Photojournalism From A Student's Eye

Photoshop for Reporters – Color Balance

Daniel Sato — Thu, 11 Mar 2010 14:24:36 +0000

In my last multimedia meeting, it was suggested that reporters could benefit from a few basic photoshop tutorials. The following is the first in a series of screencasts on basic photoshop techniques for reporters, this one covering the use of the Color Balance tool to color correct images.

Below I have included links to the playlists for the screencasts I have completed so far. I expect to add a new photoshop tutorial at least once a week, and hope to finish my intro to Final Cut screencasts next week.

Photoshop for Reporters
Final Cut Tutorials
GarageBand Tutorials

Intro to Final Cut Tutorials

Daniel Sato — Thu, 11 Mar 2010 07:14:25 +0000

More screencast tutorials made for my staff. This time on the basics of Final Cut.

Importing into Final Cut

General Layout and Tools

Creating subclips

Importing to the timeline

Working with GarageBand

Daniel Sato — Mon, 01 Mar 2010 11:01:36 +0000

This post will cover the basics of editing audio in GarageBand. Click on the images to enlarge. You can also click on Video Screencasts in the Table of Contents below to jump straight to the screencasts.

Table of Contents:

The basics
Editing audio
Adjusting volume
Exporting
Video screencasts

When you first open GarageBand and create a new project, you will see the following:

Your first steps will be to close out the Grand Piano window, and go up to Track in the menu options, and select New Basic Track. This can also be done by pressing Shift + Command + N.

Create one more New Basic Track. Two tracks will typically be the minimum number of tracks you will be working with. One track will have your ambient sound and the other will contain interviews. Select the Grand Piano track by clicking on the piano icon, and go back up to Track in the menu options and select Delete Track.

Adding your audio into GarageBand is as simple as dragging an MP3 onto one of the two New Basic Tracks that you created. In the image below, I am dragging an audio file titled R09_0032.MP3 into the top track in GarageBand.

Now that you have your audio imported into GarageBand, let’s go over some of the main bells and whistles in the program:

A – The play button. I recommend using the hot key for this, which is the space bar. Your cursor will be busy highlighting, editing and dragging clips on the timeline, and so it is faster to use the hot key rather than click the play/stop button. Again, space bar will both play and stop your audio.

B – The icon, which looks like a pair of headphones, will isolate that particular track to work on, muting all others. Useful when you have more than one track on the timeline but you need to edit the audio from one.

C – Clicking this down-facing triangle icon will bring up the volume control associated with the track.

D – This is your audio track. Double-click it to bring up a detailed view of the track, in which you will be editing.

E – Your audio levels. You typically want them to be peaking in the yellow area. Adjust the volume in each track accordingly.

In the image below, you will see:

A – The track volume, made visible by clicking the down-facing triangle for the associated track (see C, in the previous image).

B – Detail view of selected audio track (called the Track Editor), made visible by double-clicking the track in the top section (see D, in the previous image).

Editing Audio

The audio editing section makes much more sense and is easier to explain through the screencasts at the end of this post. However, if you prefer text, I will type out instructions as best I can.

Editing audio in GarageBand is a subtractive process, much like … sculpture? or carving? You start with your your original audio clip and delete the parts that you do not want.

Yea, this is basically what audio editing is in GarageBand. (Flickr photo by ThisIsIt2)

Audio editing is done in the Track Editor, made visible by double clicking on your track after you import it. Think of it as a more detailed view of your audio track. When you place your cursor over the track in the Track Editor, one of two cursors will appear. The first is a crosshair, which appears when your cursor is towards the middle of the track (from top to bottom). This is the cursor that you will be using to highlight and then delete audio. The second cursor resembles a vertical line with arrows pointing in either direction. This appears when your cursor is located near the top of the track in the Track Editor and is used to move clips forward and backward along the timeline.

Click on your interview track to bring it up in the Track Editor. (Double-click if the Track Editor is not already open, single click if it is already open and you are switching between tracks). Once you have your clip in the editor:

Isolate your interview track by clicking on the headphone symbol associated with it.
Find a quote that you want to use. You will isolate this quote by deleting audio immediately before and after the clip that you want to use. You do this by selecting a small part before your clip (using the crosshair cursor) and pressing delete. Repeat this at the end of your clip.
Continue to do this for all of the quotes that you want to use from your interview track(s).

Adjusting Volume

Another important aspect of GarageBand is being able to control your volume levels. For example, you will most likely want to lower the levels of your ambient track when bringing in your interview, so that the two tracks do no compete with each other and the viewer is able to clearly hear what the interviewee is saying.

To do this:

Click on the triangle icon for the track you wish to edit in order to reveal the track volume.
Click on the blue line, which represents the volume level along the timeline, to add anchor points.
When you have more than one point, dragging one point up raises the volume, and down, lowers the volume.
Make two points, one in front of where the interview starts, and one immediately after the interview starts. Drag the second point down to lower the volume of the ambient sound during the interview.
Repeat this process at the end of the quote (or when all of your quotes and detail sounds are done) but this time, raise the second dot back up to the original volume level.

Exporting

To export your audio:

Go up to the menu items at the top and select share, Export song to disk
Compress should be checked
Compress using MP3 Encoder
Audio Settings – High Quality
Press export and save it
Give exported MP3 to myself, Brad or Laurie to add photos to (flash drive, iChat, email, whatever works)

You have now done all the steps needed to edit audio for a basic audio slideshow.

Video Screencasts

Getting familiar with GarageBand

Basic Audio Editing in GarageBand

Fading Audio In/Out in GarageBand

A little bit of everything

Daniel Sato — Wed, 17 Feb 2010 09:26:27 +0000

Last Wednesday I took part in a chat on Twitter about web journalism. One thing that became clear early on, even within “web journalism” many roles and responsibilities are highly specialized. Answers to questions regarding what a web journalist is, what responsibilities people have, and what titles people hold varied greatly depending on their role in their organization. There were back-end tech people who manage databases and work with code, reporters who were starting to use Twitter and still cameras, editors who help to produce packages and train staff, etc.

This may have been the reality for many of last week’s participants (working in dedicated, albeit small, web/online teams) but it is not mine, and I doubt it is the reality for other Web editors in many small market, rural areas. So what do I do on a typical day at work?

From 8 a.m. to 1 p.m. my day usually involves pagination and copy editing.

Copy editing: The aspect of my work most foreign to me, I will typically read through all of the days stories at some point in the day for content and/or for grammar/spelling.

Pagination: This usually involves paginating two local pages and, at times, two or three wire pages.

After 1 p.m. (we are an afternoon paper) my days usually involves a mix of posting content to the Web, blogging/social media management, training, podcasts, a mix of either shooting stills, creating audio slideshows or video, and the ever-present meeting.

Posting to Web: Fairly straightforward and not much different than any other CMS I’ve used it in the past whether it be College Publisher, Wordpress or SaxoTech. The new AP Marketplace does add a slight hiccup to my workflow and, on the off chance that some other Web editor reads this, if you know of a way to publish select content to Marketplace without auto publishing everything, but also without having to enter each field manually, I would love to hear it.

Blogging/Social Media Management: Upkeep of the Telegram’s photo blog (soon to be multimedia blog as soon as I finish this post). Keeping content fresh and interacting with users on Twitter, Facebook and our SWKTalk forums.

Training: Weekly new media training for reporters and photographers. I also maintain www.danielsato.com/gctelegram, where I recap our training sessions and provide links to other tutorials and examples.

Podcasts: I have even gotten in to the podcast world, hosting “Talk of the Town,” where I discuss some topic that is pertinent either to Garden City or southwest Kansas each Wednesday afternoon at our local coffee house.

Stephanie Cole, of the Kansas Sierra Club’s Beyond Coal campaign, discusses the organization’s view on the 895-megawatt coal-fired power plant that is proposed to be built in Holcomb.

Dave Sjeklocha, Doctor of Veterinary Medicine at the Haskell County Animal Hospital, discusses the use of antibiotics in feed animals.

USD 457 Board of Education president Mike Utz and board member Gloria Hopkins discuss the recent decision to join Schools for Fair Funding, which is considering the idea of suing the state for funding promised to schools. Schools for Fair Funding has since decided to proceed in its lawsuit with the state.

Photos, slideshows and video: Every now and again, I also get to go and play outside of the office.

The potential upside the amount and variety of work I do: I have experience in 9 of the top ten areas of expertise sought after by online media, and 17 of the 23 skills listed. Mark Shaver, who maintains the blog Depth Reporting, mentioned that his areas of expertise, computer programming and database management, were well down on the list, though I imagine they have gone up in demand since Serena Carpenter’s 2008 study, which the rankings originated from.

Photo a Day Project

Daniel Sato — Sun, 14 Feb 2010 04:46:24 +0000

Though I didn’t start on January 1st, I have been diligent in keeping up with my photo a day project. Yesterday, I made it to day 31. Here are some that I have liked so far:

(day 1) The first photo of the project:

(day 4) My brother on his wedding day:

(day 18) Going hunting with some war veterans:

(day 25) DIY photo studio:

Video basics

Daniel Sato — Wed, 10 Feb 2010 03:48:19 +0000

This post was written for an internal blog that I have been keeping for my work and was written for reporters with no video experience:

We all know the basics of what goes into a typical tv news piece:

Interview and/or voice over narration
Lots and lots of b-roll (footage to lay over interviews/narration)
- Establishing shot
- Medium shot
- Detail shots (anything to do with hands, eyes, mouths talking, etc)

Some general rules of thumb for shooting (Again, these are just rules of thumb, and rules are made to be broken once you have a grasp of them):

Use a tripod. Given the small size of our video camera, camera-shake while hand holding is almost guaranteed. Film your interview, establishing and medium shots and some details with the camera on the tripod. No one wants to feel like they are watching the Blair Witch Project. I can barely watch this video by ESPNwith commentators Michael Wilbon and Jon Barry (Apparently the video was so bad, they took it down)
Take the camera off of the tripod. I know I just told you to keep it on the tripod. And you should, to gather all of the basic elements of your piece. For a photographer, this is similar to grabbing the shots you know will work in print. For reporters, I imagine it is getting the who, what, where, when and why in a story. Once that is done, you are free to get creative and find that well-composed shot.
Change your angles. This applies mostly to when you take the camera off of the tripod. Place it up high, down low, frame your subject by shooting through something. Move back, get close. Try and avoid shooting from the same distance at the same height for each clip.
When interviewing, control is key. As we discussed last week during the audio gathering training, you want to have control over your environment when conducting interviews. In the case of video interviews, whenever possible, you want both good sound and good light. Just as in audio gathering, this means moving your subject to a quiet location. As for light, window light works well indoors, shade outdoors.
Avoid unnecessary zooming, panning and tilting. The most common culprit is the zoom while filming.
Keep your shots static. Related to the last item, compose your shot as if you were taking a still photograph. Let your subject walk into and out of the frame, rather than following him/her around.
Storyboard your video ahead of time. Just as you have a list of questions you plan to ask before heading in to an interview, you should have a sense of what shots you want before you start filming. This will be a great help when you are back in the office editing, which is the real time-intensive part of video production. Having to sort through and make clips of five to 10 minutes of footage is far easier than 30 minutes of footage.

Some video examples:

One of my favorite multimedia producers. Katy Newton, and her husband Sean Connelly used to work up in the Bay Area. This ongoing multimedia piece features profiles of people that Katy finds on the Missed Connections area of Craigslist. They also have done a great package for the Oakland Tribune called Not Just a Number, which puts a name, face and, at times, a story, to all of the murders that happen in Oakland and the surrounding area. It is an amazing piece as well.

Audio gathering recap

Daniel Sato — Wed, 10 Feb 2010 03:44:02 +0000

This post was written for an internal blog that I have been keeping for my work:

Here is a recap of our first multimedia training session, which focused on audio gathering and editing:

Though video is important, it is not the revenue generating magic bullet that many made it out to be a few years ago. Also, we only have one video camera as compared to three audio recorders and four cameras. That said, whenever possible, we will be deciding what media to use based on what best suits the story being told.
- To get an idea of how to determine what will work best, please read this post I wrote today (it will take a mere three minutes)

Audio gathering tips
- Control is key. You want as much control over the conditions in which you gather audio as possible. Good sound in = good sound out.
- Be aware of surrounding noise when conducting interviews. Alter your location or move if it is too noisy.
- Do not be afraid to
  - Turn off computers
  - Unplug refrigerators
  - Turn off lights, especially large banks of fluorescent lights
  - MOVE
- When outdoors, consider shielding yourself from the wind by:
  - Hiding between buildings
  - going into your car
  - using your body to block the wind
  - going inside

Audio gathering is more than just conducting an interview
- You want your audio piece to be strong enough to stand on its own without any visuals or print accompaniment.
- Gather interviews, ambient sound and detail sounds
  - Interviews – Watch your levels and hold the mic approx. 4 inches from subject. Yes, that is close, but subjects will understand that you are doing your job and trying to make them sound as good as possible. Have your subject say the question in the answer and avoid yes or no questions.
  - Ambient – Turn recorder on at location and record 30 seconds to one minute of sound from the environment. This will serve as the base for your audio project.
  - Detail sounds – Often overlooked, these include things like typing on a keyboard, a coach yelling, shoes squeaking, etc.

Examples – From traditional to artistic, a few examples to get your creativity flowing and expand what you may think of as newspaper multimedia.
- A more traditional piece, as far as structure and content, by Renee Byer of the Sacramento Bee. This won the Pulitzer Prize in 2007.
- A feature piece by Mercury News photographer Dai Sugano. Notice there are no voice over or interviews.
- Another feature, this time by Roanoke Times photog Josh Meltzer. This is an example of how a stand alone in print can be turned into an engaging multimedia presentation online. Things like this can be done by our photographers.
- Another example mainly for our photogs. This shows that you can be creative with how you use imagery in multimedia presentations. Consider stripping photos in, making cutouts, shooting sequences, juxtaposing images, etc.
- Two examples of using typography/infographics to help drive your story. First example. Second example.
- This last piece is most likely to be emulated by the reporters. It includes a voice over of a reporter likely reading the copy of the story, on camera interviews of subjects, pretty standard video shots (nothing too artsy) and some basic infographics.

Learn by doing
- The best way to learn how to both gather and edit audio is to do it. Luckily for you, two of your coworkers were nice enough to gather sample audio and images today in order to practice editing in Final Cut Express. These files, and other sample files, will be available online in the next day for you to experiment with.

Fake captions

Daniel Sato — Wed, 27 Jan 2010 08:28:27 +0000

Some outtakes from the High-Plains League basketball tournament, held this past weekend at Garden City Community College.

Girl A: “Rawr! It’s my ball! Mine I say!”
Girl B: “Pshhaw. Whatever. I didn’t want to play basketball anyways. Ima go get my nails did.”

The sky is falling!

Left: Kid on the left: Mmmmm brains! Brains…. brains! Hand from the right: Brains! Must get brains!
Right: High-five FAIL.

Audio slideshows vs Video

Daniel Sato — Tue, 26 Jan 2010 18:30:46 +0000

This post was written for an internal blog that I have been keeping for my work:

Multimedia is a relatively new endeavor for newspapers, and The Telegram is no exception. As an industry, we are still feeling our way around in the dark, trying to find what works and what does not work. What was once the golden bullet can quickly turn in to a resource black hole.

Here at The Telegram, there has been an emphasis on shooting video when possible, however, according to Richard Koci Hernandez, founder of Multimediashooter.com and current Ford Foundation Multimedia Fellow at UC Berkeley:

Unless your org has advertising dollars waiting for video content, then stick with the marriage of audio and still images.

first, research shows a bigger *bang* in terms of hits and time on site for, let’s call them *soundslides* on news sites over video. video itself gets better number on the web, but not on newsites. the public doesn’t traditionally come to news sites for video anyway.

second the ROI return on investment is very minimal for video. the $$$ and time to produce and train is never made back in terms of revenue. this is why you see most papers beginning to scale back. Not the biggies like Wapo and NYT, because they have the advertising dollars waiting for content.

At The Telegram, we will not be shooting video for video’s sake. Nor will we shun the medium as time and resource intensive. Instead, we should evaluate what media we choose based on what the story lends itself best to.

I will use two examples. Currently, I get the sense that video is associated with sporting events. However, many sports are about peak action. It is about moments such as a spectacular catch, exuberant celebration, or painful collisin … moments which have a far greater impact frozen in time for viewers to digest, as opposed to played through in a video.

I think the best example of this is the great Neil Leifer photo of Muhammad Ali standing over Sonny Liston.

Most certainly this is an iconic image but, in reality, the moment itself lasted less than a second. Watch this YouTube clip below and you will see what I mean. Pay close attention at two seconds in.

Did you catch it? That was how quickly that iconic moment was over. In video, it doesn’t even feel memorable.

That being said. There are times when video works far better than stills. Rachael’s Culling the Herd video comes to mind. Even with audio and a sequence of shots, video of the bull struggling in the chute is much stronger than and stills.

When deciding what media you want to use for your story, ask yourself, How is this story best told? What effect will telling it with stills have? With video? What images/clips can you expect to get each way and which produces a greater variety of content and/or stronger content? On the news side, we should be concerning ourselves with providing the best content to our readers in the most appropriate ways, not with what the magic bullet of the day is, because that will no doubt change.

Save the Rafu

Daniel Sato — Mon, 11 Jan 2010 23:41:01 +0000

As a child growing up in Los Angeles, I was only vaguely aware of the Rafu Shimpo. It was that paper that my grandmother would cut box scores out of after my Crescent Bay Optimist basketball games. It was not until college, when I took my first photo internship at the paper and took an asian american studies course that touched on the paper and its role in the community prior to and after internment during World War II, that I got a a greater sense of the importance that the Rafu has had in the history of the community.

Now, like so many print media organizations, especially ethnic media, they are in danger of being shut down. The Nichi Bei Times, the Japanese/English newspaper in northern California, was closed on Sept. 30 of last year, after 63 years of operation. The Rafu Shimpo began printing in 1903, ceasing operations from 1942 to 1946 before starting up again.

Nichi Bei Times from New America Media on Vimeo.

Recently the Rafu announced that they will be holding a town hall forum to discuss ways to renew interest in the product:

To Rafu Supporters: “Save the Rafu” Town Hall Forum

===

If you’re reading this “first-hand,” you may think this does not apply to
you. However, it does. Your opinions and suggestions to keep The Rafu
Shimpo from following the path of so many print media, both mainstream
and vernaculars, into extinction are very much needed.

Equally-and maybe more so-input from the non-reading and non-subscribing
population is vital. Answers to such questions as:

What would encourage you to subscribe? Does the **Rafu** address your
interest areas? If not, and if they did, what kinds of news would bring
you in to the readership? If your local organizations’ newsletters keep
you informed of local community news, would you see the value to the
greater community to send articles to the Rafu?

To subscribers, do you have issues you would like to dialogue with the
Rafu staff to improve your reading enjoyment? Have you said to yourself
and family and friends, “I wish the Rafu would…” ”Why do they…?” “Why
don’t they…?” What do you see for the future of the Rafu?

On Sunday, Jan. 17, these and any other comments, questions, and points of
information will be aired at the “Save the Rafu” Town Hall Forum, from 2
to 4 p.m., at the Gardena Valley Japanese Cultural Institute (GV JCI),
Veterans Hall, 1964 West 162nd Street, Gardena 90247.

Rest assured: this is NOT a fundraiser. Also, you will NOT be given “the
evil eye” if you’re not a subscriber.

For questions, please email/call Iku Kiriyama, (310) 326-0608,
goiku@sbcglobal.net or George Yoshinaga, horsesmouth2000@hotmail.com

I still believe that one of the Rafu’s greatest strengths is in the recognition of its name and that they can use their name to maintain a bit of unity in a community spread out across LA county and with no main hub (Little Tokyo is only a few blocks across, and, except for Nisei Week, I rarely venture there) and grow online into a hub for the entire southern California JA community, from community centers and martial arts clubs to temples and Boy and Girl Scout troops.

Already, there is a page on the Rafu Web site that tries to compile useful community links and organizations. Rather than going to the Rafu and then pointing users out, the Rafu could become the home for many JA community organizations.

In its most simple form, a Ning group could mean that sports leagues could form a group to upload photos and maintain scores and schedules, JA churches/temples could form a group to keep each other updated of upcoming events and people outside of the southern California (such as myself, in Kansas) could remain connected to all aspects of the community on one Web site.

No, this would not automatically equate to advertising dollars and no, traffic would not immediately start pouring in. It would take a good deal of time and effort to build the community site into something that people check on a regular basis. But I think that it fits in well with the purpose of the Rafu Shimpo, and could be a positive step in any web effort taken by the company.