Innovative Project Underway at Arizona State

The National Association of Broadcasters has invested in an innovative project at Arizona State University that will use augmented reality for television weather reports.

AR01New Media Innovation and Entrepreneurship Lab Director Retha Hill presents "AR stories" during the 2019 PILOT Innovation Challenge in January 2019. (Photo courtesy of NAB PILOT Innovation Challenge).

The experiment, called “AR Stories,” will give viewers enhanced weather reports either through broadcast television or smartphones.

“Broadcasters have been doing weather the same way for decades, and augmented reality gives us a new way of presenting important news, both on-air and online,” said Retha Hill, director of the New Media Innovation and Entrepreneurship Lab at the Walter Cronkite School of Journalism and Mass Communication. “Our first responsibility as news providers is giving people critical information when they need it and on whatever device they use regularly, and this project expands the tools we have available to tell people about extreme weather events on any device and through an app.”

Hill’s lab received a $15,000 NAB grant, supported by the John S. and James L. Knight Foundation, as part of its PILOT Innovation Challenge, an annual showcase featuring member organizations across the country that pioneer advances in news delivery, innovation and production.

A prototype of the project will be presented at the Broadcasters Education Association Conference April 8-11 in Las Vegas.

“AR Stories” could warn viewers about dangerous weather events and show the likely impact of pending storms. Using augmented reality to add visual elements, such as street signs, trees or vegetation, “AR Stories” could provide templates for television producers to use in their own weather reports.

For smartphone users, “AR Stories” could display weather patterns or show users how to prepare for floods and other significant weather events. Hill will work with Cronkite graduate students Austen Browne, Kara Carlson and Jade Yeban to develop the project. Cronkite staff who will contribute include Chief Technology Officer Ian MacSpadden, Knight Professor of Practice for TV News Innovation Frank Mungeam, and Information Systems Architect Hari Subramaniam.

The New Media Innovation and Entrepreneurship Lab is one of more than a dozen immersive professional programs at the Cronkite School, in which journalism students collaborate with computer engineering, design and business students to create cutting-edge digital media products for regional and national media companies and other organizations. The lab has built augmented reality prototypes about the spread of Valley Fever, the extinction of certain species of wolves, and the life of the late U.S. Sen. John McCain.

“The New Media Innovation and Entrepreneurship Lab continues to find new ways to provide people with critical news and information,” said Cronkite Dean Christopher Callahan. “We are proud of Retha’s leadership in pushing the limits of journalism.”

The NAB is the premier advocacy association for America's broadcasters. It advances radio and television interests in legislative, regulatory and public affairs. Through advocacy, education and innovation, NAB enables broadcasters to best serve their communities, strengthen their businesses and seize new opportunities in the digital age.

Why You Should Fight to go to NAB

Everyone giggles and gives me the “I see what you did there” look when I tell them that the week after our school’s spring break I go to Las Vegas for the National Association of Broadcasters National Conference (NAB).

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New Kid in School: I'm Movin' Out

As I sit here in this meeting, Billy Joel’s declaration continues to plow through my head… It seems such a waste of time - If that's what it's all about - Mama if that's movin' up - Then I'm movin' out - I'm movin' out….

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Two Great Summer Camps for Journalists

Summer is upon us, which means warmer weather, time in the pool, maybe a vacation or two and oh, I can’t forget, the end of the school year—meaning for some, it is three months away from your journalism program. Luckily for you, it doesn't have to be that way. From coast to coast, School Video News has two extraordinary journalism camps to share with you that will help you stay engaged with your craft all year long.

Ohio University, Scripps School

For our East Coast readers, Ohio University is the place for you. Each summer, the Scripps school opens its doors to journalism and communication students from all across the map, but act fast as your deadline to apply is approaching on June 1! The workshop will include faculty from the School of Journalism, the School of Visual Communication and the staff from WOUB, as well as several visiting professionals (one being an executive producer of The Today Show—yes, you read that right). No need to worry if traditional journalism is not your strong suit, they also offers separate sections of the camp for magazine wiring, photography, sports and more. On top of all of this, you receive the chance to earn college credit, early admission opportunities and even full-ride scholarships for those of you who fall in love with the charming small-town of Athens and all this school has to offer.

Registration is now open until June 1, 2018 at noon EST.

Every summer since 1946, the school has offered high school students and teachers the opportunity to interact with our faculty and professional journalists while learning the latest techniques for doing journalism in a school setting. Mark your calendar to attend the 2017 High School Journalism Workshop!

Ohio University's 2018 High School Journalism Workshop will include:
• Opportunities to experience the latest journalism techniques
• Diversity scholarships that cover up to 100 percent of the cost of the workshop for students*
• An opportunity to spend time on Ohio University's historic Athens campus
• And the chance to earn college credit!

Advisers will:
• Attend track sessions
• Collaborate with students and other advisers to produce content, if they wish to
• Meet in an advisers-only session with Scripps School Director Bob Stewart

When registering, students will be able to rank order the track choices. Every effort is made to accommodate those choices. The 2018 workshop fee will be $300, which includes room and board for the program, attendance at the sessions, and all materials. Discounted rates are available for students and advisers who commute. There are no additional university fees for the optional one hour of credit, although students seeking credit must complete an additional application form.

Preliminary Information for the 2018 Workshop:

Students will stay in a campus dormitory, eat in university dining facilities, and interact with faculty, graduate students, media professionals, and current undergraduate students. The dorms and all activities are supervised. Workshop and dorm check-in will be noon-2:00 p.m. Wednesday (July 11), with the opening assembly scheduled for 2:30 p.m. Workshop sessions and converged newsroom activities run until 10 p.m. each night. The workshop ends Saturday, July 14, following a closing assembly. Dorm check-out is at 2 p.m.

For those traveling long distances, dorm rooms are available Tuesday evening (July 10) for an additional fee. Check-in time for early arrivers is 6-8:00 p.m. For any questions, please contact Robert Stewart, workshop director, at 740/593-2601, or by email at [email protected]

* Diversity scholarships are available to students through support from the Scripps Howard Foundation.

Arizona State University: Walter Cronkite School of Journalism

I may be a little bit biased as a Cronkite Student, but I cannot imagine ANY Arizona students passing up the opportunity to attend this summer camp at The Walter Cronkite School of Journalism. First of all, it’s FREE. Yes, free.Camp01 As in attending the #1 journalism school in the entire nation for zero dollars. Second, you get everything I mentioned above, but with a roof top pool and palm trees. Again. I am slightly biased. But really, this High School Media Innovation Camp at the Cronkite School offers future journalists, game developers and other students interested in media and technology the chance to experiment with cutting-edge tools, including 360-degree and virtual-reality technology, news games and apps—all while partnering with leading professionals from both ASU and USA Today. If you miss this years deadline, there is always next year, and I can promise you won’t want to miss this.

The High School Media Innovation Camp, sponsored by and ASU’s Cronkite School of Journalism and Mass Communication, is now accepting applications for summer 2018.

The deadline to apply is 5 p.m. April 6. Students will be selected on a competitive basis and notified on or before April 16 for the camp, which runs June 17-29.

Open to aspiring journalists, game developers and other creative high school students, the free, two-week camp allows students to learn about and try out new technologies.

“We are pleased to once again support this effort to nurture the next generation of journalists. We can’t predict the ways news will be delivered in the future, but the role of a free press in democracy will be as important as ever.” Nicole Carroll, editor and vice president of news for The Republic and They’ll work alongside journalists, professors and more as they dive into new forms of storytelling in a digital media world.

Campers will have the opportunity to collaborate with professionals at ASU, and USA Today Network.

Participants will get to live on ASU’s downtown Phoenix campus. They’ll have the chance to experiment with 360-degree video, games and new apps.

There’s no age requirement to apply, but preference will be given to high school sophomores, juniors and seniors.

To apply, click here to fill out the online application form. Applicants also need a letter of recommendation from a teacher or adviser, a photo and a high school transcript.

The Media in Education fund of The Arizona Republic and cover camp programming costs, food and housing. Media in Education funds are generated by subscribers who donate the value of their subscription during vacations or other temporary stoppages. Donations to the Media in Education fund can be made by texting "JOURNALISM" to 51-555 or by clicking here.

Students are responsible for covering incidentals. Cronkite student counselors will stay with the students in the residence hall and work with them throughout the program.

Hopefully one of these options is enough to keep you busy, engaged and inspired all summer long. And who knows, you just might find your after-high-school-home along with the way.

Jamie Reporter01A recent graduate of Hoover HIgh School, North Canton, Ohio, Jamie Landers is entrenched in her first year at the Cronkite School of Journalism. In addition, she is a Special Events Producer for School Video News and has anchored many of our events including the annual Ohio Education Technology Conference broadcasts and the Student Production Awards of the Ohio Valley National Academy of Television Arts and Sciences.

While at Hoover High School, she was involved in her school’s broadcast class, HVTV News, produced and hosted “Up to Date,” a TV11 show that stepped away from the school and community to focus on breaking down national headlines.

Her time permitting, we hope to follow Jamie's journey through Cronkite and share her experiences with other aspiring broadcast journalists.

You can learn more about Jamie Landers at and in this interview

New Collegiate Majors Open Wider Doors

With digital storytelling and production majors on the rise, more students who would have pursued a journalism degree in college now roll the dice on a degree that some say allows more freedom and flexibility in both career options and storytelling styles.

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The Real Deal on Broadcasting: Selecting the Right Internship vs. Bragging Rights

Your internship is the most important step you will take in college toward getting started on your dream career. The key to really making it work is selecting the right internship!

It's very easy when you start considering where to apply for an internship to immediately think about your favorite radio or television station. Sure it can be cool to tell your friends you "work" at the favorite radio station in town or the top TV station in the area. But is this really the place where you are going to get the most from doing an internship? There are a number of factors that play into the answer. Among them is the location of the station and whether there are any unions involved. It's important to make the right choice because you are going to be spending a lot of your time at your internship and probably are not going to be paid. (While you may not be taking home a paycheck you ARE being paid in experience which can be much more valuable in the long run.)Tammy01

It often happens that the bigger the location, the less you get to do. That's primarily because they have plenty of people working there and they are under pressure to get things done. So, you may end up doing a lot of watching rather than doing. The bigger stations often also have one or more unions that the employees work under. If that's the case, then only union workers can do the covered work. And again, it means you will be doing a lot of watching and not much doing.

Smaller stations or studios generally have smaller staffs and therefore rely on their interns to perform important tasks. And smaller companies are often not union so you don't have those restrictions holding you back. Often you can get more valuable hands-on exprience by doing an internship at a smaller company. Doing is always better than watching!

This doesn't mean you should avoid the bigger stations and studios. They very often have excellent internship programs. But to make sure that you will be getting what you want out of your internship it's important that you know what to expect before accepting a position. How do you find out? It's simple...ask!

During your interview, ask the person you are talking to exactly what you will be doing during your internship. From your resume they will already know about your skills and previous experience. Be bold! Let them know that you are anxious to put those skills to work and to learn more through your internship. It's hard to turn a qualified applicant down who basically is saying "I'm here and I want to work."

But what if they tell you that, because of whatever reason, interns there mostly just get to watch. Then you will need to make a decision. Are you OK with that? If you are, then that's fine. If you're not, you should be prepared to politely turn down the internship if it is offered to you. If the person asks why, be honest. Tell them you are looking for a more hands-on internship experience.

Because you may have to do a few interviews to find the right internship, make sure you know your school's deadlines for landing your internship and turning in whatever paperwork is required. And start early lining up those interviews. This is a big step and believe me, it's going to be fun!

Nervous about interviews? That's what we'll talk about next month in my article -A Great Interview is More than Just a Q-and-A.

TrujilloHeadshot 225Tammy Trujillo is both an entertainer and an educator. She began in the entertainment field as a child and since graduating from Cal State Fullerton, has continuously worked in the Los Angeles market as a News Anchor, Reporter, Sportscaster and Commercial Voice-Over Artist. Combining her real-world experience with a hands-on approach to learning, Tammy has also taught broadcasting for the past 25 years at many of Southern California's most prestigious private schools and colleges. She is currently the lead Professor of Broadcasting at Mt. San Antonio College, as well as Director of its two award-winning campus radio stations. Throughout her career, she has received numerous honors for her work both on the air and behind-the-scenes, including several Golden Mike Awards from the Radio Television News Association. Tammy is a member of SAG-AFTRA, a former Board member of the Associated Press Television Radio Association, a Hall of Fame member at Long Beach City College, and a member of Pacific Pioneer Broadcasters.

A Certificate Program in Media and Education

The CAS is designed for educators who want to learn more about visual storytelling—video, film, television, radio, music, and the nearly infinite incarnations of these forms in online media—both how to make visual stories for teaching impact and how to help students tell their stories. The program also features a signature critical thinking unit on how to understand, analyze, present, and reinvent media with educational purpose and impact.


Students in the program will expand their visual storytelling skills in order to find their expressive voice and style and/or better help their students with issues and ideas they care about. Because assumptions about education, identity, and difference are always visible in the media-making process, the program will also work with students on the assumptions they bring to the stories they tell.



The Media and Education experience is designed around the priorities, conveniences, and assets of practicing educators. We have built a program centered on your specific educational settings and needs. This is why this teaching- and learning-centered program principally takes place in your own educational settings.


The four-part program is built around the school year of most primary and secondary schools. (See sidebar for more information)

For more information, contact Program Director
Jeffery Mangram 
[email protected] 




Streaming School Sports

Fall sports are just around the corner, which means many schools are looking for ways to reach a larger audience for their football games and other sports programs.

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Selecting the Right Camera for Live Streaming with Solo

When talking to streamers and content producers, one question I often receive is "which camera works best with Solo?" And I usually reply with, "It depends".

LiveU Solo works with virtually any camera source that outputs SDI or HDMI (including phones with an adapter), but there are some important specifications to know about before you get something. There are also a lot of options available for different budgets, features and workflows so before I just give you a list, let’s take a look at those factors so you choose the right camera that not only works with Solo, but works for you.

Budget: What’s in your wallet?

One of the biggest ways to narrow your camera search is deciding on a budget. You don’t want to waste your time sifting through tech and spec on 100 different cameras when only 20 of them fit in your budget. This also helps you really think about what is important to your streams. If you don’t have the biggest budget you may have to compromise some component of the camera in order to stay within your means. For example, “good enough” might win over “perfect” when it comes to all the bells and whistles (especially when budget is the deciding factor). In most cases you will have the chance to add on better mics, lighting or other accessories later that will more than make up for a special built-in filter.

Making the (use) case

Once a budget is established, you need to think about how you’re going to use the camera. Where will you be streaming and what is your camera setup? Will you be in-studio and have the camera mounted on a tripod? Will you be outside the studio but stationary? Or will you be moving in and around a location or event for your live videos? For example, if the camera screen can flip around you can also use it as a “confidence monitor” when streaming yourself - important feature if you will be both behind the camera sometimes and on camera other times. If you are doing sporting events you may want a camera that has a great zoom and can skip the one that has a shoe mount to add a light. Once you know how you want to use the camera, you can decide what features are key to invest in. However, if it fits in your budget, having features such as the ability to add an external mic, are good ideas to get now so the camera you choose can grow with you as your production needs and style changes. Regardless, always make sure you have room in your budget for accessories – your use case will dictate what ELSE you need: extra batteries, cables, tripods, lights, etc. We have a streaming toolkit blog about some ideas on this too. Whatever you decide to get, whether it’s a camera or accessories, make sure your skill level matches the equipment. You don’t want to spend that hard-earned money on gear that you aren’t comfortable using. You want to be able to utilize your gear and be comfortable using it in all situations.

Determine Your Final Output

Something that often get’s overlooked is determining what your destination will be (OVP, Facebook, Twitch, Youtube, etc.) and understand the limitations and specifications involved with each one. For live streaming, resolutions and formats are more important than video on demand. While you can technically stream very high resolutions with Solo, not everyone will be able to watch it at full resolution . Also, depending on what live streaming service you use, they may have limitations on resolutions and/or frame rates. Be sure to check the recommended settings for your streaming provider. The Solo will automatically downscale your video for you in these cases. So if you are recording in 1080p, the Solo will downscale the video automatically to meet Facebook's 720p requirement. So don't invest in the high-end 4K camera, unless you really need to!

High-End Encoding & DSLRs

LiveU Solo provides a lot of added benefits to your stream and ensures that highest quality video streams flawlessly, so you really can use this high-end encoding technology with a DSLR and have it look just as good as some production cameras out there that will cost you 10x as much. BUT, there are some quirks that prevent everything from working perfectly. Most DSLRs have 'caught up to' video cameras and now have video output features, but in some cases, they are still not 'video first' cameras - meaning they have many features when it comes to taking great photos, but lack a few basic video features that you might consider important, or might even interrupt the operation of your Solo. So here are a few things to check first:

#1: Make sure the camera outputs audio and video on the same channel. Solo takes the single channel feed from your camera over HDMI so both audio and video need to be output together over that connection.

#2: Make sure your camera allows you to remove camera controls from the stream. The last thing you need is having the camera controls visible in the finished stream. Some DSLRs do not allow you to turn that feature off, so check! Note: if you still want to use your iPhone with an encoder, you will want to check out the free SoloCam app. It allows you to work the camera on your phone but removes the controls from the live stream.

#3: Frames Per Second: Most platforms, such as Facebook, don't accept lower frame rates than 30 frames per second (or FPS). And trying to "up-convert" from 24fps can result in a really bad looking video depending on the algorithm you use to do it. Your goal should be to have a camera natively support the frame rate you want to use for your online destination - usually 30 or 60fps. So don't choose a camera that is limited only to 24fps.

Bottom line, there are lots of camera reviews and options out on YouTube, so do your research! But to narrow it down here are some ideas:

Budget-Friendly Cameras

These will get the job done, but you will be limited in functionality and in the ability to add accessories. So keep this in mind if it will be your only camera source for now. But, having them in your toolkit is also smart even when you primarily use a more professional camera - always great to have options for quick pop-up live stream events.

GoPro Hero

The easiest and most cost-effective camera to connect with the Solo is the GoPro. They have cameras as low as $100 and have audio too. GoPro gives you just the right number of features to get the job done.

Sony Action Cam HDR AS300

This Sony camera is great for really mobile live streamers that want to use something better than their phone, but have their hand's (and brains) free to just roam and stream “on the go”. GunRun from Twitch pairs this camera with the LiveU Solo in his "in real life streamer" IRL Backpack. For under $500, it offers audio that is good enough to pick up people that are around and shoots 1080p 60!

Level-Up (For under $3K)

Nikon D3300
On top of asking what type of cameras work with the LiveU Solo, I get asked specifically, what DSLR camera works with Solo. This Nikon camera is a great price point and is Solo-ready.

Canon XA15
This camera is for those users want SDI output. It is a little bit on the pricier end but not really when talking about professional grade cameras.

If you are looking for more information on cameras, check out Episode 2- The Best Cameras for Live Streaming of Nick Nimmin's Live Streaming Crash Course. Sign up Now for the free course to access all the videos.

LuisHeadShotLuis Lebron is a Solo Specialist and the go-to for all your mobile live streaming questions. Luis jumped into the streaming game after college and never looked back. He speaks with content producers from different walks of life daily and is plugged into live video trends and challenges. Luis' motto is "Anything can happen when you're live!" When Luis isn't making sure you've got the right live streaming gear, he is watching his hometown favorite (Go Mets!), spending time with his wife, or hanging out down the Jersey shore.

The Buzzer Has Sounded

In June 2016, when I submitted my first article in the Sports Production Machine to our editor, John Churchman, I had no idea what a ride I was in for.

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Halloween SFX Fun

A group of Rockdale Career Academy Film Institute students were exposed to the world of special effects makeup just in time for halloween. Eleven students worked with special effects aficionado, Clay Sayre, to create a variety of special effects looks. The students worked with liquid latex and a variety of paints to simulate injuries but the highlight of the day was the creation of a “walker.” Sayre worked to “base out” the mask and several students worked to create the look of the undead. Check out the video below for the recap and student reactions.

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