Friday, 24 June 2011
Audio Report: The 10 Tools of Online Oppressors
via The Committee to Protect Journalists
In our special report, "The 10 Tools of Online Oppressors," CPJ examines the 10 prevailing strategies of online oppression worldwide and the countries that have taken the lead in their use. In this accompanying podcast, CPJ Deputy Director Robert Mahoney notes that these strategies range from sophisticated cyber-attacks to traditional brute-force techniques. Listen to the podcast on the player above, or right click here to download an MP3. (2:47)
Read CPJ's special report, "The 10 Tools of Online Oppressors."
In our special report, "The 10 Tools of Online Oppressors," CPJ examines the 10 prevailing strategies of online oppression worldwide and the countries that have taken the lead in their use. In this accompanying podcast, CPJ Deputy Director Robert Mahoney notes that these strategies range from sophisticated cyber-attacks to traditional brute-force techniques. Listen to the podcast on the player above, or right click here to download an MP3. (2:47)
Read CPJ's special report, "The 10 Tools of Online Oppressors."
Friday, 17 June 2011
Writing for Radio - The Basics
via The Association for Media Literacy
April 26, 2011
VIDEO PODCASTING WORKSHOP
Victoria Fenner
www.soundoutmedia.com
Good writing is good writing. Whether you’re writing for radio, print, TV or the internet, a lot of the same basics apply. Clarity, good organization of your thoughts and themes, and a vocabulary that your listeners/readers/viewers will understand are all important.
But there are a few things which are specific to the medium of radio because of its unique nature:
1.) Unlike print, radio listeners can’t go back to the part they’ve missed. It has to be clear the first time, because there is no second chance.
2.) Unlike TV, there are no pictures to reinforce your words. That means your script has to do all the describing. It also has to grab the listener’s attention. You can’t back into the main point. You have to get to it quickly without a long preamble.
3.) Unlike Internet, it’s not available for weeks at a time. You have one, and only one, opportunity to make an impact.
4.) Radio is conversational. Think of the most boring speech you have ever attended. For starters, the presenter probably read it. And it probably sounded like a term paper, full of jargon and long-winded sentences. Does anybody really talk like that?
5.) Radio is personal - you’re talking to one person at a time. That’s why your writing has to sound like it is “talked”, not read. Example - why lectures don’t work on radio. the script doesn’t exist all by itself. It must be written to be performed.
6.) Radio writing has to be tight and clear. that’s why radio stories are usually short - listeners will stop listening if they hear the same voice endlessly.
April 26, 2011
VIDEO PODCASTING WORKSHOP
Victoria Fenner
www.soundoutmedia.com
Good writing is good writing. Whether you’re writing for radio, print, TV or the internet, a lot of the same basics apply. Clarity, good organization of your thoughts and themes, and a vocabulary that your listeners/readers/viewers will understand are all important.
But there are a few things which are specific to the medium of radio because of its unique nature:
1.) Unlike print, radio listeners can’t go back to the part they’ve missed. It has to be clear the first time, because there is no second chance.
2.) Unlike TV, there are no pictures to reinforce your words. That means your script has to do all the describing. It also has to grab the listener’s attention. You can’t back into the main point. You have to get to it quickly without a long preamble.
3.) Unlike Internet, it’s not available for weeks at a time. You have one, and only one, opportunity to make an impact.
4.) Radio is conversational. Think of the most boring speech you have ever attended. For starters, the presenter probably read it. And it probably sounded like a term paper, full of jargon and long-winded sentences. Does anybody really talk like that?
5.) Radio is personal - you’re talking to one person at a time. That’s why your writing has to sound like it is “talked”, not read. Example - why lectures don’t work on radio. the script doesn’t exist all by itself. It must be written to be performed.
6.) Radio writing has to be tight and clear. that’s why radio stories are usually short - listeners will stop listening if they hear the same voice endlessly.
Friday, 10 June 2011
Performance Tips for Budding Podcasters
via The Association for Media Literacy
April 26, 2011
VIDEO PODCASTING WORKSHOP
Victoria Fenner
www.soundoutmedia.com
copyright 2008
The Day Before Your Studio Date:
1.) Start by doing some deep breathing. Practice breathing deep into your diaphragm just like you would do if you’re a singer or play a wind instrument. Sit comfortably, but upright, shoulders back. Best to sit on a hard chair – softer furniture will compress your rib cage.
2.) Read through your script. Out loud. Several times until you are comfortable with the meaning and the flow of the words.
3.) Familiarize yourself with the words. Notice where you pause, where you take a breath. If you stumble over a sentence more than once, practice it. If you still stumble, note how you would change the sentence so it flows better with your voice (maybe breaking up a longer sentence into two parts. Or substituting another word).
4.) Breathe.
5.) Make note of any difficult words (foreign pronunciations etc.) To help you, your producer can write the word phonetically in your script – for example, Solzhenitsyn would be written “soulz-hen-EET-zen). Practice the difficult words.
6.) Some announcers mark the breaths, pauses and emphases in their copy. Mark a short pause with a diagonal “/”, longer pauses with a double diagonal “//”. Mark importants words you want to emphasize by underlining them – the thicker the line, the stronger the emphasis.
7.) Breathe.
8.) If your script is shorter, try memorizing what you are going to say. (Acting experience comes in very handy when you’re doing this kind of work). That way, you’ll be able to “talk” your performance when you go into the studio, rather than “read” it.
9.) If your script is long, it won’t be feasible to memorize it. Practice scanning a paragraph, then lifting your eyes from the page. Learn to use your script as a guide, rather than being dependent on it word for word.
10.) If you have access to a recorder, record and listen to yourself a couple of times. Have a friend listen. Critique yourself. What is your emotional tone? If you are reading a newscast, strive for authoritative, but accessible and friendly. If you are doing an entertainment feature, you can have even more of a smile in your voice.
Studio Day
1.) Arrive 15 minutes early. Relax until your producer and sound tech arrives.
2.) Once they arrive, they’ll let you into the studio. The technical operator and producer(s) will be in the control room, looking at you through the glass. You will be connected to them through headphones, which they will use to direct you.
3.) Take your time to settle in, go over your script. Some performers do vocal warmups (singing a bit helps, as do yoga stretches). Don’t worry about looking silly – you’re the talent, so do what you need to do to relax and warm up. While you’re warming up, they’ll be busy setting up the audio equipment, so they won’t even notice what you’re doing anyway.
4.) Check out any script changes (as above) with your producer. Get her/his okay – most of the time it will be okay but sometimes a word change can change the meaning of a sentence. So best to make sure.
5.) Make sure you have a glass of water next to you.
6.) Read over your script once .. or maybe twice. But not more than that … that way, you’ll sound fresh and not like you’ve been over it many times.
7.) Relax, but be alert. Sit up straight. Breathe.
8.) Remember. This is fun.
9.) The producer and tech will let you know when they’re ready. The tech will come in and tell you how far to sit from the microphone. S/he’ll ask you for a voice level … speak the way you plan to speak when you’re performing. Normal volume. The tech will set the sound levels based on this test.
10.) Your producer will be able to talk to you in your headphones. S/he will also have a set of very simple hand signals too.
11.) Don’t worry if you start a sentence or a paragraph and have to start again. It will happen many times and will be edited after the fact. Your producer will also interrupt you if s/he wants you to redo a sentence, paragraph or part of a paragraph. Sometimes s/he will ask you to try a different emotional tone, or emphasize a different word … or maybe there’s a word that was mispronounced that you didn’t catch (happens all the time).
12.) Relax.
Tip: Remember to lift your eyes from your script. Look at the two people in the control room frequently. Establish eye contact. “Talk” the script to them. That way, your listeners will also get the sense that you are talking to them. The producer and sound engineer will be giving you their undivided attention befitting your position as a star. The goal is to do whatever is necessary to be the best you can be (short of bringing in a case of expensive imported spring water from an obscure mountain in the Himalayas .. but when you get good enough, you can always ask).
After the recording is done:
Your producer will take all of the sound files, choose the best takes, and edit out all the extraneous material in the studio. In some cases, s/he might add a musical track or sound effects. If there are audio clips, they will be added after the fact.
All that will be left is for you to wait for the final version.
If they’ve done their job right (and they will) .. you will love what you hear. Even when you say “I don’t really sound like that, do I?” Yes, you do. And everybody else will think you sound great.
April 26, 2011
VIDEO PODCASTING WORKSHOP
Victoria Fenner
www.soundoutmedia.com
copyright 2008
The Day Before Your Studio Date:
1.) Start by doing some deep breathing. Practice breathing deep into your diaphragm just like you would do if you’re a singer or play a wind instrument. Sit comfortably, but upright, shoulders back. Best to sit on a hard chair – softer furniture will compress your rib cage.
2.) Read through your script. Out loud. Several times until you are comfortable with the meaning and the flow of the words.
3.) Familiarize yourself with the words. Notice where you pause, where you take a breath. If you stumble over a sentence more than once, practice it. If you still stumble, note how you would change the sentence so it flows better with your voice (maybe breaking up a longer sentence into two parts. Or substituting another word).
4.) Breathe.
5.) Make note of any difficult words (foreign pronunciations etc.) To help you, your producer can write the word phonetically in your script – for example, Solzhenitsyn would be written “soulz-hen-EET-zen). Practice the difficult words.
6.) Some announcers mark the breaths, pauses and emphases in their copy. Mark a short pause with a diagonal “/”, longer pauses with a double diagonal “//”. Mark importants words you want to emphasize by underlining them – the thicker the line, the stronger the emphasis.
7.) Breathe.
8.) If your script is shorter, try memorizing what you are going to say. (Acting experience comes in very handy when you’re doing this kind of work). That way, you’ll be able to “talk” your performance when you go into the studio, rather than “read” it.
9.) If your script is long, it won’t be feasible to memorize it. Practice scanning a paragraph, then lifting your eyes from the page. Learn to use your script as a guide, rather than being dependent on it word for word.
10.) If you have access to a recorder, record and listen to yourself a couple of times. Have a friend listen. Critique yourself. What is your emotional tone? If you are reading a newscast, strive for authoritative, but accessible and friendly. If you are doing an entertainment feature, you can have even more of a smile in your voice.
Studio Day
1.) Arrive 15 minutes early. Relax until your producer and sound tech arrives.
2.) Once they arrive, they’ll let you into the studio. The technical operator and producer(s) will be in the control room, looking at you through the glass. You will be connected to them through headphones, which they will use to direct you.
3.) Take your time to settle in, go over your script. Some performers do vocal warmups (singing a bit helps, as do yoga stretches). Don’t worry about looking silly – you’re the talent, so do what you need to do to relax and warm up. While you’re warming up, they’ll be busy setting up the audio equipment, so they won’t even notice what you’re doing anyway.
4.) Check out any script changes (as above) with your producer. Get her/his okay – most of the time it will be okay but sometimes a word change can change the meaning of a sentence. So best to make sure.
5.) Make sure you have a glass of water next to you.
6.) Read over your script once .. or maybe twice. But not more than that … that way, you’ll sound fresh and not like you’ve been over it many times.
7.) Relax, but be alert. Sit up straight. Breathe.
8.) Remember. This is fun.
9.) The producer and tech will let you know when they’re ready. The tech will come in and tell you how far to sit from the microphone. S/he’ll ask you for a voice level … speak the way you plan to speak when you’re performing. Normal volume. The tech will set the sound levels based on this test.
10.) Your producer will be able to talk to you in your headphones. S/he will also have a set of very simple hand signals too.
11.) Don’t worry if you start a sentence or a paragraph and have to start again. It will happen many times and will be edited after the fact. Your producer will also interrupt you if s/he wants you to redo a sentence, paragraph or part of a paragraph. Sometimes s/he will ask you to try a different emotional tone, or emphasize a different word … or maybe there’s a word that was mispronounced that you didn’t catch (happens all the time).
12.) Relax.
Tip: Remember to lift your eyes from your script. Look at the two people in the control room frequently. Establish eye contact. “Talk” the script to them. That way, your listeners will also get the sense that you are talking to them. The producer and sound engineer will be giving you their undivided attention befitting your position as a star. The goal is to do whatever is necessary to be the best you can be (short of bringing in a case of expensive imported spring water from an obscure mountain in the Himalayas .. but when you get good enough, you can always ask).
After the recording is done:
Your producer will take all of the sound files, choose the best takes, and edit out all the extraneous material in the studio. In some cases, s/he might add a musical track or sound effects. If there are audio clips, they will be added after the fact.
All that will be left is for you to wait for the final version.
If they’ve done their job right (and they will) .. you will love what you hear. Even when you say “I don’t really sound like that, do I?” Yes, you do. And everybody else will think you sound great.
Wednesday, 8 June 2011
Photo Tip: 3 essential kinds of shots
The three types of photos are based on how far away the photographer is from the subject: establishing shots, mid-range shots and close-ups. Students should know the differences among the three and should understand why each is important. The hardest shots to take for most students are the close-ups. Beginning photographers often feel self-conscious about what they are doing and believe they will irritate their subjects if they get to close. They should work to overcome those feelings.
Read the full article on JProf
Saturday, 4 June 2011
Infographics and Visual Journalism
Innovations in Newspapers recaps and reviews infographics of the operation to kill bin Laden in Pakistan.
Hottest Olympic Event: Wrestling for TV Rights
The escalating fight over TV sports rights reaches its biggest battlefield next week, as NBCUniversal pushes to extend its track record of Olympic broadcasting wins, and ESPN and Fox aim to spoil it.
The Olympic Games remain a high-profile prize, and attaining the rights is a unique process of brinksmanship. Traditional back and forth negotiations are almost non-existent. Company executives make their pitches and submit blind bids with no promise of an opportunity to raise their offers. The IOC could announce the winner as soon as Tuesday.
Read full article here in Wall Street Journal.
The Olympic Games remain a high-profile prize, and attaining the rights is a unique process of brinksmanship. Traditional back and forth negotiations are almost non-existent. Company executives make their pitches and submit blind bids with no promise of an opportunity to raise their offers. The IOC could announce the winner as soon as Tuesday.
Read full article here in Wall Street Journal.
Friday, 3 June 2011
What is Media Literacy?
via The Association for Media Literacy
The need to study the media in a critical and coherent way has become increasingly obvious in recent years, as they have come to occupy a central position in our cultural and political life. Virtually all that we know, or think that we know, about the world beyond our immediate experience comes to us through the media. The fact that the media have remained outside the school curriculum at the same time as they have come to dominate so many aspects of our society, and indeed, our individual consciousness, is a tribute to their power to influence us on levels of which we are unaware. It is not surprising then, that we have come to study the media; it is only surprising that it has taken us so long to start.
Media literacy is concerned with the process of understanding and using the mass media. It is also concerned with helping students develop an informed and critical understanding of the nature of the mass media, the techniques used by them, and the impact of these techniques. More specifically, it is education that aims to increase students’ understanding and enjoyment of how the media work, how they produce meaning, how they are organized and how they construct reality. Ultimately, media literacy education must aim to produce students who have an understanding of the media that includes a knowledge of their strengths and weaknesses, biases and priorities, role and impact, and artistry and artifice. Media literacy is a life skill. (Ontario Media Literacy Resource Guide)
Key Concepts of Media Literacy
To define the critical premises behind media education, the following key concepts have been developed. In every province in Canada, media literacy is now part of the Language Arts programs from K-12. The key concepts provide a theoretical base for all media literacy programs and give teachers a common language and framework for discussion.
1. All media are constructions.
Media present carefully crafted constructions that reflect many decisions and result from many determining factors. Much of our view of reality is based on media messages that have been pre-constructed and have attitudes, interpretations and conclusions already built in. The media, to a great extent, present us with versions of reality. When analysing a media text consider the following questions: How is this message constructed? How well does it represent reality?
The need to study the media in a critical and coherent way has become increasingly obvious in recent years, as they have come to occupy a central position in our cultural and political life. Virtually all that we know, or think that we know, about the world beyond our immediate experience comes to us through the media. The fact that the media have remained outside the school curriculum at the same time as they have come to dominate so many aspects of our society, and indeed, our individual consciousness, is a tribute to their power to influence us on levels of which we are unaware. It is not surprising then, that we have come to study the media; it is only surprising that it has taken us so long to start.
Media literacy is concerned with the process of understanding and using the mass media. It is also concerned with helping students develop an informed and critical understanding of the nature of the mass media, the techniques used by them, and the impact of these techniques. More specifically, it is education that aims to increase students’ understanding and enjoyment of how the media work, how they produce meaning, how they are organized and how they construct reality. Ultimately, media literacy education must aim to produce students who have an understanding of the media that includes a knowledge of their strengths and weaknesses, biases and priorities, role and impact, and artistry and artifice. Media literacy is a life skill. (Ontario Media Literacy Resource Guide)
Key Concepts of Media Literacy
To define the critical premises behind media education, the following key concepts have been developed. In every province in Canada, media literacy is now part of the Language Arts programs from K-12. The key concepts provide a theoretical base for all media literacy programs and give teachers a common language and framework for discussion.
1. All media are constructions.
Media present carefully crafted constructions that reflect many decisions and result from many determining factors. Much of our view of reality is based on media messages that have been pre-constructed and have attitudes, interpretations and conclusions already built in. The media, to a great extent, present us with versions of reality. When analysing a media text consider the following questions: How is this message constructed? How well does it represent reality?
The Radio Interview: Some Tips and Techniques
via The Association for Media Literacy
April 26, 2011
VIDEO PODCASTING WORKSHOP
Victoria Fenner
www.soundoutmedia.com
Before going to air:
Know WHY you’re doing the interview.
This is also known as “focussing” your interview. What exactly do you need to know from the person you’re interviewing? The clearer you are about why YOU think this is an important subject, the clearer it will be for your listeners.
LISTEN to your prospective interviewee carefully BEFORE making a commitment to have them on the show. Talk to them on the phone first. Do they know their subject? Are they a good talker? Can they talk about their subject in a way that ordinary people can understand? If yes, book them for an interview. If not, thank them for the useful information and look for another guest.
PLAN your on air questions in advance. Every good interview has a beginning, middle and end. By planning your questions in advance, you won’t have to make it up on the spot. If your interviewee is a good talker, you will need less questions. Figure on six questions for a ten minute interview if your guest is reasonably verbose.
April 26, 2011
VIDEO PODCASTING WORKSHOP
Victoria Fenner
www.soundoutmedia.com
Before going to air:
Know WHY you’re doing the interview.
This is also known as “focussing” your interview. What exactly do you need to know from the person you’re interviewing? The clearer you are about why YOU think this is an important subject, the clearer it will be for your listeners.
LISTEN to your prospective interviewee carefully BEFORE making a commitment to have them on the show. Talk to them on the phone first. Do they know their subject? Are they a good talker? Can they talk about their subject in a way that ordinary people can understand? If yes, book them for an interview. If not, thank them for the useful information and look for another guest.
PLAN your on air questions in advance. Every good interview has a beginning, middle and end. By planning your questions in advance, you won’t have to make it up on the spot. If your interviewee is a good talker, you will need less questions. Figure on six questions for a ten minute interview if your guest is reasonably verbose.
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