How newsrooms should be using wearables

Using Oculus Rift virtual reality goggles to view the Des Moines Register's "Harvest of Change" project.

Using Oculus Rift virtual reality goggles to view the Des Moines Register’s “Harvest of Change” project.

When it comes to news gathering, USC’s Robert Hernandez says mobile phones just aren’t fast enough. Hernandez, who says he “hijacks tech for journalism,” is looking to wearables as a catalyst for the next big change in the news business.

“It’s not the device, it’s the content,” said Hernandez. “It’s actually the content optimized for the device. We were slow for mobile, before that it was social media; I’m trying for us to be proactive because this is a new form factor.”

It’s certainly a good time for journalists to be talking about these devices and new content forms with this month’s debut of the Apple Watch and more types of wearables popping up every day.

“I think the wrist wearable is the transition before we get over wearing technology on our face,” said Hernandez.

So, how do you define a wearable? He says it has six attributes.

  • Hands-free
  • Always on
  • Environmentally aware
  • Connected to the Internet
  • Gets attention without disruption
  • Open to third party developers

Hernandez says Google Glass is the “most mature of the wearables,” but points to the Oculus Rift as an indicator of what the future may hold. The system’s virtual reality goggles offer a dual-screen, full immersion experience, making you feel like you are there.

The Des Moines Register is one of the first news organizations to develop a project specifically for the Oculus Rift. According to the Washington Post, the Register’s “Harvest of Change” is an “interactive view of a farm in Iowa that was created to accompany a multi-part series of articles about the changing world of modern farming. In short, it’s what happens when you transform the news experience into a virtual reality gaming experience.”

Changing the experience of newsgathering and news consumption with wearables seems to be focused right now in these two areas:

  • News organizations are using them for new methods of video and image gathering. Wearables can be less obtrusive, creating opportunities for more intimate views of news events. Opportunities for live streaming what the journalist or another witness is seeing may make for dramatic breaking news coverage, as it did when Tim Pool of Vice used Glass to cover events in Ferguson, Missouri.
  • The hands-free aspect of wearables make alternative interview styles easier. They facilitate recording audio or video of an interview subject demonstrating, giving the audience a different point of view. Glass has also been used to document first-person experiences in a unique way, such as Victor Oladipo’s NBA draft day.

On a smaller scale, perhaps, the video translation or real-time mapping features of Glass and other wearables can become more useful to journalists in the field. CNN’s Victor Hernandez also speculates wearables could be the “next-gen IFB for feeding on-air talent information on the fly.”

Robert Hernandez says it’s too easy for journalists and newsrooms to avoid embracing technology trends, hating tech because in the beginning, it’s generally not perfect. But he says the profession will make a mistake if it doesn’t push to see the possibilities of wearable devices.

“We need to not fight this.”

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How to shoot good vox pops (MOS)

Whatever you call them, “man on the street” interviews are a staple of TV news. Done well, they can reflect public opinion on important issues in your community. Done badly, they’re just a waste of air time. So how do you shoot them well?

Start by thinking very carefully about where to go. Many stations tend to collect vox pops at the same location, day in and day out, because it’s close by, has lots of foot traffic, and they don’t need permission to shoot. The parking lot of a strip mall often fits the bill. But there’s no way of telling if you’ll find anyone who actually has something to say about the topic at hand. If you wind up having to explain the story at length before you can get anyone to comment, you’re probably in the wrong place.

Choose a location where people are likely to have some connection to the issue you’re covering. Public transit? Try a bus stop or a parking garage. The price of organic food? Outside a grocery store. You get the idea. Location matters!

As for the “how-to” part of shooting M-O-S interviews, here’s a video tutorial produced at Sheridan College in Canada (where they call these types of interviews “streeters”).

If you’re one of those reporters who finds it difficult to walk up to complete strangers and ask them to talk on camera, know that you aren’t alone. Keep trying. And when you need a pep talk, read this advice from Julie McCann of J-Source.

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How TV journalists write for social media

SocialMediaKristen Wilson spent her college career working on design and magazine projects, but her first job out of school put her on the front lines of WTVA’s social media presence.  Wilson is a Web producer for the NBC affiliate in Tupelo, Mississippi.  She says the best way to master social media is by observing your audience in action.

“Always have a picture with your posts, and it helps sometimes to add a small tease with a little more information so people can know what they’re  getting into before clicking on the link,” Wilson said. “People just don’t care about certain things and you kind of learn about your audience that way- it’s fun to see how your audience changes.”

Over time, Wilson says she’s realized just how sharp the social media audience can be, too.

“I know that if there’s a drug arrest, people will get upset about the use of a picture we use that has multiple drugs on it. If the story doesn’t involve marijuana they’ll say, ‘Well why is there marijuana in the picture?’.

Understanding the make-up of your audience is also important, according to Wilson, and analytics programs make that much easier.

“It breaks it down as far as are you reaching men more, or women more, or what age group?” Wilson said, “And right now, you can see that we have heavily more women, but the men’s percentage has increased, so I’ve tried to put things out there that they might be more interested in.”

Of course, reporters also interact with the social media audience and reporter Chris Tatum says most journalists should already have the skill they need to write excellent social media posts.

“The one thing that always works across the board, and I can’t say it enough, is good, simple, clean, writing and crystal clear communication is never out of style,” Tatum said.

But Tatum says some suggestions for creating better social media content just don’t make sense.

“Forcing words into sentences just because they are searchable will not work for television news because we still have to speak a clean language that’s simple.  That’s why I don’t think TV stations are making great use of social media,” Tatum said. “I think they think they are, but no one has been able to come up with a good solution of how to combine [the writing styles] – they’re almost competitors trying to be friends.”

Tatum does value the “social” in social media, however.

“People make stories, information doesn’t make stories,” Tatum said, “Human beings connect to other human beings.”

For Wilson, it also comes back to the people on Twitter, Facebook, Instagram, etc.

“It’s a learning thing.  Social media made me conscious of what the audience is looking for.”

Thanks to WTVA producer intern Christina Jones for contributing to this post.

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3 great tips for better TV stories

KARE-11’s Boyd Huppert is an amazing storyteller.  A workshop with him may be just about equivalent to a master class in TV news.  At the Excellence in Journalism conference, he shared some of the things he wished he had known when he first started reporting — here are Advancing the Story’s favorites:

FloodInvu1.  Keep interview subjects pointed toward the action.

TV journalists tend to frame interviews so that the interest or the action is going on behind the interview subject.  For example, we question people with the long line of protestors or the crumpled cars in the background of the shot.  Huppert says that’s a  missed opportunity.

“Action is only half as strong without the reaction,” said Huppert. Check out this story and note how the interview with the neighbor is framed to keep his and the viewers’ focus on the action.

2.  Natural sound is a story’s best throttle.

“Every story has a pace,” Huppert said.  “Nat sound is the throttle to speed up or slow down the story.  The quick bursts of sound in the helicopter rescue story pick up the pace.”

In this story about a farmer’s tribute to the love of his life, Huppert uses nat sound to slow it down.

“You can use it to reveal things you don’t have to say.  My advice is to use fewer words to leave more space for natural sound.”

3.  Use characters, emotion or concepts to focus the story.

Every story is better with a strong focus and Huppert defines it this way.  “Focus is the character, emotion or concept that holds together the disconnected pieces of the story.”

For this piece about gun control, Huppert and his photographer got the assignment too late to attend the legislative hearing, but they turned the problem into the solution, using the concept of debate to make the ongoing discussion in the hallway the focus of the story.

And as always, Huppert’s great writing is evident.  Be sure to listen for the last line of the package.

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Shooting better interviews as a solo journalist

Mitch Pittman hates excuses. Think a multimedia journalist can’t do the job as well as a two-person crew? Baloney, says Pittman, and he’s out to prove it.

Take the common complaint that people interviewed by solo journalists’ face the same screen direction.  That’s because most MMJs are afraid of standing on the “blind” side of the camera where they can’t see how the interview is framed in the flip-down screen.

One of Pittman’s solutions is to shoot “blind side” when he’s talking to people who are accustomed to being on camera, like officials and PIOs. But what if you’re talking to “ordinary people?”

If everyone you’re talking to is a TV newbie, then you just have to read them as you’re chatting before the interview. “Does this person know how to stand still?” Don’t be afraid to politely say to people, “Hey, since it’s just me over here, try to keep your feet as still as possible.” This will keep them in frame. Or, can you have them sitting in a non-rolling  chair? Can you lean them up against their pickup truck? Anything to keep them still.

As an MMJ, Pittman tells TV News Storytellers, he moves the camera a lot to change the framing on interviews. As soon as he hears a good sound bite he’s pretty sure he’ll use, he changes the shot. That way, he’s not stuck with a bunch of bites from the same person that all look the same. And reframing also helps in editing.

As you’re logging…you can just find the places where your shot moves, rewind a little bit, and log that bite instead of listening to the whole thing in a time crunch. We’re shooting, writing, and editing ALL AT THE SAME TIME. Beautiful.

Here’s what it looks like, in a story Pittman shot for KSTP-TV in Minneapolis.

Just five years out of college, Pittman has already worked in two of the top TV news markets in the country–Minneapolis and Seattle, where he’s now a solo journalist at KOMO-TV. One final tip: if you want to shoot this way, Pittman says, “you need to know how to operate your camera inside and out with your eyes closed.”

Remember, no excuses!

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Avoid the pack

When you’re just starting out as a TV journalist, one of the hardest things to do when you’re on assignment is to strike out on your own. If you hang around with the other reporters, the thinking goes, you’ll learn from what they do and you won’t miss the big story. Or will you?

Matt Mrozinski, chief photojournalist at WTHR-TV in Indianapolis, says breaking free of the “gaggle” can be the best way to find the real story. On one assignment, for example, while everyone else waited by a command post Mrozinski says he was out with volunteers looking for a missing child. I imagine he got much better video and sound than his competitors.

If you just can’t pull away, Mrozinsky writes on his TV News Storytellers site, at least take time to look around.

The next time you’re at a crime scene, take a look at the cameras that line the yellow tape and rarely ever leave.  If they would just glance over their shoulder, the story is behind them.  People are waiting to model your wireless lav and are glimmering with reactions and moments.

When I share similar advice with journalists, I urge them to “do a 360″–turn all the way around to make sure they’re not missing something better than what they’re getting. You’d be surprised how often that simple technique turns up something unexpected and memorable.

Here’s an example. Reporter Brahm Resnik of KPNX-TV in Phoenix was covering a news conference on the results of a court case blocking the state’s governor from denying driver’s licenses to undocumented immigrants. Instead of focusing only on the podium, he turned his attention to the audience.

“I saw several people crying. I pulled one of the gals outside and she again couldn’t stop crying, she was so happy, thrilled that it had happened,” he told BusinessJournalism.org.  Talk to people one-on-one, he says, and you’ll get a better story.

You don’t want the sound of a somebody standing at a podium, you want to talk to people away from that….At news conferences, always, always be observant for the person you think would be a great one-on-one. Otherwise they’re just performers; they’re reading from a script.

Try it, and see if you don’t agree.

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New edition now available

wenger3eNew…and improved! The third edition of Advancing the Story has just been published by CQ Press and is available for pre-order at Amazon. If you’ve used an earlier edition,  you’ll see that we’ve added a separate chapter on TV producing and renamed some other chapters as we restructured the text. Our goal is to make it easy to find material either thematically (writing, storytelling and producing) or by medium (broadcast and multimedia).

We’ve included lots of new material as well, especially in the realms of social media, mobile journalism and ethics.

Pardon us for tooting our own horns, but we’re excited that the revisions we’ve been working on for more than a year are now in print. Isn’t the new cover great?

We hope you’ll like the book. Please do let us know what you think.

 

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Advice from a multimedia journalist

Study, study, study! That’s just one tip from Nina Terrero, who covers pop culture and entertainment for Entertainment Weekly and NBC’s Today Show. But she’s not talking about what you should do in school. Terrero told the Huffington Post that she preps for interviews the way she did for the SATs.

I try to read as much as possible about my subject in preparation for an interview, and when applicable, watch their movies or TV shows. You want to be knowledgeable about your subject so you can roll with the punches and be as relaxed as possible during your interviews.

As a multimedia journalist, Terrero says she does have one fear–of being a jack of all trades and master of none.

I feel comfortable using a variety of social media platforms, digital tools and traditional means of communicating a story, and I get a huge amount of satisfaction from choosing whether I should share a story on video, tweet out a short report, do a broadcast segment or write a magazine story on said topic. But there’s always the sneaky suspicion: am I doing this the best way I can?… Being able to report in a variety of mediums is a privilege — but keeping up with your skill set in all areas can be a challenge.

Terrero got her start as an intern at Fox News where she learned how to translate broadcast content online. She also learned what she calls a valuable lesson, “that one of the keys to being successful in the business is being visible.” She had a quiet cubicle to work in but she decided to spend at least half her time in the newsroom, where she could meet people and they could get to know her.

Volunteering for assignments wasn’t enough…building relationships would ultimately be what got me to the next step. That’s true in any news job — and to some extent, every job. Raise your hand and volunteer away — but remember, your relationships with people are what ultimately adds value to your [career] in this industry. They’re the ones that can vouch for you, give you assignments, and mentor you – and that was something I couldn’t necessarily get sitting in that cube.

Great advice!

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New opportunities for multimedia journalism

One downside of social media like Twitter and Facebook is the way information has to be compressed. The more popular these platforms have become, the more journalists have feared the extinction of something many of them hold dear: long-form storytelling.

But digital technology doesn’t only value brevity over depth. It also opens the door to new story forms, like the BBC’s immersive account of a murder mystery in Iceland. Not every story is suited to this kind of treatment, of course; it takes a multimedia mindset to figure out what will work and what won’t.

Giles Wilson, features editor for BBC News Online, told a recent workshop that one critical decision is how long a story needs to be. Just because the Internet is bottomless doesn’t mean your story should go on forever. “It doesn’t have to be massively long,” he said, “it just has to be good.” Two of the BBC’s most popular long-form stories have run between 3,000 and 6,000 words.

Projects like this take teamwork, Wilson says.

It’s possible you might have a Renaissance journalist who will find the story, do the research, do the interviews, the filming, photography and stitch it together with the right narrative arc and editorial authority. It’s possible that you have someone like that but more likely not. In our experience you need teams.

Another key decision is how to handle video.  “Is the video there as illustration, or is it part of the storytelling?” Wilson asked. “You don’t want to see the join. You want it to be a true multimedia experience where you don’t see the join between the text and the video.”

To accomplish the goal of seamless storytelling, the Iceland story uses a technique that owes a lot to TV news. At a couple of points, the text poses a question: “Where was the body?” or “Why did he confess?” Video is then embedded, much the way a sound bite would be inserted in a TV story.

The BBC uses Shorthand for its immersive stories.  Take a look at some of their projects and see what you think.

 

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