Author: EJohnson

Reminders and Upcoming Dates

Welcome to the last class of the semester!

Today the rough cuts of your videos are due.

The final cuts of your videos are due by midnight next Friday Dec. 11 (since we don’t have class I’m not going to make them due by class time).

Reminder that I will be available for one-on-one coaching through next week. If you would like to sign up for a session, please do so here.

 

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Screenings and Discussion

Today we’ll be looking at the rough cuts of your videos and giving feedback.

 

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Discussion: The Business of Multimedia Journalism

Learning how to come up with a story, report that story, compose a photograph, mix sound, and shoot B-roll and then put it all together into a clear and cohesive story is only half the battle. Something that often gets left out in school is the practical side of how to make a career out of this. Sure, you might get a good internship while you’re still in school and then get hired and start working your way up. But there are a lot of different ways into the industry, and a lot of them involve taking a little bit of initiative. I’d venture to say that most journalists I know have freelanced at one point or another.

Freelancing can be a great gig, and it can also be terrifying when you’re first starting out. Here are a few common issues freelancers often run into:

Do I need a website? YES. Showcasing your previous work is more important than any well-crafted resume. The importance of being able to refer an editor to a slick portfolio website cannot be overstated.

How do you know how much money to ask for? It’s easy to undervalue your skills when you’re first starting out, but it’s worse to ask for too little money than to ask for too much. Some publications have set rates: a flat rate for a certain kind of story, or a day rate, or they’ll pay by the word. In other cases, there’s room for negotiation. If you’re not sure how much to ask for, consult your colleagues. Always try and get them to reimburse expenses.

What’s the deal with taxes? You still have to pay them. You’ll become very familiar with the 1099-MISC form. Keep your receipts so you can write off as many business-related expenses as possible: Equipment, plane tickets, etc.

How do you make sure you get paid in a timely manner? Send an invoice as soon as you file the story. I usually ask the person receiving it to confirm they’ve received it and to tell me when I should expect the money to arrive. If they don’t respond, follow up early and often. “Polite but incessant” is my motto.

I can’t use the school’s programs anymore. How much is it to buy Adobe Premiere and Lightroom and all that stuff? Not actually as bad as you might think, because you no longer even have the option to buy them outright; there’s a monthly subscription service to the Adobe Creative Suite that costs anywhere from $10 to $50 a month, depending on how many programs you need.

What kind of equipment should I invest in? When it comes to still cameras, if you’re on a small budget, I usually advise people to start with a pretty basic camera body and to invest in a few good lenses if you’re going to spend money somewhere. When it comes to video, it’s become kind of an arms race out there and DSLR cameras don’t always cut it anymore. Take a look at Storyhunter assignments to get a sense of what outlets are looking for:

“C300 or C100 strongly preferred—higher end DSLRs accepted”

“Need to have a C100 or equivalent and lav mics”

“A camera capable of shooting 1080p 24fps and 60 fps for slow motion, if possible 4k video and 120 fps for slow mo”

The good news is that if you don’t have five grand to drop on a camera and audio equipment tomorrow, you can rent gear from places like Adorama and KitSplit.

I just spent an insane amount of money on my new equipment. How do I protect it? Insure your stuff! Renter’s insurance can sometimes cover your gear, but there’s usually a pretty high deductible for theft etc. If you’re planning on working internationally, insurance tends to be quite expensive, especially if you’re working in areas considered “high-risk.” NPPA members get a discount through one company, but make sure to shop around.

Freelancing is lonely. How do I meet other people in the industry? Journalists tend to be a social bunch. It’s an industry where skills are obviously important but where you can also go pretty far on the strength of your personality and on who you know. You already have a huge advantage by virtue of the fact that you live in New York, one of the world’s biggest media hubs. Make yourself known to editors and colleagues by checking out industry events like these:

ScreenUp NYC 

Video Consortium (New York chapter)

The Bronx Documentary Center

RISC Training (first aid training for freelancers who work in remote, sensitive, and conflict areas, often host events/panel discussions at the Brooklyn Brewery
risctraining.org

Resources

• Photojournalism

The National Press Photographers Association (NPPA membership gets you certain benefits, including discounted camera insurance and press accreditation; follow them to find out about grants)
https://www.facebook.com/groups/2233179993/

Photography/Multimedia Internships and Jobs (great place to find out about entry-level opportunities)
https://www.facebook.com/groups/608650785837641/

Photo Grant Opportunities (great place to learn about grants/competitions/exhibitions for emerging photojournalists) https://www.facebook.com/groups/205928780146/

Lightstalkers/N11 (for photojournalists)
https://www.facebook.com/groups/5235712822/

Photojournalism Now (blog focused on photojournalism and social documentary photography)
https://www.facebook.com/PhotojournalismNow/

Women Photograph (a resource for female* documentary and editorial photographers and the people who would like to hire them—GRANTS!)
https://www.womenphotograph.com/

Eddie Adams Workshop (a prestigious, game-changing, three-day workshop for emerging photographers in upstate NY that puts you in a room with some of the biggest names and top editors in the industry)
https://www.facebook.com/EddieAdamsWorkshop/

The New York Times Portfolio Review (free but competitive, puts you in a room with some of the top photo editors in the world for advice and critiques on your ongoing photo projects)
https://lens.blogs.nytimes.com/…/applications-open-for-the…/

Photoville
http://photoville.com/

The International Festival of Photojournalism
http://www.visapourlimage.com/en

• Audio Journalism

Third Coast Audio Festival
https://thirdcoastfestival.org/

Public Radio NYC Google group. Be warned, you’ll get a LOT of emails but it’s a great place to pick up transcription work and the occasional tape sync, which usually pays about $150 for a fairly easy recording gig: [email protected]
(Let me know if you’d like me to add you.)

Radio Women Rule the World (for women in radio) https://www.facebook.com/groups/1514423228769048/

• Video Journalism

Storyhunter (online brokerage where videojournalists and filmmakers can apply for assignments)
https://storyhunter.com

Global VJs
https://www.facebook.com/groups/globalvjs/

Binders Full of Video Journalists (for female VJ’s) https://www.facebook.com/groups/1006816089433804/

• All Media

Vulture Club (for international journalists) https://www.facebook.com/groups/197918473577006/

The NVC (the non-Vulture Club, founded by people who were kicked out of Vulture Club—long story)
https://www.facebook.com/groups/439000736155194/

Freelancers Get Your Freak On (for freelancers who work in different media and are looking to collaborate) https://www.facebook.com/groups/1021852794578554/

Journo Housing Exchange (for wandering journalists looking for short-term housing around the world) https://www.facebook.com/groups/1639458896367607/

Journalism and Trauma (a place to discuss how we as journalists engage with trauma, from how to interview someone who has experienced it to how to cope with our own direct or indirect trauma)
https://www.facebook.com/groups/468146643386958/

Ladies Writing and Journalism (for female print journalists)
https://www.facebook.com/groups/159810750800770

Binder of International Reporters (for women who work internationally) https://www.facebook.com/groups/634887219990543/

Binders Full of Digital Journalists (for female journos who work in digital) https://www.facebook.com/groups/globalvjs/

Riot Grrrls Of Journalism (global group for women who work in all different media) https://www.facebook.com/groups/1698979077092920/

• Formal Groups/Organizations

New York Association of Black Journalists (NYABJ) https://www.facebook.com/NYABJ/

(NABJ) National Association of Black Journalists
https://www.facebook.com/NABJOfficial/

South Asian Journalists Association (SAJA)
https://www.facebook.com/South.Asian.Journalists.Associati…/

Asian American Journalists Association
https://www.facebook.com/AAJAHQ/?ref=br_rs

National Association of Hispanic Journalists
https://www.facebook.com/NAHJFan/

Arab and Middle Eastern Journalists Association (AMEJA)
https://www.facebook.com/AMEJAGlobal

Association of Health Care Journalists
https://www.facebook.com/healthjournalists

Society of Environmental Journalists
https://www.facebook.com/SocietyOfEnvironmentalJournalists

Native American Journalists Association
https://www.facebook.com/NativeJournalists

The International Association of Religion Journalists
https://www.facebook.com/The-International-Association-of-R…

Association of Food Journalists
https://www.facebook.com/AFJeats

Overseas Press Club of America
https://www.facebook.com/opcofamerica/

Society of Professional Journalists
https://www.facebook.com/SocietyofProfessionalJournalists/

Committee to Protect Journalists
https://www.facebook.com/committeetoprotectjournalists/

Blink (resource where outlets can search for and hire freelancers)
https://blink.la/

 

• Funding Opportunities

International Center for Journalists
https://www.facebook.com/icfj.org/

The International Women’s Media Foundation
https://www.facebook.com/IWMFpage/

Pulitzer Center on Crisis Reporting
https://www.facebook.com/Pulitzercenter/

Open Society Foundations
https://www.opensocietyfoundations.org/

 

If you know of any others, please feel free to share! This is an ever-evolving and incomplete list.

Reminders and Upcoming Dates

Your five-shot sequence practice assignments are due today.

Next week, Wednesday follows a Friday schedule. Since it’s the day before Thanksgiving (and since the best use of your time is outside of class working on your video projects anyway), I’m not going to hold a normal class. I will, however, make myself available for one-one-one editing coaching sessions for any of you who would like help with that.

The rough cuts of your videos are due Friday, Dec. 4.

Final cuts are due Friday, Dec. 11, the last day of class.

 

 

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Screenings and Discussion

We’ll look at your practice video exercises and answer any questions that came up while you were filming and editing.

We’ll also listen to some of your radio stories.

Reminders and Upcoming Dates

Video rough cuts are due Friday, Dec. 4.

Final videos are due Friday, Dec. 11, our last class.

 

Pitch Workshop

We’ll discuss your video pitches together and give feedback.

 

Asynchronous Assignment

Watch the video editing tutorial and edit your five-shot sequence together. Upload to Vimeo or Youtube and post on the class blog by next class.

Reminders and Upcoming Dates

Radio stories due today.

Video pitches are due next class, Friday, Nov. 13.

Video rough cuts are due Friday, Dec. 4.

Final videos are due Friday, Dec. 11, our last class.

 

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Intro to Video Journalism

With video, we build on the compositional techniques of photography and the structural, storytelling aspects of audio with one obvious additional element: Motion.

How does video storytelling for the web and mobile differ from TV and film?

• Need to be CLOSER to your subject. Web videos are smaller and more compressed.
• 20 percent of online viewers bail on a video within 10 seconds. So you don’t have a lot of time to grab your viewers and make sure they stick around.

How important is audio?

• Good audio is of paramount importance. If you have low-quality video and good audio, the video will still be watchable. If you have gorgeous visuals but terrible audio, it will not.

When is narration necessary?

Sometimes, you can let the subjects of your video tell the story all on their own — as long as you edit with care, presenting what they’ve told you in a way that makes narrative sense. One benefit of non-narrated videos is that they can feel more organic. There’s no disembodied voice stepping in to tell the story, which keeps the focus on the characters in the story.

But sometimes, for clarity’s sake or for stylistic reasons, narration is necessary, or text.

Narrated videos

https://www.nytimes.com/video/world/europe/100000002073002/treasures-from-the-sky.html?

https://www.nytimes.com/video/world/americas/100000005277141/the-last-taushiro.html

Text-Narrated videos

These are more and more popular thanks to social media distribution because they automatically start playing as you scroll through your feed and they can be watched without sound.

Non-Narrated videos

Islamic exorcisms used as a ‘cure’ for homosexuality in Indonesia: ‘If I am Muslim, I can’t be gay’

https://www.nytimes.com/video/opinion/100000001846077/bronx-obama.html

Shooting Your Video

There are two main components to any video: your interviews and your B-roll. The rules of composition we learned for photography (thirds, colors, patterns, symmetry, etc.) all apply here, but you also need to keep an eye out for motion. Tracking shots involve following the action with your camera, while static shots involve keeping your camera still, but that doesn’t mean there’s no motion involved; you might just be letting the action go in and out of the frame.

What is B-roll? And what difference does it make?

A big difference.

Things to keep in mind while you’re shooting B-roll:

1. Shoot more than you think you’ll need.
2. Get a variety of shots. Close-up, medium, wide, detail shots, static shots, tracking shots.
3. Use a tripod whenever possible. If you don’t have one or you’re shooting in a mobile, chaotic situation, be resourceful about stabilizing your shots.
4. Think about your interviews and let them inform your B-roll shooting decisions. Look for shots that illustrate what the person is talking about.
5. Hold your shot longer than you think you need to. A good rule of thumb is to hold it for at least 10 seconds (AFTER it’s already steady).

Things to keep in mind when you’re shooting your interviews:

1. Frame the shot with your subject on one of the thirds, angled so that they’re looking slightly INTO the frame. Have them look at you, not at the camera, so be mindful of where you are sitting. It’s a bit intense when someone looks directly into the camera.

2.  If you’re working with a translator, be mindful that the subject will want to look at them, so make sure they are positioned in the ideal place to draw the person’s gaze.
3.  Prioritize good audio.
4.  Make sure their face is lit, but not too harshly.
5. Think about composing the shot in a way that allows for some negative space where the Lower Third will eventually go.

Obviously, you will be a bit limited in the types of video stories you are able to do at the moment. So here are some suggestions:

• ​Aim to find stories you can report at home or close to home. Interview people you are already in close contact with. There are also a ton of internet/social media stories right now because so much human interaction and creativity is unfolding virtually, so consider finding ways to report on this visually via screen recording tools.
•  Ask your sources to record video on their phones and send it to you. Make sure they orient their phones horizontally. This can include interviews you conduct over the phone or B-roll/video diaries done in the moment while your source is handing out free lunches at an NYC public school, teaching their child from home while struggling to work full-time from home, working a hospital shift, etc.
• Use the Screen Recording feature on your phones to record video from your phone screen, or select “New Screen Recording” in Quicktime to record video off your laptop screen. Use KeepVid to grab videos off of YouTube, if relevant to your story. (Make sure to attribute any videos you grab this way and make sure you only use short clips to stay on the right side of Fair Use.)
• Go out and film only if it’s filming you can do outside by going for a solitary walk or bike ride and from a distance of greater than six feet. Don’t use your wired lav mics to interview people in these situations. Under the circumstances, it’s okay if the audio isn’t perfect. Ask the person to speak up.

Asynchronous Video Assignment

Film a five-shot sequence

The classic sequence that every budding videographer learns when starting out is the five-shot sequence.

• Close-up on the hands.
• Close-up on the face.
• Medium shot.
• Over the shoulder shot.
• One additional creative angle.

You won’t always edit things in this exact way when you do a sequence in the real world; sometimes it’ll only be three shots, or it might be ten, and they might be in a different order. But the five-shot sequence is a useful framework for thinking about depicting an activity clearly and engagingly with video.

Pitches are also due next week for your video assignment: a 2-3 minute,  video news story. This video can be narrated if you are interested in broadcast video and want on-air clips for your portfolio; if not, the video can be non-narrated: doc-style and character-driven.

Reminders and Upcoming Dates

Scripts for your radio story are due next week, on Oct. 30.  Instead of a normal class we will be doing one-one-one edit sessions. You can sign up here. Time slots are first come, first served.

After I have given you feedback on your script, you can go ahead and record the narration and edit the sound. The final, edited 3-4 minute radio story, along with the final script, is due by class time on Nov. 6. 

If you don’t sign up for an edit session, you won’t be directly penalized; however, you will lose the opportunity for feedback on your script, which could affect the quality of your overall radio project. This will be your only opportunity to incorporate editor feedback into this story. Once the audio file is submitted, you will NOT have the chance to re-submit for a chance at a higher grade.

Discussion: The Power of Voices and Speech Patterns

When we hear someone speak, what are the different things we pick up on? What are the things we assume about them?

“NPR Voice”

During a recent long car ride whose soundtrack was a medley of NPR podcasts, I noticed a verbal mannerism during scripted segments that appeared on just about every show. I’ve heard the same tic in countless speeches, TED talks and Moth StorySLAMS — anywhere that features semi-informal first-person narration.

If I could attempt to transcribe it, it sounds kind of like, y’know … this.

That is, in addition to looser language, the speaker generously employs pauses and, particularly at the end of sentences, emphatic inflection. (This is a separate issue from upspeak, the tendency to conclude statements with question marks?) A result is the suggestion of spontaneous speech and unadulterated emotion. The irony is that such presentations are highly rehearsed, with each caesura calculated and every syllable stressed in advance.

In literary circles, the practice of poets reciting verse in singsong registers and unnatural cadences is known, derogatorily, as “poet voice.” I propose calling this phenomenon “NPR voice” (which is distinct from the supple baritones we normally associate with radio voices).

It took me YEARS to start WRITING how I actually SPOKE in real life. #pubradiovoice

— Sam Sanders (@samsanders) January 29, 2015

“He was hinting at the difficult balancing act reporters face in developing their on-air voice. It isn’t just a challenge of performance — and it’s not as simple as channeling some “authentic” voice into a microphone. It requires grappling with your identity and your writing process, along with history of your institution.”

Decoding identity on the air

Here’s an actual intro by Ira Glass: sound similar?

Challenging the Whiteness of Public Radio

Podcast: ‘White voice’ and hearing whiteness as difference, not the standard

Does public radio sound too white? NPR itself tries to find out.

The reason the sound of your own voice makes you cringe

Why your voice IS a “podcast voice”

On accent bias in the industry, by Baruch’s own Gisele Regetao:

The Many Voices of Journalism

Podcast: Gisele Regatao on NPR’s accent bias

Common speech patterns in today’s world that everyone (men, too!) use all the time:

Upspeak

Vocal fry

“Like”

According to Ira Glass:

“…listeners have always complained about young women reporting on our show. They used to complain about reporters using the word “like” and about upspeak… But we don’t get many emails like that anymore. People who don’t like listening to young women on the radio have moved on to vocal fry.”

Why old men find young women’s voices so annoying

99% Invisible podcast responds to criticism about women’s voices

So all of this leads us to the question: How can we be intentional about how we use our voices to tell the best stories as effectively as possible?

Luckily, in radio/podcasting, speaking naturally is what we actually WANT. No one wants to listen to a robot, or someone who sounds like they’re reading.

How I learned to stop worrying and love my voice

 

Reminders and Upcoming Dates

Radio scripts will be due Friday, October 30. Instead of having class as usual that day, I will be holding one-on-one script editing meetings with everyone; you will sign up for time slots when it gets a bit closer.

Final due date on the radio story is Friday, November 6.

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Script Writing

Here’s my example script based on a very short interview I did with another professor back in the spring. Note some of the different elements of script writing:

• Visual/descriptive, paints a picture to add context to the natural sounds
• Sets up sound bites by introducing the person by their full name and often by paraphrasing or hinting at what they’re about to say.
• No long, rambly, complicated sentences.
• Ends with a final line of narration that looks to the future in some way.

 

Host intro: With CUNY schools transitioning to online learning this week amid the coronavirus outbreak, professors across New York City are getting creative. Emily Johnson spoke to one CUNY adjunct about what it’s like trying to teach during a pandemic.

AMBI: Nat sounds of tea kettle boiling (FADE DOWN AS TRACK BEGINS)

TRACK: I’m here with Anna Ficek in her Brooklyn apartment, watching her make tea while she works from home. She’s a PhD student at the CUNY Grad Center and when she’s not working on her dissertation she teaches art history at Baruch College and Borough of Manhattan Community College, or BMCC.

ACT: ANNA: When I found out that everything was getting shut down and especially CUNY I felt extremely sad. Because CUNY is such a big part of my life, such a great community that it was hard to feel that kind of dissipating.

TRACK: She says teaching from home has been a real challenge because of the way she runs her classes.

ACT: ANNA: It’s been very difficult to adapt to teaching remotely just because I really value the discussion I have with my students.

TRACK: Still, she’s trying to see this as an opportunity.

ACT: ANNA: What I’m hoping to get out of this is more time to really focus on what’s important both in terms of teaching and my own dissertation and my own research and trying to figure out creative problem solving ways to deal with these new issues that are going to come around like libraries being closed and inaccessibility to archives and how myself as an academic and as a researcher can get around that. So challenges, but also good challenges!

TRACK: CUNY schools will continue with distance learning for at least the remainder of the spring semester. For Baruch College, I’m Emily Johnson.

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Recording Narration

You’ll need to record your narration in a quiet place with sound-absorbing surfaces. Some people use their closet as a makeshift studio; others just throw a blanket over their head. If your room is carpeted, has curtains and lots of plush surfaces, the sound quality should be decent.

It’s best not to drink or eat dairy products right before recording narration; it makes your voice sound thick.

Try not to speak from high up in your throat. Speak from lower in your belly.

Good posture is important.

Some people in the radio world warm up their voices by singing, stretching, and/or doing tongue twisters.

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 Audio Editing Workshop

Audacity shortcuts to know:

Play/pause: Space bar
Split track: Command I
Zoom in: Command 1
Zoom out: Command 3

In the tool bar, this is the selection tool that allows you to click and highlight and delete sections of track or select a spot where you want to split it:

And this is the tool that allows you to move sections of track:


And this is the one that lets you adjust the volume, basically the same way the pen tool works in Premiere for anyone who may be familiar with that program:

You’ll need to export the finished sound file before you can upload it anywhere.

In Audacity, it’s File –> Export Audio –> select “WAV” from dropdown menu and give the file a name and location, then hit “Save” and “OK.”

I recommend uploading to Soundcloud rather than hosting it on the blog. It’s free to create an account. Please post the link on the class blog by the end of the day.

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Reminders and Upcoming Dates

Radio story pitches are due today. We’ll be workshopping them together: first in small groups in breakout rooms and then as a class.

Radio scripts will be due Friday, October 30. Instead of having class as usual that day, I will be holding one-on-one script editing meetings with everyone; you will sign up for time slots when it gets a bit closer.

Final due date on the radio story is Friday, November 6.

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Asynchronous Assignment

Record a short interview with someone (maybe 5-10 minutes)—it can be  a friend, roommate, family member, partner, etc. You don’t need to submit it to me yet, but we’re going to be using it in a script writing/audio editing exercise in class, so please have it readily accessible (ie send it to yourself from your phone ahead of time).

Also make sure you have downloaded Audacity, the free audio editing program.

Reminder:

Photo essays are due TODAY.

I will give you a grade on this draft of the photo essay along with emailed feedback. You will have a week from the time you receive my feedback to submit a revised version for a chance at a higher grade, if you so choose. If not, the initial grade will become final.

Pitches for radio stories are due next week by class time; we will workshop them together in class. Make sure your pitches are specific, with a clear angle and evidence of some pre-reporting.

Radio scripts will be due Friday, October 30. Instead of having class as usual that day, I will be holding one-on-one script editing meetings with everyone; you will sign up for time slots when it gets a bit closer.

 

Viewing and Discussion:

We’ll look at your photo essays and critique them  together as a class.

Reminders

Your photo essays should include 12-20 images, plus informative captions that not only describe what is happening in the photo, but include reporting, quotes, and relevant background information (context,  statistics, numbers, timeline of events, etc.) Caption length can vary per photo, but altogether the captions should add up to at least 400 words.

The photo essay will be due by class time next class, on Friday, Oct. 2.

Pitches due for radio stories on Friday, October 9.

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Caption Writing

Just because photojournalism is a visual medium, it doesn’t mean you get to be any less thorough when it comes to names, facts, dates, etc. You need to always make sure you get the names, locations, professions, ages (if relevant) to include in your captions. The Who/What/Where/When/Why.

Washington Post guidelines:

Freelance Image Metadata Fields

“A caption should briefly and clearly describe in a complete sentence what is happening in the picture, including an active verb (‘someone does something’). This will allow our internal systems to take sections of the sentence and automatically create keywords. In many cases, a single sentence will suffice. A second sentence is acceptable if it adds additional information, follows the required formula and does not editorialize.”

Caption example:

BEVERLY HILLS, CA – JANUARY 11: Actress Kate Winslet holds her award at the 66th Annual Golden Globe Awards on January 11, 2009 in Beverly Hills, California. Winslet won the Golden Globe for best supporting actress for her role in “The Reader,” as Hollywood set aside labor strife and a recession to honor the year’s best performances. (Photo by Rich Lipski for The Washington Post)

Notice how the first sentence is in present tense, describing what is literally happening in the photo, and the following sentence is in the past tense, giving background and context. 

In a photo essay, the captions play the additional role of shaping a narrative. So while wire photos and breaking news photos might all include similar captions because most likely they’ll only be used one at a time, your captions in a photo essay will need to follow a somewhat more narrative shape. Meaning, the first one will include a lot of that 5W’s stuff, while the additional captions might fill in the blanks some more.

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Constructing Your Photo Essays

Here are some examples of  past student photo essays:

https://acandelario.exposure.co/tough-breaks

https://reemadoleh.exposure.co/gentrification-in-brooklyn

Idogo: A City in Medical Need

Justice For George Sweeps NYC

In the past, I have recommended Exposure for students’ photo essays because it allows you to beautifully display photography, but they recently changed their free trial police from three free projects to two weeks, meaning that any projects you create will be locked from editing and no longer viewable after two weeks.

If you want your photo essay to display in a scrolling manner, I now recommend using this class blog. You’ll embed your photos by selecting “Add Media” and then “Upload File” and then  “Insert Into Post.” If you want to keep the present tense captions separate from the past-tense writing in the story, you can enter the caption text in the “Caption” field on the right before you click “Insert Into Post.”

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Intro to Radio Reporting

For your radio stories, you’ll be creating something called a wrap: a scripted feature with narration, natural sounds, and sound bites all woven together.

Sample wrap.

Sample radio script.

Here are some basics you’ll want to keep in mind as you set out to collect sound:

Choose your environment wisely. Be aware of your surroundings. If you interview someone under a subway track, your recording will be impossible to understand. Pick a relatively quiet space. A little background noise is fine and adds atmosphere – except for music. Music makes editing difficult, so avoid it if possible.

Cell phones off or on airplane mode. Yours and theirs. If you’re using your phone to record, make sure it’s set to silent.

Don’t forget your nats. Natural sound is a crucial element of any audio piece. Think about what sounds will most effectively place your listener in the scene. Footsteps, dishes clinking, phones ringing. Don’t be afraid to get in there and get close. Music is fine to use as a nat sound, but not as background to an interview. It will mess up your ability to edit.

Don’t forget your ambi. “Ambi” refers to ambient sound, also known as room tone. Basically, this is the background noise from wherever you happen to conduct your interviews. Even if you record in a very quiet place, nothing still usually sounds like something because of how the acoustics vary in different rooms. Before or after every interview, always record 90 seconds to two minutes of ambi. This will go under your narration to make the story feel seamless.

Ask open-ended questions. Yes or no questions won’t give you good long responses filled with usable quotes.

Get close, but not too close. Putting a mic right up against someone’s mouth can result in popping and crackling sounds on the recording. Make sure to test your equipment so you know roughly where to hold your recorder for optimal sound quality.

Ask your question, then shut up. Active listening is a fantastic skill for a journalist to have, but if you keep murmuring “Uh-huh,” “Yeah,” and “Sure,” while they’re answering your questions, you won’t be able to use the material. Stick with smiling and nodding.

Keep control of the mic. Always monitor your sound with headphones while recording, if possible. (This is not possible with the Voice Memos app, unfortunately.) Hold the mic 1-2 feet from the interviewee’s mouth. Never let the person you’re interviewing hold it. Try to keep handling noise to a minimum.

If recording an interview remotely, try to do a tape sync. A tape sync means recording both ends of a phone interview in person and then editing them together. This will allow the sound quality for both voices to be high-quality and clear. Typically, radio hosts hire freelancers who live in the same city as their interviewee to go out and record the tape syncs, but in the pandemic it’s become more common to ask the interviewee to do it themselves and then send it to you.

A couple more radio stories:

Example of a clever host intro:

Need to release stress? Scream into Iceland’s abyss.

Great example of a local NYC story:

At this Brooklyn restaurant, you can get Korean food with a side of Russian history

A story reported by a Baruch multimedia student after the lockdown started last semester:

Guidelines for radio pitches

Assignment #2 will be a 3 or 4-minute news radio feature (a “wrap”). A wrap is a scripted radio piece that weaves together natural sounds, interview clips (known as “actualities”), and reporter narration to tell a story.

These are the components you are required to submit for the final draft:

1. A good headline/title.
2. Your final 3-4  minute edited audio file, posted to Soundcloud and embedded on the blog or on Exposure.
3. At least one photo.
4. 21The final draft of your script.

 

Discussion:

Pitch workshop

Asynchronous Assignment:

Watch the following Adobe Lightroom tutorial and use what you’ve learned to edit the photos you took during the “scavenger hunt” assignment:

https://helpx.adobe.com/lightroom-classic/how-to/basic-photography-editing-techniques.html

Submit the edited photos to me via WeTransfer.com by next class.