a story, attract or repel people away from it were discussed.

The training addressed the relation between the reporter and the cameraman and the responsibilities of each on the field. It also familiarised the participants with the tasks of field producers, sound and lighting technicians, filming director, director and the journalist reporter.

The workshop dealt extensively with the issue of pre-production and outlined stages:

• Looking for a news story that matters to the public.
• Finding the right approach to the story.
• Buttressing filed information with figures, statistics and other valuable information.
• Looking for filming sites relevant to the news story
• Making lists of the necessary shots and guests and then write down the interview questions.
• Making lists of logistics ( camera equipments, lighting, tapes, microphones fit for filming conditions, batteries, power extension, blank piece of paper, paper tissues, and all lessons learned from previous experience that help to avoid bad surprises).
Production Phase

Distinguishing Between Subjective and Objective Shots

•The importance of starting the story with a picture that attracts and captures the attentions of the viewers.
•Setting the camera in the right and angle and make sure that professionals are in charge of the lighting.
•Techniques of filming interviews and choosing the right frame relying on the middle line technique.
•Techniques of filming statements by people who do not want to appear on TV (with exercises.)
•Spontaneous filming of people's emotional reactions by using close-up shots. (with exercise).
•Voxpops filming techniques. (with exercises.)
•Cut-aways. (with exercises.)
•Make sure everything is OK with the sound and picture at the end of the interview and before the guest leaves.
•Numbering the used tapes.
Making a Shot-list and the Benefits of Time-coding

On paper (examples and exercise)

On tape (examples and exercise)

Ways of writing news stories

•Writing the text before film editing (pros and cons)
•Writing the story during film editing ( pros and cons)
•Writing the text after film editing (pros and cons)
•Wring for picture techniques (with exercises)
•Natural Sound improves the reception of the story.
The workshop wrapped up with debating field packages prepared by the trainees themselves.

The training showcased good and poor stories, debated and evaluated them. Then, the trainees were asked to split out into groups and write stories which they themselves have proposed. After that, they debated and evaluated them.


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