Archives for posts with tag: multimedia

The audio slideshow was the first truly multimedia storytelling form in the world of online news. It originated in newspaper newsrooms at the beginning of the Internet era in the 1990s. As we work from learning to use the simple Web 2.0 story form (blogging on WordPress) toward the most complex (creating video stories), students in JRNL 3510 this week are completing their 10-picture photo galleries on their blogs, complete with captions. Audio slideshows are the logical next step after this assignment.

Our next major assignment in Multimedia Journalism will be an audio slideshow created in SoundSlides. An audio slideshow consists of still photos and audio. The highly recommended audio recording gear for this assignment is the Zoom H1 Handy Recorder. It’s lightweight, but it provides excellent sound quality and reasonably fine input control for the mobile journalist. AmazonB&H Photo and New Egg have them for between $95 and $100. I’ve had great luck with all three vendors.

As one might logically assume, photojournalists were the pioneers of the audio slideshow. Because they were mostly visual thinkers and not audio producers, photojournalists’ earliest audio slideshows typically used one continuous interview clip, a single linear narration recorded by the photos’ creator, or a song as an audio “backdrop” for their stories. This was an important step toward integrating visuals with sound. But in its early stages, the audio slideshow often consisted of two separate stories on slightly different tracks: one visual, the other audio. One complemented the other, but they didn’t tell the same story simultaneously. Our goal is to develop integrated stories in which the audio track speaks about or provided context for the visuals simultaneously visible onscreen.

Thus, the audio slideshows we create will use some of the logic of writing for TV. In a television voiceover script (or VO), producers use the SWAP method: Synchronize words and pictures.That’s what you’re going for here: The audio track could stand by itself. Or the sequence of photos with captions could stand by itself. But the voices and sounds in the audio track must be relevant to each of the images onscreen while the audio track can be hears. Sound and images sync together.

The best way to understand this story form is to view and listen to great examples. Here are a variety of them from major news sites, including the British Broadcasting Corp., The Guardian, Australian Broadcasting Corp., and the New York Times. They come from Maureen Fisher’s list of examples on a class blog at Temple University.

BBC
A Surgeon in Somalia

The Dog and the Whale

Down the Local

THE GUARDIAN (UK)
All Round the Houses: Confessions of a Milkman

Disappearing Acts: Turning a Bowl on a Pole Lathe

AUSTRALIAN BROADCASTING COMPANY
The Mobile Nurse: Rebecca Wilner

Skulls, Strings and Philosophy: An Exploration into the Life of a Tattoo Artist

NEW YORK TIMES
Mulch Fest

Cut in Half

Burlesque Art

Kitten Rescue

I’ve already distributed this assignment via class email, but here it is online as well. Your assignment is to critique two audio slideshows that inspire you. Your post must meet each of the following requirements to receive full credit:

  1. They must be relevant to your blog topic.
  2. They must have captions on all photos.
  3. Provide their titles. In the titles, link to them using inline links. Don’t just type the URL in your post. It’s unprofessional.
  4. Identify the people who created them. Include the name of their news organizations.
  5. Briefly describe and critique their content. How well do they synchronize sound with pictures? Is each image onscreen long enough for you to “read” the image? Or are they up for too short of a time? How well are the captions written? Use “Writing photo cutlines (aka captions).pdf” as your guide to good captions.
  6. Briefly explain the journalistic value in their content.
  7. Explain what you find inspiring about them.
  8. Ask your readers a question related to the content in one or more of the slideshows you identify.
  9. Assign categories and tags to your post.

Deadline: Post by 5 p.m. Monday, Feb. 24. Email link to your post mjf0009@auburn.edu

Example of the kind of slideshow I want you to write about:
The Girl in the Window: Danielle, 6, was rescued from unfathomable living conditions. Can the love and care of her adoptive family compensate for a lifetime of neglect? An audio slideshow by the Tampa Bay Tribune.

Some good places to find audio slideshows to critique:
New York Times Multimedia/Photos page online: The Times has wonderful examples of audio wedded to beautiful photography with excellent captions. But be careful what you pick here; lots of simple slideshows with just photos and captions live here. For this assignment, please remember that you must critique slideshows that have audio tracks as well as captions for each photo. A Google advanced search can help you find that.*

National Geographic: I’ve written it before and I’ll write it again: This is the gold standard for technically excellent and vibrant photography.

Online News Association Social Shares: Top Audio/Photo Slideshows:  It’s only appropriate to tap the wisdom of a very wise ONA crowd to locate the best multimedia journalism content online. If you go here, for this assignment, be sure to pick a photo slideshow. Do not pick video to write about; video will be the subject of your third mandatory critique blog post.

Jedi search tip for finding audio slideshows: You can also do the following search in Google to narrow the search results to nothing but audio slideshows on a given site by searching for the exact phrase “audio slideshow” and the word “site” followed by a colon and a url. Example of what to type in the Google search window: “audio slideshow” site:www.nytimes.com

It’s frustrating as all get-out that NBC isn’t providing live coverage of the opening ceremonies of the Sochi Olympics. I’m sure I have that in common with millions. But three news outlets’ live blogs are giving us what the network refuses to provide.

These are my three favorites at this moment in case you just can’t wait to watch tonight:

  • The Guardian: The place to look for thoughtful and cheeky commentary and vibrant photography. Location: United Kingdom.
  • New York Times: Look no further for a rapidly updated streaming photo gallery coupled with meatier posts by a variety of NYT staffers. A classic American new media approach to the Sochi Winter Olympics.
  • Wall Street Journal: It’s terse. It’s rapid. It’s informative. Feels more like a microblog (which is what Twitter is for), but concentrated in one place. Seems more optimized for maximizing hits for WSJ.com than for fitting the audience’s needs, but hey, it’s a business! And WSJ is all about the Benjamins (well, more like the Salmon P. Chases), yes?
  • NPR: National Public Radio’s live blog from Sochi is wonderfully descriptive and quickly updates. The emphasis is more on writing that appeals to the senses than photography. It feels very much like radio voices translated to text, and it works. I’m constantly telling my reporting students the advice Charles Kuralt’s blind editor early in his career gave him: “Make me see it!” NPR’s writing embodies that advice.

Let the Games begin!

Change is not the new normal. Change has always been normal.  That applies to the ways we gather information, process it, disseminate it, and make sense of the information others have reported for us. Technologies change, and with them, so do we. That doesn’t mean we must betray our values as journalists. Journalism values endure.

Mike Szvetitz, sports editor for the Opelika-Auburn News and one of the news professionals who teaches in Auburn University’s journalism program, told the Auburn Society of Professional Journalists chapter tonight about his life as a sports journalist. He emphasized the enduring values of journalism, the need to be accurate and accountable, to report without fear or favor, and his belief that it is better to be second and right than first and wrong. Of course, he said, it’s best to be both first AND right. But you can’t have everything sometimes.

Szvetitz said these values hold up even amid rapid changes in the technologies of reporting and storytelling. It is vital for all reporters to be able to do multimedia reporting as well write stories for print. The demand for these competencies is a response to audience demand, and it’s a delicate balancing act.

Yes, he said, audiences still want long-form features. Yes, they want to hear sound bites from the players, at least to a degree. People will listen to as much of Auburn football coach Gus Malzahn as you put online, but not everybody is as interesting as he is. What online audiences really want, though, is to see what the quarterback looks like calling the play, taking the snap, fading back and passing the ball, and they will click on that 10-second clip again and again and again so they have ammunition with which to argue about the QB’s technique.

What’s going on with that? As I see it, the written report gives the audience knowledge and understanding and a good story. The multimedia clip gives them something to get involved with, something to get angry or overjoyed about, something to react to viscerally. Marshall McLuhan had it right when he wrote in the 1960s that these new media are extensions of the human nervous system that mimic the function of our senses.

New media inform us, they entertain us, and they can evoke emotional responses. They reach in through our eyes and ears and touch our emotions, conjuring joy, fear, jealousy, anger, compassion, satisfaction, and so on. The power of multimedia is the power to help us sense what it’s like to be where the news is, and to feel what the people in the story are feeling. What we feel in a story, we remember.

When multimedia and online systems emerged in newsrooms, many rank-and-file journalists regarded them as risky because they were unproven. There was no rulebook, and that was a problem to the risk-averse who had been steeped in a culture in which the best way to keep your job was to not risk surprising one’s editor and publisher. We’ve gotten over our aversion to this “new” medium after a decade and a half of dithering, and journalists are finally learning to love it. Perhaps we wouldn’t have dragged our feet if we just remembered that even if the field was different, we could still apply our journalism values to it.

The last great technological disruption before the Internet came from television, a risky medium in which Edward R. Murrow saw great potential. The previous great disruption came from radio, a medium Walter Cronkite embraced with gusto. Incidentally, why did he lose his job at KCMO-AM in Kansas City, Mo.? Journalism values. He was fired because he refused to follow his boss’s orders and air a story before he could check out the facts. He landed on his feet, joined United Press (which became UPI), became a star reporter during World War II, and was recruited to work for Murrow at CBS.

What does that historical antecedent teach the postmodern journalist? Though no rulebook exists for this newly invented game of online and multimedia journalism we now play, we can always fall back on principles and journalism values. In the long run, being right and second will serve you better than being first and wrong — regardless of the medium.

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