Developed over the past seven years, the MediaStorm workflow covers every phase of editing, from organizing assets through outputting final projects and archiving. Covering more than 200 steps, our approach efficiently streamlines the editing process with a focus on organization and creativity.

The MediaStorm Post-production Workflow includes:

• The full 200-step workflow MediaStorm uses everyday with Final Cut Pro 7
• Exclusive access to MediaStorm’s Apple Aperture Workflow, including information on how to best use the image management program in conjunction with Final Cut Pro
• Exclusive access to MediaStorm’s Final Cut Asset Parser, a tool we developed to quickly generate a list of asset names used in a Final Cut 7 project
• Time-saving software suggestions for transcribing audio, syncing and converting and editing video
• Integration of more than 10 MediaStorm tutorials to help you choose the right music, color correct your video, work efficiently with subtitles, and backup and archive your files effectively
• Helpful tips on organizing, naming and selecting assets

The MediaStorm Post-production Workflow takes into account best practices from more than 100 multimedia projects by MediaStorm producers.

Online access to MediaStorm’s Post-production Workflow, including MediaStorm’s Apple Aperture Workflow and Final Cut Asset Parser, can be purchased for a one-time fee of $14.95. Click here for details.

Whale Fall (after life of a whale)
When a whale dies, the story has just begun

Directed by Sharon Shattuck and Flora Lichtman for Sweet Fern Productions
Director of Photography: Artem Agafonov
Music by Rachel’s Band
A video compliment to Radiolab’s ‘Loops’ episode, in collaboration with Lynn Levy

See other videos that we think are Worth Watching.

In most instances, color correction is best left for the end of the editing process. There are two reasons for this. First, there’s no need to correct footage until you know for certain it will be in the final project. Second, color correction often requires rendering, which can slow editing down to a standstill.

Setting Up

In Final Cut 7’s Window menu, select Arrange>Color Correction.

In the Timeline, select the video track that you’d like to color correct.

From the Effects menu, choose Video Filters>Color Correction>Color Corrector 3-way.

You can also drag the effect from the Effects window (command-5) and drop it on the clip.

Double-click  the video clip containing the effect to open it in the Viewer.

Click the Visual button to open the 3-way Color Corrector.

(Sometimes you might discover that your Canvas does not update to reflect your color changes. If this happens you need to confirm that you’re working on the right file. To do this, double-click your video file in the Timeline once again. Then, open the Color Corrector 3-way tab. You will now be able to see any changes you make in the Canvas.)

Open Tools>Video Scopes.

In the left top corner make sure Layout is set to Waveform. This is the best monitor for viewing luminance values.

On the top left side of the Waveform monitor, click the small button with a histogram to reveal the Display Brightness Slider. Drag the slider to the right to reveal additional luminance values in the Waveform scope.

Luminance values are a measure of the amount of light in an image. In Final Cut’s waveform monitor, luminance values are represented by tiny white dots. By dragging the display brightness slider, you’re able to see more of the luminance values in the image.

Correcting Luminance

The Waveform monitor measures light. It does not evaluate color. Your white luminance values are at the top of the Waveform monitor. At the bottom are the black luminance values.

Black Levels

First make sure your black levels are correct. To achieve this, in the Color Corrector 3-way, click the left arrow of the black level slider.

As you do so, you’ll notice that the lines in the Waveform monitor move closer to the the black line.

You want the Waveform lines to barely touch the bottom black bar so that your image has a “true black.” If you’d like to “crush” the black colors further, continue to move the black slider to the left. Watch the Canvas for reference.

Click the right arrow to decrease your blacks, or shadows.

You can also drag the slider button for quicker, less incremental changes.

White Levels

After you’ve set your black levels, do the same with your white levels.

Follow the above steps again, this time using the white slider. To increase the whites, click the right arrow.

Unlike your black levels, it’s not necessary for your whites to reach the white line on the Waveform monitor. Instead, raise them until the highlights are slightly overexposed, then pull back.

To avoid clipping, make sure your white levels do not exceed 90 percent in the Waveform monitor.

You may notice that as you increase your white luminance values, the black luminance values begin to rise. If so, you should readjust the black, then the white values, in turn, to achieve the right setting.

Mid Levels

Finally, use the same steps as outlined for the black and white levels to adjust your mid levels. Adjust to taste. MediaStorm tends to correct with darker mid levels.

To recap:

• First, set your black levels
• Next, set your white levels
• Recheck your black levels, make sure they are still correct
• Set your mid-levels

Correcting Chroma

Unlike luminance which is the lightness of your image, chroma measures color. To color correct video, we’ll use the three color wheels of the Color Corrector 3-way filter, and the Parade Monitor. 

Parade Monitor

In the layout drop down, select Parade. 

The Parade monitor allows you to see how much red, green or blue is in the white, midtones and blacks of your image.

The Parade monitor also gives you an easy way to spot color balance issues quickly and precisely.

In the example below, there are more green chroma values in the white levels. This means the highlights of the image have more green in them than red or blue. The opposite color of green is magenta. Thus, in order to make the whites more neutral, you would add magenta to the whites.

Look for similar color bias in the midtones, and blacks, then adjust the image using the 3-Way Color Corrector (discussed below), to achieve a more neutral image.

3-Way Color Corrector Interface and the Eye Drop Tool

There’s an individual color wheel for blacks, mids and whites. In relation to chroma, you might think of them as shadows, mids, and highlights.

Surrounding each wheel is a series of abbreviations. Starting at the top and moving clockwise, they stand for: red, magenta, blue, cyan, green and yellow.

The eyedropper tool allows you to select a specific portion of your image that best represents true white, black or gray (midtone). Final Cut Pro will then readjustment the color automatically.

To do this, click the eyedropper icon to the right of the wheel. For this example, we’re using the whites eyedropper.

Next, in the Canvas, click the portion of the image you’d like to be white. Final Cut Pro will adjust the color wheel accordingly.

Repeat this process for your black and mid levels as needed.

If you go too far afield and would like to reset a color wheel, simply click the button to the lower right (see below).

The eyedropper is an imperfect tool. Don’t expect Final Cut to make a perfect correction. This is about getting a good starting point. Often the eyedropper will over correct for color bias. You’ll almost always need to readjust the correction manually.

Manual Color Correction

Before you begin manual color correction,take a look at the Parade monitor and the Canvas. Determine where you need to make your corrections. Is there too much magenta in the whites? (Add green to the whites to counter that.) Are the shadows too blue? (Add yellow to the blacks to correct that.)

Note the knob at the center of the color wheel. It’s currently in the neutral position. If you’d like more red in the highlights of your video, drag the knob towards the R. If you’d prefer less red in your highlights, do the opposite.

The knob moves very slowly. That’s because even slight changes here can have a drastic effects on the tone of your video. If, however, you’d like to speed up how quickly the knob moves, simply hold the shift key as you drag.

To recap:

• First, turn on the Parade monitor and Canvas to spot color bias in specific areas of the image.
• Use the eye dropper to set initial color balance in whites, midtones and blacks.
• Recheck the Parade monitor and Canvas to spot color bias in the image.
• Use the color wheels of the 3-way Color Corrector to manually adjust color.

Don’t expect miracles. Compressed video is much more difficult to color correct than RAW still photographs. If your video was shot with an incorrect white balance, you probably won’t be able to remove all of the offending color with Final Cut’s tools alone.

Copying Filter Settings Between Clips

When you’re happy with the color correction of one clip and think it may work for another–in an interview, for example–Final Cut Pro offers an easy solution to copy and paste your settings.

In the Timeline, select the clip with the filter settings you’d like to copy. Press command-c to copy it.

Then, select the clip you’d like to color correct. From the Edit menu, choose Paste Attributes or option-v.

From the popup window click Filters.

Doing this will paste your Color Correction 3-Way filter on to the new clip. Note: This will also paste any other filters that happen to be on the first clip as well.

Broadcast Projects

If your project is intended for broadcast, you’ll need to add a Broadcast Safe filter. This filter ensures that your whites are “legal.” No matter how high you boost them in the 3-way Color Corrector, they will not exceed 100 percent.

Select all of your clips in the Timeline. Then, from the Effects>Video Filters menu choose Broadcast Safe.

More to Learn

This guide provides just the beginning steps toward understanding color correction. Learning to grade video can be a journey as rich and as deep as learning to edit.

Here are some additional links to start you on your path:

Final Cut Pro 7 Color Correction
How to Read Scopes
http://www.larryjordan.biz/technique-how-to-read-scopes/

PowerUP Tutorial 33: Color Correction to Fix Problem Clips
http://www.larryjordan.biz/app_bin/Store/catalog/product_info.php?products_id=134

Final Cut Pro X Color Correction
A Free Fifteen Part Course On Color Grading within FCPX
http://www.fcp.co/final-cut-pro/tutorials/477-a-free-fifteen-part-course-on-color-grading-within-fcpx

Color Correction in Final Cut Pro X (lynda.com)
http://www.lynda.com/Color-tutorials/Correction-in-Final-Cut-Pro-X/83097-2.html

Color Theory
Color Theory for Designers, Part 1: The Meaning of Color
http://www.smashingmagazine.com/2010/01/28/color-theory-for-designers-part-1-the-meaning-of-color/

Simple, Practical Color Theory
http://www.tutorial9.net/articles/design/simple-practical-color-theory/

Other Resources
The Tao of Color
http://www.taoofcolor.com/

Color Grading Central
http://www.colorgradingcentral.com/

Thanks to Tim McLaughlin for additional writing and assistance with this post.

Learn more about our approach to producing multimedia by purchasing MediaStorm’s Post-production Workflow. Spanning more than 200 steps, the workflow covers every phase of editing, from organizing and editing assets in Final Cut Pro 7 through backing up and archiving your project. The workflow includes exclusive access to our Aperture Workflow and our Final Cut Asset Parser. Learn more about MediaStorm’s Post-production Workflow.

Director, Photography
Editorial | New York City, NY, United States

We seek an experienced, passionate photojournalism leader to direct our still photography report. As a member of msnbc.com’s editorial leadership team, you will lead in the creative production, acquisition, editing and presentation of news photographs.

The ideal candidate will merge the highest journalistic and ethical standards with the digital imperative for open-minded, innovative adaptability. You will be accountable for the quality and quantity of the 10-10-person photo team’s output, for collaboratively defining and executing site standards for photo usage, and for mentoring a newsroom spread across 8 time zones in four locations on best practices in picture editing. You will have demonstrated success in industry-leading storytelling, staff development and multi-platform photojournalism. Your love for great pictures is broad-ranging, and you will be as comfortable editing pictures from a war zone as you are telling visual stories about business trends, health news and entertainment events. Writing and verbal communication, enthusiastic team-work, organization and work-ethic are essential qualities for a successful candidate.

Use strong leadership skills to motivate and get top quality and high output from the photo team as they produce still photography as a standalone feature in slide shows, our PhotoBlog and The Week in Pictures, and as a key ingredient in top site pages (from our cover to stories and blog posts) across a variety of screens (PCs, phones, tablets and emerging platforms).
Partner in creating editorial strategy and manage strategy, policies, procedures and guidelines for on-line media content to achieve photo, editorial and company goals. Establish, communicate and implement strategy, direction and vision for the photo group in support of overall editorial and company strategic objectives.

• Manage the photo budget, including staff resources, T&E and contributor expenses.
• Manage staff schedules and cross-group coordination for coverage when needed.
• Manage employee performance and daily duties including setting expectations, giving direction, providing feedback, documenting and rating performance, nurturing top performers and coaching for improvement.
• Meet regularly with direct reports and also with co-managers from other groups. May coordinate work of contributors or freelancers.
• Recruit, interview and select employees for work group when openings arise.
• Analyze site traffic and work with team to grow traffic through modifying editorial coverage, improving packaging and/or utilizing technology in story-telling.
• Establish, maintain and build relationships with NBC News and Microsoft stakeholders and business partners to ensure win-win results.
• Work to build new strategies when needed.
• Produce the photo report, from writing and editing copy to writing headlines and updating subsection fronts.
• Be a major stakeholder in senior editorial meetings, generating ideas and problem solving for company and editorial department. Direct resources to implement plans. Be in sync with site philosophy and editor in chief.
• Ongoing partner relationships: Manage the editorial and production aspects of long-term relationships with content providers, syndicators of our video content, and technology and equipment vendors.

Qualifications

• A BA degree, particularly in Journalism, History, English, Film or other discipline emphasizing storytelling and multimedia creation, is required.
• Strong candidates with equivalent experience and education may be considered.
• Minimum ten years experience as a picture editor at leading publication(s), including at least 5 years of team leadership and digital platform experience.
• Proven picture editor with expertise in all of the following areas:
• Deadline assignment editing, picture editing from wires, archives and citizen journalists, deep understanding of photo copyright and negotiation for rights and clearances.
• Quick technology learner with demonstrated proficiency in photo editing software, digital asset management systems for online photos and content management systems for publishing multimedia content.

Learn more and apply.

“Fresh Guacamole” – PES
PES: In this follow-up to his stop-motion hit Western Spaghetti, director PES transforms familiar objects into Fresh Guacamole.

See other videos that we think are Worth Watching.

Professionals, amateurs, school children, farmers, social media fans, astronauts and office workers. Cell phone camera, Hasselblad, homemade or borrowed. Aday.org is looking for the perspectives of everyone who enjoys photography. The goal is to inspire perspectives on humankind – today and tomorrow.

All images will be displayed online for you and everyone to explore. Some of them will be selected for a book, others will be displayed in digital exhibitions. Every single one will be saved for future research and inspiration.

Let a part of your life inspire generations to come. Share your perspective! Read more about the project and sign up to participate.

Take your photos on May 15th and upload them between 15th and 22nd May.

Go to Aday.org.

A Thousand More received first prize in Web Sites: Feature Multimedia Story and Honorable Mention in Web Sites: Best Use of the Web.
A family is determined to give their disabled son a whole and vital life. In the midst of a great burden, one small child – with a seemingly endless supply of love – is the blessing that holds a family together.

Surviving the Peace received Honorable Mention in Web Site: Feature Multimedia.

Surviving the Peace takes an intimate look at the impact of unexploded bombs left over from the Vietnam war in Laos and profiles the dangerous, yet life saving work, that MAG has undertaken in the country.

The Gulf Spill received Honorable Mention in Web Sites: Multimedia Package.
On April 20, 2010 an explosion tore through the Deepwater Horizon, an oil rig operating in the Gulf of Mexico. It was, by any standard, a catastrophe.

Congratulations to all the 2012 Best of Photojournalism awardees.

Visit the Kickstarter campaign now.

The Project

Maggie Steber was an only child. Madje Steber was a single parent. They were all the family they had and it wasn’t easy.

Madje was divorced by the time Maggie was just six months old. Strong and independent, Madje raised her daughter in Austin, Texas. She had a keen awareness about what others might be thinking at a time when being a young single mother was often viewed as a scarlet letter. Their tiny house had strict rules and a formality that rubbed Maggie the wrong way, especially during her teenage years. Their relationship was strained with arguments and threats to move out. At the age of twenty-one, Maggie finally did.

“I had to leave,” Maggie says. “I went to New York to seek my fortune, and there I found it.”

Maggie became an internationally acclaimed photojournalist. She covered everything from fashion to war and completed stories in 62 different countries. She worked routinely for National Geographic, was the Director of Photography for the Miami Herald and taught at various universities and workshops.

As the years passed and Madje grew older, her memory began to fade. Maggie tried to help, but her busy career kept her away from Texas. She was only able to visit a few times a year. To this day, Maggie wonders if she did enough for her aging mother.

Eventually it became apparent that Madje had dementia.

The disease proved relentless and Madje could not live alone anymore. Maggie was faced with an issue that more and more Americans must deal with as the massive baby-boomer population grows older. Maggie moved her mother to Miami to care for her. “This is my last chance to do it right,” Maggie says.

Over the next few years, Maggie turned her professional eye on her own life, documenting Madje’s life in an assisted living facility. The images she took during this time speak to the pain of loss, the complexities of a mother-daughter relationship and the fragility of life. They reveal beauty in a liberation from the roles Maggie and Madje had learned to play as mother and daughter. They speak to both the harsh and humorous realities of life with a diminished parent and contain lessons for all of us as we face these issues in our own lives.

“This body of work is the most important one I have ever done,” says Maggie, “and will ever do. It’s Madje’s story, but really and truly, it’s my story.”

Your Part

By contributing to this campaign, you will help us distribute this project and its important messages about family, loss, and the complexities of parent-child relationships.

Please also help us get out the word with your social networks by sharing this link: http://www.kickstarter.com/projects/mediastorm/a-rite-of-passage-0

We greatly appreciate your support.

Stay Connected

To keep up to date with this and other upcoming MediaStorm projects sign up for the MediaStorm newsletter. You can also follow us on Twitter, Facebook, and Google+.

Madge Series

Madge 1

Madge 2

Madge 3

Madge 4

Madge 5

Haiti Series

Haiti1

Haiti 2

Haiti 3

Haiti 4

Haiti 5

Go to the Kickstarter Campaign now.

Jeff Harris: 4,748 Self-Portraits and Counting

In an effort to record the year of his life leading up to the millennium, Jeff Harris began a project in which he used his trusty Olympic Stylus 35mm film camera (he’s since gone through six) to take a self-portrait each day and then posted the results on his website. The project, which began long before the widespread popularity of blogging, Facebook and Flickr, allowed viewers to follow one photographer along on his adventures. “I didn’t want 365 images of me sitting on the couch each day,” says Harris. “There could have been that tendency, especially during the cold dark winter months to stay inside all the time, but this project inspired me to get out there and seek out interesting things.” This year, Harris embarks on year fourteen of what has turned out to be an epic, inspired and ever-evolving art project that documents a life well lived.

Read more…

See other videos that we think are Worth Watching.

SILVER & LIGHT from Ian Ruhter on Vimeo.

This project was created with the same spirit that america was founded on. Our intentions are to connect everyone in america through the lens of this camera and social networking sites. We can’t do this without you. We want to tell your story and show your city or town through photographs of you, and people you know. As we travel around america looking for people and places to shoot you will be able to keep track of where we are going and help us decide where we go next. Join us in our journey by liking our facebook to get yourself photographed by us.

An extra special thanks to Brandon Rein, Scotty Hoffman and Trevor Atwater.

See other videos that we think are Worth Watching.

The vault works by saving an entire copy of your Final Cut Pro project file at a regular, user-determined interval.

This post will explain how to set up your Autosave Vault, copy items from a backup to your working project as well as replace your FCP file with a backup file.

Setting Up the Autosave Vault

From the Final Cut Pro menu choose System Settings (Shift-Q).

Click the Autosave Vault: Set… button.

Select a directory to save your backup files. It’s important to set your backups to a different drive than your actual assets. That way, if your media drive dies you still have access to these files.

Next, from the Final Cut Pro menu choose User Preferences (Option-Q).

On the General tab, check the Autosave Vault checkbox to turn the vault on.

MediaStorm saves a new backup every 10 to 15 minutes. This way, if there’s a problem we’ll lose only a few minutes of work.

The Keep at most option, determines how many backup files FCP will save. Once Final Cut has reached the maximum, it will begin to delete the oldest files.

Copying Items from a Backup to Your Working Project

Sometimes you may need to copy just a sequence or two from a backup file to your main FCP project.

To do this, make sure your working FCP project is open.

Then, open your Autosave Vault in the Finder. Each file is labeled with your project name and a timestamp.

Open the appropriate file.

You should now have two projects open in the Final Cut Browser window.

Though Final Cut Pro renames your backup file with a timestamp, it does not alter the sequences or file names inside. Therefore, when copying between projects it’s very easy to get confused as to which project you are actually working in.

To avoid confusion, in the Browser, drag the backup project window next to your main project so they are side-by-side.

To copy between projects, simply select an item in the backup and press command-c to copy it. Next, select your working project and press command-v to paste the item(s) into your project.

You can drag-and-drop between files but we’ve found that copy-and-paste tends to be faster and more reliable, particularly with large sequences.

Save your work. Then, close the backup project.

Copying Items From a Backup Sequence to a Sequence in Your Working Project

Select the Timeline (command-3). Then, close any open sequences.

Double click a sequence from your working project.

Next, select the backup project you’d like to open. Add the suffix ‘backup’ to the sequence. This will avoid the confusion of opening two sequences with the exact same name.

Paste from your backup sequence to your working sequence.

Save your work. Then, close the backup project.

If necessary, delete your original sequence. Then, remove the ‘backup’ suffix from the replacement sequence.

Replacing Your FCP Project File with a Backup File

In the Finder, locate your project folder. Open the FCP folder inside and create a new directory labeled z_old.

Rename your FCP file with the appendix v1 for version 1, or the appropriate version number.

Move your FCP_v1 file into the z_old folder.

In the Autosave Vault, locate the FCP backup file you’d like to use to replace your current project file.

Remove the timestamp suffix and drag it to your project FCP folder.

Open your new Final Cut file.

Learn more about our approach to producing multimedia by purchasing MediaStorm’s Post-production Workflow. Spanning more than 200 steps, the workflow covers every phase of editing, from organizing and editing assets in Final Cut Pro 7 through backing up and archiving your project. The workflow includes exclusive access to our Aperture Workflow and our Final Cut Asset Parser. Learn more about MediaStorm’s Post-production Workflow.

Call for Proposals: Moving Walls 20
Deadline: April 30, 2012

The Open Society Documentary Photography Project invites photographers to submit a proposal and completed body of work for consideration in the Moving Walls 20 group exhibition (opens early 2013). Moving Walls is an exhibition series that features in-depth and nuanced explorations of human rights and social issues. Thematically linked to the Open Society Foundations’ mission, Moving Walls is exhibited at our offices in New York and Washington, D.C., and includes 3–5 discrete bodies of work.

Call for Proposals: 2012–2013 Production Grant for Photographers from Central Asia, the South Caucasus, Afghanistan, Mongolia, and Pakistan
Deadline: May 10, 2012

The Open Society Documentary Photography Project and Arts and Culture Program announce a grant and training opportunity for documentary photographers from Central Asia, the South Caucasus, Afghanistan, Mongolia, and Pakistan. Approximately 10 cash stipends in the amount of $3,500 each will be awarded to photographers to produce a photo essay on a current human rights or social issue in the region. Grantees will participate in two master-level workshops and a six-month mentorship with internationally recognized photographers.

Crisis Guide: Iran was honored for its superb use of multimedia in a timely and in-depth study of Iran’s politics, economy and nuclear program. The seven-chapter publication was recognized for using interactive graphics, archival slideshows, graphs, timelines and video interviews to showcase the history and government of the country in a visually pleasing and accessible way.

Crisis Guide: Iran is the seventh in a series of guides produced by MediaStorm and CFR that look at major international issues, including Pakistan, the Israeli-Palestinian conflict, the Korean Peninsula, Nuclear Energy, the global economy, global covernance, and climate change. Crisis Guide: Pakistan was awarded the OPC Award for Best Use of Multimedia in 2010.

With this project, MediaStorm and CFR aimed to create a site that was immersive in experience, allowing the user to focus on the complex history of Iran and the issues facing the country as a whole. The guide draws on insights from more than 25 leading analysts, government officials, and journalists to explore Iran’s challenges and offer a range of expert opinions on the policy options to address them. It also uses multimedia elements to trace the country’s history, examine its oil-driven economy, and survey its controversial nuclear program.

The awards were presented last night at the 73rd Annual OPC Awards Dinner in New York. The club presented 27 awards in categories ranging from photography to online commentary. In addition to MediaStorm and CFR, the winners for online and web coverage are foreignpolicy.com, GlobalPost.com, The Financial Times and ProPublica, Virginia Quarterly Review and The New York Times. Congratulations to all the winners.

The 2012 Media for Liberty Award acknowledges and encourages media contributions that explore the relationship between economic and political liberty. The winning entry is selected by a panel of judges and receives an award of $50,000.

Brian Storm (left) and Seamus Murphy (right) accept Media for Liberty Award from John Malone.

A Darkness Visible: Afghanistan is based on 14 trips to Afghanistan between 1994 and 2010 by internationally-recognized photojournalist Seamus Murphy. As he chronicles Afghans caught in political turmoil, he highlights their often-overlooked desire for self-determination.

Brian Storm and Seamus Murphy meet US Senator John McCain.

“This film puts the relationship between political struggles and economic hardships into clear focus,” said John Malone, chairman of Liberty Media. “In addition to being topical, it sheds light on history that even today is under-appreciated, and we are pleased to honor Seamus Murphy and MediaStorm.”

A Darkness Visible: Afghanistan was honored at an evening reception at the Newseum in Washington, D.C. The event was hosted by Liberty Media and emceed by Tucker Carlson, a contributor to FOX News, the editor-in-chief of the Daily Caller news site and a senior fellow at the Cato Institute.

Seamus Murphy and Brian Storm at awards reception.

Earlier this year, A Darkness Visible: Afghanistan was also awarded the Picture of the Year International Award of Excellence for Long Form Documentary.

Website/Online Services Manager
We seek a full-time Website/Online Services Manager to maintain and oversee the development of the burnsfilmcenter.org website and provide oversight of its integration with other JBFC online services: weekly e-bulletins, proprietary films database, online ticketing system, Raiser’s Edge CRM, YouTube channel, school information management system. This person will join an 11 person team in Marketing and Membership, promoting and supporting the activities of the Film Center and its educational programs.

Qualifications:

• A minimum of two years’ experience in a similar position
• Strong communication skills – verbal, written, and copy editing
• Experience working with and managing projects and outside vendors
• Previous experience with web user interface design, information architecture
• Strong HTML skills and experience administering content management systems (Drupal, WordPress)

Primary responsibilities:

• Act as a managing editor for the website – responsible for ensuring that its content is clear, consistent, adheres to JBFC Style Sheet as well as other web style conventions, and that the site is easily navigable.
• Oversee the daily maintenance of the website
• Manage outside developers in the implementation of additional functionality, software upgrades.
• Manage CMS user roles and permissions levels
• Provide ongoing training of CMS users.
• Manage vendor contracts for site search, domain registrations, email service provider (Constant Contact), etc.
• Assure consistent tagging and branding of JBFC videos posted on YouTube, Vimeo.
• Track and report regularly on website analytics including trends in visitor sources, demographics, usage patterns, browsers used, etc.
• Engage with managers of similar sites and services, especially those in the nonprofit community.
• Stay on top of new technology and services, including, but not limited to web apps, and optimizing sites for various platforms.
• Work with all departments as needed to help them maintain and upgrade their web presence

The ideal candidate will have strong information management skills and a passion for keeping ahead of trends in technology. A Masters in Information and Library Science is a plus.

Start date: May 1, 2012

Salary Range: $36-40,000 annually. Benefits as outlined in JBFC Employee Handbook.

Please send resume, cover letter, and references via email only to jobs@burnsfilmcenter.org with “Website/Online Services Manager 12” in the subject line of your email. No phone calls please.

The Jacob Burns Film Center is an Equal Opportunity Employer who encourages people of any race, color, sex, national origin, religion, age and ability to apply.

Qualifications: Four year college degree with course work/major emphasis on communications, TV/Web production, journalism or new media or mass media studies. Must have expert experience working with Canon DSLR video equipment. Minimum of 2 years video producing/editing experience at a major online publication/network or major market level TV facility or production facility including field production experience. Video shooting experience also mandatory. Must have solid news judgment and pkg writing or story writing experience. Expert experience working on Final Cut Pro. Strong working knowledge of Adobe Photoshop and understanding of Adobe After Effects. Overall knowledge of digital production tools including FTP, conversion tools, and an understanding of multiple video formats/codecs. Individual must be a multi-tasking, multi-skilled producer/editor/shooter with extremely strong creative and visual storytelling skills. Must not be afraid to take risks. Must be a self-starter with strong project management skills and the ability to work independently with limited supervision. Must be able to balance multiple tasks and communicate effectively with outside resources as well as various internal personnel. Must be highly detail oriented with the ability to understand complex technical processes with the ability to adapt to new technologies. Must be able to accept guidance and constructive criticism during the editorial/technical production process. Must be open to travel with the ability to work a flexible work schedule Travel will be intermittent and will be based on news cycle and editorial requirements. Person must be able to lift, carry, and transport and operate technical production gear on a regular basis. A video production reel of the candidate’s work will be required. Vimeo link preferred.

Duties: The Digital Content producer/editor creates unique video content for CNN.Com’s various sections and various digital platforms with an emphasis on distinctive digital storytelling. Must have the ability to execute all aspects of digital video production including: conceptualization of story concepts and ideas, field production, video shooting and editing, writing and publishing. They will also be primarily responsible for the look, feel, and tone of the overall content. This includes shot composition, graphics and effects creation as well as working with music as called for within pieces. The producer will work closely on projects with other producers, writers, reporters, associate producers, editors, and graphic artists. The candidate must be able to plan and organize field shoots and act as field producer on various projects. Some travel both locally and long distance to execute all aspects of news production is required. Responsible for following new production techniques, tools, and trends and for mentoring and potentially training some of the junior production staff members and non-video personnel.

To apply: Please send resume, letter of application and digital portfolio to Nancy Donaldson, Senior Producer for Original Video: nancy.donaldson@turner.com

MediaStorm One-day Workshop
April 28, 2012
MediaStorm is holding this one-day workshop on April 28. It will be held in Brooklyn NY and taught by MediaStorm Founder Brian Storm.

The One-day MediaStorm Workshop provides an overview of multimedia storytelling approaches while engaging participants in discussion about the most appropriate ways to create a multimedia story. Through real world examples, Brian will share tips and techniques to improve reporting, editing and distributing your multimedia project.

MediaStorm Methodology Workshop
June 18-22, 2012
Apply by May 18, 2012
The MediaStorm Methodology Workshop is designed for educators looking to create curricula based on our approach, for organizational leaders tasked with creating and leading multimedia departments, and for professionals looking to start their own media company or integrate MediaStorm concepts into their organizations.

MediaStorm Storytelling Workshop
July 28 – August 3, 2012
Apply by June 5, 2012
The MediaStorm Storytelling Workshop in New York City is an intensive, hands-on, collaborative experience in advanced multimedia storytelling.

A Unique Approach
The primary goal of the MediaStorm Storytelling Workshop is to create an intimate, character-driven documentary that is ready for publication. Participants will work directly with two MediaStorm producers, in the field and in the editing suite, as part of a crew dedicated to telling a story. Participants will create their stories under the direction of MediaStorm producers in a collaborative, educational and hands-on environment.

MediaStorm offers in-person and online training opportunities for storytelling professionals at all levels. Learn more about upcoming MediaStorm workshops and online training at mediastorm.com/train.

LOOK3 Master Classes are intimate gatherings that are part workshop and part mentorship; an intense experience with a LOOK3 artist that could change your life and influence your work forever.

Think of it as a unique apprenticeship, an opportunity to learn at close range from the most creative and well-known artists who are ready to share their motivations, fears, and methods as a way of giving back to the photographic community.

LOOK3 Scholarship Master Class – Street Smart w/ Bruce Gilden
June 2-7, 2012

BRUCE GILDEN brings to this scholarship-only workshop his unique style of street photography which has truly become his own over the past 25 years of working in New York City and other urban areas, both in the US and abroad. He will work with the students to teach them how to improve their pictures shot in the streets by best identifying their working “style” for street photography, and aiding them in gaining “street smart” sensibilities necessary to working in any environment- that ability to be in the middle of the scenario, but be unobtrusive.Learn more and apply…

Coming Together: Rethinking Framing and Context w/ Hank Willis Thomas
June 5-6, 2012

Distinguishing one’s self as a photographer requires a deeper understanding of your own unique practice. Considering the diversity of photographic methods available and the archives in the 21st century, one has many possibilities and tools to be a photographic artist today. In this two-day master class, we will explore structure and method as an extension of context. By examining the current landscape of photography we will review artists who incorporate alternative methods of photographic practice such as collaboration, appropriation, and text into their work such as Elad Lassry, Mikhael Subotzky and Patrick Waterhouse, and Jim Goldberg. Learn more and apply…

Project Editing w/ Maggie Steber & Ernesto Bazan
June 5-6, 2012

This two-day class is your opportunity to work with two Master photographers who really care about your photographs and the stories you are telling. Much of their own careers have been devoted to story telling with successful results because of their love the photographic process of telling stories through photographs. Both photographers have taught internationally and are considered Master Photographers of their generation.Learn more and apply…

Mastering Lightroom and Photoshop w/ Julieanne Kost
June 7, 2012

Join Julieanne Kost, Adobe’s Digital Imaging Evangelist for Lightroom and Photoshop to discover how to most efficiently work with your photographs from import to export – as well as everything in between. Learn how to streamline the import process, create a simple organizational structure, and edit a shoot quickly; all using the Lightroom 4 Library module. Then, learn the key tools in the Lightroom 4 Develop module to enhance your photographs, correct color and tonal values both globally and locally, customize your color to black and white conversion, and even add special effects such as selective coloring, split toning and vintage looks if appropriate for telling your story. Learn more and apply…

LOOK3 Festival of the Photograph is a celebration of photography, created by photographers, for those who share a passion for the still image. The Festival features exhibits and on-stage appearances of three “INsight” photographers, as well as exhibitions, outdoor projections, workshops and interviews over three days and nights. Learn more about LOOK3 at look3.org.

The Transom Story Workshop is an eight-week, full-time training workshop for beginning producers. Learn more by reading the Workshop FAQ.

The cost of the workshop includes a license to Hindenburg Journalist, Transom.org’s favorite new audio editing software. Participants will also receive a free one-year account with the Public Radio Exchange and members of the Association for Independents in Radio will receive a travel stipend.

All the things you’ll need for your application including the rundown on room and board, are listed in the Workshop FAQ. There is a $40 application fee.

Contact info@transom.org with any questions. Click here to access the online application.

Times change.

Today, MediaStorm is excited to announce that we will encode all new projects using the H.264 codec. What this means is the quality of the files you’ll see in our new projects will be significantly better.

They will also be larger. While our Flash files were encoded at 728 x 432 pixels, our new projects are 1280 x 720. Play the new workshop pieces Remember These Days or A Hundred Different Ways and you’ll see the difference, particularly in full-screen mode.

Even better, the high-quality file you see on the internet will be the exact same file you’ll see on your iPad and iPhone.

In conjunction with these changes, we’re also releasing two new white papers.

The first, MediaStorm Compression Workflow: From Output to Web-ready H.264 details our new encoding process.

The other, Setting up Qmaster for Faster Transcoding and Compression shows you how to use Apple’s Compressor for faster encodes that utilize all of your computer’s processors.

Both papers can be found on our resources page: http://mediastorm.com/train/resources.

Learn more about our approach to producing multimedia by purchasing MediaStorm’s Post-production Workflow. Spanning more than 200 steps, the workflow covers every phase of editing, from organizing and editing assets in Final Cut Pro 7 through backing up and archiving your project. The workflow includes exclusive access to our Aperture Workflow and our Final Cut Asset Parser. Learn more about MediaStorm’s Post-production Workflow.

The ideal candidate is a responsible and independent programmer who will help us build and maintain the next generation of our suite of photography centric websites.​

Junior​ and senior​ level developer resumes are welcome for submission.

Desired skills:
PHP, Perl, Javascript, HTML, CSS, MySql, Linux, AJAX, mod_perl, Apache

Salary:
Commensurate with experience range $55,000 and up.

Required for this position:
Minimum of 2 years experience in website development
Perl back-end or mod_perl is a major plus
Strong background in HTML, Javascript and CSS
Expert knowledge of AJAX type applications
Understanding of LAMP development environment including MySql, Apache and
Linux

The ideal candidate:
Must be able to work in a deadline oriented environment
Able to manage several projects both small and large in scope
Great inter-personal and communication skills
Can work independently as well as in a team
Have a passion for web development
Ability to manage several projects
Follows technical directions well

The following skills are desired but not required:
jQuery
ImageMagick or GraphicsMagick
Amazon Webservices
Comfortable with Photoshop
iOS App development

Perks:
Competitive salary
Benefits
Growth Potential
Fun and creative work environment

Some websites we build, host and maintain:
http://www.pdnphotoannual.com/
http://www.pdnonline.com/
http://www.auroraphotos.com

To apply contact Brad Kuhns at BKuhns@ipnstock.com.

Primary Responsibilities
Define the Solution:

• Guide clients through the discovery phase of a project.
• Gather relevant client input, summarizing findings, developing creative briefs and producing strategic recommendations.
• Provide hands-on creation of sitemaps, wireframes, user experience diagrams, and other planning documents.

Be Creative:

• Produce creative guidelines that inspire the Digital Media’s talented interactive team.
• Produce the most creative design and user interactions for optimal experience.

Get Technical:

• Evaluate and recommend technical implementation approaches with our front-end and back-end development teams.

Serve our Clients:

• Guide our clients through the various phases of a project.
• Keep clients up to speed on important milestones and decision points.
• Manage expectations through clear and constant communication.
• Provide innovative solutions to their needs.

Manage the Process:

• Scope interactive work, develop a project plan and lead creative and technical teams through each phase of development.
• Build internal relationships and offer process improvements that produce the most creative and innovative work possible.

Desired Skills & Experience

Experience and Skills
Interested candidates must have at least 2 years’ experience working with creative teams, developing interactive projects, and must possess the following characteristics:

• Strong familiarity with interactive and mobile technology
• Experience creating project documentation, including statements of work, project plans, etc.
• Proficiency with project management, user experience design, and media production applications (e.g. Basecamp, Omnigraffle, Adobe Creative Suite)
• Experience with content and digital asset management systems
• Excellent written and oral communication skills when interacting with internal creative and technical teams as well as with stakeholders

Knowledge and Education

• BA or BS required; advanced degree with a concentration in digital media, digital communications, visual or moving image arts, desired

From March 24-30, 2012 a team of journalists collaborated with MediaStorm at our workshop to create, Remember These Days and A Hundred Different Ways.

During the MediaStorm Storytelling Workshop participants work directly with MediaStorm staff to create an intimate, character-driven documentary in just one week.

For Walter Backerman, seltzer is more than a drink. It’s the embodiment of his family. As a third generation seltzer man, he follows the same route as his grandfather. But after 90 years of business, Walter may be the last seltzer man.
Watch it now.

In 1987, Catherine Russell first stepped on stage in the play, Perfect Crime. Twenty-five years and only four missed performances later, she’s in The Guinness Book of World Records for the most performances by an actor in a single part.
Watch it now.

We are currently accepting applications for two upcoming MediaStorm Storytelling Workshops in 2012. Learn more and apply here.

• July 28, 2012 – August 3, 2012 Application deadline: June 5
• November 10, 2012 – November 16, 2012 Application deadline: September 12

Learn about other upcoming workshops and online training on our MediaStorm Training page.

The project brought several challenges with it, including safety concerns, difficult interview conditions, pressing time constraints, and, as almost always, the challenge of combining compelling narrative with historical and promotional information. Our new Online Training Module, The Making Of: Surviving the Peace, takes you behind the scenes of this process.

Join a conversation between Director of Photography and Producer, Rick Gershon, and MediaStorm Executive Producer, Brian Storm, as they break down the process and decisions that went into the production of Surviving the Peace.

Whether you’re an established photographer looking to transition to multimedia storytelling or a student wanting to expand your storytelling skills, MediaStorm’s online training provides a practical overview that will further your multimedia storytelling skills.

Individual and multi-user access to a range of modules are available in our Online Training section.

Watch The Making Of: Surviving the Peace now.

The Dart Society will be holding a benefit and auction at the gallery 25CPW in New York City on Thursday, May 17, beginning at 6 p.m. The benefit will honor Joel Simon of the Committee to Protect Journalists, photojournalist Lynsey Addario, and writer and documentarian Sebastian Junger for their commitment to excellence and compassion in the coverage of conflict, trauma and social injustice.

Tickets to the event, which will feature live and silent auctions of photography and books by Dart Society members and their colleagues, are $75 for one ticket and $100 for two. Auction items may be viewed here. Proceeds from ticket sales and auction items will be used to support the Dart Society’s outreach programs to journalists covering trauma and to support Dart Society Reports, which showcases the best work in trauma journalism.

Please click on the invitation above (or here) to purchase tickets or to make a donation; if you’d like to send a check, visit the Dart Society website.

A Thousand More is a nominee for this year’s Webby Awards in the Documentary: Individual Episode category.

A Thousand More is also in the running for the Webby People’s Voice Awards. The People’s Voice Awards polls are open from April 10th to April 26th and anyone can vote.

A Thousand More is the story of one family’s determination to give their son a whole and vital life. In the midst of a great burden, one small child – with a seemingly endless supply of love – can be the blessing that holds a family together.

Other nominees for this category are Guardian News & Media, the National Film Board of Canada, and VICE.

Surviving the Peace is an Official Honoree of the 16th Annual Webby Awards in the Public Service and Activism category.

Laos is the most heavily bombed country per capita in history. Over 2 million tons of munitions were dropped on Laos during the Vietnam conflict, despite Laos not being part of the war. Over 30 percent of those munitions failed to detonate and remain hidden underground throughout Laos.

Surviving the Peace takes an intimate look at the lives of those affected by these unexploded bombs and profiles the dangerous, yet life saving work that the Mines Advisory Group, staffed by Laos nationals, has undertaken in the country.

The 16th Annual Webby Awards received nearly 10,000 entries from all 50 US states and over 60 countries worldwide.

After your project is complete and your output has been encoded, the next step is to archive your project.

MediaStorm uses Mac Pro computers with four internal drives: one for the system software, one for project media, and one backup of each. When a project is complete, we remove the media drives and prepare them for archiving.

Copying Your Files
Copy your entire project folder to an external drive. (If you are already using an external drive that you intend to archive you can skip this step.)

Make sure to include all of your media. The reason MediaStorm copies all files is, in part, because Final Cut Pro’s Media Manager is simply undependable.

The other reason is safety. You never know when you might suddenly need to alter a project. With the proliferation of inexpensive drives, it’s good practice to keep all of your source material.

In addition to the project folder–which should include all graphics, audio, and video associated with the project–copy any fonts you used to the Graphics folder of your archive drive. This way, your fonts will be available for installation on other computers.

Fonts are generally installed in your user name/Library/Fonts folder.

Testing the Archive Drive
Before deleting your project from the original drive, you’ll first need to test your archive, and then make a backup.

Connect your archive backup to a different computer. This way you can ensure that your project is referencing only assets on the drive.

Install any necessary fonts from your graphics folder and open your project file.

Final Cut will notify you if any files are offline. Frequently, you’ll receive a warning that files are missing.

This is because FCP is still referring to the original folder structure.

Select Reconnect… and in the following menu, choose Locate… to find your missing files.

If you’ve followed Tips from the MediaStorm Final Cut Pro Workflow your render files will be stored in a folder named z_render at the root of your media drive. These files are not copied to the archive drive. Therefore, you may need to render (option-R) before you can play your archived project. (See page 11, Additional Systems Settings from Tips from the MediaStorm Final Cut Pro Workflow for more information on setting up your render folder.)

Finally, after your fonts are installed, your media is reconnected, and you’ve rendered, view your final project in its entirety.

Once you’ve confirmed that your archived version is accurate, copy it to a second backup drive. It’s imperative to have at least one backup of every drive. It’s an old saying, but should be repeated: there are two kinds of computer users, those who’ve experienced a hard drive crash and those who will.

For more information on duplicating drives, see MediaStorm’s Guide to Backing Up.

Deleting Your Project
When your two external backups are complete, it’s safe to delete your project folder from the original drive(s). Simply drag your project folder to the trash or select it and press command-delete key.

Next, delete the project’s render files in the z_render folder from your original drives. Use Tools>Render Manger.

Place a check mark in the Remove category adjacent to the files associated with your deleted project.

If your archive contains numerous drives, make sure to clearly label each. MediaStorm also uses a Google Doc spreadsheet to keep track of projects, file sizes, and drive locations.

Learn more about our approach to producing multimedia by purchasing MediaStorm’s Post-production Workflow. Spanning more than 200 steps, the workflow covers every phase of editing, from organizing and editing assets in Final Cut Pro 7 through backing up and archiving your project. The workflow includes exclusive access to our Aperture Workflow and our Final Cut Asset Parser. Learn more about MediaStorm’s Post-production Workflow.

Lisa Jamhoury is a communications professional with a passion for confronting social justice issues. Lisa previously worked as communications manager at the International Center for Transitional Justice (ICTJ), where she implemented strategies to increase media attention, expand online presence and multimedia use, and streamline print production. Before joining ICTJ, Lisa worked with Save the Children USA in Mozambique, and as an intern in the Media Services Branch of the United Nations Population Fund and with the Women’s Refugee Commission.

Lisa holds a BA from Pace University, where she studied political science and Spanish. She was awarded the Jeannette K. Watson Fellowship in 2005.

The six-month grant program will provide up to 10 regionally based photographers with:

• A cash stipend
• Audio equipment and software
• Two advanced training workshops
• Travel and hotel expenses and provide a per diem to cover meals and incidentals for the workshops
• Ongoing coaching and mentoring throughout the grant period
• Deadlines to keep your project on track
• Publicity and promotion of the work produced
• Opportunities for follow-up support to distribute the finished work

The deadline for applying is 5 pm EST May 10, 2012.

View past grants awarded in 2009-2011, and detailed descriptions of eligibility and application directions. 

This year, both full-time graduate and undergraduate students are invited to submit an application for submission.  Ten finalists will be announced in late May. A select panel will judge from the ten finalists and the winner will be announced in June during LOOK3: The Festival of the Photograph in Charlottesville, Virginia. Michael Wichita, Director of Photography at AARP, will once again serve as Lead Judge. LUCEO’s 2012 winner will receive $1,000 towards completion of his or her project, as well as a yearlong mentorship on the project from one LUCEO member of the winner’s choosing. In addition, one finalist will also receive an assignment from Lead Judge Michael Wichita, Director of Photography for AARP Bulletin.

The deadline for receipt of applications is 11:59 pm EST May 10, 2012.

Application details can be found online. 

We have one spot open in our upcoming Advanced Storytelling workshop that starts this Saturday, March 24. Please apply immediately if you are interested in participating in this one-week Advanced Storytelling workshop.

The primary goal of the MediaStorm Advanced Storytelling Workshop is to create an intimate, character-driven documentary that is ready for publication. Participants will work directly with two MediaStorm producers, in the field and in the editing suite, as part of a crew dedicated to telling a story. Participants will create their stories under the direction of MediaStorm producers in a collaborative, educational and hands-on environment.

Deadlines and dates for two upcoming Advanced Storytelling Workshops:

• July 28-August 3, 2012 with an application deadline on June 5, 2012.
• November 10-November 16 with an application deadline on September 12, 2012.

Learn more about the Advanced Storytelling Workshop, and apply here. 

Human Rights and the Media

NYU Gallatin School of Individualized Study will host a panel discussion on April 11, 2012 to bring together innovative practitioners and thinkers who are committed to using photojournalism, multimedia, and documentary filmmaking to promote social change. How can we take advantage of the tools that new technology has given us to address human rights issues? How can media go beyond raising awareness and help alleviate social problems?

Presentations by speakers will be followed by Q&A with the audience. The event is free and open to the public. The speakers include:

• Ed Kashi, Photojournalist and member of VII Photo Agency
• Peter Kinoy, Editor at Skylight Pictures
• Fred Ritchin, Professor of Photography & Imaging at NYU Tisch and Director of PixelPress
• Brian Storm, Founder and Executive Producer at MediaStorm

Learn more about the upcoming speaking engagement. 

One Day Multimedia Workshops at MediaStorm

This one-day workshop is designed for anyone interested in multimedia storytelling, no experience is necessary. We will be looking primarily at multimedia methodology and theory. This is a workshop where you will be asked to look deeper, into the when and why of different storytelling techniques and approaches.

Learn more about the One Day Multimedia Workshops, and apply here. 

MediaStorm Methodology Workshops in Brooklyn

The MediaStorm Methodology Workshop is designed for educators looking to create curricula based on our approach, for organizational leaders tasked with creating and leading multimedia departments, and for professionals looking to start their own media company or integrate MediaStorm concepts into their organizations.

Deadlines and dates for three upcoming Methodology Workshops:

• June 18-22, 2012 with an application deadline on April 6, 2012.
• August 13-17, 2012 with an application deadline on July 16, 2012.
• December 10-15, 2012 with an application deadline on November 9, 2012.

Learn more about the One Day Multimedia Workshops, and apply here. 

A Darkness Visible: Afghanistan

“This was a powerful story that unfolds over fourteen years and illustrates the physical, emotional and economic toll the years of political instability took on an average Afghan family,” said John Malone, Chairman of Liberty Media. “On behalf of the jury panel, we congratulate Seamus Murphy and MediaStorm for producing an educative and compelling piece that stood out among this year’s entries.”

Read more about the Media for Liberty Award, and watch the winning film, A Darkness Visible: Afghanistan.

Congratulations to Elles van Gelder and Ilvy Njiokiktjien for placing 1st in this year’s World Press Photo Multimedia Contest with their project, Afrikaner Blood. The Dutch multimedia production follows young white Afrikaner teenagers in South Africa who attend a holiday camp set up to teach them self-defense and how to combat a perceived black enemy.

The jury chair Vincent Laforet called ‘Afrikaner Blood’ “an incredibly well crafted and nuanced piece with a very cohesive structure and refined execution.” He added: “We as the jury appreciated the restraint that the authors demonstrated in the telling of this story. All of the multimedia elements and careful attention to detail served to push the narrative forward, as opposed to distracting from it.”

Second place went to Maisie Crow, a former MediaStorm intern, for her production of Half Lives: The Chernobyl Workers Now, and third place was received by James Lo Scalzo, for his production of America’s Dead Sea. In addition to the three prizes, the jury awarded the interactive multimedia production ‘Punched Out: The Life and Death of a Hockey Enforcer‘ by The New York Times and videographer/photographers Shayla Harris and Marcus Yam with a Special Mention.

Visit the World Press Photo Multimedia website for additional information about the contest, and to view the winners of this year’s contest. Congratulations to all!

Photo Credit: Ilvy Njiokiktjien, the Netherlands

MediaStorm is proud to launch the project, She Looks Back, by Rick Gershon and Tim McLaughlin for American Institutes for Research (A.I.R.). She Looks Back, explores the state of girls education in Liberia from the prism of two young students, Rose and Tina. The film tracks these girls as they face challenges that stem from the civil war, as well as gender-based discrimination, which often keeps them from attending school regularly, if at all. With new research projects beginning in Zambia and Liberia, A.I.R. sought out MediaStorm to document the situation and produce a story about the real impact their programs are having in participating communities.

Established in 1946, A.I.R. is an independent, nonpartisan not-for-profit organization that conducts behavioral and social science research and delivers technical assistance both domestically and internationally in the areas of health, education, and workforce productivity.

Watch She Looks Back, and read more about MediaStorm’s collaboration with A.I.R. to produce this project.

Getting stories to the world demands having the ability to use emerging digital media in an increasingly complex information ecosystem. The KDMC Multimedia Storytelling Institute is a unique opportunity to learn critical digital skills from industry leaders at the world’s premier center for applied digital communications. Our two-week, June 18-29, 2012, intensive Multimedia Storytelling Institute will help you develop transformative skills to deliver rich multi-platform content for sustainable journalism.

What You Will Learn

• Strategies for multimedia story planning, production and delivery using mobile, tablet, and desktop platforms.
• Hands-on field reporting to learn professional video, photo and mobile techniques.
• Photoshop and Final Cut Pro X for editing visual content.
• Data storytelling with interactive databases, visualizations and maps.
• Social Media for reporting, content distribution and community engagement.
• Each participant takes home an iPad with the complete training curriculum.

Responsibilities

• Produce content such as program reports, news items, calendar listings, articles for AsiaSociety.org using Drupal Content Management System, as well as hand-coded HTML pages. Help maintain blogs, corporate intranet, and wikis. Assist with email outreach.
• Produce multimedia content incorporating video, photography, audio.
• Promote Asia Society activities, initiatives and expertise through social media outreach, development of online community on AsiaSociety.org
• Help evangelize and train Asia Society staff in digital media production and social media techniques and best practices.
• Participate in hiring and management of Asia Society Online interns.
• Maintain awareness of website analytics, work with constituents to increase understanding of website traffic.

The purpose behind the Quinternship Paid Internship Program is to offer students in the field of journalism, broadcasting, communication and related fields the opportunity to gain hands-on experience in broadcast television, radio, and digital information.  Students who participate (Interns) will gain a wide variety of practical experience and will receive an hourly wage.  The company strives to offer this opportunity to a diverse group of Interns.

Interns who participate in the program will work a mutually agreeable flex schedule set by the Quincy Herald-Whig, while attending school.  In many cases, the Intern can earn college or university credits and fulfill graduation prerequisites, if agreed to by their institutions of higher learning.

Internships usually run concurrently with the Intern’s academic semester; but can and may include opportunities during holiday breaks and summer recesses.  The Internship will give the Interns opportunities to secure real world media experience, get acquainted with the Employer and its operation, and learn about work expectations and journalistic responsibilities. Interns must be at least 18 years of age, have a valid driver’s license and be insurable under Employer’s automobile liability insurance coverage, and maintain good standing with their sponsoring university and/or college.

Interns will be assigned an advisor/mentor who the Intern will work with, rely on and communicate with their advisor/mentor during their Internship.

View the full job description and apply online. 

One day. Millions of perspectives.

On May 15th ADAY.org asks you and people all around the world to pick up your cameras and picture what is close to you. In this unique photographic event, hundreds of thousands of people will work together to create a unique documentation of daily life.

Professionals, amateurs, school children, farmers, social media fans, astronauts and office workers. Cell phone camera, Hasselblad, homemade or borrowed. ADAY.org is looking for the perspectives of everyone who enjoys photography. The goal is to inspire perspectives on humankind – today and tomorrow.

All images will be displayed online for you and everyone to explore. Some of them will be selected for a book, others will be displayed in digital exhibitions. Every single one will be saved for future research and inspiration.

Let a part of your life inspire generations to come. Share your perspective! Read more about the project and sign up to participate.

Deadline for submissions is May 7, 2012.

Watch films from the past Spirit Enlightened film festival, and visit the online submissions page for criteria, submission process, and awards information for the upcoming festival.

The Pictures of the Year International competition recognized two MediaStorm projects, A Darkness Visible: Afghanistan, and A Thousand More. In its 69th year, POYi honors the world’s best photographers, newspapers, editors, and multimedia producers. A Darkness Visible: Afghanistan, was recognized as both a Finalist in the Documentary Project of the Year category, and honored with an Award of Excellence in the Long Form Documentary category. In addition, A Thousand More, produced during a MediaStorm Advanced Storytelling Workshop, was honored with an Award of Excellence in the category of Feature Multimedia Story.

Congratulations to all of this year’s POYi winners. 

Katie Orlinsky is a photographer from New York City. Katie received a B.A. in Political Science/Latin American Studies from the Colorado College. Her long-held interest in international politics and a desire to raise awareness on social and humanitarian issues led Katie to journalism, and upon graduation she moved to Oaxaca, Mexico where she got her start as a photographer.

Katie is a Corbis contributor, and regularly works for the New York Times, the Wall Street Journal and various non-profit organizations. Her work has been published in Time, Newsweek, Le Monde, Stern, and Paris Match among other magazines. Katie was awarded the Prix Ani-PixPalace for her photographic series “Life on the Tracks: Central American Migration in Mexico” in 2010 and the POYi Emerging Vision Incentive in 2011 to support her ongoing project “Innocence Assassinated: Living in Mexico’s Drug War.”  She is currently a part-time student at Columbia University Graduate School of Journalism.

Katie Orlinsky won the 2012 Alexia Foundation student award which includes a stipend towards a three-month MediaStorm internship in Brooklyn, as well as funding to complete her project, “Innocence Assassinated: Living in Mexico’s Drug War.” Her project looks under “the well-known narrative of cartels and crime to a less covered story of Mexico’s drug war: the innocent victim.”

Visit Katie’s website to view her work. 

The International Institutions and Global Governance Program at the Council on Foreign Relations (CFR), in collaboration with MediaStorm, launched the eighth issue of its comprehensive Global Governance Monitor: Human Rights. The Monitor is an interactive multimedia tool that maps and evaluates efforts to tackle the most pressing problems facing the world, addressing the issues of Nuclear Nonproliferation, Global Finance, Oceans, Climate Change, and Public Health. The lastest installment tracks the international community’s record in responding to the global challenge of human rights by providing a cinematic overview of the issue, an interactive timeline, an issue brief, a matrix cataloging relevant international treaties, organizations, and initiatives, an interactive map, and a resource guide.

CFR dedicates itself to improving the understanding of the world, its challenges, and the foreign policy choices faced by the U.S. and other countries. The Global Governance Monitor has become an extensive and trusted resource used by government officials, journalists, and civic and religious leaders, and is used by educational institutions as a resource.

Visit the interactive online, and learn more about our collaboration on this extensive project.

A successful candidate will have broad knowledge and curiosity about news of all kinds and show a keen eye for spotting interesting and newsworthy visual content as well as generating story ideas. An understanding of industry tools and techniques, an innovative spirit, a passion for digital and social media, and the ability to solve problems in a fast-paced environment are highly desirable. Must be organized and able to manage daily and long-term projects simultaneously. The ideal candidate will be flexible with their time as this position will include some night and weekend shifts.

A BA degree in Photojournalism, Multimedia Journalism or other disciplines that emphasize visual storytelling and multimedia production and/or editing is required. Strong candidates with equivalent experience or education will be considered. A minimum of three years experience producing or editing visual content for newspapers or online news is essential.

Apply for the position, and learn more about MSNBC.com online.

Previous students have ranged from multiple Pulitzer Prize Winners, Best of Photojournalism winners, the current White House Photographer, academics, editors, students, working professionals and freelancers all looking to supercharge their careers. This workshops provides the most personalized training experience with the lowest student-to-teacher ratio (with about 20 coaches for 40 students). The coaches are industry leaders and the best educators in the country. Visit the workshop home page for this year’s confirmed coaches.

You will learn:

• Effective planning and development of your story to save time on your workflow and increase the quality of your pieces
• Professional audio recording techniques in the field from audio documentary experts
• Hands-on explanations and experiences on how to use audio, video and photo gear, along with recommendations on gear
• Training on how to shoot visuals for multimedia storytelling including techniques for documentaries and working as a one-man-band or mobile journalist
• Hands-on video production editing training and experience on Final Cut Pro X, how to integrate music into your multimedia work, and ethics and legal issues
• How to navigate modern freelance and business issues when working in multimedia
• Inspiring information from the industry leaders on how they developed the most cutting edge multimedia projects

Primary Responsibilities

• Oversees digital media projects from conception through completion, serving as the primary contact for internal and external parties.
• Creates and executes project proposals, specifications, and budgets; develops and manages multiple concurrent project plans; helps to shape and define the experience of the Museum visitor—both physical and virtual; and ensures quality and consistency across media product lines.
• Serves as media project team leader, working with content creators, designers, media specialists, external contractors, and editors, and production staff.
• Responsible for creating media that meets the interpretative goals of curatorial and education staff, along with objectives from other stakeholders.

 Experience and Skills

• 5 years experience in educational media production, visual or moving image arts, digital communications, or related field, is required.
• Strong project management, communication, collaborative, and organizational abilities are essential.
• Currency with new developments in multimedia solutions, technologies, delivery, and UI design is ideal.
• Must have solid experience developing and managing budgets and project plans.
• Ability to supervise and work with video crews and audio engineers is required.
• Must be able to produce multiple projects on time and within budget.
• Energy, enthusiasm, initiative, and innovation are key qualities for this position.

 Knowledge and Education

• BA or BS required; advanced degree with a concentration in digital media, digital communications, visual or moving image arts, desired
• Technical familiarity and expertise with media editing tools and software, such as Final Cut Pro, is necessary.

Please send cover letter, resume, and salary history to employoppty@metmuseum.org with the position title in the subject line.

View the job listing for further information.

This year’s judges include David Griffin, Visuals Editor at the Washington Post, who for many years worked at National Geographic; Jon Jones, Photo Editor at Sunday TIMES, UK; and Kira Pollack, Director of Photography at TIME Magazine. All winners’ work from last year’s competition can be viewed on the contest site.

BD is, “a medical technology company that develops, manufactures and sells medical devices, instrument systems and reagents. The Company is dedicated to improving people’s health throughout the world.” BD relies on imagery to tell stories about a wide range of diseases in which its people, products and initiatives play a significant role. Learn more about BD’s global health photography initiatives.

For submission and awards information visit the BD competition site.

Submission deadline: February 29, 2012. There is no entry fee.

To apply send your resumes to Lauren Wendle with the department you are interested as the subject line. Include your resume and a brief cover letter explaining what you hope to gain from this internship.

PDN Editorial Internship

The intern will help with general organizational tasks and assist the editorial staff on all aspects of editorial production for the magazine and PDNOnline.com. This position offers an opportunity to learn about print and online publishing as well as photo editing. The intern will help editors in researching, proofreading, fact-checking, reporting and writing about news from all aspects of the professional photography world. Other opportunities may include researching and writing blog posts, proofing magazine layouts and attending editorial meetings.

Applicants must be enrolled in school and earn college credit to qualify for the internship. An interest in photography is appreciated, but not required. Experience with HTML and content management systems is a plus.

PDNedu Editorial/Photo Editing Internship

Responsibilities include researching, proofreading, fact checking and writing for PDNedu, the PDNedu Web site, Blog or other Custom Media publications. The intern will assist with photo research and trafficking art for publication, converting and sizing image files. Prerequisites: Well organized, detail oriented, self-starter with past photography experience and good communication skills. Computer literacy, familiarity with ftp image delivery systems, proficiency in PhotoShop, InDesign and various content management systems. Knowledge of Flash, HTML, CSS and photography gear a plus.

Lead questions:

• Do you have experience in writing about photography? If yes, please describe the extent of your past writing and submit up to three tearsheets.
• Please name your favorite creative magazines, Web sites and blogs and describe what you like best about each one?
• What is your proudest accomplishment to date in the progression of your education and why?
• What is your level of interest in visual imaging and/or photography?

Work schedule: Monday-Friday (Days/Hours are flexible), with an expected work week of at least 20 hours per week.

Marketing Internship

Responsibilities include researching, proofreading, fact checking, uploading texts/images, and writing for PDNedu, the PDNedu Web site, Blog or other Custom Media publications. Photo research and trafficking art for publication, converting and sizing image files. The intern will conduct research and help promote Nielsen Photo Group properties to hobbyists, students, educators and professional photographers and image makers through web, social media and live events while learning skills related to web-based marketing, advertising and promotion. Prerequisites: Well organized, detail oriented, self-starter with past photography experience and good communication skills. Computer literacy, familiarity with ftp image delivery systems, proficiency in PhotoShop, InDesign and various content management systems. Knowledge of Flash, HTML, CSS and photography gear a plus. General assignments will rely on the use of various Mac-based programs (MS Word, Entourage, Photoshop, InDesign, RedDot, Typepad).

Lead questions:

• Do you have experience developing marketing materials for target markets and demographics?  If yes, please describe.
• Tell me about a product that you think is marketed well and why?
• What are you most proud about in the progression of your education and why?
• What is your level of interest in visual imaging and/or photography?

Work schedule: Monday-Friday (Days/Hours are flexible), with an expected work week of at least 20 hours per week.

Sales Internship

Responsibilities include assisting in Print, Online, and Sponsorship sales, and with Tradeshow booth preparations. The intern will coordinate sales meetings, schedule conference rooms, and appointments for the sales team, as well as conduct follow-up to sales team meetings. Prerequisites: Good organizational skills and attention to detail, ability to work independently and as part of a team, and the ability to work with a professional demeanor. The candidate must have excellent verbal and written skills, and be proficient with MS Office, CRM database experience a plus.

Work schedule: Monday-Friday (Days/Hours are flexible), with an expected work week of at least 20 hours per week up to a full 40 hours per week schedule.

Web Development Internship

Responsibilities include assisting with preparing, organizing and delivering content for social media, email campaigns, and web pages. Assist with the management and performance of the Nielsen Photo Group web pages–post, monitor content, ensure links work, and identify technical problems and improve usability/interactivity. The intern will conduct research and help promote Nielsen Photo Group properties to hobbyists, students, educators and professional photographers and image makers through web, social media and live events while learning skills related to web-based marketing, advertising and promotion.

Lead questions:

• Do you have experience developing web projects?  If yes, please describe.
• How comfortable are you writing HTML code?
• What web-related skills are you most interested in improving upon or learning?
• What are you most proud about in the progression of your education and why?
• What is your level of interest in visual imaging and/or photography?

Work schedule: Monday-Friday (Days/Hours are flexible), with an expected work week of at least 20 hours per week up to a full 40 hours per week schedule.

Visit the PDNedu blog for further information about these opportunities.

This year’s instructors include Boyd Huppert, John Goheen, Jonathan Malat, Bev Chapman, Michelle Michael, Brett Akagi, and Steve Sweitzer.

Learn more about the workshop, and register today to save your spot.

The Digital Photo-Video Editor will be responsible to: 

• Oversee photo and video needs for the site and its digital platforms.
• Hire and manage pool of freelancers.
• Work with editors, reporters and news managers to assign shoots.
• Though this predominantly is an assignment, editing and online multimedia position, the candidate must be skilled at shooting and editing photos/video.
• Produce online galleries and other content.
• Keep informed of current events, take part in planning process and propose stories to be covered.
• Understand and follow the process of creative photojournalism and editing.
• Help coordinate coverage and Local Media development.
• Participate in special projects and perform other duties as assigned.

Qualifications:

• Skilled photo/video shooter and editor.
• Knowledge of Final Cut, PhotoShop, Hermes and FotoStation is required.
• Knowledge of news.
• Consistently demonstrates creativity and independence in pursuit of stories and assignments.
• Consistently identifies problems and seeks solutions.
• Skilled at juggling a variety of daily tasks on tight deadlines.
• Must be familiar with the New York Tri-state area.
• Able to work one weekend shift and be a flexible team player.

View the full job posting at Mediabistro