Placements introduction
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Nearly half of UK media industry workers reported having done unpaid work to gain experience, with over half reporting unpaid work in some sectors. Placements provide valuable industry experience and course credit towards a degree. Students should research sectors of interest, affordable locations, and network at events to find placement opportunities. The university provides resources like an employer database and application advice to help students secure a placement.
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‘Just because you play a guitar and are from Nashville doesn’t mean you are a country singer’ The case for Podcast Studies.
In 2017 the term “podcasting” became a teenager. Like any teenager it is now increasingly rebelling against its parents, experimenting with new practices, and behaving in a way that the older media might find in-appropriate. Podcasting has evolved from a space where remediated radio programmes dominated, into a ‘Second Age of Podcasting’ of podcasting (Bonini, 2015). An age where the podcast space has become professionalised, commercialised, and increasingly self-aware. This paper frames a conversation on the place of podcasts in the media environment, through theoretical framing and a small online survey of podcasters.
By reflecting on podcastness we can perhaps reach new understandings and concepts of what podcasting and the key relationship between radio and podcasting. The paper will argue that whilst radio exists in the podcast space, there is an increasing sense that podcasters are defining their own practices and their own identities as producers of work that is wholly independent of radio. It is this sense of difference, that I suggest means there are good grounds to argue for use of podcast studies as a new frame of reference.
Mac 212 casting, direction - dec12
The document provides guidance for a radio advertising assignment involving writing three 30-60 second commercials for a real client, discussing key aspects of crafting radio advertisements like understanding the target audience, developing a clear message and call to action, and utilizing production techniques to engage listeners without visuals through storytelling, sound design, and voice acting. It also reviews best practices for the creative and technical process such as script formatting, casting voice talent, directing voice recordings, and ensuring a cohesive branding strategy across a campaign.
MAC212- Radio Advertising - Session 1
The document provides guidance on creating effective radio advertisements, emphasizing the importance of understanding the environment, speaking to listeners in their own language, and engaging and entertaining them while keeping messages simple. It also stresses keeping production values high and planning carefully, while noting that the best ads are often simple and help sell the product's benefits to the target audience.
Content
This document provides guidance for creating content for live radio programs. It discusses including interviews, reviews, and vox pops. Programs should be 30 minutes and include at least 2 on-air features with music and speech. Ideas are researched in pre-production while allowing enough time for production and editing. Roles include presenter, producer, technical operator, and researcher. Skills, deadlines, running orders, scripts, and production files are needed. Packages contain scripted links and audio clips told as a story rather than blocks. Ideas consider the audience, resources, and best techniques for telling stories.
Live programmes p1
1) Production planning is essential and involves allocating roles, setting deadlines, maintaining activity logs, and meeting regularly. More planning results in easier and less stressful shows.
2) Programme content should be tailored for the audience and story, with memorable elements every 15 minutes. Running orders list timed items and planned links, while scripts are used for complex segments.
3) RAJAR measures radio audience reach, share, and hours listened to help programming relevance through quarter-hour content, signposting, and incentives to listen longer.
Mac 212 week 4
This document provides tips for planning and producing live radio programs. It discusses the importance of production values, understanding the audience, over-preparing content, structuring breaks, speaking concisely, planning each element, being prepared, using signposts and cues, thinking creatively, promoting content ahead, and using different textures and colors in the audio. It also discusses the roles of producers in setting the framework and presenters in connecting with listeners. The document is intended to help radio professionals improve their live programming through planning, preparation, and audience awareness.
Spark compliance training 2012
This document provides an overview of legal and regulatory issues for radio broadcasters. It discusses the key areas of libel, contempt of court, copyright, and regulation regarding offensive content, fairness, and elections. Tips are provided such as thinking first, briefing guests, taking precautions, and knowing audience and regulations. Links are included for the broadcasting code and Ofcom guidance. The goal is to help broadcasters stay out of legal trouble and understand their obligations.
Podcasting
This document discusses various audio platforms including broadcast radio, online streaming, and podcasting. It notes that podcasting is both a medium and distribution platform for on-demand audio content distributed via RSS feeds. The document provides statistics on digital radio listening and podcast consumption in the UK. It compares key differences between radio and podcasts such as synchronous vs asynchronous listening. Finally, it discusses best practices for creating multiplatform audio content that can span radio, online, and podcast formats.
Mac 273 copyright
Copyright protects original creative works and provides exclusive rights to the creator. It applies to literature, music, films, broadcasts and more. The main rights include copying, distributing, performing and adapting the work. Copyright subsists automatically on creation of the work when recorded. It lasts varying durations such as 70 years after the creator's death for most works. Exceptions allow some uses like private research or criticism. Media must clear rights to use copyrighted content or risk infringement.
Mac 212 live tips 2011
The document contains tips for planning and producing live radio programs, including the importance of production values, thinking about the listener experience, fully planning the program and having backups, planning each live element and link, scripting all cues and menus, using signposts to guide listeners, thinking creatively and laterally, being ambitious, looking beyond the studio, and using textures and colors. It also provides suggestions for engaging listeners by pulling them along, using real language, connecting with them, focusing on one main idea, and promoting programs ahead of time.
Mac212 adverts - week 1 for web
This document provides an introduction to radio advertising and commercial production. It discusses why companies advertise on the radio, why radio is an effective advertising medium, how to write effective radio commercials, important elements to include in commercials like compelling offers and calls to action, techniques like pacing and using sound, and guidelines for production. Students will practice writing briefs and scripts for radio commercials and producing commercials for a real client.
Writing for Radio
The document provides guidance on writing scripts for radio broadcasts, noting that scripts should help structure stories and ensure nothing is left out. It recommends writing for the ear rather than the eye, using conversational English, and always reading scripts aloud. Key details like titles, dates, introductions and durations should be included in radio scripts.
Community Radio
This document discusses community radio, including that it is small scale radio stations owned and controlled by local communities for non-profit purposes. Key aspects are that they are staffed by volunteers and provide access and training to local residents to make programs. There are over 200 community radio stations in the UK, providing jobs and training opportunities. Stations aim to have real community participation reflected in their programs and structures through outreach, partnerships, audience research, and training. Examples of stations mentioned are Bristol Community Radio, Beam Radio in Totnes, and Radio Wear in Bishop Auckland.
Live programmes p1
This document provides guidance for radio producers and their roles and responsibilities in creating radio content. It discusses key jobs like the producer, presenter, and technical operator. It outlines aspects of production planning such as running orders, clocks, and meeting deadlines. It also discusses program content considerations like the audience, time slot, and regulations. Finally, it provides tips for developing ideas and content like being curious, finding the universal angle in stories, and developing three ideas for the day from sources like news, observations, and press releases.
MAC196 w2 - podcasts
Podcasting involves online audio content that can be consumed on-demand, often on portable devices using the MP3 format. Content is distributed on an ongoing basis to subscribers via RSS feeds. Podcasting provides listeners flexibility in when to listen and allows them to escape advertising unlike traditional radio. While radio is heard live and focused on mass audiences, podcasting is asynchronous, focused on niches, and free from regulation. Many people listen to podcasts at home or while commuting, with comedy and music being popular genres.
Week3
The document provides guidance for conducting vox-pop interviews, which involve gathering unscripted opinions from members of the public on a given topic or question. It advises choosing an open question that is easy to understand, finding an appropriate public location to conduct interviews, and ensuring all interviewees are asked the exact same question in a clear and concise manner. Proper audio recording equipment and technique are also important to capture spontaneous responses.
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永久可查学历认证【微信：A575476】【(QMUE毕业证书)英国爱丁堡玛格丽特女王大学毕业证成绩单Offer】【微信：A575476】（留信学历认证永久存档查询）采用学校原版纸张、特殊工艺完全按照原版一比一制作（包括：隐形水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠，文字图案浮雕，激光镭射，紫外荧光，温感，复印防伪）行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备，十五年致力于帮助留学生解决难题，业务范围有加拿大、英国、澳洲、韩国、美国、新加坡，新西兰等学历材料，包您满意。
【业务选择办理准则】
一、工作未确定，回国需先给父母、亲戚朋友看下文凭的情况，办理一份就读学校的毕业证【微信：A575476】文凭即可
二、回国进私企、外企、自己做生意的情况，这些单位是不查询毕业证真伪的，而且国内没有渠道去查询国外文凭的真假，也不需要提供真实教育部认证。鉴于此，办理一份毕业证【微信：A575476】即可
三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
→ 【关于价格问题（保证一手价格）
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
选择实体注册公司办理，更放心，更安全！我们的承诺：可来公司面谈，可签订合同，会陪同客户一起到教育部认证窗口递交认证材料，客户在教育部官方认证查询网站查询到认证通过结果后付款，不成功不收费！
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Placements introduction
- 1. Placements What you need to do and what we can do to help you…
- 2. Why do a placement? Nearly half the workforce said that they had done unpaid work in the industry at some point – 45%. More than half the workforce in some sectors said they had done so, including other content creation, independent production, broadcast radio, post production, studio/equipment hire, animation, other interactive media, and corporate production. Over half of BAMEs also reported having done some unpaid work. Skillset, Workforce Survey 2008
- 3. Where can I go? What can I do?
- 4. Do I get any credits for a placement? YES MAC 273 is used to give you course credit for the placement. You can’t pass it until you do a placement. You need to provide evidence and give a presentation on your placement: Week commencing: January 23rd 2012 Week commencing: May 14th 2012 Week commencing: September 3rd 2012
- 5. What you need to do Think about: What sector you’d like experience in Where can you afford to go/stay Are there any employers you know Contact employers Check out how they take applications Network at master-classes and events Be creative Do something about it now
- 6. Weekly Masterclasses Royal Television Society Radio Academy Student Radio Association Media Guardian BBC College of Production Radio 4’s “The Media Show” Broadcast Magazine Edinburgh Television Festival Radio Festival – Foot in the door - October 31st 2011 Be more “media aware ” Ask yourself: How many of these have I engaged with? What do I think about the content I consume? what do I know about the industry?
- 7. What we can do to help you An online database of contacts “Foot in the Door” Facebook group CV and application advice Placement Officer: Carole.Machin@sunderland.ac.uk