Here’s an example of a banner image, created for Storify. This example uses a variety of quickly-chosen and lightly edited images to fit the radically horizontal image space on Storify. Damn. Things are getting heavy. Journalists are being attacked by paid provocateurs: The pro-Russian government in Ukraine is using “titushki” — paid provocateurs hired to […] [...more]
Here’s an example of a banner image, created for Storify.
i chose these images based on … well, not much at all really. Just stuff that was foremost on my hard drive. Given more than 5 minutes, I could probably do better … but this is still more attractive than the blank space that is the default on Storify.
This example uses a variety of quickly-chosen and lightly edited images to fit the radically horizontal image space on Storify.
Damn. Things are getting heavy. Journalists are being attacked by paid provocateurs:
Journalists being beaten by thugs: Hromadske.TV’s Dmytro Gnap was stomped, his camera smashed, and the memory card stolen.
The pro-Russian government in Ukraine is using “titushki” — paid provocateurs hired to disrupt rallies and provoke police, according to the Kyiv Post.
These protesters are acting like morons, trying to make the protests look like they are violent and anarchic. They are helped along in this mission by some of the more casual protesters, who show up after having a few drinks, and seem to be mainly interested in the more festive aspects of the protest.
How journalists can build their own news/publishing business I was asked by my students if there were ways that they could publish their stories, videos and audios, without having to give up control to media companies that really aren’t all that interested in publishing new & interesting content from unknown authors. Well, not unless it […] [...more]
How journalists can build their own news/publishing business
I was asked by my students if there were ways that they could publish their stories, videos and audios, without having to give up control to media companies that really aren’t all that interested in publishing new & interesting content from unknown authors. Well, not unless it is given to them free, with no obligations to pay any residuals or royalties, and they have exclusive rights to publish and market that content in all media known or unknown, throughout the universe, until the end of time.
There are a bunch of companies that have sprung up that publish multimedia books – you’ll have to do some research to see which one would offer you the best deal for your project.
1. Vook – they started off just doing ebooks with video embedded. These were interesting as experiments, but really didn’t push the form very far. Now, they’ve started publishing to all the major platforms (rather than trying to establish themselves as an alternative to Amazon, with their own proprietary standards – a losing game, if ever there was one).
The first Vooks were like the first CD-ROMs. They had text on them with cutscenes of dubious quality. Usually made from literature that was in the public domain (i.e. free for some geek to hammer on without having to pay fees to the pesky creative writer-types).
…back from summer vacation, and leaping into the school year. Well, trying to leap, anyway. I mentioned this development in digital news to my journalism classes at Annenberg, and figured I might want to expand a bit more on it, and provide some links to related articles & research. First, forgive me if this is […] [...more]
…back from summer vacation, and leaping into the school year. Well, trying to leap, anyway.
I mentioned this development in digital news to my journalism classes at Annenberg, and figured I might want to expand a bit more on it, and provide some links to related articles & research.
(Google Data Center from Wallpaperstart.com)
First, forgive me if this is old news, but I haven’t heard much about this from the usual suspects; for some reason, there isn’t much notice being taken of this by publishers, or professional journalists.
The feature, which Google calls “In-Depth Articles,” offers up links to a set of three long-form articles, usually at the bottom of the search results page. The articles are usually detailed profiles and exposés on companies and their leadership. Companies and high-profile individuals should take notice of this development and understand that it presents a number of opportunities, as well as some perils.
No one but Google itself knows exactly how these articles are selected, but the search engine giant has described them as “thoughtful in-depth content” that “remains relevant long after its publication date.” This is a major coup for traditional long-form publications such as Rolling Stone, Vanity Fair,Fortune, The Atlantic, and The New Yorker, as well as new online-only media such as The Verge,SB Nation, and Slate.
The implications for businesses, prominent individuals, and the people in charge of maintaining the reputations thereof, are pretty significant, if not outright terrifying.
UPDATE: The first video below was erroneously a duplicate of video #3. I blame the shoddy connection I had – I am thrilled that the videos made it up to YouTube at all, frankly, and it took me an hour and several tried to get this post to publish, so I had some version-control issues. […] [...more]
UPDATE: The first video below was erroneously a duplicate of video #3. I blame the shoddy connection I had – I am thrilled that the videos made it up to YouTube at all, frankly, and it took me an hour and several tried to get this post to publish, so I had some version-control issues. Anyway, I’ve fixed it so that vid #1 is now the proper first part, in which we talk about the persistent power of radio.
The more I learn about how the media operates in East Africa, the more I think this is going to be a fascinating area to watch over the next few years. The conditions here are ripe for some really interesting changes – we are going to see in this microcosm what the effects are of empowering a population that is still stuck with only one-way information flow (largely via radio – please see video #1, below) to suddenly leapfrog into the ubiquitous mobile web-fueled connectivity that we see in places like Japan, Korea and (to an extent) China.
BACKGROUND: A couple of weeks ago, I had a meeting with the CEO of Fana Broadcasting. At that time, I was told that the plan was to install 4G mobile connectivity throughout the country. I have since learned that the contract looks like it is going to be awarded to a giant Chinese telecom company. This is not necessarily good news. The suspicion among the journalists is that the infrastructure contract has been given to the Chinese because they have pledged to include many of the down-and-dirty spyware and censorship features that are common to the internet behind the Great Firewall of China. Also: it is rumored that the Chinese outbid US and European companies for this huge contract, because the government of China is (illegally?) subsidizing the work, secretly funneling money under the table to the ostensibly private-sector telecom company, to allow it to do billions of dollars of work for 1/20th the price. Conspiracy theories abound here; in the absence of any hard facts or verification, people always assume the worst.
At any rate: the plan is to wire up all the major cities and towns with 4G wireless internet service. One of the big reasons expressed for that is that the Powers that Be have noticed that on just about every roof, you can see a satellite dish. Those dishes are bringing news, information and TV programs into households from TV providers outside of Ethiopia. They want to jump-start their own domestic news and entertainment industry, to start to produce high-quality content, to lure audience away from these international sources. Part of this is to foster a sense of national unity: to expose Ethiopians to news, movies and TV series that star Ethiopians, speaking Amharic, and referring to matters that are of concern to Ethiopians (and eventually, to citizens of the surrounding countries, none of which really has their own video/web content production infrastructure). Part of it is to start building up the kind of media-production capabilities that might allow Ethiopia to start exporting its culture to the international marketplace; from what I have seen here, there is certainly an opportunity for the kind of smart, dedicated artists here to start changing the international perception of this place, which is still stuck in the famine years.
Anyway, in the first part of the interviews I did with Samson Tesfaye, for his show “Movers and Shakers” on AfroFM, we talk about what things are like in the present day – where the vast majority of the rural populations in Ethiopia still rely on what they hear over the radio as their main (perhaps only) source of news and information.
The next part of the interview, we focus on the impact of social media in East Africa. At this time, Sami says that social media is not having the kind of disruptive effects we see in North Africa, where the Arab Spring is still very much alive and kicking, or to the south in Kenya, where the technology scene is vibrant and lively.
My students wanted to make sure to capture the conversation around the roundtable discussion we had on the subject of press freedom, so they set up the bagttered (but still serviceable) cameras outside the journalism department offices, and brought in all the accountrements of the formal coffee ceremony … the glowing coals in the brazier, […] [...more]
My students wanted to make sure to capture the conversation around the roundtable discussion we had on the subject of press freedom, so they set up the bagttered (but still serviceable) cameras outside the journalism department offices, and brought in all the accountrements of the formal coffee ceremony … the glowing coals in the brazier, the clouds of thick incense, and platters of roasted barley and chewy bread.
So far, everyone is still in a good mood....
It’s always difficult to figure out what the settings should be on a prosumer video camera, particularly when the opaque menus are written in a foreign language.
The clash of ancient and modern is never more stark than in these developing nations I’ve been in Addis Ababa, Ethiopia, for the last week, training the local journalists and government information officers (aka PR flacks) on how best to take advantage of the way that “New Media” is creating new ways of connecting with […] [...more]
The clash of ancient and modern is never more stark than in these developing nations
I’ve been in Addis Ababa, Ethiopia, for the last week, training the local journalists and government information officers (aka PR flacks) on how best to take advantage of the way that “New Media” is creating new ways of connecting with each other, and the world at large. I’m here as part of the same US Embassy program that has sent me to places like Chile, Kazakhstan, Georgia, Costa Rica, etc., to try to bring people the benefits of experience (aka the way newspapers & TV news has imploded in the U.S.), so they can start planning for the Great Digital Migration.
This is my class of TV journalists at Addis Ababa University (AAU). I tried to cram as much about online video and sharing into my short sessions as I could. Here, I'm showing how to use both professional tools like Adobe Premiere Pro CS5, as well as free alternatives like Windows Movie Maker.
The one thing that everyone here agrees on is that Ethiopia desperately wants to change its international image – c’mon, admit it. When you think of Ethiopia, what images come to mind? Deserts, starving people, vultures, Live Aid, right?
Well, it’s not like that any more. In fact, if you look around at the Addis Ababa skyline, you’ll mostly see cranes and highrise towers under construction. The real-estate bubble that burst and devastated the rest of the world never took hold here.
There are still many reminders that the ancient ways of living are still very much in existence here in Addis, but please also note all the other markers of modernity in this shot.
However, they are facing many of the same challenges as the rest of the world, at least when it comes to the emergence of the internet, and the struggles of newspapers, radio and TV stations to come to grips with social media, and the ability of anyone to become a publisher/broadcaster/internet troll.
The very first place I visited was Sheger FM, the one independent radio station in Ethiopia. This is the courageous owner, who is really struggling to walk the razor's edge here in Addis.
I’ve found many of the same behaviors and attitudes I’ve encountered in the other places that I’ve done web/online video/social media training sessions – stubborn insistence that things will never change, toxic skepticism, and even outright hostility.
After a bit of a rocky start, these guys really came around and appreciated the hands-on lessons I gave them on how to do live video stand-up reports and how to compress video into the best codec to upload to YouTube. The Nelson Mandela building is a challenge, though; between the thin air at this 8000-foot altitude, and having to haul my big carcass up 5 (five) steep flights of stairs, the first few minutes of every class were mostly spent huffing and puffing, and hoping that someone in the class had a particularly insightful comment.
Dave LaFontaine and his tv production class in front of the Nelson Mandela building at Addis Ababa university in Ethiopia.
Tbilisi Journalist Graduation, originally uploaded by Wordyeti. These are the journalists from the smaller cities & towns outside of Tbilisi, Georgia. They’re all grinning happily, because they’ve managed to survive my intense one-week course, where I set them all up with their own blogs, and then sent them into the field to shoot, edit and […] [...more]
These are the journalists from the smaller cities & towns outside of Tbilisi, Georgia. They’re all grinning happily, because they’ve managed to survive my intense one-week course, where I set them all up with their own blogs, and then sent them into the field to shoot, edit and post online news videos.
A crucial part of every learning process is making mistakes. They learned not to try to take on too ambitious a project when using makeshift multimedia tools. I learned not to use Adobe’s Premiere Elements 8. That has got to be the buggiest video editing system ever inflicted on an unsuspecting public. I use Premiere Pro all the time and love the rest of Adobe’s various iterations of the Creative Suites … but Elements is Satan on a CD. My students were throwing their headsets across the room in frustration as it crashed … lost work … necessitated a hard reboot of the system … crashed again … corrupted the footage … (rinse, repeat).
I finally installed Sony’s Vegas Video on their systems; not as user-friendly for beginners as the “Grandma-ware” that Elements is known as … but it at least would make a J-cut or an L-cut without locking up the system. Unfortunately, Vegas Video wouldn’t import the footage from the Flip cameras with the audio attached. So we had to export the audio tracks from Premiere, and then import them into Vegas and sync the audio with the visuals.
I was told that this was actually a quite valuable experience, because real-world conditions for indie journalists in Georgia are pretty much like this. Working on cobbled-together secondhand equipment in sweltering offices, where the electrical power is subject to sporadic outages. And when the wind shifts to blow in over the nearby market … well, you want to close the windows, no matter how hot & humid it is.
I just noticed – my arms look inordinately long in this photo.
The situation bears a strong resemblance to the newspaper industry, and the reason papers are in the same place as the auto industry. Let's take a look at the places where the news industry and the auto industry screwed the pooch: [...more]
GM’s NUMMI plant in Fremont was the solution to their crisis. So why did they ignore its lessons?
They don't make 'em like this any more. Even so, the rear bumper had to be reattached.
It’s about how the U.S. auto industry could have saved itself by actually paying attention to the way its business was eroding, and listening to the people who came back from Japan and transformed the Fremont plant from a place that was “like a prison … with sex, drugs and alcohol freely indulged in during the working day … where the workers maliciously sabotaged cars, and the managers didn’t care, as long as they got their bonuses for churning out pure numbers…”
The situation bears a strong resemblance to the newspaper industry, and the reason papers are in the same place as the auto industry. Let’s take a look at the places where the news industry and the auto industry screwed the pooch:
1. Starting in the 80s and going through the 90s, sales declined, as customers were turned off by the shoddy quality of the product
In the auto industry: anyone who drove a U.S.-made car in the 80s knows what I’m talking about. Everything about the cars sucked. The seats were uncomfortable to sit in, the controls made no sense and were hard to deal with. I drove a lot of rental cars in that era, and I can’t tell you how many times the A/C control knob came off in my hand. Or the windshield wiper knob was installed upside-down. In one case, the bolt holding the steering column up on a Chevy Cavalier came loose and the steering wheel dropped into my lap. Which is minor, compared to the engines seizing and misfiring, the electrical system shorting out, the windows not rolling up (or down), the doors sagging on their hinges…
In the newspaper industry: the buyouts and mergers started by the relaxation of the cross-ownership rule, caused many papers to skeletonize their staffs, and run big colorful graphics in the papers. And lots more wire copy. I worked at the Arizona Republic during this era, and I saw what they were doing on “Zone Editions.” We had the same cruddy stories for Mesa, as we did Tempe, as we did Scottsdale. They were feature stories about things like a guy with a trained parrot that would whistle and dance. We’d run it one week in the Mesa zone, and then the next week, I’d see it in the queue again for Scottsdale. Mostly, the Zone Editions were there to snarf up the advertisers in those areas, and make sure that no competition sprang up to challenge the big paper. “It doesn’t pay NOT to advertise,” was the slogan, and it was true, because of the package deals the Republic was able to offer, sucking the oxygen out of the local markets. Most papers had a monopoly position in their markets, and could pretty much be assured of making a profit, no matter what they did. Meanwhile, the readers were starting to notice that their newspapers were lacking … how shall we say this … news.
2. The workers felt ignored and belittled, so they began to act out, and a “give a shit” attitude took over
In the auto industry: the line workers had no power to offer suggestions, and indeed, were punished for speaking up. All that mattered was churning out enough cars to meet the quotas, no matter how shitty the quality. Resentfulness led to workers intentionally sabotaging cars, which led to even greater expense down the line, when the shitty cars had to be fixed by workers who really didn’t understand what was wrong with them, and just used the “bigger hammer” method to make cross-threaded bolts hold, or quarterpanels stick onto the chassis.
Signs were there that DVD sales were about to implode; industry ignored all warnings To anyone in the newspaper industry, the parallels are eerie. The disruptive technology is introduced, and people with the ability to look beyond this quarter’s P&L statement say, “Oh-oh. Something’s in the wind. We gotta take a look at this, maybe […] [...more]
Signs were there that DVD sales were about to implode; industry ignored all warnings
To anyone in the newspaper industry, the parallels are eerie. The disruptive technology is introduced, and people with the ability to look beyond this quarter’s P&L statement say, “Oh-oh. Something’s in the wind. We gotta take a look at this, maybe start shifting some resources into R&D, or we could blow up in a couple years.”
The need for a viable post-DVD digital strategy has been blindingly obvious for most of the past decade. But instead of focusing on that existential challenge, the industry wasted four years on Blu-ray, an absurd format that addressed no identifiable consumer demand that could not have been met years earlier, more cheaply and with less consumer confusion with readily available alternatives, like HD DVD or even red-laser DVDs.
The industry is still wasting time and resources trying to invent uses for Blu-ray to justify the time and cost sunk into it.
Hitting the snooze button when the alarm goes off doesn’t mean that what happens in the meantime is beyond your control. It means you’re asleep.
If I can extrapolate from the behavior I’ve witnessed in my friends, some of whom are the greatest TV & movie aficionados I’ve ever met; the type of people who can go one for an hour about how David Duchovny’s characterization of Fox Mulder owed more to John Wayne in The Searchers than, as is commonly (and erroneously) thought, the seminal Darren McGavin in Kolchak: The Night Stalker.
When DVDs came out, they were such an improvement over the jittery, fragile VHS tapes that we loaded up on them. All the extras – the audio tracks, the Easter Eggs – oh, they were sah-weet. We’d have parties where we’d go through our favorite movies and break it all down – because now, when we freeze-framed, it was a perfect picture, not that damned bent image with static bars at the top & bottom, the way VHS shafted us.
And then something happened. We had a whole shelf – maybe a coupla shelves. Maybe even a whole room – full of DVDs. Alphabetized, categorized.
And we didn’t watch them anymore.
Why should be drag out a DVD, fire up the player, switch the Video1 to Video2 – just to sit through something we’ve already seen … when the TiVo has something fresh & new? There has to be a real dearth of new material that’s any good before we’ll go to the archives for some nostalgia.
The success of the studios & networks in setting up all these TV channels & alternative means of distribution of content has also been its undoing. If I don’t have to shell out $24 for a movie – when I can just stream it over Netflix, or better yet, see something new on my DVR – then why would I spend my increasingly scarce hard-earneds?
Technology alone didn’t change consumer behavior. It wasn’t the internet’s fault. It’s just that when alternatives opened up – when true competition arrived on the market – all of a sudden, the old Walled Gardens, with their high price to enter and their restrictive DRM – those places became not so fun to hang out it. So we all left. Gradually, but in increasing numbers.
The crisis that newspapers have faced for the last 5-10 years — the TV and movie industry is about to fall into that same Black Hole, for the same reasons, and apparently is determined to attempt the same half-measures to turn the clock back to where it used to be. Look for a lot of appeals to Congress for restrictive legislation, blaming “piracy” and “content thieves,” and then resorting to a death spiral of cutting costs and putting out shoddier products.