fauna corporation

Astute readers of Fauna Corporation (or those who simply scroll down) will know that I was working a contract for a digital ad agency before the Holidays.

As it turns out, they liked my moxie so much they offered me a full-time position, which I’ve accepted. I’ve just come through my first week as an official employee there, and boy are my arms tired - or however that old joke goes.

Working in an ad agency is a bit of a weird shift for me (though not outside my employment history), given my heavy focus on multimedia journalism, so I thought I would take a second to try to let you know where this decision came from.

First, I want to confirm that my love of journalism continues, and my interest in trying to figure out (with you all!) where the industry is going remains as strong as ever.

But the reality - for me, at least - is that the technological advances, emerging narrative tools and the unbelievable creativity of multimedia journalists has far outpaced the journalism industry as a whole.

Personally, I had no problem landing writing gigs (for terrible freelance rates, naturally), but I had a lot of trouble landing contracts for my multimedia work, despite genuine interest and positive feedback from the web- and section-editors I spoke to.

The issue seems to be that the larger media structure is still struggling with how to carry multimedia work, how to market it, how to deal with the reciprocal loop it can create with viewers, etc..

Meanwhile the technology still advances, the narratives become ever more layered, and the e-journos continue to produce novel, intelligent work. These developments, coupled with the state of our media, generally, have become a recipe for disaster for freelancers.

When an opportunity came along to work for a cutting-edge digital agency, I realized the potential of working in an industry that was not behind the e-curve (and is, in fact, is often pioneering new communication techniques), and I recognized that I could learn an awful lot about building and deploying online content from creative experts.

So that’s what I’ve decided to do. I hope that doesn’t make my usual readership think I’ve sold out to The Man. Or even, A Man.

In my opinion, the days of journalistic purity are pretty much over, as each journalist increasingly becomes his own brand and entrepreneurial skills become ever more important in getting eyes on your work (let alone be paid for it), as the industry crashes all around us. It doesn’t mean the ethics of a journalist have been or should be compromised, only that the (often fictitious) divide between editorial and marketing is dissolving ever more.

So far, the new job has been very challenging and rewarding, and I think it will benefit my journalism work in the long run if I can continue racing up the (steep!) learning curve. My hope is to bring new insights to the Fauna Corp readership, while still sharing interesting and engaging multimedia journalism content with you all, as we try to figure out where journalism is headed.

2010 promises to be an interesting new year, and I hope you all stick with Fauna Corporation for the ride.

Let me know your thoughts about all this, leave a comment if you have anything to share. No sales agents will visit your home.

Whew! This whole accelerated world we’re living in has been exhausting lately.

But I must say, the technology finally seems to be catching up to the creativity of content creators, and is also coming in line with the demands of consumers.

As usual, I find the discrepancy between what consumers are looking for, and how journalists & news outlets are talking to them, to be the biggest hurdle facing journalism as a whole.

My accomplice and I recently picked up iPod Touches, and have been experimenting with different ways to use these cool gadgets to actually enhance our lives (rather than just, you know, be cool gadgets). That’s been a fun process, but there have been a couple of videos out lately that show other potentially ground-shifting tools that are coming to market.

These new tools display some creative uses of cross-media delivery by magazine publishers, and seem to really enrich the user experience. Check it out:

First, Multimedia Shooter has posted a great list of sports-related, multimedia journalism pieces which is worth reading. This Sports Illustrated video shows how SI is planning to unveil their magazine in tablet form, and, despite the hokey digital hands, shows how the magazine’s main assets of stunning photography, quality writing and box scores, will be further enhanced by the tablet technology:

Also, I thought I’d include this video from Outside Magazine, displaying their idea of how an interactive magazine feature may work in the near future. I originally found this video from one of my RSS feeds, but now can’t remember which website posted it (apologies for that). Instead, I found the same video piece at the Living Art Media site. It’s a little hyperbolic, but the overall effect is very cool:

Both of these videos are ‘aspirational’, but they show that the technology we are becoming accustomed to on our hand-held devices are now beginning to inform the decisions of media outlets and how they craft the content we’ll be enjoying in the coming year(s).

Apologies all around for the longish silence here on Fauna Corporation. I’ve been working a writing contract for an advertising firm and have had less time for posting. The contract goes well, thus far, but I don’t want to forget my Fauna readers so I thought I would put something up.

On that note, while I haven’t been posting, I have been seeing some interesting content for Next-Gen Journos. The following are a few things that I’ve seen over the last few days that I thought you would all enjoy.

First, from Journerdism, a list of the 8 must-have skills for the journalists of tomorrow. The list is a little broad (ie: including programming skills), in much the same way that one could list the top 8 skills for tomorrow’s Olympian and include being multilingual and 12 feet tall. I mean, it can’t hurt, but in reality there are only so many hours in the day, so one must pick and choose what to learn. However, the list is pretty solid on the whole and does mention the ability to focus on experimentation and focus on creating artful, cross-media pieces, which I sincerely believe will be necessary to capture the next wave of web- and mobile-savvy media consumers. Of note, “fundamental journalism skills” comes in at number 8.

Next, 10,000 Words has a great list of gifts for the Journalist in your life, just in time for the holidays. While some are sort of obvious (newsprint t-shirts and boxers), some are totally awesome (CTRL, ALT, DELETE cup sets!), and either way, there is always a good reason to visit to 10,000 Words, so click on through.

Finally, from ProBlogger (a site worth visiting if you haven’t yet), a short list that substantiates the importance of having a product to sell. As journalism changes and freelancing rates remain dismal, this idea of having a product - whether it is your work, a collected series of pieces, an ebook, how-to, or anything else - becomes very important to grow revenue and audience (which in turn grows revenue and audience). While there is an argument to be made against every journalist being entrepreneurial, as technology changes us, we must change with technology. Increasingly, being entrepreneurial is tied to those changes.

Again, my apologies for the relative silence here on Fauna Corp. I am happy that my traffic has not dimished over the last couple of weeks, despite it. I will continue to do my best to keep you all up-to-date with what is happening with evolving multimedia journalism, and as always, I thank you for stopping by.

My fiancee and I are big fans of the NewsHour with Jim Lehrer. I recognize how geeky this makes us (being “big fans” and all), but we’re pretty dialed in to non-apoplectic news coverage, and we really enjoy the balance and depth of coverage that the NewsHour offers.

We comment on Jim’s usually excellent choice of ties, we tune in on Fridays to catch analysis by Shields and Brooks (and we’re Canadians!), and we hold the NewsHour up as an example of what news coverage should be (along with CBC’s National and BBC’s World Report).

So I read Anna Shoup’s piece on the changes at PBS, and the new iterations of its website, with interest and fascination (found out about the piece courtesy of Will Sullivan’s Journerdism site). It is not often that you get an insider’s candid take on the shifts inside a major media outlet, especially when the insider is a multimedia content producer who is be integrated into the larger media framework. That in itself is a bit of a switch-up from what’s happening in other news rooms.

Ms Shoup’s report suggests a progressive mindset in the NewsHour bullpen, but she’s still open about the grinding gears that sometimes happen when two carefully crafted machines try to mesh. Whether the new media shifts at the NewsHour are a result of progressive thinking - or merely survival - I think is irrelevant. In the current media climate, any steps that do not hold fast to the conventional broadcast model should be seen as progressive, simply because they are not status quo, or (worse) trying to regress to the sunnier times of media monopoly.

Basically, people are consuming the news differently. The NewsHour has always been able to cut through the media static to report solidly on essential issues, and their decision to more fully integrate multimedia elements and web-based pieces into their broadcast model is one that I’ll be watching with interest.

The NewsHour will launch their new website on December 3rd, and the new iteration of the NewsHour with Jim Lehrer (re-branded as PBS NewsHour) will debut on December 7th. Perhaps it, like the NewsHour’s coverage itself, will be a litmus test that other news organizations can learn from.

Super-Meta: digital image of a digital image of a digital image

I recently jumped into the shallow-end of the video camera market, picking up a Kodak Zi8 pocket-sized video camera. The Zi8 is similar to the flip cameras that journos were raving about a short time ago, except the Zi8 can record in full HD quality, has both macro and landscape settings, and has an external microphone jack - which is a major advantage for journalists using such a small piece of gear.

There are several reviews online that rave about the Zi8; however, my own experience with the camera has been mixed, and I’ve yet to see a review that mentions the issues I’ve come across.

For me, the biggest negative is that the Zi8 camera shoots in H264 (read: Quicktime’s .MOV format), which works seamlessly with Apple’s iMovie editing suite, but causes a complete horror show for most Windows users.

I have used Vegas Video on my PC for awhile now, but the raw files from the Zi8 wouldn’t work with Vegas unless they were format-converted first (to MP4 or AVI), and more often than not, this conversion would then cause Vegas to crash. I have heard this same story repeated online by many other Windows / Vegas users, and each has a ten-step workaround to just get the footage from their camera to work with Windows. Yikes.

This frustrating conversion-then-crash loop went on for a few weeks for me as well, but I recently switched from Sony’s Vegas to Avid’s Pinnacle software suite, and am happy to report that Pinnacle recognizes the raw files and works with .MOV files much like iMovie does - very simply and cleanly - just drag, drop and start editing.

This H264 compatibility issue is an important one for Windows users to know before they buy the Zi8: their usual editing software may not play nice with the Zi8, and they may have to deal with techno headaches to simply edit their videos.

The other important point to note is that the Zi8 ships with out-of-date firmware, and requires an upgrade to resolve tracking issues, low-light streaking, and a subtle (but bothersome) high-frequency sound in the audio recording. The firmware update is simple, but can not be done by just plugging the Zi8 into your PC - it requires a card reader (odd, given that the Zi8 has USB ports). So if your laptop does not have a built-in card reader, you’ll have to buy one to do the critical firmware upgrade and get the most out of your Zi8.

Having switched editing software, and upgraded the firmware, I was finally able to test the Zi8’s capabilities.

The footage is pretty impressive for a pocket-camera (and a budget one, at that). From the recommended distances, the image quality is sharp and the audio from the built-in mic is passable for web broadcast. The Zi8 only offers a 4x digital zoom, and the quality drops off noticeably with each interval. Also, like all pocket video-cameras, the low-light functionality is a little grainy.

One disadvantage of the Zi8, is that while there is an external microphone jack, there is no accompanying headphone jack on the unit. This means that audio levels have to be monitored via a little bar-chart indicator, or upon playback through the Zi8’s tiny speaker. Neither is ideal for checking levels, especially given that the Zi8’s microphone input is particularly “hot” and requires external mics to be carefully adjusted to find a balance between frequency response and outright digital clipping. So that’s a challenge for journos and media junkies alike, but with trial and error, good results can be captured.

Here are two videos I did to show the “macro” and “landscape” settings on the Zi8:

Macro Setting:

Kodak Zi8 Test: Macro Setting from scott w. gray on Vimeo.

Landscape Setting:

Kodak Zi8 Test: Landscape Setting from scott w. gray on Vimeo.

The Zi8 is pretty inexpensive - about $200 Canadian - and can shoot in full HD (720p, 720p/60 fps, and 1080p), and offers both a “macro” setting for close-up and arty filming, and a “landscape” setting that uses its fixed-focus lens. Coupled with the external mic jack and the high-quality footage, in the right hands it can be an attractive prosumer-level device.

I think as more people experiment with the unit, and work out DIY microphone rigs or DIY lens conversions, the results will improve and we’ll begin seeing some very cool multimedia pieces created with the Zi8. The price point and feature set is perfect for most citizen / freelance journos and cash-strapped media outlets to test drive the unit and see how it performs in a variety of settings.

PROS:
Inexpensive, small footprint, two lens settings, HD-quality, external microphone jack, image stabilization, face-recognition, pretty slick technology.

CONS:
H264 format problematic for Windows users, no headphone jack, firmware updates require card reader, less-than-ideal zoom & low-light features.

Final Analysis:
Ultimately, I would recommend the Kodak Zi8 for guerrilla multimedia journalists and / or digital storytellers because of its ease of use and image quality. There are a few hurdles to jump through to get your footage to an upload-ready state, but avoiding the format-conversion carousel and testing out the unit’s limitations can help you capture the events you want, cleanly and easily.

Recommended by Fauna Corporation!

I have posted before about how much more progressive the UK has been in its adoption and development of multimedia journalism, and today found another example.

Whether through examples like the Guardian’s new media content, the way that UK-based media outlets have embraced the reciprocal loop of feedback with their readership, or the general acceptance of multimedia journalism becoming more ubiquitous, there seems to be a greater integration of multimedia journalism into the wider fabric of society in the UK than we see here in North America (and great deal deal more than we see in Canada, currently).

On that front, Journalism.co.uk posted today about Skillset (a training body for the UK creative media industry) offering multimedia training bursaries for freelance journalists. The inclusion of freelancers is probably a very astute business move given the current economy, but as a freelancer I must say that I am jealous that the opportunities for high-quality, multimedia skillset upgrades exists so readily in the UK and so rarely here in Canada.

These training opportunities seem to mirror the level of acceptance of the shift to new media content in the wider media. Which is to say, in Canada, media outlets are largely still in a holding pattern - debating how multimedia journalism will evolve and impact us all - while other countries adopt new techniques and narratives, and even offer professional training to push the craft further.

For a country as vast as Canada, and that formerly had one of the most advanced telecommunications networks in the world (alas, not any more), seeing the multimedia opportunities in foreign media is doubly frustrating.

Perhaps I could just commute…

So much of the emerging wired world (and web!) is so highly designed that we sometimes lose sight of the substance in all that style.

This morning, I spent some quality time on Multimedia Shooter and was directed to the short films of William Hoffman. His work is a revelation to me, as it pulls at the edges of fiction and non-fiction, and creates a momentary pocket where the real subject matter seems to be our shared humanity. What a gift, to be directed to something that makes you feel more you while simultaneously feeling so everyone else.

I recommend checking out Hoffman’s Moments and Parabolas pieces as a great intro to his work, but perhaps the Everyone Forever Now series would be the most journalistic option for Fauna Corp readers.

Finally, you could have a look at this post to read a bit about Multimedia Shooter, and a few more multimedia journalism websites that I think are totally indispensable. Each shows that style is great, but style plus substance is a combination that puts us in touch with the deeper truths about our selves.

Very cool stuff.

Like a great many Canadians, I am deeply effected by Remembrance Day. Like millions of others, my family was touched, turned and torn by WWII, and in some ways the vivid memories of what my parents saw have been passed on to me and altered how I see the world.

Appropriately, a friend and colleague alerted me to a Flash-based timeline on the Guardian website that shows the march to World War Two from its nascent beginnings at the end of World War One.

While the timeline does re-purpose the same photos several times over (odd, given the archives the Guardian must have at its disposal), the information is solid and the break-out articles by George Orwell, Edward Murrow, etc., provide an eye witness context we seldom receive from our vantage point in history.

The Guardian timeline is recommended by Fauna Corporation, not only because of its journalistic / new media integrity, but because of its ability to remind us of the sacrifices our soldiers made for freedom.

Feeling old and rusty? Maybe you need some new tools…

When the media machine spat me out at the start of the new year, “inviting” me to return to the world of freelancing, I spent a fair bit of time researching the resources available to journalists who were transitioning to multimedia skill-sets. I am certainly not a noob, but as many of my readers will attest, there’s always more to learn. In my searching, again and again, I came upon posts from Mindy McAdam’s blog.

In particular, her posts about portable digital audio recorders helped me sort through the gear to find the gems that were most applicable to my needs, and her pieces on visual journalism helped to confirm some things I already suspected to be true at news desks around the country.

McAdams also began a series of pieces aimed squarely at journos who were trying to come to terms with new tools and techniques that were previously foreign to the newsroom. The series was called the Reporter’s Guide to Multimedia Proficiency, or RGMP, and McAdams has just collected the posts together in one PDF document, available for free download.

Visit Mindy McAdam’s site (http://mindymcadams.com/) to check out the depth of her work, and download the RGMP PDF while you are at it. McAdams has provided translations into Spanish and German as well for international audiences.

The RGMP guide is highly recommended by Fauna Corporation.

When speaking about the future, it seems that 5 years is the most popular milestone for people. Not far enough off to suggest silver hover-cars and jet packs, yet distant enough that we’ll accept some fantastic possibilities (especially if we consider Moore’s Law and it’s rate of acceleration), the 5 year plan allows us to see the road immediately ahead and plan for it.

The unfathomable future - Suddenly Fathomable!

This past week I found two informative pieces about the future of journalism that suggested what trends will become important for the media in the next 5 years. While everyone can predict the future, and every megalomaniac can build a 5-year plan, I thought these pieces were great food for thought for multimedia journos.

The first piece comes from (the awesome) ReadWriteWeb site, and features a brief excerpt of an interview with Eric Schmidt, the CEO of Google. The 6-minute segment discusses the role of video, non-English language communications, social media and bandwidth in the coming age, and also offers a fascinating look at how Google predicts media trends (non-separation between consumer and enterprise applications, for instance).

The excerpt on ReadWriteWeb is most pertinent, but I also watched the full 45 minute piece on YouTube and, while less relevant to journos, it was still informative. Check it out.

The second piece about the future of the web comes to my attention from Will Sullivan’s Journerdism site, and he draws it in from Noupe. Noupe’s piece asks “where will the web be in 5 years” and then presents 15 trends to consider. The Noupe article is pretty detailed, with examples, pundits (both pro- and con-), further reading and what I think are some pretty hilarious photos in support of their arguments.

Highlights include a prediction that consumers will gravitate toward web experience as the centre of their media world, where social media, net-based entertainment, mobile apps, and collaborative tools all become a core set of entertainment, education and creative tools for consumers. Essentially, the web (and its apps) will become stronger and we, in turn, will become more fluid in our integration of this experience into our lives.

While not Nostradamus or the Mayan Calendar (shout out to the 2012-ers out there!), the 5-years-into-the-future predictions are popular, and the two pieces cited above contain some excellent ideas to consider. Part of considering the future of journalism is intrinsically linked to considering the future of all consumer and enterprise media, and the articles in Noupe or ReadWriteWeb offer a great road map for next-gen-journos.