What 'Going to Cue' Really Means in Live Television News
A plain-words guide to cueing, the small signal that starts a live report, and why reporters and camera operators need to understand it before they ever go on air.
The word nobody explains on day one
Ask a newcomer on their first live shoot what happens when the gallery says 'cue', and you will often get a hesitant answer. The word is used constantly, yet it is rarely defined, because everyone around the van or the camera tripod already knows it. A cue is simply the signal that tells a person to start. It might be a hand movement, a spoken word in an earpiece, or a light on a monitor. What matters is that it arrives at a moment someone else has chosen.
On our Live Coverage Strategies workshops we spend time on this because the idea sounds trivial and then catches people out. A reporter who starts a half second early talks over the end of the studio introduction. One who starts late leaves dead air that feels much longer on screen than it does standing in a cold car park. Understanding cueing is the first step towards being steady when the pressure is real.
Who gives the cue and who receives it
There are usually two directions of cue in a live link. The gallery, or the producer working with it, cues the reporter and camera operator that the programme is coming to them. Then the reporter, in turn, often cues the camera operator, the person who will change the shot, or the person who will roll a pre-recorded package. Each of these is a handover, and each depends on someone listening closely rather than guessing.
The camera operator is part of this chain even though the audience never hears a word from them. They may be told to be ready on a wide shot, to push in when the reporter mentions a particular detail, or to hold still during a pause. Daniel, our Lead Camera Instructor, makes a point of letting operators practise being cued by a reporter they have not met, because that is how it usually works on a real job. The rule is the same for everyone: confirm what you heard before the moment arrives.
- The gallery cues the reporter to start
- The reporter cues the camera operator or the package
- Confirm every instruction before the clock runs down
Counting in, counting out
Alongside the cue sits the countdown. A producer might say 'in ten', then 'five', then count the last few seconds silently with fingers or simply say your name when you are live. The silent part surprises people. Once the final numbers are only shown by hand, you have to trust the signal and keep your breathing level, because the next sound you are expected to make is the first word of your report.
The same applies at the other end. 'Out' or 'wrap' means you finish your sentence cleanly and hold your position while the programme moves on, since the camera may still be on you. A reporter who relaxes the moment they think they are clear can end up pulling a face on air. We rehearse the full sequence, in and out, so that the ending feels as controlled as the opening.
Standby, stand by, and the pause between
Two near-identical phrases cause more confusion than any technical term. 'Standby' is the warning that your moment is close and you should be ready, with your notes put away and your eyeline set. 'Cue' is the moment itself. Treating them as the same thing is an easy way to begin speaking while the producer is still talking to the presenter.
Between standby and cue there is often a short pause that feels uncomfortable. People fill it by clearing their throat, shifting their feet or glancing at the lens. Our tutors encourage a different habit: use the pause to settle your shoulders, check that the first line is in your head, and let your face relax. Because the pause is predictable once you know it exists, it becomes useful time rather than empty time, and the first words come out more evenly.
- Standby means be ready, not start
- Cue means start now
- Use the gap to settle, not to fidget
When the cue does not come
Live work does not always run to plan. Sometimes the earpiece goes quiet, the studio overruns, or a breaking item pushes your report back. A reporter who only knows how to start on a clean signal can freeze in these moments. A better habit is to agree a fallback beforehand: who will wave you in if sound fails, and what you should do if you are told to extend your opening.
This is the heart of adapting during a live broadcast, and it is something we practise on location rather than in a quiet room. We stage small interruptions on purpose, such as a late cue or a changed running order, so that students feel the wobble in a safe setting. Afterwards we talk through what they noticed, what they did with their hands and voice, and what they would agree with the team next time.
Practising it before you need it
You do not need a van and a satellite link to get comfortable with cueing. Two people and a phone are enough. One acts as the gallery, the other as the reporter, and a third can hold the camera. Run the sequence from standby to out, swap roles, and notice how different each position feels. The person giving the cue learns how much a clear, calm voice helps, and the person receiving it learns to listen for the pattern rather than a single word.
Do this a handful of times in these autumn weeks, outdoors if you can, when the light changes quickly and the weather adds a little distraction. It is the kind of ordinary rehearsal that makes the real thing feel familiar. Our workshops build on exactly this, adding the pressure of timing and the unpredictability of a live event.
- Use a friend as the gallery voice
- Swap roles so you feel every position
- Rehearse outdoors when the light and weather shift
Cueing looks like a tiny detail, but it is where live work is held together. Know who gives the signal, know the difference between standby and cue, and keep an agreed plan for when the signal does not arrive. If you want to practise it with people who have worked on real live links, the Live Coverage Strategies workshops are built around exactly these handovers, in small groups and on location.