Jornalismo
Lista onde se agregam conteúdos de blogues que abordam o tema do jornalismo e àreas adjacente quando é caso disso. A lista pode sofrer alterações em qualquer altura, sendo a selecção dos blogues incluídos feita pelo editor deste blogue.
ContraFactos & Argumentos » Quer ver a Estação Espacial até dia 16?
Space Station Marathon: The International Space Station (ISS) is about to make a remarkable series of flybys over the United States. Beginning this 4th of July weekend, the station will appear once, twice, and sometimes three times a day for many days in a row. No matter where you live, you should have at least a few opportunities to see the biggest spaceship ever built.
Check NASA's ISS Tracker for flyby times: Portugal 
ContraFactos & Argumentos » Language is a Virus
Online Journalism Blog » Parliamentary website TheyWorkForYou launches redesign
MySociety, the non-profit organisation led by Tom Steinberg, has redesigned their TheyWorkforYou.com website with data about UK Parliamentary politics.
The site provides easily accessible records of the UK Parliamentary process, and now contains data going back to 1935.
The immediate benefit for journalists is that the records going back this far are now far more accessible than previously. Previously, the archive data only went as far back as 2001.
For researchers, such as historians and authors, a full and detailed record of major historical events can now be traced and compiled without any need to go to (or pay for) specialist reference sources.
As a political blogger, I will welcome the ability to check up on whether the claims by Politician A about what Politician B said “some time ago” bear any relation to fact. One particular area I am looking forward to digging through is the skewering of John Major’s government by New Labour, and particularly Robin Cook, in the mid-1990s; I want to compare the level (and quality) of debate with the current time.
The site has also been redesigned, and Tom Steinberg the Director of MySociety has requested feedback about the new version:
Please give some constructive criticism on how it could be even better (please note, focussing on design here, we already have a load of feature priorities to deliver). The extension of coverage back to 1935 has involved the import of a large amount of data.
Each speech has a unique web address, and can be referenced individually in online articles. Annotation may also be left on the site by the public.
MySociety also provides a range of other websites designed to strengthen the democratic process. In April a version of TheyWorkForYou.com was launched to cover the Irish Dail at KildareStreet.com. Kildare Street is co-ordinated by John Handelaar, who reported that 9,000 people visited the site during the first month of its existence.
The site redesign was done by Richard Pope, and the import of the mass of data was overseen by Matthew Somerville.
I also have a piece on the Press Gazette site.
Matt Wardman blogs at the Wardman Wire group blog about politics, current affairs and media.
[Link]
Online Journalism Blog » Parliamentary website TheyWorkForYou launches redesign
MySociety, the non-profit organisation led by Tom Steinberg, has redesigned their TheyWorkforYou.com website with data about UK Parliamentary politics.
The site provides easily accessible records of the UK Parliamentary process, and now contains data going back to 1935.
The immediate benefit for journalists is that the records going back this far are now far more accessible than previously. Previously, the archive data only went as far back as 2001.
For researchers, such as historians and authors, a full and detailed record of major historical events can now be traced and compiled without any need to go to (or pay for) specialist reference sources.
As a political blogger, I will welcome the ability to check up on whether the claims by Politician A about what Politician B said “some time ago” bear any relation to fact. One particular area I am looking forward to digging through is the skewering of John Major’s government by New Labour, and particularly Robin Cook, in the mid-1990s; I want to compare the level (and quality) of debate with the current time.
The site has also been redesigned, and Tom Steinberg the Director of MySociety has requested feedback about the new version:
Please give some constructive criticism on how it could be even better (please note, focussing on design here, we already have a load of feature priorities to deliver). The extension of coverage back to 1935 has involved the import of a large amount of data.
Each speech has a unique web address, and can be referenced individually in online articles. Annotation may also be left on the site by the public.
MySociety also provides a range of other websites designed to strengthen the democratic process. In April a version of TheyWorkForYou.com was launched to cover the Irish Dail at KildareStreet.com. Kildare Street is co-ordinated by John Handelaar, who reported that 9,000 people visited the site during the first month of its existence.
The site redesign was done by Richard Pope, and the import of the mass of data was overseen by Matthew Somerville.
I also have a piece on the Press Gazette site.
Matt Wardman blogs at the Wardman Wire group blog about politics, current affairs and media.
[Link]
VideoJournalism » So what do you talk about on a road trip?
The usual…gossip about common acquaintances, family, food, work.
But then we got into words and (is this for real?) definitions. Shades of Craig Prosser! He and I used to cruise the byways playing word games. But Newell and me?
When do you call this a brook, a creek, or a stream? (or a river for that matter)
It all began when we were shooting at Woods Lake. There was a meandering stream…forget the name, but it was a creek. I wondered why it wasn’t called a brook. So now we have three terms that all seem to mean the same. Small flowing water.
That nibbled at our brains off and on all throughout the trip. Here are the answers, from my (antiquated) Random House Dictionary of the English Language.
Brook – a small natural stream of fresh water
Creek – a watercourse or channel in a coastal marsh
Stream – a body of water flowing to a watercourse such as a river, rivulet, or brook
River – a natural stream of water of a fairly large size flowing in a definite course or channel
Interesting, but not quite specific enough for me, so online I found this link, which made more sense.
a stream is smaller than a river, a creek is smaller than a stream but larger than a brook; stream, brook, creek, and rivulet are applied interchangeably to any small river
Finally…I have reference points and can visualize. I’m not the only one who wonders – my bout of curiousity was preceded by this blog.
Hey, that’s what it’s all about. If you mis-use the terms boat and ship around someone who knows, be prepared to be corrected. Don’t ever say you are filming (around me) if you are using a tape or tapeless camera. Be specific, know what you are writing about. Words are bullets – using the right words properly helps you target and hit your audience.
[Link]
VideoJournalism » New header/again…and a bit about a friend…
The header above is from the mountain madness trip I just returned from. That blonde head and cocked ear belong to VJ Kathleen Newell. Her subject – John Voss, proprietor of the Caples Lake Resort. Kathy helps John with his blog, among others.
She’s a mountain girl and enthusiastic do-gooder and environmentalist. We are twinned opposites in many ways. I’m old, dumpy, married (very happily) and a teacher. She is younger, energetic and always looking for new mountains to climb – both literally and figuratively. We’re both survivors of 28 years each in the world of media madness. And neither of us knows how to live without a camera in hand and a laptop stashed nearby.
That trip we were on involved the “mom-mobile,” a 2003 dusty old Dodge Grand Caravan with all the rear seats taken out to hold more gear than we can to admit to. The personal bags were the least of it – I think we each took less than enough to fit into a grocery bag.
But the tech stuff – two three chip cameras (a Sony and a JVC GY-DV300), three (I think) low enders for grab shots, a Olympus Evolt 300 for stills. Two laptops, a million cables, four tripods, one monopod, reflectors…and more. And that’s traveling light. Didn’t bring the light kits or mikes (beyond a stick and her wireless). Oh – and one ice chest and enough food to last a few days. And fishing gear (hers). Camp chairs. One air mattress (I refuse to sleep on the ground any more) Sleeping bags.
Back to the van – common stuff in the back (camping stuff, bags, etc).
The van is nifty cause she could slide her passenger door open and have easy access to her goodies and I had my stuff on the driver’s side. Very fast and no confusion.
So we were organized and had fun. Part of this trip is an escape from the daily drudge. We both miss news and travel and meeting people. Me – I’m stuck in Lodi. Kathy – she is looking for new adventures, other roads to travel. But our roads occasionally diverge and we travel a short distance together. As all friends do…
[Link]
Online Journalism Blog » More crowdsourcing from the Guardian and NYT – this time on Iran
Iran election: faces of the dead and detained | World news | guardian.co.uk via kwout
They’re at it again. Following the very domestic issue of MPs’ expenses, The Guardian’s latest experiment with crowdsourcing goes international: Iran.
“We want to put a face to each of those hundreds – possibly thousands – killed or arrested since the Iranian election.
“Where we have a picture we have used it. However, our information is incomplete. If you have a picture of any one of these individuals or information we do not have please click below.”
Simple.
(Oh, and there’s also a spreadsheet of data and the invitation to post visualisations to the Datastore’s Flickr group.)
Coincidentally, a very similar project was mentioned by Arianna Huffinton at yesterday’s Activate Summit organised by… The Guardian.
NPR: Turning The Camera Around: Health Care Stakeholders is basically an image of healthcare lobbyists with rollovers that tell you who they are and how much they have spent. The explanatory paragraph ends:
“We’ve begun to identify some of the faces in the hearing room, and we want to keep the process going. Know someone in these photos? Let us know who that someone is — e-mail dollarpolitics@npr.org or let us know via Twitter @DollarPolitics.”
The piece, Huffington explained, went viral, which is pretty key for most crowdsourcing projects (and, by the way, for engagement, democracy… you know: the small things).
Meanwhile, the New York Times is also doing a little crowdsourcing on Iran:
“The New York Times would like readers in Iran to help us document the post-election unrest in Iran. Please upload your photographs using the form below, letting us know when and where the photographs were taken and whether you wish to remain anonymous.”
Or is it just citizen journalism? I guess it depends what they do with the material – it could be a lot clearer.
More? Here are the webpages I’ve tagged ‘crowdsourcing’ on Delicious
[Link]
» Quando todos vão ter a mesma imagem…
(13h21 – Nota: A palavra ‘imagem’ substituiu ‘foto’ no título e também numa das frases do texto na sequência da indicação do António Granado nos comentários)
Em dias como ontem – em que uma imagem marcou a agenda informativa de forma tão esmagadora – o fecho de edição terá sido, por certo, complicado para quem tem responsabilidades nos jornais diários.
Percebe-se na imagem em baixo que:
- alguns optaram por enquadramentos ligeiramente diferentes da mesma acção;
- alguns (o ‘i’, e o CM por exemplo) a circunscreveram a lugar de menor destaque;
- alguns (neste caso, um apenas, o DE) escolheram ilustrar a situação com outra imagem.
Mas numa situação como estas em que toda a gente se vê quase obrigado a dar a mesma foto imagem, o que fazer para, apesar disso, o jornal conseguir alguma distinção na banca de venda?
Esmero extra no título de primeira!
E, se só o JN e o JNegócios conseguiram fugir ao uso óbvio da palavra demissão (ou variações), parece-me indiscutível que esta saudável disputa foi ganha, sem margem para dúvidas, pelo JNegócios.
“Indicadores tramam Pinho” é, não só, o melhor título do dia mas será, também, certamente, um daqueles que fica a fazer parte do espólio de observadores atentos, estudantes e formadores em Jornalismo.
[Link]
Ponto Media » Futuro optimista para o jornalismo de ciência
PARA LER, sobre a conferência de Londres: Some Optimism for the Future of Science Journalism
[Link]
ContraFactos & Argumentos » Vidas
[VideoJournalism » Home again…
It was tempting…at around 12:30 today Newell and I were on a meandering road leading east out of Woodfords towards the Nevada desert. That damn road was sooooo tempting. We followed, got out and shot, cruised…Newell hopped out to shoot some wildflowers on a curvy section while I drove ahead, looking for a safe place to turn around. Scared a scattering of baby jackrabbits, and went back to pick her up.
And that’s when she uttered those deadly words….”Time to head home.”
Not that she wanted to, mind you. That road pulled her too. But we are adults and running away on the open road is not something you do when you have family and other obligations. Chowing down for lunch at the KirckwoodKirkwood Inn, we came to the conclusion that having spent out lives on the road searching for stories, an open road is a siren call to us. Oh so hard to resist.
So for your consideration…a few shots of our mini-getaway.
[Link]
Online Journalism Blog » More crowdsourcing from the Guardian and NYT – this time on Iran
Iran election: faces of the dead and detained | World news | guardian.co.uk via kwout
They’re at it again. Following the very domestic issue of MPs’ expenses, The Guardian’s latest experiment with crowdsourcing goes international: Iran.
“We want to put a face to each of those hundreds – possibly thousands – killed or arrested since the Iranian election.
“Where we have a picture we have used it. However, our information is incomplete. If you have a picture of any one of these individuals or information we do not have please click below.”
Simple.
(Oh, and there’s also a spreadsheet of data and the invitation to post visualisations to the Datastore’s Flickr group.)
Coincidentally, a very similar project was mentioned by Arianna Huffinton at yesterday’s Activate Summit organised by… The Guardian.
NPR: Turning The Camera Around: Health Care Stakeholders is basically an image of healthcare lobbyists with rollovers that tell you who they are and how much they have spent. The explanatory paragraph ends:
“We’ve begun to identify some of the faces in the hearing room, and we want to keep the process going. Know someone in these photos? Let us know who that someone is — e-mail dollarpolitics@npr.org or let us know via Twitter @DollarPolitics.”
The piece, Huffington explained, went viral, which is pretty key for most crowdsourcing projects (and, by the way, for engagement, democracy… you know: the small things).
Meanwhile, the New York Times is also doing a little crowdsourcing on Iran:
“The New York Times would like readers in Iran to help us document the post-election unrest in Iran. Please upload your photographs using the form below, letting us know when and where the photographs were taken and whether you wish to remain anonymous.”
Or is it just citizen journalism? I guess it depends what they do with the material – it could be a lot clearer.
More? Here are the webpages I’ve tagged ‘crowdsourcing’ on Delicious
[Link]
Ponto Media » The Washington Post morreu hoje?
SOBRE UM caso gravíssimo destes dias é preciso ler o texto The Washington Post: RIP:
“The Washington Post died today. It was five months short of its 132nd birthday.”
[Link]
Online Journalism Blog » BBC Free: Help us persuade the BBC to open their RSS feeds up
The internet blows my mind. Ryan Carson opened my eyes to the power of it a few months ago. We can sit down and create a blog or web application and have it instantly accessible to the world. That’s unique, and it’s exciting.
We’re asking the BBC to join us in this creativity. Today, we’re launching BBC Free – it’s a campaign to convince the BBC to offer full article RSS feeds.
Currently, their feeds are just a single line or two and this hurts your RSS experience, and it also hinders creativity in online news. RSS feeds are machine readable and a ton of great startups base their news products off that content. By making the feed “full article”, we can be far more creative with how we improve your online news experience.
We’re not asking the BBC to create an amazing news API like The Guardian. The BBC doesn’t run adverts, any users of RSS will appreciate this change, and people who don’t use RSS won’t know anything has changed.
We’re imploring you, internets, to help us with our campaign. Full details are at our site http://bbcfree.net – the twitter hash tag is #bbcfree and you can follow the campaign at @bbcfree.
– Peter Clark, CEO of Broadersheet.
[Link]
Online Journalism Blog » Newspapers: turn off your RSS feeds
Update, 2 days later: Paul is kind enough to let me guest post here (ie I wrote this, not him). It was going well until this post … You can read my climbdown here…
The latest subscriber figures (see table below, and first published in my blog’s newspapers category) show that, apart from a couple of exceptions, it’s time for newspapers to turn off their RSS feeds – and hand over the server space, technical support and webpage real estate to an alternative, such as their Twitter accounts.
(You can read some of the defences of RSS here and here)
The table below shows that only 3 of the 9 national newspapers have an RSS feed with more than 10,000 subscribers in Google Reader.
And most newspaper RSS feeds have readerships in the 00s, if that.
Daily Mail columnist Melanie Phillips has just 11 subscribers to her RSS feed (maybe there’s hope for the UK population yet …).
Despite having virtually no users, the Mail churns out 160 RSS feeds and the Mirror 280. All so a couple of thousand people can look at them in total.
The other papers are just as bad. And while the Guardian has a couple of RSS readers with decent numbers (partly because Google recommends it in its news bundle), it has more feeds than there are people in the UK …
Top 3 RSS feeds at each newspaper
They didn’t all have three that showed up (full table here) …
Switch to Twitter instead
I suggest newspapers switch to Twitter instead. Twitter’s advantages over RSS include:
- Wheat vs chaff As a reader, you can see which stories other people are RTing and are therefore popular.
- Context There’s space in 140 characters for newspapers to give some background to stories as well as the headline (well, there is for those that don’t just stick the first few words of the standfirst after the headline).
- Promotion Followers can RT newspaper stories, promoting the paper – they can’t do this with elements of an RSS feed.
- Tracking Stories’ development can be tracked on Twitter – you can’t usually tell what’s changed in an RSS feed.
- Conversation You can take part in a conversation on Twitter. People only talk to their RSS feed when they swear at it. The journalists behind the story can tweet, too.
Newspapers agree with me …
As I say, despite poor subscriptions for many feeds, papers pump out RSS feeds as if there’s no tomorrow – the second column in the table shows how many feeds (rounded) that each paper has.
But despite this, it’s clear some papers agree with me – and have already given up on RSS feeds and no longer actively promote them.
No visibility
The Mail, despite its 160-odd feeds, only mentions them in its footer.
The same is true of the Sun.
On the page but hardly visible
The FT’s RSS link does at least have a logo – but its buried at the bottom of the right hand column on each page.
The Telegraph shows relevant RSS feeds on pages – but they’re buried in a different way: above a banner ad that no one will ever look at.
Even the Guardian, which lets you mash up your own RSS feeds (hence the 000,000s in the table), hides details of its feeds under an unusual term ‘webfeed’ in the far right of its header.
The Times still has an RSS link in its main header menu on its news page. On other pages its’s at the bottom. And it mentions Twitter on its pages much more than RSS.
Visible – but not doing them any good
The Independent is alone in listing RSS feeds on its main category pages – although that doesn’t seem to get it many subscribers.
The Mirror has an RSS link next to its search box, although it took me ages to find it. Does this count as visible – it’s not exactly intuitive …
And the Express has a link and a logo prominently in its header. But as the express doesn’t update its website often (or at all on sunday), I guess that’s why no one subscribes. And some of its RSS feeds appear to be garbage – check out this theatre one …
Caveats about the data
After you’ve started writing something about newspapers, you’ll eventually discover that Martin Belam has already written about it. Having just noticed his Top 75 British newspaper RSS feeds (written before the recent explosion in Twitter use) as I was researching Google Reader’s market share, I figured I’d just repeat his caveats about his own data as they apply to mine too:
- Subscribers don’t necessarily ever read anything.
- Numbers quoted by Google vary wildly.
- Google Reader has a large market share but there are other readers.
- Newspapers have problem with the same feed on different URLs. To quote Martin: “If the papers themselves can’t work out how to set one canonical URL for their content, why should I?”
- Google Reader search is not great. There may be mising feeds.
[Link]
Online Journalism Blog » BBC Free: Help us persuade the BBC to open their RSS feeds up
The internet blows my mind. Ryan Carson opened my eyes to the power of it a few months ago. We can sit down and create a blog or web application and have it instantly accessible to the world. That’s unique, and it’s exciting.
We’re asking the BBC to join us in this creativity. Today, we’re launching BBC Free – it’s a campaign to convince the BBC to offer full article RSS feeds.
Currently, their feeds are just a single line or two and this hurts your RSS experience, and it also hinders creativity in online news. RSS feeds are machine readable and a ton of great startups base their news products off that content. By making the feed “full article”, we can be far more creative with how we improve your online news experience.
We’re not asking the BBC to create an amazing news API like The Guardian. The BBC doesn’t run adverts, any users of RSS will appreciate this change, and people who don’t use RSS won’t know anything has changed.
We’re imploring you, internets, to help us with our campaign. Full details are at our site http://bbcfree.net – the twitter hash tag is #bbcfree and you can follow the campaign at @bbcfree.
– Peter Clark, CEO of Broadersheet.
[Link]
VideoJournalism » High times in the high Sierra…
Cyndy at Carson Pass on Hiway 88 (courtesy Kathleen Newell)
Kathy Newell at Carson Pass on Hiway 88
And this is what Newell was shooting when I shot her.
Buddy Kathy Newell and I just spend four hours wandering the woods and videotaping nature at its most pristine.
She took the high road and hiked up the Woods Lake Trail while I took and low road and hung out near the stream and lake.
Then we headed to Carson Pass and decided – what the heck – let’s get some serious shots of each other to post on our blogs and other sites. So we grabbed her Olympus Evolt 300 and started shooting away. Our favorite picks are above.
No one can shoot me quite like Newell. All the shots my family takes make me look old…but Newell does some magic and I look – more like I like to think I look. Thanks for the photos.
Tonight we act as cooks for the Caples Lake staff…owner John Voss and crew are heading our way around 8pm for grilled brats wrapped in bacon stuffed with cherries (courtesy Newell) and cole slaw and cheese pie (courtesy yours truly). Then stay up to watch the stars and moonrise with some favorite libations and then off to our cabin. As the shortie, I claimed the futon. With all the running around, sleep should come easy.
[Link]
Ponto Media » Deve um jornal esconder o rapto de um jornalista?
QUANDO o jornal The New York Times esconde, com a ajuda de outros 40 órgãos de comunicação social e da Wikipedia, o rapto de um jornalista seu durante mais de seis meses, está fazer bem ou a fazer mal? A fazer muito mal, diz esta excelente análise do Nieman Journalism Lab.
[Link]
News Videographer » Last request for survey participants
Over the past month or so I’ve been collecting results for a short survey I created about solo videojournalist pay. I have about 28 responses right now, which isn’t too shabby. Still, I’d like to get more before I release the results. Could you take the survey? Only 10 questions, and a couple minutes time tops.
a
Last request for survey participants
[Link]
Ponto Media » O Twitter é o medium do século XXI?
PARA LER: Is Twitter the News Outlet for the 21st Century?
[Link]
» Michael Jackson: qual a melhor capa?
A antecipada corrida aos discos – cujas vendas terão ultrapassado 400 mil cópias na última semana – é apenas um sinal da enorme popularidade do tema ‘Michael Jackson’ por estes dias (e, imagino, por muitos dos próximos, com o funeral, as homenagens, a luta pelo dinheiro, a luta pelos direitos…e a luta pela custódia dos filhos).
As revistas de grande circulação fazem, por isso, naturalmente, de Jacko a sua capa.
A pergunta que se pode pôr nesta situação é a seguinte: qual a melhor?
A Newsweek opta por nos apresentar ‘ o puto maravilha’, o miúdo que despertou o encanto de muitos e que, por isso e por muito mais, nunca terá chegado a ser miúdo. A Newsweek mostra-nos Michael quando ainda podia ter sido tudo.
A Time – num número especial – apresenta-nos Michael no seu pico; o dançarino exímio, exalando alegria. Michael, o artista, como vamos gostar de o lembrar.
A Q escolha ainda um outro caminho – a última foto (alegadamente…uma das últimas que lhe foram tiradas). É o Michael do fim dos dias, o Michael que se preparava para um ‘comeback’ tão aguardado como temido. É o Michael real, o homem perturbado.
Qual a melhor capa?
(Outros textos sobre capas com Michael Jackson aqui, aqui e aqui).
[Link]
Ponto Media » As resoluções de ecrã
AQUI HÁ uns meses fiz um post sobre as resoluções de ecrã no acesso ao site Público que estava errado. Só hoje, quando estava a fazer contas aos números de Junho é que me apercebi. Fica a correcção e o novo gráfico. Agora sim, posso dizer que foi em Junho de 2009 que a resolução 1024×768 deixou de ocupar o primeiro lugar nos acessos ao site do Público.
[Link]
Online Journalism Blog » Newspapers: turn off your RSS feeds
Update, 2 days later: Paul is kind enough to let me guest post here (ie I wrote this, not him). It was going well until this post … You can read my climbdown here…
The latest subscriber figures (see table below, and first published in my blog’s newspapers category) show that, apart from a couple of exceptions, it’s time for newspapers to turn off their RSS feeds – and hand over the server space, technical support and webpage real estate to an alternative, such as their Twitter accounts.
(You can read some of the defences of RSS here and here)
The table below shows that only 3 of the 9 national newspapers have an RSS feed with more than 10,000 subscribers in Google Reader.
And most newspaper RSS feeds have readerships in the 00s, if that.
Daily Mail columnist Melanie Phillips has just 11 subscribers to her RSS feed (maybe there’s hope for the UK population yet …).
Despite having virtually no users, the Mail churns out 160 RSS feeds and the Mirror 280. All so a couple of thousand people can look at them in total.
The other papers are just as bad. And while the Guardian has a couple of RSS readers with decent numbers (partly because Google recommends it in its news bundle), it has more feeds than there are people in the UK …
Top 3 RSS feeds at each newspaper
They didn’t all have three that showed up (full table here) …
Switch to Twitter instead
I suggest newspapers switch to Twitter instead. Twitter’s advantages over RSS include:
- Wheat vs chaff As a reader, you can see which stories other people are RTing and are therefore popular.
- Context There’s space in 140 characters for newspapers to give some background to stories as well as the headline (well, there is for those that don’t just stick the first few words of the standfirst after the headline).
- Promotion Followers can RT newspaper stories, promoting the paper – they can’t do this with elements of an RSS feed.
- Tracking Stories’ development can be tracked on Twitter – you can’t usually tell what’s changed in an RSS feed.
- Conversation You can take part in a conversation on Twitter. People only talk to their RSS feed when they swear at it. The journalists behind the story can tweet, too.
Newspapers agree with me …
As I say, despite poor subscriptions for many feeds, papers pump out RSS feeds as if there’s no tomorrow – the second column in the table shows how many feeds (rounded) that each paper has.
But despite this, it’s clear some papers agree with me – and have already given up on RSS feeds and no longer actively promote them.
No visibility
The Mail, despite its 160-odd feeds, only mentions them in its footer.
The same is true of the Sun.
On the page but hardly visible
The FT’s RSS link does at least have a logo – but its buried at the bottom of the right hand column on each page.
The Telegraph shows relevant RSS feeds on pages – but they’re buried in a different way: above a banner ad that no one will ever look at.
Even the Guardian, which lets you mash up your own RSS feeds (hence the 000,000s in the table), hides details of its feeds under an unusual term ‘webfeed’ in the far right of its header.
The Times still has an RSS link in its main header menu on its news page. On other pages its’s at the bottom. And it mentions Twitter on its pages much more than RSS.
Visible – but not doing them any good
The Independent is alone in listing RSS feeds on its main category pages – although that doesn’t seem to get it many subscribers.
The Mirror has an RSS link next to its search box, although it took me ages to find it. Does this count as visible – it’s not exactly intuitive …
And the Express has a link and a logo prominently in its header. But as the express doesn’t update its website often (or at all on sunday), I guess that’s why no one subscribes. And some of its RSS feeds appear to be garbage – check out this theatre one …
Caveats about the data
After you’ve started writing something about newspapers, you’ll eventually discover that Martin Belam has already written about it. Having just noticed his Top 75 British newspaper RSS feeds (written before the recent explosion in Twitter use) as I was researching Google Reader’s market share, I figured I’d just repeat his caveats about his own data as they apply to mine too:
- Subscribers don’t necessarily ever read anything.
- Numbers quoted by Google vary wildly.
- Google Reader has a large market share but there are other readers.
- Newspapers have problem with the same feed on different URLs. To quote Martin: “If the papers themselves can’t work out how to set one canonical URL for their content, why should I?”
- Google Reader search is not great. There may be mising feeds.
[Link]
Ponto Media » O fim das publicações científicas?
PARA LER com atenção (e com tempo…): Is scientific publishing about to be disrupted?
[Link]
Dennis Dunleavy » Photography: It's about the message
Diane Patterson, singer/song writer on a mission performs in Ashland, Oregon recently.
Photographers can learn a lot from folk singers. For this lot, the song is all about the message. With deliberate clarity and an emphasis on repeating phrases and word choice, the singer/song writer mixes rhythm with reason to get the point across. Photographers need to think like song writers; where words, or in this case, light, wasted. Camera angle, exposure, timing, focal length, composition, and color are all part of the photographer's toolbox, just as measure and meter are the tools of a poet or song writer. When the photographer thinks pictures are only possible with a wide angle, they should step back and throw on a long lens to isolate the essential message being conveyed. Moreover, photography like a folk song doesn't always have to be about hitting a viewer or listener over the head with the message. The process can be subtle, and, the best pictures, like good folk songs appeal to both our intellect as well as our emotions.
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VideoJournalism » Thank you Amanda Emily…
…for stating the obvious. The Internet abounds in contests and other such opportunities to make a name for yourself. And that is about all you get for entering…a few moments of fleeting fame, a handshake, and whatever you created belongs to someone else.
Take a read of this posting the articulate Amanda wrote. And her target is none less than Microsoft.
Let me think here…aren’t they one of the biggest, richest……
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VideoJournalism » 100 best sites for J-students…
Got some incoming hits from a new site this morning and when I checked my email, it was revealed. A site called Learn-gasm, part of this site, made up a list of what are supposed to be the 100 best sites for journalism students to keep up with trends and learn. Somehow I made (the very end) of the list. Wow.
If you’re interested take a gander here. There are some old friends and some interesting sites I plan to look into.
Gonna be offline for a few days. Buddy Newell and I head for the hills early tomorrow to catch some fresh air, fresh views, and some yummy (over the campfire) home-made cooking!
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Ponto Media » Links de 30-Junho-2009
Guardei estes links no del.icio.us em 30-Junho-2009
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Ponto Media » O novo modelo de negócio dos jornais
PARA LER: Wired’s Chris Anderson urges newspapers to adopt ‘freemium’ model.
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Ponto Media » Salvar o jornalismo
PARA LER, com muita atenção: 10 things you need to understand to save journalism.
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Ponto Media » 100 blogs para estudantes de jornalismo
IMPORTANTE: 100 Best Blogs for Journalism Students.
[Obrigado, @ovvo]
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Samsa news » Brian Storm: l’homme qui croit au journalisme de qualité (interview)
Brian Storm est le fondateur et patron de MediaStorm, un studio de production multimédia qui s’est fait un nom en produisant pour le web (et maintenant la télé et le mobile) le travail de photojournalistes. MediaStorm est aujourd’hui symbole de production de grande qualité.
J’ai rencontré Brian Storm à New York et je lui ai demandé de lever le voile sur la manière dont lui et son équipe travaillent. L’interview existe également en version vidéo (en anglais).
Bonjour Brian Storm
Bonjour
Comment définissez-vous votre travail?
Je dirais que je n’ai pas de boulot. Ce n’est pas un travail. C’est plutôt de la passion. C’est ce à quoi nous voulons passer notre temps. C’est vraiment étonnant. Parfois, j’essaye de décrire cela à des amis en disant que je fais est dont je rêvais lorsque j’étais étudiant. Ici à MediaStorm, tout est dirigé vers notre objectif. Je nous décrirais comme une entreprise qui est concentrée sur son objectif et non pas sur son compte de résultat. Et nous travaillons sur des sujets qui nous importent profondément.
Pour les gens qui connaissent pas MediaStorm, comment définiriez vous votre actiivté?
On est considéré comme un studio de production multimédia. En fait, on a quatre type d’activités:
- la republication pour la télé, le web et le téléphone mobile
- le travail d’ agence (nous travaillons avec des artistes puis nous distribuons le contenu créé et ensuite nous partageons les recettes à 50/50)
- la boîte de prod (c’est là que nous générons le plus de revenus). Nous travaillons pour des médias (MSNBC, National Geographic), des ONG (Médecins sans frontières, Bill & Melinda Gates Foundation) et des entreprises socialement responsables (Starbucks)
- l’” évangélisation“, autrement dit de la formation. Nous avons envie de partager la méthodologie que nous avons élaborée en matière de récit (storytelling) et de distribution des contenus.
Comment est née l’idée de créer MediaStorm?
MediaStorm a commencé véritablement en 1994. C’était la toute première version alors que j’étais encore étudiant à l’université du Missouri et je travaillais très spécifiquement sur le photojournalisme. Je suis un grand fan de la force des photos et de leur capacité à communiquer quelque chose, mais je vois également les limites. Mon exemple favori concerne The Marlboro Marine de Luis Sinco. C’est une superbe photo mais elle donne matière à tellement d’interprétations possibles. Beaucoup de gens voient cette image et pensent …
Ne prenez pas seulement une personne en photo, donnez-lui une voix
..oui, c’est la photo d’un marine qui fume une cigarette en Irak et qui a l’air perdu dans ses pensées…
Oui, et c’est une photo très célèbre qui est devenue une sorte d’icone de la guerre en Irak. Et beaucoup de gens ont vu dans cette image un marine américain courageux. Mais en réalité, ce gars s’appelle James Blake Miller et il souffre de sévères désordres psychologiques post-traumatiques comme 30% des soldats qui rentrent d’Irak. Donc, d’une certaine manière, cette photo seule est une sorte de mensonge. Elle trompe sur la réalité. Et ce que Luis Sinco a fait, c’est qu’il a passé des mois à travailler directement avec James Blake Miller et au lieu de prendre seulement des photos, il lui a aussi donné une voix. Il a réalisé des interviews et c’est un élément clef pour nous. C’est le récit audio qui donne vie à l’histoire. Et ça pourrait être notre slogan: ne prenez pas seulement une personne en photo, donnez-lui une voix.
Peut-on dire que vous êtes intéressé par l’histoire derrière la photo ou par l’histoire derrière l’histoire?
Dans le cas du Marlboro Marine, efffectivement, nous sommes intéressés par l’histoire derrière l’image, mais dans le reportage de Danny Wilcox Frazier que nous venons de terminer sur les fermiers de l’Iowa (Driftless), je dirais que la photo tient une place centrale mais c’est le récit qui est le plus important. Je ne pense pas que ce que nous faisons en terme de scénarisation de l’information (storytelling) est révolutionnaire. Je ne vois pas vraiment de nouveauté dans notre approche. Les gens me disent souvent qu’ils trouvent cela innovant, mais non; nous racontons simplement des histoires. Le fait que nous n’utilisions pas uniquement de la vidéo ou uniquement de la photo, peut-être que cela est unique, mais ce n’est pas ce qui nous importe. Si vous regardez ce que nous faisons, nous essayons de communiquer en créant un récit qui soit assez puissant.
La manière dont nous sommes connectés aujourd’hui est la meilleure chose qui soit pour le journalisme de qualité
Vos productions sont-elles destinées uniquement à être diffusées sur internet?
Toutes nos productions sont réalisées en haute définition et prêtes à être diffusées à la télévision. Et nous avons eu quelques succès dans ce domaine avec des diffusions notamment sur PBS ici aux Etats-Unis. L’une des clefs de notre stratégie maintenant est de constituer des partenariats au niveau mondial en terme de distribution. Nous pensons que nos productions peuvent être traduites, qu’elles sont universelles, qu’elles parlent de la condition humaine. Nous travaillons donc en produisant des fichiers de qualité broadcast et ensuite nous les encodons pour le web ou pour le téléphone mobile. Puis nous créons des couches de présentation différentes pour chaque support mais le récit reste le même. Nous ne proposons pas d’expérience utilisateur particulière pour un support ou pour un autre. Nous savons que nos histoires “fonctionnent” dans chacun des formats.
Nous avons des visites en provenance de 135 pays chaque mois sur notre site. Ca me sidère parce que nous ne faisons pas de marketing. C’est simplement du bouche à oreille. Les gens regardent un reportage puis il le partagent sur Facebook, sur Twitter ou ils envoient un email à leurs amis. Et cela c’est le signe de la révolution de la communication que nous sommes en train de vivre. La manière dont nous sommes connectés maintenant est la meilleure chose qui soit pour le journalisme de qualité parce que quand les gens repèrent un sujet qui les intéressent, il peuvent facilement en faire profiter les 400 personnes de leur réseau Facebook. Alors, que vont-ils partager ? Ils vont partager ce qui leur semble bien. Et je trouve cela encourageant pour le journalisme parce que le moment est venu pour nous journalistes de monter le niveau de ce que nous faisons pour faire moins et mieux. Et le retour est massif. C’est un moment exceptionnel.
Recentrer le journalisme sur les sujets au lieu de le centrer sur les comptes
Beaucoup de gens se demandent si le journalisme n’est pas dans une impasse dans la mesure où plus personne ne semble vouloir payer pour du journalisme…
Je répondrai en disant que si j’avais voulu faire de l’argent, j’aurai choisi un autre domaine. Et franchement, je crois que c’est là où le journalisme a fait fausse route. C’est lorsque des gens riches se sont penchés sur la question et qu’ils se sont dit qu’il y avait là un secteur rentable. Et nous les journalistes, cela ne nous concerne pas vraiment. Ce qui nous intéresse, c’est de racaonter des histoires et d’aider le monde à se comprendre lui-même. C’est une position différente.
Ces hommes d’affaires très intelligents sont arrivés et ils ont modifié le journalisme. Nous étions tenus de répondre aux questions de notre audience. Nous sommes désormais tenus de répondre aux questions des actionnaires. La question est désormais: quel est le taux de rentabilité? Aux Etats-Unis, le journalisme a été très rentable, de 20 à 25% de marge bénéficiaire (profit margin). Mais aujourd’hui, nous sommes en plein dans une crise financière. Et ça m’énerve.
Pour moi, c’est cela MediaStorm: recentrer le journalisme sur les sujets au lieu de le centrer sur les comptes. On ne base pas nos décisions sur des questions financières autrement vous verriez chez nous des reportages sur Britney Spears. C’est plus rentable qu’un sujet sur les petits fermiers de l’Iowa. Mais lequel est le plus important? Je n’ai pas besoin d’en savoir plus sur Britney Spears. J’aimerais en apprendre plus sur les autres choses qui se passent dans ce moment et qui sont réellement très importantes pour l’histoire. Et c’est assez ironique de voir dans quel état se trouve le journalisme au moment de cette crise, c’est à dire au moment où nous avons le plus besoin de journalisme.
Qui est apathique aujourd’hui? C’est nous, les journalistes dans nos rédactions
Je me souviens d’avoir tenté de proposer des sujets comme Intended Consequences à propos du généocide au Rwanda à MSNBC. Je me souviens de la conversation. On m’a dit : “le public est apathique. Le public s’en fout de ces sujets.” J’ai répondu: “qu’est-ce que vous voulez dire? Bien sûr que le public s’y intéresse. Peut-être pas de la même manière qu’il s’intéressent à Britney Spears mais il y a des gens que cela intéresse et notre boulot est de leur porposer cette information“. Et l’ironie maintenant, c’est que le public est passionné. Le public s’engage, participe à la conversation. Le public participe à l’écriture des sujets.
Le fin mot de l’histoire c’est que le public n’est pas apathique. le public s’engage. Qui est apathique aujourd’hui? C’est nous, les journalistes dans nos rédactions parce que l’amour du métier s’est dilué en essayant de faire prospérer le business. Et c’est comme ça qu’on en est arrivé là.
Je pense qu’on a créé un modèle avec MediaStorm. Un modèle que d’autres peuvent reproduire. Nous sommes centrés sur les sujets et non pas sur les comptes.
Est-ce pour cela que beaucoup de vos sujets concernent l’Afrique?
Je suis toujours à la recherche de sujets qui ne reçoivent pas l’attention qu’ils méritent ou dont on ne parle de la manière dont on devrait parler. Je n’ai pas vraiment de ligne éditoriale autre que la recherche de la qualité. Je cherche des sujets qui ne sont pas événementiels et qui ne sont pas périssables. Un sujet comme Kingley’s crossing, c’est une épopée qui montre pourquoi les gens émigrent, pourquoi un homme quitte le Cameroun pour essayer de venir en France afin d’avoir une vie meilleure. C’est l’histoire de Kingsley mais c’est aussi l’histoire de tous ceux qui font exactement le même voyage chaque jour. Et c’est pour cela que l’année où le reportage a été réalisé a peu d’importance. Et je pense que ce sujet restera d’actualité pendant 10, 20 ou 30 ans encore. C’est ce genre de sujets que nous choisissons.
Vos productions ont plutôt un style cinéma qu’un style multimédia…
C’est intéressant d’essayer de définir ce que multimedia veut dire. Au long de ma carrière, ça a changé tellement. Je suis quasiment sûr que j’étais la première personne aux Etats-Unis à porter le titre de “directeur du multimédia” quand j’étais chez MSNBC en 1995. A cette époque, mon boulot, c’était audio, vidéo et photo et l’utilisation de ces éléments sur le site web de MSNBC. Depuis, j’en ai entendu. J’ai entendu des gens utiliser “multimédia” pour dire qu’une personne devait maintenant faire seule le boulot de quatre personnes. Et je n’aime pas que le mot soit employé dans ce sens. Je pense que les possibilités de mieux traiter les sujets de manière plus efficace sont énormes maintenant. Finalement je hais ce mot multimédia parce que je pense qu’on en a abusé…
Je ne pense pas que ce que nous faisons est révolutionnaire.
Et le cinéma…
Je ne pense pas que ce que nous faisons est révolutionnaire. Nous racontons des histoires. Et nous utilisons les éléments dont nous disposons (la musique, le silence, le temps, la surprise, …) et tous les ressorts traditionnels de la scénarisation. Je ne pense pas que nous ayons inventé de nouvelles façons de raconter les histoires même si des gens me disent le contraire. Ce que nous faisons, c’est d’utiliser les ressources du storytelling. Je pense qu’il existe des éléments révolutionnaires qui contribuent à faire que MediaStorm existe. L’un d’entre eux concerne les outils de production. Ca coûtait 250 000 dollars d’avoir une station de montage vidéo Avid pour produire de la vidéo professionnelle. Et vous avez vu sur quoi nous travaillons: des ordinateurs mac avec lesquels nous sortons des formats professionnels. Et tout le monde peut y avoir accès maintenant. L’autre élément, c’est que les circuits de distribution sont totalement ouverts maintenant. Je n’ai pas d’émetteur de télé, mais vous pouvez voir nos sujets à la télévision; je n’ai pas d’imprimerie mais vous pouvez me lire dans 135 pays. Plus personne ne décide maintenant qui a le droit de traiter tel ou tel sujet. Chacun a une voix. Pour des journalistes professionnels, c’est très excitant. Oui, il y a beaucoup de concurrence pour capter l’attention du public. Et le seul moyen de capter cette attention, c’est de produire des sujets de grande qualité. Et d’élever le niveau. Le public a désormais les mêmes outils que nous.
Qu’est-ce qui est le plus important pour vous: la vidéo ou l’audio?
Aucun. Le plus important, c’est l’histoire. La plupart de nos sujets mélangent tous les types de contenus. Le dernier que nous venons de réaliser s’intitule Driftless. C’est un sujet en 6 parties et la dernière a pour titre “Harry & Helen”. C’est la forme la plus simple et la plus pure d’un sujet selon moi. Et on utilise à la fois la photo et la vidéo. Et nous avons choisi à chaque fois en fonction de ce qui permettait le mieux de porter le message. Il y a un moment où Harry parle de sa femme Helen et il dit qu’ils ne font qu’un. Et à ce moment, il lève la main et il croise ses doigts pour illustrer ce qu’il dit. Ca, c’est un moment vidéo parce que 80% de ce qui est dit passe par le langage non verbal (body language).C’est pour ça que je veux le voir faire ce geste. Je veux voir la vidéo.
Il y a d’autres moment où il dit qu’il était déjà âgé quand il s’est marié. Il avait 35 ans. A ce moment-là, on voit des photos de son passé qui défilent sur l’écran. Et on attire votre attention pendant 4 secondes sur une phot en particulier. C’est une durée remarquable parce que dans les journaux, le temps moyen passé sur une photo est de 0,2 seconde. Je pense que ce mélange qui permet d’utilisé chaque type de contenu pour la bonne raison au bon moment, c’est la clef.
A d’autres moments, on utilise la musique dans ce sujet. C’est uniquement lorsque Helen est au centre de l’histoire. C’est une histoire d’amour qui s’inscrit dans un contexte de crise avec la perte des fermes par les fermiers et cette question: “est-ce que les petites fermes vont survivre?” La musique quand elle apparaît, c’est une convention. Et je le répète, nous n’iventons pas cette convention, nous la reproduisons à partir d’histoires formidables qui nous ont été racontées par ceux qui nous ont précédé. Nous exploitons seulement les outils et les mode de distribution qui nous permettent de traiter les sujets qui nous importent.
L’audio, c’est la colonne vertébrale du multimédia
J’ai lu sur votre blog que l’audio était parfois plus important que les photos…
L’audio, c’est la colonne vertébrale du multimédia. L’audio est l’élément central dans ce que nous faisons. Oui, nous adorons la photo et tous nos projets naissent avec la découvertes de sujets visuellement sophistiqués. Et la question est: comment trouver l’audio qui va soutenir cela qu’il s’agisse de photo ou de vidéo. C’est au centre de notre processus de production. Quand nous avons produit le Marlboro marine, le producteur Chad Stevens et moi, avons regardé les photos. On savait ce qu’on avait entre les mains et son travail a entièrement concerné le travail sur l’audio. Et il a consacré presque tout son temps à construire un récit qui aurait pu être une émission de radio remarquable.
Alors, le multimédia, c’est de la bonne radio plus quelque chose…
Si vous avez un bon son et de mauvais visuels, vous avez un documentaire. Si vous avez de très bons visuels et un mauvais son, vous n’avez rien. Vous ne pouvez tout simplement pas raconter l’hsitoire.
Pensez-vous qu’il sera possible un jour de gagner de l’argent avec de tels sujets multimédia?
Nous avons prouvé qu’on pouvait le faire. Beaucoup de gens viennent nous voir et nous disent: “vous êtes le futur du journalisme“. Et je réponds: “Non, nous ne sommes pas le futur, nous sommes le présent“. Nous sommes une vraie entreprise. Nous avons de vrais salariés. Nous avons de vraies charges et de vraies recettes. Nous existons. Ce n’est pas un rêve, c’est mon boulot. Il y a ici 6 personnes qui touchent un salaire et paient leur loyer. C’est déjà la réalité et le temps joue en notre faveur avec le développement de nouveaux outils et de nouveaux supports.
Je suis parfois tellement excité par toutes les possibilités qui s’offrent à nous que je dois me contenir et me calmer. C’est parfois une question de patience. Nous avons de bonnes fondations maintenant mais nous avons encore beaucoup à apprendre. Nous devons faire progresser notre organisation pour aller plus vite.
Nous souhaitons que d’autres gens s’emparent de ce que nous avons appris et aillent encore plus loin.
Vous dispensez des formations. Pourquoi est-ce important pour vous?
Parce que j’adore cet artisanat. C’est à dire que je pense que ce que nous faisons, ce que les phhotojournalistes font, est un mystère absolu. Il y a la tribu des photojournalistes où chacun sait ce que font les autres. Mais la plupart des gens n’ont pas conscience de la profondeur à laquelle ces personnes sont prêtes à aller pour traiter un sujet.
Regardez ce que Jonathan Torgovnik a fait. Regardez son reportage au Rwanda. Voyez comme c’est important. regardez les 8 années passées par Marcus Bleasdale au Congo pour comprendre ce qui se passait sur place et ensuite pour transmettre cette information.
Le public en général, voit toujours les photojournalistes comme des sortes de paparazzis et ça me rend fou. Je sais que quand les gens voient des sujets de ce genre, ils sont bouleversés. Une partie de nos objectifs consiste à permettre à d’autre de progresser en matière de storytelling. Nous voulons pas être les seuls à faire cela.
Nous essayons de diséminer. Si vous regarder notre site web dans la rubrique “Submissions“, nous avons documenté notre workflow pour FinalCut, nous avons codifié les informations concernant tous les équipements que nous utilisons, nous avons documenté nos stratégies de compression vidéo. Nous souhaitons que d’autres gens s’emparent de ce que nous avons appris et aillent encore plus loin. Donc ça ne concerne pas MediaStorm selon moi, mais le travail et l’artisanat qui sont les notres.
Est-ce que vous parvenez à diffuser vos connaissances?
Je pense qu’on a pas mal réussi à partager ce que nous faisons. Je vois que la profession avance. Nous ne sommes pas les seuls à y être pour quelque chose. Je suis sur la route 150 jours par an. Je participe à des conférences, je fais des présentations à chaque fois que je peux. Et puis nous avons monté notre propre atelier de formation qui concerne les techniques avancées de storytelling. C’est encore un exemple qui montre que si ma préoccupation était de faire de l’argent, je ne ferais pas cela. J’organiserais des cours pour débutants et j’aurais des centaines de clients. Je pense que d’autres le font déjà et le font bien. Le besoin que je perçois, il est dans le domaine du perfectionnement. Il n’y a pas grand monde pour indiquer la direction à suivre dans ce domaine. On se concentre donc sur les moyens d’améliorer le journalisme visuel (visual journalism).
Le conseil le plus important pour un jeune documentariste (storyteller) c’est de trouver un projet qui a vraiment un sens pour vous
Beaucoup d’étudiants en journalisme regardent ce que vous faites à MediaStorm. Quels conseils lui donneriez-vous?
Le conseil le plus important pour un jeune documentariste (storyteller) c’est de trouvez un projet qui a vraiment un sens pour vous, qui est important à vos yeux et passez le temps qu’il faut en reportage sur ce sujet. C’est la chose la plus difficile à faire comprendre. Ces projets, ce ne sont pas des projets d’une journée ou d’une semaine. Ce sont des projets à long terme dans lesquels il faut s’engager vraiment. Et il faut s’enfoncer dans le sujet de manière à ce que ce sujet puisse nous apprendre quelque chose. Le journalisme rapide (quick journalism) n’est pas la bonne réponse, selon moi. Il existe déjà des milliards de flux d’info, des milliards d’endroits où passer votre temps chaque jour. Qu’est-ce qui distingue votre projet de tous les autres? Et le seul conseil que je peux donner c’est de se concentrer sur la qualité.
Merci beaucoup Brian Storm
Je vous en prie.
Propos recueillis par Philippe Couve, le 1er juin 2009 à New York
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VideoJournalism » And here’s what the studio looks like!
Got the anchor desk hauled into the studio this weekend (love you Ron and Lexi for working in 100+ degree heat to haul that monolith) and went in this morning to snap some shots.
If you want a closer view, just click on the individual photos.
Word of explanation – for the past three years I’ve taught broadcasting in “almost a studio.” It had the configuration, but I was also teaching English – which mean more than half of the room had desks, blocking off any ability to really do studio work. This year my English class is moving to another room, so the studio for the first time is dedicated to what it was meant for.
This past year the light grid was installed – and there it sat. I don’t have a variety of lights – just three 1K Arris, two of which were mounted by Theater Manager Brian Harrower last week. Big improvement – we can use the controls to light up and dim down AND no more potential disasters waiting to happen with power cords running all over the room.
My buddy Kathy Newell pointed out that TV station controls rooms do NOT look out over the studio…many times they are located elsewhere in the building. The response is – hey, I’m a teacher and have to maintain a visual on the kids. Besides, it kinda looks neat.
The anchor desk – formerly known as a store fixture – bought from the local Gottshalks, which is going out of business. Five by five foot platform with a four foot high desk. Just enough room for two anchors. It will be painted (most likely a neutral grey) before school starts. Oh – it has wheels, so we can roll it to any location we want in studio.
The hole in the wall!! I’m still excited about it. Just some corrogated plastic pipe and a couple of toilet mount fixtures. About five inches wide (I think). Mounted right below my monitors in the control room.
And the student comments and 48HFP (48 Hour Film Project) musings on the board…this is what happens when students are no longer learners but part of a team under deadline. I didn’t even really see these until I returned to the classroom the Monday after the event. Made me want to cry….
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Ponto Media » Links de 29-Junho-2009
Guardei estes links no del.icio.us em 29-Junho-2009
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Ponto Media » Quanto tempo dura o NYT?
PARA LER: Why The New York Times Will Be in Business Until at Least 2012.
[dica de Daniela Bertocchi]
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VideoJournalism » Digital Video Camp/take 2…
All scenes are reduced to both Quicktime and .avi files. The movie is edited (meaning cleaned up) and I’m adding music today. Will burn DVDs tonight and most likely mail out Tuesday or Wednesday…the latter at the latest since I’m going camping Wednesday.
Hope your summer is going great!
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News Videographer » What are you doing to cover sports with video?
The Times produces three weekly high school shows – a game of the week, a city game of the week and an area game of the week. The goal was to create a SportsCenter style of show for readers – two talking heads (asst. SE, high school writer), a couple of coaches’ interviews and b-roll. Voila.
The trick is keeping those videos under four minutes. Talking heads have a tendency to ramble, so any insight has got to be quick and precise. It’s amazing the response those videos generate. You’re beating local TV with your extended prep coverage, which makes it all that much easier to sell to advertisers too.
When I worked at the Express-News, we produced one football video per week during high school football season, and we produced one talking-head video with a sports reporter who talked about the week in high school football. Besides that, we would sometimes do profile videos on high school athletes. These videos were always among the most popular on our site.
What are you doing to cover sports with video at your newspaper? Could you share success stories, or provide links to other news orgs who are doing a great job?
a
What are you doing to cover sports with video?
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Ponto Media » Publicar primeiro, perguntar depois
ESTÃO as regras jornalísticas a ser subvertidas na recente cobertura pós-eleitoral no Irão? Um interessante artigo no The New York Times, de que deixo o lead:
“Check the source” may be the first rule of journalism. But in the coverage of the protests in Iran this month, some news organizations have adopted a different stance: publish first, ask questions later. If you still don’t know the answer, ask your readers.
[Obrigado, Daniela]
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Samsa news » Brian Storm: the man behind MediaStorm (interview)
Brian Storm has founded MediaStorm, one of the leading team engaged in the renewal of journalism. Labelled as a “multimedia production studio”, MediaStorm is a “purpose driven company” rather than a “profit driven company”, according to Brian Storm, and fights for quality journalism and high level storytelling.
I recently met Brian Storm and his crew in their office building in a picturesque part of Brooklyn (New York).
In a 26 minutes interview, Brian Storm sums up his “philosophy” of journalism. For a renewal: back to basics with the help of new tools.
Brian Storm: the man behind MediaStorm from Philippe Couve on Vimeo.
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Ponto Media » O futuro do jornalismo de ciência
PARA assinalar a sexta Conferência Mundial de Jornalistas de Ciência, que começa amanhã em Londres, a Nature pubica um dossier especial sobre o presente e o futuro do jornalismo de ciência.
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