It’s great experience for anyone interested in audio, radio, reporting, and editing. Also, internships are one of the most valuable college experiences you can get. Many employers require internship experience.
You can earn COJO upper division credit for the internship as well, which will help you work toward graduation and upper division credit.
First, 10 minutes to evaluate the class and my teaching.
Now, a few reminders:
1. For the Twitter assignment, follow me on Twitter. I can’t grade your work otherwise.
2. Review the Twitter assignment guidelines BEFORE you tweet. You need at least 10 tweets, two interviews, and hashtags on tweets. You also need to be professional and use newswriting style. And the tweets should show a narrative arc (beginning, middle, and end to the event or story).
3. The tweets are due by next Thurs. 12/11 @ 11:59 p.m.
4. The video project can be promotional or journalistic. It’s between 2 and 4 minutes. You can use whatever editing program you like. There should be two on-camera interviews. There should be a narrative arc as well. Don’t forget the ambient noise.
5. The video project is due by Thurs. 12/18 @ 12:15 p.m.
6. WRITE BLOG POSTS and answer the assignment questions for BOTH the Twitter and video assignments. Please don’t forget this. The highest grade you can get is a C if you forget this (see grading rubrics).
The ability to tell a good story with video is a difficult yet important skill for journalists and communicators to learn. Video is not just on TV anymore — you can find video stories online and on mobile devices as well. You’ll work in teams of two for this project. Let’s partner up and review the instructions for Blog Post 10 – Video Project
1. Pre-Production (Before You Shoot)
Choose a story (or event!) that is well suited for video. This includes stories that have strong visual components and that have any sort of motion.
Identify your sources. Seek out multiple and diverse perspectives for your story.
Write preliminary interview questions after researching the story. Plan out your questions, story focus, and narrative (i.e., beginning, middle, and end) in advance, as much as you can. However, also remember to be adaptable during the interview and ask appropriate follow-up questions.
“Show me, don’t tell me” is the mantra in video storytelling. Find a way to show a story unfolding with video. Minimize the on-camera interviews with people (i.e., “talking head interviews”). It’s more interesting to watch an event occur rather than here about it from an interviewee.
Plan to shoot a variety of angles and types of shots. For suggestions, see Production, below.
Consider how you (the reporter) will fit into the story. Will you appear on-camera to set the scene or conduct an interview? If you’d like to try that, go ahead! Or, will you be completely invisible to the audience, just like you were during the Soundslides project and the audio profile project? Or, will you narrate the story without appearing on-camera?
2. Production (When You’re On-Location)
Plan on shooting before and after the event (if shooting an event). This ensures you have a variety of material to create your edited story from. Also, it helps develop a narrative of before, during, and after the event.
Shoot B-roll. B-roll is supplemental footage that relates to your story. For example, a video story about the the UW track team’s meet should include video of athletes warming up, tying their shoelaces, talking with coaches, etc. These are the shots that you can use to fill time while an interviewee is talking or while ambient noise (e.g., background noise from the event or music) is playing. For a 2-minute story, shoot at least 30 seconds of B-roll footage.
Shoot on-camera interviews with your sources. When shooting interviews, remember to look around at your surroundings. Is it relevant to the story? Can you move somewhere else to get the interview that is not as chaotic or loud? Just as with the audio interviews, encourage your sources to relax, act natural, and provide context to the answer they are giving to your question. Don’t be afraid to re-shoot a question and ask a question again. Oftentimes, the source gives a better and more eloquent answer to your question the second time you ask it.
Optional: Shoot on-camera reporters. If you’d like to appear on-camera as a broadcaster at some point, then this project is a good opportunity to practice. You can introduce the story and provide context to the significance of the story. You can transition with your voice and appearance between story segments. And you can conclude the story and provide a summary or “what happens next” statement.
Shoot a variety of camera shots. Whether you plan to be a visual journalist or not, you need to understand and learn how to execute the types of shots. See this website for visual examples and descriptions as we go over the definitions below.
Extreme wide shots. Shows the whole entire scene of an event, location, or story. These shots give viewers information about where the story takes place. They set the scene and give context early on in a story.
Very wide shots. Shows less background and shows the subject in the large scene. The subject is barely visible.
Wide shots. Shows the whole subject so the visual emphasis is on the subject rather than the background.
Mid shots. Shows the subject even closer, but a bit of the scene is still visible in the frame.
Medium close-up shots. Shows the subject even closer and the subject’s features and expressions are more of the focus.
Close-up shots. Shows the subject’s head to shoulder area.
Extreme close-up shots. Shows only the subject in the frame, such as the subject’s eyes and nose.
Cut-in shots. Shows some other part of the main subject, not the face and shoulders.
Cutaway shots. B-roll that is used as transitions between shots or to add information not offered by shots of the main subject or scene.
Point-of-view shots. Shows a scene from the subject’s perspective such that you feel like you are in their shoes.
Optional: Camera movement techniques. Camera movements are more advanced production techniques. They may not work out well if you do not have a high-quality video camera. Thus, I would avoid these techniques unless you have prior experinece with video or unless you have a high-quality video camear. If you decide to use camea movements, see the techniques below:
Zooming: Going from wide-angle to close-up or vice versa.
Panning: Moving the camera horizontally.
Tilts: Moving the camera vertically.
Tracking: Moving the camera around accordingly to track the subject.
Composition concerns: Give headroom so the interviewee has space above their head during the shot. Avoid distractions in the background of shots. Remember the rule of thirds still!
3. Post-Production (The Editing Process)
Editing programs. You have access to Adobe Premiere Elements in this lab, CR 207, as well as Ross Hall 423 (next to my office), AS 228, and the IT building computer lab. However, you are free to use another editing program, such as iMovie, FinalCutPro, or Windows Movie Maker. Adobe Premiere and FinalCutPro are the industry standards for video editing. iMovie is pretty good for being a standard software on a MacBook. Windows Movie Maker is pretty awful and I don’t recommend it unless you have no other options. Also, consider downloading a trial version of Adobe Premiere. The IT building has a beautiful Mac computer in the scantron room that has FinalCutPro on it.
Conceptual Editing.You want to brainstorm and plan out your story before you begin with technical editing. You want to have the story flow ironed out first. If you’re stuck, think about how you’d tell a friend your story. What did you start with? What else did you tell your friend? How does the story end? Also, search for sound bites that address the who, what, where, when, why, how, and so what.
The video editing process is similar to the audio editing process. Remember the tips associated with audio editing.
Keep your story focused — it’s supposed to be about 2-4 minutes.
Below are the main points you need to consider while working on your project. I will use these elements to evaluate your work.
At least 2 sources
At least 5 seconds of ambient noise, natural sound, or music
Video is between 2 and 4 minutes
Video shots are diverse (see camera shots and camera movements above)
Speakers are introduced with titles and/or the speaker self-identifies themselves and/or the reporter identifies the speaker
Story has a beginning, middle, and end (narrative arc)
Editing is smooth
Video Storytelling Examples From Past Classes
Example of Journalistic Approach to a Non-Event Story with Reporter Narration – Zachary Laux and Cameron Patey Online Gaming
Example of Journalistic Approach to an Event Story Without Reporter Narration – Rachel Vliem and Rachel Wagner
Example of Journalistic Approach to a Non-event Story without Reporter Narration – Brittany Hamilton and Scottie Melton
Now that you know more about how to use social media for storytelling, we are going to live-report a newsworthy event using Twitter.
Think of this exercise as an exercise in juggling. You have to watch, listen, type (or write), and tweet. This is preparation for your live tweeting assignment. Let’s take a look at the Blog Post 9 – Live Tweeting Project
First, open a Word file. I want you to type as much as information, notes, and direct quotes that you can from the speech. You may even write the tweets during the speech. But try not to miss anything!
Then, we’re going to take class time to create as many 140-character tweets as possible (with the hashtag #SteveJobs included in each tweet). Highlight the first sentence or two in your file. Is it 140 characters? How should you edit it? Is it important enough to tweet?
Aim for at least 10 tweets, but more is better. If this was a live event, your audience would want as many direct quotes from Jobs as possible.
After you’re done, we’ll share our tweets as a class by going around the room. This should give you an idea of the key moments of the speech. And you should double-check to ensure you captured those key moments of the speech in tweets you have written in your Word file.
This exercise should help you understand the process of live-tweeting.
Be sure that you charge your smartphone before attending the event. If your phone runs out of battery and you’re supposed to be live-tweeting an event, that is no excuse to a boss in the future.
Write down interview notes and information before you live tweet them. Don’t try to tweet on your phone as you’re interviewing someone. Construct tweets on paper or using your phone’s “notepad” before tweeting on Twitter.
Dress professionally and/or appropriate for the event that you’re covering. Dressing up makes you look professional and people may take you more seriously.
Re-read your tweet before you publish it. Edit it, if needed. If you do make a mistake, you can delete the wrong tweet and then publish a corrected tweet.
**Post-Graduation 2015 Job Opportunities Making Social Change**
We’re looking for smart, hard-working students who work well in a team and are eager to make real change after graduation.
The Fund for the Public Interest (“the Fund”) partners with leading nonprofit groups from around the country, providing the kind of people power it takes to build organizations for the long-term, win hard-fought campaigns, and make real change on some of the most important issues of our day. And we’re hiring!
Specifically, we’re hiring Citizen Outreach Directors to run our grassroots campaign offices across the country next fall — working on behalf of groups like Environment America and US PIRG.
We are looking for smart, motivated students who want to get their hands dirty and make a real impact on some of the most critical issues facing our society.
If you are interested in multimedia and would like to study abroad, check out this program. There are opportunities in Ireland, Turkey, Italy, Israel, Spain, and more. Some of these opportunities sound like great experiences!
How Social Media is Used by the Big Three Media Fields
Twitter and social media are for you. The aspiring journalist, sports commentator, marketing executive, advertising director, public relations manager.
You can use Twitter and social media to help you create a presence and garner an audience.
No doubt, social media is changing our media world. Let’s watch the videos and talk about each one. Then, after the videos, pick one of the online stories to read: journalism, public relations, and advertising. Please be ready to share a few things you learned from the particular story you read.
Know the basics. @username, #topic, and RTs (retweets).
Establish a voice. There is a lot of noise out there. To get engaged and get noticed, you’ll need to decide what “face” you want to reveal to the Twittersphere.
For me, @klandreville, my twitter voice is related to political communication and news research, teaching, and education.
For @Anna_Rader, one of our guest speakers, her voice is “NPR junkie, music lover, cinephile, Wyomingite, nerd. Online Manager and Production Assistant at @WYPublicMedia.”
Brainstorm about your Twitter voice.
Once you have a voice and identity in mind, find similar people to follow. To engage with a like-minded community, search for people to follow at “Who To Follow.” Twitter will suggest some people after you write your identity summary and begin posting.
Share and gather information. For professional use, you can use it to quickly share and gather information real-time (e.g., promote events) with people interested in your writing, journalism, company, etc. Retweet relevant information to your field as well. Retweeting build followers.
Brand management. You can use it to hear and address praise and complaints about your writing or company. Search for your favorite (or least favorite) companies to see how they’re using Twitter and Facebook.
For example, Southwest is known for their fantastic customer service. Twitter and Facebook only help that image.
Contribute to the community. Actively search and share information related to your field. Followers will be happy and more informed. And they may retweet, which brings you more followers.
For example, AEJMC (a nonprofit mass media association) shares valuable information about journalism, multimedia, public relations, and advertising to followers.
Start a story and use visual writing. Live events can be tweeted and facebooked while on the scene. Stories you’re working on can be previewed with tidbits and snippets of writing. Direct people to the full story. Use strong verbs, adjectives, and visuals.
For example, Joanna Smith, a Toronto Star reporter covering the Haitian earthquake, wrote a series of earthquake-related tweets. She created an unraveling narrative through each snapshot.
“Was in b-room getting dressed when heard my name. Tremor. Ran outside through sliding door. All still now. Safe. Roosters crowing.”
“Fugitives from prison caught looting, taken from police, beaten, dragged thru street, died slowly and set on fire in pile of garbage.”
Engage with the community. There are live chats via Twitter. It can be a learning environment. Retweet all relevant information to your field.
For example, there are live chats on Twitter about journalism. Search for #journchat. I searched this recently and found that people were sharing the information that LinkedIn is the top social media website for journalists because it’s easy to network professionally and keep tabs on potential news sources. If you’re an aspiring journalist, you should strongly consider getting a LindedIn account. It’s a popular way to learn about potential jobs too.
For example, ask questions relevant to your field. Laurel Papworth (@SilkCharm) asked, “Dear #PRChat PR people how is #BigData affecting your industry relationships with journalists? #Journchat #RunningScaredYet? :P”
State your opinions, but be professional. Everything you say on Twitter can be retweeted (unless you have your settings on private). Facebook profiles can be viewed (and I assume that they can be hacked too). Everything lives forever online. All of your tweets can be searched (see Topsy and SnapBird). Be paranoid about that.
For example, one student was tweeting about dislike of a professor’s course and the professor engaged the student to suggest what the professor should improve. You be the judge about the conversation tone.
Student Tweets: (1) UUUGGGGHHHHHH She is working my nerves!! I hate new professors!! (2) I swear [professor’s name] is too much for me! (3) Soooo I can’t talk too bad about my professor on twitter anymore…because now we have to follow her ass!!
Professor: @StudentName After reading your multiple tweets about your disappointment in my teaching style, what would you recommend I do differently?
Her follower responded: Double yikes! I hope your student realizes you are also followed by PR execs who make hiring decisions…”
“Perception is reality. In online social networks, the lines between public and private, personal and professional are blurred. Just by identifying yourself as an Intel employee, you are creating perceptions about your expertise and about Intel by our shareholders, customers, and the general public-and perceptions about you by your colleagues and managers. Do us all proud. Be sure that all content associated with you is consistent with your work and with Intel’s values and professional standards.”
Crowdsource. Use followers for information. Make a call or solicit them for information.
Find anecdotes and exemplars for stories. Denver Post did this to find the human face to their story on parents stealing their childrens’ identities and then raiding their credit.
Collect data using Google Docs to create a Google Form. Then, share link on social media for quick, informal surveys. Denver Post used this technique to find people live-blog their responses to the first 2012 presidential debate in Denver.
The Denver Post crowdsourced for their article on parents stealing their children’s identity.
Social Media Management. Monitor social media across Twitter and other platforms with the following tools: