The Pulitzer Prizes are about to commemorate their 100th anniversary with a celebration at Poynter. You may not expect this, but I like James Robinson’s recent memo about clear cutting the copy desk at the Bay Area News Group. This course is designed to give you the techniques and tools you need to confront complex and complicated ethical issues. In my early days as a producer at "All Things Considered," I set up a meeting with one of NPR’s newsroom leaders. For many reasons, journalism organizations have taken editors for granted, and now, we’re in a crisis. Too often we have created systems in which editors bear huge responsibility but receive little institutional support, feedback, or rewards; they are critically needed but perennially ignored. I recently asked NPR’s Vice President of News, Mike Oreskes, whether he could articulate how editors were cultivated at NPR. Editing also requires an ability to structure stories — and to maintain perspective, to step into the audience’s shoes.
Editors must also be coaches and talent spotters — with an eye and an ear out for new, distinctive voices. Now, NPR as a whole — and the Editorial Training team I work for — is trying to cultivate more editors. Download the program, review the information on this page – and your path to fame has for sure begun! Just select a group of photos on the timeline, click one button, and the program will automatically insert appropriate transitions between the frames, so all you need to do is add appropriate music and titles, and you’re done! Make your videos spectacular with our special “Hollywood” effects: create a “Matrix”-like feel with Slow Motion, or transport your friends to another world with Chroma Key!
Switch between tabs to learn more about different media formats supported by Movavi Video Editor.
Disclaimer: Please be aware that Movavi Video Editor is not intended for use with copy-protected media content. It allows users to do pretty much anything they want to a video: green screen effects, sounds, voice overs, transitions, animation inserts, fade effects, and anything else deseriable. With the use of two video outputs, editors can see the clip that they are currently editing alonside their final product. I frequently hear from friends and colleagues about how hard it is to find and hire strong editors.


Oreskes told me this: “I would not say that being a reporter is the crucial requirement for being an editor.
You should be able to tell your reporter that his story is a hot mess, while making him feel excited about fixing it.
If our stories can now exist on mobile apps, social platforms, website, podcasts, etc, editors can’t afford to only grasp one of these channels.
These news channels mean that important journalism can take the form of a 140-character tweet, a 15-minute podcast episode, or a stunning, audio-visual “event” that takes 30 minutes to experience. If you lead a newsroom, stroll over to that whiteboard and start mapping out your aspirations. Cut and join video clips with zero quality loss, apply stylish video effects and filters, add music, titles, and much more!
Edit and export video without delay, thanks to the new multimedia engine and support for Intel® HD Graphics technology! Click the format name you are interested in, and you'll see the full list of compatible codecs. Created by Apple, it is widely used throughout the film industry as one of the most unique and intriciate video editing softwares. If the user cannot figure out how to do something, the HELP feature is very user-friendly, allowing for step-by-step instructions. The executive offered no advice except that I was too inexperienced to be focused on editing. Screaming "EDITOR SHORTAGE!" is not a great way to go viral, but in my view, it is the most significant challenge facing newsrooms right now. We failed to value editing as a craft in itself — a craft that young journalists might aspire to and train for.
We can’t be experts on everything, of course, but only mastering one kind of story is no longer enough. As much as we admire the masters of the past, we can no longer learn everything we need to know from them. So few journalists aspire to edit these days; news leaders should take the handful that do seriously. Circulate it among your staff so managers know what they’re looking for and aspiring editors know what to reach for. In the same way that promising reporters are sent abroad or to the White House to build up experience, what opportunities and, yes, tests can you give aspiring editors?


Besides, as technology changes and newsrooms refine their missions — editorial goals and needs change. If editors aren’t allowed the time to help shape projects and to usher them through the creation process (whether that lasts one day or one year), they become air traffic controllers. Neither your colleagues nor the audience will see how you shaped a story, navigated its pitfalls, or gave it nuance. We now create far more content that any reasonable human being could ever read, and journalism has to work harder to get noticed.
It’s a different skill.” To be clear, Oreskes, a former reporter and editor, is not suggesting that reporting experience is irrelevant. We can now measure and understand our audience(s) to a degree of specificity that is both exciting and terrifying.
And identify the different kinds of editors you need since, like I said above, not everyone can be expert at everything. No carefully crafted executive memo will result in the great new stories you envision; you have to put in the time and money to guide people in the direction you want them to go.
They are overworked, overwhelmed, uninspired and unable to provide true editorial guidance or comprehensive coaching. In fact, he puts a premium on an understanding of the subject matter and the challenges of finding sources and ferreting out stories. But what he and other media leaders also understand is that editing requires other skills and instincts. Louis or a radio program for the “general national audience”; we’re “creating content” for 25-34 year-old women or Latino millennials.
But when good editors are given the time to properly edit (and the salary that fairly accounts for their value), they make stories better and more impactful. Editors need to have tools for understanding audience and strategies for translating that knowledge to stories.
Producers and reporters can tell news management what role an editor played — especially when it is quietly heroic. Newsroom leaders should regularly seek out that information and use it to reward editors, both privately and publicly.




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