Fcomunav Final Year Journalism Projects 2016 – The presentations, as they happened

This is the liveblog of the presentations of the Final Year Projects, as they happened.

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Live from Huesca: news startups and recent projects and initiatives

News startups and recent projects and initiatives in the Spanish news media market were presented in a broad, two-hour panel session moderated by José Cervera (@Retiario) at the 16th Digital Journalism Conference (XVI Congreso de Periodismo Digital, Huesca, Aragón).

Laboratories set up by traditional organisations in the need to innovate shared the stage with projects launched by experienced journalists that have taken the initiative to revive the permanent values of journalism with the support of their readers, and more modest projects led by people who try to create jobs in a difficult professional environment, while addressing the informational needs of society.

answers guide bsa 375 week 1 powerpoint Alejandro Laso Moreno, director of innovation and strategy at El Confidencial, explained that there are three areas at El Confidencial Lab (@eclaboratorio):

  • Design and user experience, directed by a 26-year-old. Their main task lately has been the relaunch of the site on February 16 2015.
  • “New narratives” encompasses infographics, data, photojournalism and video. They do branded content, too.
  • Social media, now strengthening their use of Whatsapp.

http://pearcehire.co.uk/?andew=2008-ap-world-dbq-essay 2008 ap world dbq essay Eduardo Suárez, deputy editor at ElEspanol.com, gave details about their specific use of social media platforms, and explained that they launched a crowdfunding campaign despite having a strong investment already, in order to build a community, to attract capital and subscriptions, and to gain editorial independence.

They are choosing to publish selected pieces of content, such as a gigapan of La marcha del cambio, a graphics-rich liveblog of the Greek election, or the profile of Ciudadanos (C’s) leader Albert Rivera by Jordi Pérez Colomé, with the aim of showing what they aim to do.

“We feel very honoured for having reached the record for crowdfunding.” Supporters do not make donations; they buy shares in the company.

http://olisbakery.com/ens2x5zw/107785/1330859agvb6.htm youtube strategie opzioni binarie Alfredo Casares is the head of the Journalism Innovation Laboratory at Diario de Navarra. According to his presentation, DN Lab is an intraentrepreneurship project, an internal transformation lever, a vantage point, and a spokesperson for innovation within the newspaper.

Attendance to hackathons and courses, as well as online training, has been instrumental in improving the quality of what they do: visualisation and multimedia packages. Students of Engineering, Design, Economics, Sociology and Journalism take part, too. The team at DN Lab has also built prototypes for new products.

Their aims for 2015 are to favour transparency, to document and measure results, to consolidate the startup model, and to launch a new product to the market: a mobile product for young publics.

RES 351 Week 5 Dq 2 Javier Gallego, founder and editor of online radio show Carne Cruda, interviewed himself (the questions being recorded, with his own voice) and told the story of his project, that started in public broadcaster Radio 3, moved on to private radio Cadena SER, and now lives independently, associated to Eldiario.es.

For this third version of the programme, they have raised more than 85,000 euros through an ongoing crowdfunding campaign; that’s the money they need to produce the radio show during two seasons, and counting. They also have some sponsors and advertisers.

Gallego said they need the money not only to fund human resources; they also hire a professional radio studio because they want the sound and to be as good as possible.

Javier Gallego’s original and distinctive presentation has featured recorded audio and carefully post-produced videos, put together in a vertiginous script and enhancecd by a remarkable performance.

http://dividendengineering.com/?cc0=0f com adressen io binären optionen Miguel Mora, editor of CTXT, said that, considering it is an online operation with weekly updates, they had to organise the home page wisely. They added modules so that it would be a bit more dynamic.

They were surpised with the results: “We had 20,000 readers on the first day, which we were expecting for the whole month, and 210,000 during the first eight issues.” A 16-page interview with Iñigo Errejón (Podemos) is the most read story to date.

24,000 euros and 1,200 subscribers are some of the numbers that show the involvement of readers with CTXT. “We started building the house from the roof; we now have to create the company and find the money.”

http://sandcastlestudios.com.au/?u=aggiungere-bande-di-bollinger-opzioni-binarie aggiungerebandedibollingeropzionibinarie Jéssica Murillo, Tania Lezcano and Alba Ferrera, presented Radio Conectadas, a relatively early-stage project they set up after graduating from Complutense University in Madrid, with the aim of “breaking the glass ceiling.” It is a self-managed (autogestionado), low-budget project, that takes advantage from free tools; e.g. they record via Skype.

http://aziemagazine.nl/fotos/tibet-trekt/18lhasa.jpg.php binaire opties voorbeelden Delia Rodríguez, editor of Verne, a “quality viral journalism website” hosted by El País, started her presentation with a quotation from Jaime Rubio, a writer for the site: “We should only publish an article a week. The difficult thing is to know what one” (“Solo deberíamos publicar un tema a la semana. Lo difícil es saber cuál”).

Verne is attractive content for social networks, made with journalism values. “We picked up the most journalistic emotion, which is amazement,” remembers Rodríguez. It was launched as a blog on September 24, and it was turned into a responsive website on December 3. Delia Rodríguez gave this piece of advice: “Start before you are fully ready.”

Verne already represents 8,9% of the traffic of El País online and ranks as the 4th section on the site. 59% comes from social networks and 58% from mobile devices. Some of their individual stories and videos (which they make themselves) have reached almost half a million shares and likes on Facebook.

http://sjm-k8.com/?binarde=binäre-optionen-versteuern binäre optionen versteuern Luis Martinez Barecha, director of Huesca esRadio, a local broadcasting company with an internet television component, wanted to create jobs and inform the people of Huesca. They value speed and openness to their listeners and viewers, as shown by their street-level studio.

binã re option Borja Bergareche, director of innovation at Vocento, presented the new Vocento MediaLab (@vocentolab). He started telling everyone to “keep in mind who you are and who you are not.” He said: “We are not The New York Times, we are not Buzzfeed; each one has to find their own path.”

Bergareche explained, for example, how they are organising courses for their newsrooms in different markets. He told the public to “work hard on training; to innovate is to learn.” In this first phase, they have put the focus on data journalism.

To do daily journalism limits medium-term and long-term strategic planning, according to Bergareche. They prefer to have journalists leading the training.

Other ideas shared by Bergareche with the audience are “to experiment, to try, to go public in beta.” They have created #LabTertulias in which different professional profiles in the group share their experiences. And finally, Bergareche told everyone to “be modest and get soaked with the talent that is already present in the digital ecosystem.”

binaire opties zondag Ramón González Férriz, director of weekly newspaper Ahora, which will launch before the local elections in May, explained that there will only be three parts: Politics and the Economy, which constitute the main section of the paper, and a Culture and Ideas pullout. “The weekly paper is successful in other countries and we want to test it here.”

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Live from Huesca: Arsenio Escolar’s ten do’s and don’ts for journalists and the news media

essay help pros reviews Arsenio Escolar, editorial director of 20 minutos in Spain, has marked the start of the XVI Congreso de Periodismo Digital making references to the overarching theme of sticking the finger, not only the in the eyes of the political and economic powers, but in the eye of the fourth power, too.

“The crisis has left a broken, dual, unfair society” in the Spanish State, according to Arsenio Escolar (@arsenioescolar), who believes that “liberty, justice and pluralism, as reflected in the Spanish constitution, are preserved, but equality has blown up,” and politicians and journalists seem not to be aware of this breach.

Arsenio Escolar, who is also the president of the Asociación Española de Publicaciones Periódicas (AEPP), has posed a series of questions, such as “Have public relations turned journalists into cats without nails?”, and then has suggested ten do’s and don’ts for journalism professionals, from students and reporters to executives, and news organisations:

  1. No to press conferences without questions. No to ‘institutional appearances’ in which a press release is dictated to journalists as if they were typists.
  2. If you put your foot in it, take it off just as visibly. Errors on the front page have to be corrected on the front page.
  3. No to gifts and presents for journalists. Limits and procedures have to be established in newsrooms. ‘Press trips’ are particularly worrying, even more if they are paid for with institutional money.
  4. We have to be more transparent with readers about the ownership of our media companies, and when there is a conflict of interest, the reader must be warned.
  5. No to opaque institutional advertising. Every year the State, Autonomies, councils… spend millions. But the distribution must be fair. He calls for this to be included in the Transparency Laws that are being drawn up everywhere.
  6. No to opaque grants and subsidies to the media. They promote innovation or language diversity and they are sometimes legitimate, but it should be possible to look them up in a public census.
  7. No to the ‘pimp press’ (prensa proxeneta, in Spanish). A previous Government of Spain called for all advertisements of prostitution ‘services’ to be taken away from newspapers, with little success.
  8. Let’s put an end to the stereotype that all digital jornalism is new and cool and all print journalism is old and outdated.
  9. To young journalists: you may be very well equipped, very well trained in technology, proficient in other languages, but you should be very careful with the Spanish language. You won’t be good journalists if you don’t use the language excellently. It is the best tool you have.
  10. No more deferential, obliging, conspiratorial, opaque, self-important journalism. [The journalism we need is] critical, fair, transparent, distant from power, ethical and social.
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Live from Huesca: José Luis Trasobares stands up for sustainable journalism that sticks its finger in the eye of the powerful

José Luis Trasobares, president of the Association of Journalists of Aragón (Asociación de Periodistas de Aragón), has delivered the opening speech of the XVI Digital Journalism Conference (XVI Congreso de Periodismo Digital) in Uesca/Huesca (Plana de Uesca/Hoya de Huesca, Aragón).

Trasobares has focused on the (still) critical condition of the profession, but with a growing prospect of recovery thanks to new initiatives that are becoming well established.

José Luis Trasobares has pointed out that some news startups are reaching profit and demonstrating their viability.

“As long as this phenomenon spreads, we will see a more promising future for the journalism that sticks its finger in the eye of the powerful, in the public interest,” said José Luis Trasobares.

On the contrary, “If news companies are not well managed, if there is no business, there will be no journalism.”

According to the president of the APA, Huesca is a scale model of the restructuring happening in Spain, with five journalists in Heraldo de Huesca being fired off in the last week.

The Association of Journalists of Aragón has previously expressed its solidarity towards these professionals, and Trasobares has reaffirmed this support in the capital of Altoaragón.

A group of Journalism students of the School of Communication of the University of Navarra and me are attending the XVI Digital Journalism Conference in Huesca.

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Live from Huesca: Rosental Calmon Alves — finding a place for new journalists in hard and complex times

Rosental Calmon Alves, director of the Knight Center for Journalism at the University of Texas at Austin, spoke at a session about the challenges and opportunities of journalism in an online ecosystem.

He elaborated on the metaphor in the title, indeed: pictures of the desert and the jungle supported his description of an increasingly complex media landscape, with many more elements than before.

This is the third time Rosental Calmon Alves addresses an audience at the Huesca Online Journalism Conference (Congreso de Periodismo Digital). He said that “many things we spoke about in future tense are now the present, or even the past.”

Calmon Alves (@Rosental) started teaching online journalism in 1997, but lately he felt he was no longer ahead of the game, so he started his entrepreneurial journalism course for students to create their own job.

The Knight Chair in Journalism made a reference to the successful non-profit news site he leads, The Texas Tribune. But there are smaller, successful examples. Rosental stated that disproportionate attention is being paid to the economic woes of large media companies.

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Live from Huesca: Maurizio Carlotti — cooking dinner for well-fed viewers

Maurizio Carlotti, vice-president of Antena 3 Television, gave the inaugural lecture in the XIII Online Journalism Conference (XIII Congreso de Periodismo Digital de Huesca).

The executive of one of the two main Spanish private broadcasting groups said that television doesn’t have a deadline problem, but the people in Antena 3 are asking themselves why the News at nine in the evening are losing eyeballs.

“Are we serving dinner to people that have already had their evening meal?”, questioned Maurizio Carlotti.

He also tackled the economics of content, stating that we have lived for some time in “freelosophy” mindset. The Web has everything, but it is not Paradise; there are thousands of failures.

Advertising won’t pay for everything, Carlotti stated. “If quality journalism needs big professional structures, we need to ask for the fair price”. He also spoke about the dichotomy between ‘low cost’ and ‘top level’ models.

“I have been working in mainstream television for 35 years, and people have been telling me that my business is dead for the same 35 years, every week”. Television has a solid business model, which isn’t as clear in the case of “the incumbent”, in Maurizio Carlotti’s view.

Journalists are a rare profession, in the sense that they are intelectual owners of their work, and they are free -in the sense of independent- if their want to, reminded Carlotti. Successful journalists build their own brand nowadays.

The Italian-born manager said that journalists don’t need traditional news organizations, but news organizations still need journalists, and will always do.

Moving away from strict business talk, Maurizio Carlotti said that the creative people of the future are likely to pursue the challenge of linking memories and databases.

The VP of Antena 3 also made a reference to an overriding semiological change. Images are replacing words as the basic element of human communication. Images are self-explanatory; they no longer are just an iconic complement.

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Live from Huesca: Jordi Pérez Colomé — the blogging journalist’s job: giving context, and inside reporting, too

Jordi Pérez Colomé merited the 2012 José Manuel Porquet Journalism Award for his foreign affairs blog Obamaworld.

The award-winning journalist said that the blog started because he felt a need to cover what happens beyond the headlines. He likes travelling, and he thought that reporting on international developments from within, and giving context, is what he wanted to do.

Pérez Colomé (@jordipc) told the students in the audience that, even if they can’t find a job, they have to work hard and get their work noticed.

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Live from Huesca: Antonio Martínez Ron — in praise of amazement

Antonio Martínez Ron, winner of the 2012 Blasillo award, praised the sense of amazement that comes when he finds interesting leads online, that fuels his personal blog., where he tells stories about science and curiosities.

Martínez Ron (@aberron) confessed that he is a junkie for this feeling of amazement. The Blasillo award, established by the initiative of cartoonist Antonio Fraguas, recognizes wit and ingenuity in the Spanish internet.

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Live from Huesca: Camino Ibarz — the need for honest (but also, well paid) reporting

The XIII Online Journalism Conference (XIII Congreso de Periodismo Digital), held as always in Huesca (15-16 March 2012), kicked off with a brief presentation by Mirtha Orallo, a weekend news anchor in the Aragonese public television, mentioning the power of networks.

Camino Ibarz, head of the Aragonese Journalists Association, said in her introduction to the conference that the economic crisis has had a very negative impact on the state of the profession in Aragón.

What the crisis hasn’t changed, anyway, is what journalists are: storytellers that make honest and accurate reporting, that also has to be well paid, according to this Aragonese journalist.

Ibarz (@CaminoIbarz) mentioned the need for entrepreneurial journalists, a professional figure that features prominently in the conference programme.

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How to enhance HTML5 video by synchronizing content with Popcorn.js

This blog post replicates the guide I have put together after producing the Zaragoza Public Spaces City Report, an interactive package consisting of ten videos with synchronized maps, images, texts and links. You can watch the promo on Youtube or Vimeo and download the free PDF version of this how-to guide.

Learn how to enhance your videos with textual and visual information, such as footnotes, links, photos, maps, and live content from elsewhere, and add subtitles and lower thirds without burning them into the movie file, ensuring compatibility even with devices that do not support Adobe Flash.

What is it and why do I want to know about it?

HTML5 is a version of the language that is used to make web pages and sites. For the first time, it includes a standard <video> tag to embed this kind of media, eliminating the need to add long and complex code to ‘call’ external plugins such as Flash, Windows Media or RealPlayer.

Popcorn.js is a group of Javascript files that serve the common purpose of adding synchronized content and interactivity to <video>. There is a number of plugins to achieve several kinds of enhancements just by copying and pasting some code and adding your little customization.

Butter is an online authoring application to add some of the Popcorn.js commands to videos. It is still going through early development as of September 2011, so it is not recommended for production, only for testing purposes.

(1) Explore

Go to http://popcornjs.org/download and download the latest version of the entire project as a compressed .zip or .tar file. Uncompress to a folder of your choice.

Open the webmademovies-popcorn-js folder and watch some of the demos. Then open the plugins folder, and see what each script can do by launching the normal .html file on your browser.*

You will be able to use any plugin just by opening the source code (via right click on the page within your browser, or opening the .html file in the Notepad), copying the relevant code, and making some minor tweaks. More on this later.

(2) Plan

It is good to start planning interactivity as early as possible, in the research and pre-production phases, but it also can be added in quite advanced ones, when the clips have already been produced and exported, even if this is not ideal.

There are many possible kinds of enhancements thanks to Popcorn.js plugins and the way they synchronize with embedded video that follows HTML5 standards.

You may want to think about:

  • Displaying locations and areas on a map, or a sequence of maps, with the different views available from the relevant Google service.
  • Showing still images or graphics to provide contrast or further explanations.
  • Linking to the sources of information conveyed in the video, with the possibility to expand or support in a visual way any figure or part of speech that is included. People or institutions can also be linked to.
  • Importing relevant tweets, a Facebook profile, thumbnails of Flickr photos, or an article from Wikipedia, to keep the video current and complement your discourse with content from the community.

(3) Edit

It may be a good idea not to explicitly state what actions the user can take every time, and just produce a video that can be consumed with or without any additional content, by taking some precautions in both cases.

For example, mobile devices tend to show embedded media in full-screen form, extracting it from its context during playback. And in any case, it may be difficult to see all the content at once in a small screen.

Leave enough time so that each event can be noticed and interpreted by the user, and, if that’s the case, actions can be judged on and executed (e.g. clicking on a link).

(4) Export

There are three formats you currently need to work with to ensure cross-browser compatibility (Pilgrim, 2011):

  • VP8/WebM (.webm): WebM is a container for VP8 video (an open format released by Google) and Vorbis audio. It achieves very good quality with a small file size, thanks to efficient compression. It is the newer of the three, and therefore, only supported by the latest versions of Google Chrome and Mozilla Firefox.
  • H264 (.mp4): Patents have prevented this popular format from becoming the standard. Note that Google Chrome is dropping support for it, but using it should still ensure compatibility with newer versions of Internet Explorer and Safari, which otherwise require manual installs (for the .webm and .ogv formats).
  • Ogg Theora (.ogv): Files can be significantly bigger, even if the image quality is slightly lower than in the other formats, with equivalent settings. Older versions of Firefox and Chrome favour this format over .webm, but the very old ones won’t play it either.

And two conversion programmes:

Miro is recommended for conversion into H264 (.mp4), and Firefogg, as it name suggests, specializes in exporting as Ogg (.ogv), but it also does a very good job with WebM (.webm).

Video files take up a lot of space and can consume the monthly allowance for data transfer very quickly, something that one may tend to forget in this age of YouTube.

If you are hosting them in your own web space, check the conditions in your dashboard at the provider’s website. And if your hosting is shared with others, check with the relevant person, because a ‘too successful’ package in terms of traffic may bring the whole site down.

(5) Embed

Any HTML5 document starts with the very simple
<!DOCTYPE html> specification in the header and ends with the usual </html>.

The javascript code goes between the <header> and </header> tags. The actual video and the layers where content is displayed go between <body> and </body>. These are the only two main parts of an HTML document, as you may well know.

With HTML5, the code to embed a video is as simple as <video src “locationofthevideo” />.

It gets slightly more complex if you provide alternative file types so that older web browsers will display the video, too:

<video id=”video” width=”640″ height=”480″>
<source src=”video/z-expo.webm” type=’video/webm’>

<source src=”video/z-expo.mp4″ type=’video/mp4′>

<source src=”video/z-expo.ogv” type=’video/ogg’>

You can also add the following commands to the first line:

<video id=”video” width=”640″ height=”480″ controls preload autoplay>

This is what these three commands do:

  • controls: It displays a browser-specific controls overlaid on the lower part of the video, with a play/pause button, progress bar and elapsed time counter (basic Chrome setup), along with some others depending on the browser (Firefox, Safari, Explorer).
  • preload: It starts downloading the video before the user clicks on the ‘play’ button, ensuring instant playback thereafter. Good if the video is the main content on the page and the user is very likely to watch it.
  • autoplay: It plays the video as soon as the page is loaded and enough of the clip is buffered (temporarily stored for playback). It should only be included if the purpose of the page is no other than watching the video, and the user is quite likely to expect that from the information given in the referral page (i.e. the index, menu or home page, an internal link, or a search result). Otherwise, it can be quite annoying.

If you are going to add Popcorn.js plugins in the following step, remember to include this line between the <header> tags (check the relative position of the .js file in your site; this would be in the same folder as the HTML page):

<script src=”popcorn.js”></script>

(6) Add

You’ve got the movies, you are ready for Popcorn. Open the .html page for the plugin you wish to add, and copy the relevant code to the <header> of your page, after the line above. Many plugins, such as image, are easy to customize.

For example, footnote displays text and links:

<script src=”plugins/footnote/popcorn.footnote .js”></script>
<script> document.addEventListener(‘DOMContentLoaded’, function () {
var p = Popcorn(‘#video’)
start: 113, // seconds
end: 131, // seconds
text: ‘Example with a <a href=”index.htm”>link</a>’,
target: ‘footnote’
} )
}, false);

If the location (src) of the script is OK, leave the first lines untouched. start and end are defined in step (7).

In the text field, you should type in the copy that you want to display on the page. You can include some HTML code such as <strong>, <em> or links with the usual <a href>. You may want to consider opening links in a new window.

You need a target box o layer, that will be filled with the content stated in the javascript code. Besides defining the target it in the script placed in the header, you also need to include it in the actual body of the document, where you want it to be displayed (e.g. after closing the <video> tag). E.g. for the code above, you would need this:

<div id=“footnote”></div>

The pause plugin stops the video automatically right after a user action, such as clicking on a link, enabling her to resume viewing right at the point when she left it. Just add:

<script src=”plugins/pause/popcorn.pause.js”></script>

A useful one is googlemap; it shows a ROADMAP, SATELLITE or STREETVIEW map type, with specific latitude (lat), longitude (lng) and zoom settings that you can extract from the embed codes provided on the Google Maps website.

(7) Synchronize

This step is as simple as playing the video back and forth, making the additional content or event coincide in time with the relevant audio and video. It must be expressed in full seconds, even after the first minute. For example:

start: 45, // seconds
end: 65, // seconds

Simultaneous events are technically possible most of the time, but make a judgement based on the available on-screen space and, most importantly, the likely attention of the user. Simplicity will always be better than overload.

(8) Publish

Play all the videos to check that all content does come up, and that it appears when you want it to. Upload the files to the server via FTP, including HTML pages, video files and Popcorn.js scripts and plugins, and navigate the site online.

(Read more about how to address file size, hosting space and data transfer allowance concerns in step (4) export).

As with any other online project, you may want to monitor user actions and audiences by including Google Analytics code in the header, and help people promote your content through buttons that will share the page in social networks.

When your project is up, it’s time to think about the next one. Which topics and subjects are more suited to interactivity? What kind of content will you want to synchronize with it? How can you shoot and edit footage in a way that contextualized information will work better with it?


Useful links


*) Correction of an editing error: the words “A selection” have been removed from the ending of this paragraph (29/09/2011).

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