As a local TV investigative reporter, Bob Segall has exposed a federal tax loophole costing taxpayers billions, busted Indiana officials for exaggerating "economic success stories" and given bullied kids a voice, all while picking up a bunch of big awards along the way. Yet, Segall, 43, who now works at Dispatch Broadcast Group's NBC affiliate WTHR Indianapolis, credits a brief foray into public relations in the late 1990s -- something he "kind of hated every minute of" -- as a defining moment in his career, primarily because he learned how the other side works. "They taught me the art of not answering questions," Segall says. Being trained in "how to redirect questions" and "defending the company when journalists come calling" has paid off time and again, Segall says.
The market for local television stations was bullish in 2013, driven by the growing political ad revenue and fees paid to those outlets by cable, satellite and telecommunications companies for the right to carry their programming. In 2013, about 300 full-power local stations changed hands for a combined price tag of more than $8 billion, as major companies — from the Sinclair Broadcast Group to the Tribune Company — dramatically expanded their local TV portfolios. Despite that boom, a new survey of 1,300 local television news directors produced by RTDNA and Hofstra University paints a mixed picture of the staffing and spending patterns in local television news.
The Film & Television Department of Boston University (BU)'s College of Communication offers degree programs at both the undergraduate and graduate levels for approximately 350 students annually. Students begin their training on entry-level gear, and gradually work their way up to using high-end equipment, which includes a large complement of digital cinema cameras, digital SLR cameras, and lenses made by Canon. "Graduate programs are focused, and include a thesis film," said Charles Merzbacher, Associate Professor and Director of Production at BU. "The undergraduate degree, however, does not differentiate between film, television, writing, or production studies. Undergrads choose from various 'ladders' of courses, and they can either be generalists or specialists - that's really a matter of their own individual needs."
Waterloo, Ontario-based Dejero has announced the LIVE+ GoBox, a professional-grade mobile transmitter for newsgathering professionals and video content contributors on the move. Dejero's newest portable transmitter is the company's most versatile and rugged to date, enabling mobile journalists to broadcast live from virtually anywhere with bonded cellular, Wi-Fi, and portable satellite connections, or record up to 40 hours of HD video for later broadcast. Built for demanding situations where the unit might get jostled, in the midst of a large crowd or a moving vehicle, the GoBox has undergone rigorous vibration testing to ensure it can withstand such environments.
Video systems provider Endless Potential Media Group (EPMG), based in Toronto, Ontario, Canada, used a series of special “webcasting” transmitters from Dejero for its live streaming coverage of the Scotiabank Toronto Waterfront Marathon (STWM), which took place on Oct. 19. Using eight rugged and portable LIVE+ 20/20 transmitters deployed on motorcycles, EPMG produced a nine-camera HD webcast for live streaming to the STWM website and Canada Running Series YouTube channel. "The ability to stream live HD coverage to the Internet means we had an opportunity to share the Scotiabank Toronto Waterfront Marathon with running communities all over the world. That kind of reach would have been difficult, if not impossible, with traditional television broadcasting," said Alan Brookes, race director, STWM. "With the Dejero mobile transmission technology, we were able to bring the marathon to the world very cost-effectively without sacrificing video quality."
StreamQuik, the Irvine, Calif. company that gave us StreamStik (basically a tablet mounted horizontally on a stick, with a built-in encoder and live streaming capability) and a number of other live streaming products, has now taken its wireless IP streaming technology and reduced it into a low-profile pouch that can be integrated onto a bicycle frame.
JVC Professional Products Company, a division of JVC Americas Corp., today announced its "F.A.S.T. Track Tour," a series of presentations to promote the live HD streaming capabilities built into its camcorders and related products, as well as to provide information about streaming technology for video professionals. The multi-city tour launches in Boston on Aug. 26, 2014, at the Boston Marriott Newton, and continues to Fort Lauderdale, Fla., on Sept. 23. The free seminars run from 10 a.m. to 3 p.m. and include lunch. Short for "Fluent Adaptive Streaming Technology," F.A.S.T. represents streaming technology built into JVC's GY-HM650, GY-HM850 and GY-HM890 cameras that includes content-aware error correction to ensure reliable HD transmission over a variety of Internet connections.
LiveU, a provider of portable live video acquisition, contribution and management solutions, has signed a long-term agreement with Quincy Broadcast Print Interactive to provide its compact LU500 and LU400 uplink units, and LiveU Xtender external antenna solution for live newsgathering operations at its 14 local television stations. "Our local news operations are deeply rooted in their local communities, and LiveU's solutions allow us to deploy more news crews to help bring this local news home to our viewers," said Brady Dreasler, Quincy Broadcast Print Interactive. "The lightweight, small packaging of the LiveU devices ultimately outperformed above their competition, and provided high-quality video when we tested the gear in a handful of markets. The addition of the LiveU Xtender has assisted us in transmitting live video in a tough geographic area or when cellular congestion arises at a popular event."
So far we've looked at skills most anyone can be taught or trained to do. With writing — otherwise known as the execution of "a good story, well told" — it is much harder because no one can teach another how to write a compelling story. As with the visual artist, recognizing and writing a story is a talent that comes naturally. Not everyone can do it. Others can guide you in the right direction and give you tips, but no one can teach another person to write. That may sound contrary to what "trainers" will tell you, but it's true. However, becoming a good writer is essential to videomaking. It's part of the "talent" part of the process. You must learn how to construct a story from the ground up in compelling prose. In this section, we'll look at what it takes to be a multimedia writer, but we can't tell you how to do it.
Vizrt Helps Video Journalism Students Learn Graphics Creation With New Starter Program Viz Artist designers are some of the most sought after broadcast designers in the world. Vizrt is offering a special program for all aspiring broadcast designers to give their careers a head start in the media industry.The Vizrt Student License Program is offered to both freelancers and students (enrolled to educational institutions). The program has been created to provide special pricing for Viz Artist, Vizrt’s real-time 3D modeling and animation application that is used to design scenes for all of Vizrt’s graphics products. Using specially licensed software and a series of tutorials, you will become an expert in what’s become the design standard for broadcast.
The National High School Journalism Convention is a semiannual gathering of high school journalists and advisers sponsored by the Journalism Education Association and its partner, the National Scholastic Press Association. The associations partner to prepare hundreds of practical and professional learning sessions, from high-profile keynotes to specific, problem-solving breakouts, hands-on workshops and discussion groups.
Those summer interns who just arrived in newsrooms across the nation may be enrolled in journalism schools, but the schools likely little resemble the j-schools their supervisors attended. Journalism education -- much like journalism itself -- is in the middle of a massive reboot, one with the potential to redefine how news is produced and consumed in the decades to come. Students still learn the basics, but computer coding and entrepreneurship often are taught alongside copy editing and beat reporting. Digital is the default, and the most innovative schools are churning out students with skills newsrooms may not yet know how to use. "Right in that first journalism class, they're going to be posting on the Web," says Mary T. Rogus, associate professor of electronic journalism at Ohio University. "They learn to shoot and edit video. They're starting out their freshman year being exposed to multiple tools, which is how we have to think of the platforms -- just another tool to tell a story."
A couple of months ago, I was intrigued by a new 360 spherical camera that I immediately realized would allow video journalists to enhance certain news stories, especially on station web sites and perhaps as huge images for projection on the background of news studio sets. Ricoh, the company making the new Theta camera, had the same idea for news acquisition and sponsored a contest called "Spherical Report 360" that asked journalists and wannabe journalists to post 360 degree images on a website controlled by CNN. The purpose of the project is to explore new expression methods and possibilities for news images by using the very simple, pocket-sized Ricoh Theta camera..