"Embracing Web 2.0 and New Media Communications"


Published on

Presentation by Renee Basick, Interim Director, Chicago Media Initiatives Group (University of Chicago) and Aaron Rester, Manager of Electronic Communications, University of Chicago Law School. Presented Monday, December 10th, at the CASE V Conference "Connecting the Best" in Chicago, Illinois.

  • Be the first to comment

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide
  • Good morning and welcome to “Embracing Web 2.0 and New Media Communincations.” My name is Aaron Rester, and I’m currently the Manager of Electronic Communications at the University of Chicago Law School, and for my part of the presentation I’m going to walk you through the development of a new media project that I was involved in as a kind of case history in how one academic unit incoroporated “New Media” into their academic mission; I’ll explain the steps we went through and how we wrestled with the various problems that cropped up. Then I’m going to talk a bit about using the technologies that have come to be described as “Web 2.0” to distribute your new media content. After that, Renee will discuss some more of the specifics -- she’ll talk about actually producing this content as well as some of the legal issues involved.
  • "Embracing Web 2.0 and New Media Communications"

    1. 1. Embracing Web 2.0 and New Media Communications Renee Basick, Interim Director Chicago Media Iniatives Group Aaron Rester , Manager of Electronic Communications University of Chicago Law School
    2. 2. Intro: Chiasmos screen shot “ Really Simple Syndication” = XML Podcast = RSS
    3. 3. In this context, we’ll be using the term to describe audio and video content that is transmitted digitally. What is New Media?
    4. 4. New Media @ CIS
    5. 5. Legal Issues
    6. 6. Podcasting Goes Mainstream
    7. 7. What is a podcast?
    8. 8. <ul><li>Why are we doing this? An organization must carefully consider its goals, and whether a podcast or other new media venture is a good means to reach those goals. </li></ul>Questions to consider when establishing a New Media program
    9. 9. <ul><li>Why are we doing this? </li></ul><ul><li>What will our content be? Know who your audience is, and what kind of content will be effectively “sticky” for them. </li></ul>Questions to consider when establishing a New Media program
    10. 10. <ul><li>Why are we doing this? </li></ul><ul><li>What will our content be? </li></ul><ul><li>Who will produce, maintain, and distribute our content and what tools will they use? Teamwork, effective delegation, and good organization are key. </li></ul>Questions to consider when establishing a New Media program
    11. 11. Creating the podcast feed
    12. 12. <ul><li>Why are we doing this? </li></ul><ul><li>What will our content be? </li></ul><ul><li>Who will produce, maintain, and distribute our content and what tools will they use? </li></ul><ul><li>How will you track your progress? You need to know whether your efforts are effective. </li></ul>Questions to consider when establishing a New Media program
    13. 13. FeedBurner
    14. 14. What is Web 2.0? Technologies emphasizing collaboration, sharing, and user-generated content. Distributing and promoting your content with Web 2.0 technologies
    15. 15. “ The idea of ‘web presence’ these days extends beyond just hosting a domain on a box and filling it with tools.” - Michael Fienen, Pittsburg State “ T he university has a virtual existence, a virtual reality. In some areas it makes sense to lure visitors into our space, but increasingly it means that the university must exist in other spaces.” - Skip Knox, Boise State Why distribute your content with these technologies?
    16. 16. Tags
    17. 17. Blogs
    18. 18. Wikis
    19. 19. Content Sharing Sites
    20. 20. Social Networks
    21. 21. Renee L. Basick Interim Director
    22. 22. http://cmig.uchicago.edu
    23. 23. Podcasting and RSS
    24. 24. Automation!
    25. 25. Repository, feed-generator, NO CODE
    26. 26. Format Options How much time/$ do you want to spend producing? <ul><ul><ul><li>Lecture series, individual commentary, research results, interviews, talk show, tips, news? </li></ul></ul></ul><ul><ul><ul><li>Will there be multiple, distinct segments? </li></ul></ul></ul><ul><ul><ul><li>3. How many “hosts” (if any)? </li></ul></ul></ul><ul><ul><ul><li>4. Frequency of release, consistency? </li></ul></ul></ul><ul><ul><ul><li>Length </li></ul></ul></ul><ul><ul><ul><li>Audio or video? </li></ul></ul></ul>
    27. 27. The Quality Myth While the internet itself provides no quality control, listener-ship ultimately will. One way to make a podcast distinct among its peers (and authoritative, which is important for an academic podcast), is to produce decent quality media. It doesn’t have to be broadcast quality, but should adhere to some basic standards of professionalism. BAD MEDIA = NO AUDIENCE
    28. 28. Production AUDIO or VIDEO? $45-60 for CMIG to produce one hour lecture, no editing. $340+ for CMIG to produce one hour lecture, no editing.
    29. 29. VIDEO Equipment (On a very, very tight budget) <ul><li>Wireless mic: AT Pro-88 </li></ul><ul><li>$150 mic, transmitter + receiver Good for roughly 25-30 ft. </li></ul><ul><li>Camera: Panasonic PV-GS320 3 CCD mini DV Camcorder $399 ($629 w/accessories, incl. tripod) </li></ul><ul><li>Lights: Smith-Victor K64 3 Light Controlled Quartz Portraiture Kit $445 </li></ul><ul><li>iMovie (free with your mac) </li></ul><ul><li>TOTAL: $994 </li></ul>
    30. 30. What CMIG uses: <ul><li>In the beginning </li></ul><ul><li>Panasonic DVX100 $3999.00 </li></ul><ul><li>Cartoni Action-Pro Tripod $699.95 </li></ul><ul><li>Audio-Technica wireless mic $560.75 </li></ul><ul><li>Sony studio headphones $46.50 </li></ul><ul><li>Smith-Victor Light kit (3) $211.95 </li></ul><ul><li>Vortex Media WarmCards $91.00 </li></ul><ul><li>Apple Mac Pro $2,948.00 </li></ul><ul><li>Final Cut Express HD 3.5 $149.00 </li></ul><ul><li>TOTAL = $8,706.15 </li></ul><ul><li>Curently </li></ul><ul><li>Panasonic HVX200 $5199.00 </li></ul><ul><li>Bogen/Manfrotto Tripod & dolly $875. </li></ul><ul><li>Bogen/Manfrotto leveling head $61.10 </li></ul><ul><li>Audio-Technica wireless mic $560.75 </li></ul><ul><li>Sony studio headphones $78.50 </li></ul><ul><li>Arri light kit (3) $1,789.95 </li></ul><ul><li>Vortex Media WarmCards $91.00 </li></ul><ul><li>Apple Mac Pro $3,783.00 </li></ul><ul><li>Final Cut Studio $699.00 </li></ul><ul><li>Sorenson Squeeze $239.00 </li></ul><ul><li>TOTAL = $13,376.30 </li></ul>
    31. 31. AUDIO Equipment (On a fairly tight budget) <ul><li>Wireless mic: AT Pro-88 transmitter + receiver. Good for roughly 25-30 ft., $150 </li></ul><ul><li>Wired, lavaliere mic: XtremeMac MemoMic $30 </li></ul><ul><li>Digital Recorder/storage: iPod nano, 4gb $149 </li></ul><ul><li>Recording adapter: XtremeMac MicroMemo Digital Voice Recorder for 2nd Generation iPod nano $60 </li></ul><ul><li>Audacity (free download) </li></ul><ul><li>TOTAL: $239-359 </li></ul>
    32. 32. WBEZ’s Recommendations (For a range of budgets) <ul><ul><ul><li>Sony ICD-B500 ($45) </li></ul></ul></ul><ul><ul><ul><li>This recorder, and others like it, offers an inexpensive and completely self-contained recording solution. While these units record sound at a lower resolution than 16-bit 44.1 kHz broadcast standard, they are high enough quality to make recordings that can be played over the air. </li></ul></ul></ul><ul><ul><ul><li>Sony ICD-BSX57USB ($100) </li></ul></ul></ul><ul><ul><ul><li>A step up from the basic all-analog model, these recorders are as just as easy to use, but also have a USB connection to transfer audio to your computer (some recorders of this variety also include their own editing software). </li></ul></ul></ul><ul><ul><ul><li>Zoom H2 handy Recorder ($200) </li></ul></ul></ul><ul><ul><ul><li>This recorder has a built in mic like the recorders above but records a considerably higher fidelity signal, making it a good choice for speech or music. It operates at broadcast-standard quality (and beyond) recording resolution, and comes with a fairly extensive accessory package. </li></ul></ul></ul><ul><ul><ul><li>M-Audio Microtrack 24/96 ($350) </li></ul></ul></ul><ul><ul><ul><li>This model has a similar feature set and form factor to the Zoom H2. The primary differences include the M-Audio’s built-in rechargeable battery, independent left and right channel ¼” input jacks, and the use of Compact Flash media cards to store recordings. </li></ul></ul></ul><ul><ul><ul><li>Marantz PMD-660 ($500) </li></ul></ul></ul><ul><ul><ul><li>This is considered the professional standard among audio journalists, and offers a number of pro-style features such as XLR input jacks, phantom power for condenser microphones, a built in stereo microphone and a built in speaker for playback. </li></ul></ul></ul>what CMIG uses
    33. 33. WBEZ’s Mic Recommendations (Also for a range of budgets) <ul><li>Sound Professionals SP-SPSM-1 Stereo ‘T’ ($50) </li></ul><ul><li>This is an affordable portable stereo microphone with an 1/8” output jack, making it an ideal accessory for the M-Audio microtrack. The distributor, Sound Professionals, offers a number of similarly-featured and similarly-priced microphones to fit nearly any need or budget. Most are considered ‘full spectrum,’ meaning they have a frequency response of 20Hz-20,000Hz. </li></ul><ul><li>Shure VP64 ($75) </li></ul><ul><li>This mic is widely used by broadcast professionals in the field as it’s hearty, affordable and comes in a special long-barreled model that is ideal for interview applications. While the top end of the frequency response maxes out at 12,000Hz, this does not prevent it from gathering great recordings. Other features include a water-resistant grill for use in inclement weather. </li></ul><ul><li>Shure SM63 ($110) </li></ul><ul><li>This mic is nearly identical to the VP64, but has a full spectrum frequency response of 80Hz-20,000Hz (note, the low end “roll off” minimizes wind noise or other handling noise from ending up on your recording). The added top end response makes this mic slightly more accurate when recording music or ambient sounds. The main trade off for higher fidelity, in this case, is a windscreen that offers less protection from the elements than the VP64. </li></ul><ul><li>AKG D230 ($165) </li></ul><ul><li>This mic is essentially a competing version of the VP64, and features the same tough construction, low handling noise and extra-long barrel option, but captures a broader frequency spectrum of 40Hz-20,000Hz. </li></ul>
    34. 34. Audio Tips Always use external mics. NOT the onboard mic of a camcorder or digital audio recorder. It will sound like you are in a cavernous, bustling sewer pipe. <ul><li>Recording </li></ul><ul><li>Get room tone </li></ul><ul><li>Record 3x closer to subject than any “reflective” surface </li></ul><ul><li>Use good headphones </li></ul><ul><li>Do not peak—keep monitor at -12dB </li></ul><ul><li>Editing </li></ul><ul><li>Edit out coughs, hic-ups and noise (even when there’s video!) </li></ul><ul><li>Use waveforms </li></ul><ul><li>Crossfade </li></ul><ul><li>Extend abrupt edits with room tone </li></ul><ul><li>911 filters </li></ul>
    35. 35. Video Tips <ul><li>Start high and down-convert to lower qualities </li></ul><ul><li>Don’t skimp on equipment if you can afford it (caution: you can shoot bad video with a good camera!) </li></ul><ul><li>Top 10 tips for achieving professional-quality video: </li></ul><ul><ul><li>Use a tripod </li></ul></ul><ul><ul><li>Expose correctly </li></ul></ul><ul><ul><li>Never put a speaker against a window. EVER. </li></ul></ul><ul><ul><li>Use a microphone and monitor levels </li></ul></ul><ul><ul><li>Avoid unmotivated camera movement </li></ul></ul><ul><ul><li>Do not edit in jump cuts </li></ul></ul><ul><ul><li>Edit sequences using b-roll </li></ul></ul><ul><ul><li>Add auditory “white space” </li></ul></ul><ul><ul><li>Create simple graphics with large fonts sizes </li></ul></ul><ul><ul><li>Tell a story visually and using narrative </li></ul></ul>
    36. 36. Other innovative uses for “Feeds” The Hospital iPod project Silver Plaque in the category of Special Achievement - Innovation 43rd Annual Intercom Awards, 2007 Chicago International Film Festival
    37. 37. Distribution Two questions will guide your strategy: <ul><li>Do you have a “series” (podcast) or individual, unrelated segments? </li></ul><ul><li>Should your target audience be academic or broader? </li></ul>
    38. 38. Distribution Options <ul><li>Podcasts: </li></ul><ul><li>iTunes </li></ul><ul><li>Podcasts.yahoo.com </li></ul><ul><li>Digg Podcasts </li></ul><ul><li>PodcastDirectory.com </li></ul><ul><li>Odea.com </li></ul><ul><li>Podcastalley.com </li></ul><ul><li>Podcast.net </li></ul><ul><li>Mefeedia.com </li></ul><ul><li>Podfeed.net </li></ul><ul><li>Digital Podcast </li></ul><ul><li>Individual segments: </li></ul><ul><li>Facebook </li></ul><ul><li>Myspace </li></ul><ul><li>Google Video </li></ul><ul><li>YouTube </li></ul><ul><li>Others…but is it worth it? </li></ul>
    39. 39. Intellectual Property Should you involve your institution’s legal counsel? <ul><li>Most web-based services DON’T want to own your media. However… </li></ul>“ By posting User Content to any part of the Site, you automatically grant, and you represent and warrant that you have the right to grant, to the Company an irrevocable, perpetual, non-exclusive, transferable, fully paid, worldwide license (with the right to sublicense) to use, copy, publicly perform, publicly display, reformat, translate, excerpt (in whole or in part) and distribute such User Content for any purpose on or in connection with the Site or the promotion thereof, to prepare derivative works of, or incorporate into other works, such User Content, and to grant and authorize sublicenses of the foregoing. You may remove your User Content from the Site at any time. If you choose to remove your User Content, the license granted above will automatically expire, however you acknowledge that the Company may retain archived copies of your User Content.”
    40. 40. Intellectual Property Hosted vs. Non-hosted Solutions <ul><li>One way around granting away </li></ul><ul><li>ownership is to decline hosting. </li></ul><ul><li>If it lives on your server, you own it. </li></ul>VS.
    41. 41. Making your media findable Browse, search and “featured” placement METADATA = Visibility http://www.apple.com/itunes/store/podcaststechspecs.html#metadata <ul><li>Title, author, description, and keywords tags at the <channel> level of your podcast feed </li></ul><ul><li>TITLE must be specific! Include your top keywords </li></ul><ul><li><itunes:summary> or <description> tag: Use this to describe topic, format, frequency. TIP: define your keywords and build them into your description. </li></ul><ul><li>Choose 12 or less keywords--the most relevant terms will be in your title and description. Include common misspellings. </li></ul><ul><li>Include a valid itunes:category to ensure it appears in as many areas as possible. </li></ul><ul><li>Create “album art” for your podcast </li></ul><ul><li>Choose a reliable host for your podcast </li></ul>
    42. 42. Featured Placement Top 100, New & Notable, other “featured” podcasts <ul><ul><ul><li>How to “place” your podcast </li></ul></ul></ul>Noteworthy Top Downloads Highlights (below the fold) Main Highlights
    43. 43. Search Engine <ul><ul><ul><li>80% of search engine traffic is through Google, Yahoo and MSN* </li></ul></ul></ul><ul><ul><ul><li>* Jason Van Orden, PodcastingUnderground.com </li></ul></ul></ul>And yet, none of them search the content of podcasts. <ul><li>Metadata </li></ul><ul><ul><li>Freekeywords.wordtracker.com </li></ul></ul><ul><li>Transcripts! </li></ul><ul><ul><li>podzinger.com </li></ul></ul><ul><ul><li>podscope.com </li></ul></ul><ul><ul><li>castingwords.com (automated podcast transcription) </li></ul></ul><ul><ul><li>transcription services ($) </li></ul></ul>
    44. 44. Email lists <ul><ul><ul><li>Build a captive audience! </li></ul></ul></ul><ul><li>Your list is a group that has already indicated they want your content </li></ul><ul><li>Sending out an email every time a new episode is published drives traffic and increases listenership </li></ul><ul><li>Alternate means of communicating </li></ul><ul><li>TIP: Feedblitz.com (Free tool will send list email automatically when you add a new episode.) Wordpress also has plugins to do this. </li></ul>Email Updates
    45. 45. More information http://cmig.uchicago.edu Renee Basick Interim Director [email_address] 773.834.7955 David Pickett Producer [email_address] 773.402.5071