Edition 2017: Lauren Klein, Ken Lim, Campbell McNolty, Phoebe Nell-Williams

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Course Outline:

Week Content

1 Morning Session - 10:30am - 1pm Module 1 - SYN House ● An introduction to SYN ● Explanation of ‘Make a Thing’ ● Media Law

Module 2 - SYN Studios ● Panel operation ● How to plan a radio show ● Audio recording ● Phone interview ● SYN Flagships / Seasonals / Catapults → sign ups!

Lunch - 1-2pm Afternoon Session - 2-4pm Module 3 - SYN House ● Live & pre-recorded screen content ● Screen equipment

2 Morning Session - 11am-1pm Module 4 - SYN House ● Audio editing ● Uploading content to the SYN website & Omny Lunch - 1-2pm Afternoon Session - 2-4pm Module 5 - SYN House ● Video editing ● Uploading content to the SYN website & Omny

Make a Thing - in brief

Before you can become a full SYN volunteer, you have to practise your skills. As part of this course you have to create your own media project. ​ ​

What can I make? Anything you like! We love every kind of media at SYN, here are some ideas to get you started: - Podcast (5 minutes) - Short video (an interview, drama, speech or anything else you like) (2-5 minutes) - Live Radio Program (30 minutes) - Blog post on the SYN website (500 words) - Music radio program (1 hours) - Literally anything else that you want. Put those creative skills to use! When is it due? Two weeks from today. After you finish week 2 of the class you’ll have one more week to finish off your project. Once you’re done, upload your project to the Induction Students Google Drive - https://tinyurl.com/hzym5cc

***SYN STUDIO 1 (TRAINING STUDIO) IS BOOKED FOR SYN INDUCTION EVERY WEDNESDAY 4-6PM***

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SYN History: SYN Values: (remember I.P.A.I.D) ​

SYN Media (Student Youth Network Inc.) INNOVATION - SYN celebrates quality, ​ was formed in 2000 as a result of a and supports creativity and flexibility in its merger between two youth radio projects: programming and operations. 3TD (an AM station run by high school students from Thornbury-Darebin PARTICIPATION - SYN supports young ​ Secondary College) and SRA (Student people to take charge of media creation, Radio Association), the RMIT University training and governance. radio station that also spawned 3RRR in 1976. ACCESS - SYN provides open access for ​ all young people to participate in its On January 28, 2003 SYN commenced community. broadcasting as a fully licensed community broadcaster on 90.7 FM - on INDEPENDENCE - SYN produces ​ April 2, 2014 SYN Nation commenced content free from commercial and other broadcasting on Digital Radio. external pressures. Today SYN is a thriving not for profit organisation producing media across DIVERSITY - SYN actively encourages a ​ radio, television and digital platforms. range of youth perspectives, cultures and SYN is a cornerstone of the Australian ideas. media industry providing vital opportunities for young people in the SYN offers young people aged 12-25 community to learn the skills and platforms to be creators, media skills and have a voice. not just consumers, of media.

Welcome to our community! We abide by the Community Broadcasting Codes of Practice.

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SYN Membership: When you pay your yearly SYN Membership you become a financial member of the organisation. This gives you a vote at the organisation’s Annual General meeting (AGM). Your vote entitles you to nominate and vote for members on our board of management. *Note - your first year of SYN Membership is included in your SYN Induction Course fee. YAY!

Annual Membership Costs: $5 for under 18s / RMIT Students $15 concession $25 full Payment can be made:

In person: By Mail (cheque or money Bank transfer: order): House of SYN Account name: Student Youth 16 Cardigan Street, Carlton PO Box 12013 Network Inc. 10am to 5:30pm Weekdays A'beckett Street BSB: 063 262 Melbourne 8006 Account Number: 1024 7503

In the description write "(your name)training/membership"

If you have any questions about your membership, you can email the Membership & Experience Manager at membership@syn.org.au ​

SYN Board of Management:

The SYN Board of Management hold the financial and legal responsibility for SYN. They meet monthly to provide strategic direction, advice and governance for the organisation. To achieve the organisation’s goals, the board of directors hire a General Manager to manage the operational business of the organisation. If you have any questions about the SYN Board, you can contact the SYN Board President at [email protected]

Your rights, responsibilities and occupational health & safety: As a SYN Member and volunteer you have a set of rights and responsibilities. You have a right to feel safe in the SYN environment, and have a responsibility to contribute to a safe space for Others.

We encourage a reporting culture. Call 03 9925 4747 during office hours (Monday - Friday, ​ ​ 10am-5:30pm) or email [email protected] if you notice anything of risk to physical or mental ​ ​ safety.

SYN is a drug and alcohol free space.

No food or drink is to be consumed in our studios.

*IMPORTANT* In the event of an emergency your safety and the safety of others comes first. Drop whatever you are doing and move to safe space first and foremost.

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SYN’s OH&S and emergency policies can be found at the House of SYN and in our studios. ​ ​ You can access SYN’s full policies and procedures in printed form at the House of SYN and on our computer network at: Production Drive (\\131.170.160.246) (Y:) > Policies and Procedures ​ (folder)

In case of a life threatening emergency reach a safe location FIRST and call 000. ​ ​

In a non-life threatening emergency (broadcast studio not going to air) call the SYN staff emergency phone on 0402 620 214. ​ (Minor technical issues or lack of organisation is NOT an emergency)

Injury Log: If you injure yourself at the SYN House or at the studios, contact a SYN staff member as soon as possible. The staff member will log your injury in the SYN Injury Log. In case of an emergency, do not attempt to conduct First Aid. Call emergency services on 000 ​

How to access the SYN Audio Log: Did you forget to record your show broadcast at the SYN studios? No fear! SYN has the Audio Log - a digital storage drive that stores up to 4 weeks worth of radio broadcasts. The log is split into 1 hour dated audio files. You can copy files from the Audio Log but you cannot alter the original files on the drive. The Audio Log is accessible on all SYN computers.

Tech Log: Something in the studio or the SYN House not working? You can contact SYN’s Technical Coordinator at [email protected] to update them of the situation. ​ ​ You can also keep up to date with Tech Updates via the SYN website ​ ​ Log into the SYN website > you’ll be directed to the Dashboard page > click on the ‘Person’ icon located in the top right corner > click on the ‘Tech Updates’ option

Image Caption: A screen shot of the DASHBOARD page on the SYN website. On the far right of the image, there is a person icon in white, against a grey background, with a drop down list of shortcuts to particular pages on the website - Dashboard, Apply, Graveyard, SYN Camp 2017, Nominate, Catapult, Useful Info, Policies & Procedures, Tech Updates, Resources, WP Admin, Logout

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You’ll then be directed to the Tech Updates page. If you want to submit a tech issue, click on the ‘Make New Tech Update’ and fill out the form. Once you have finished describing the tech issue, click ‘publish’

Image Caption: A screen shot of the TECH UPDATES page on the SYN website. The page displays an example of a Tech Update post with the following text:

Title: SPEAKERS NOT WORKING ​ Update time: December 4th 2016, 5:13pm ​ Where: House of SYN ​ What: The Dell Computer speakers, located at the TV in the Computer Lab aren’t playing out on ​ either of the rear Edit PCs. Headphones are working on these computers however.

IT Edit: Tested, back left Edit PC has a faulty front audio port. Rear port worked fine. Taped off front ​ port for now.

When: Sunday December 4th, 3pm ​ Status: Fixed. ​

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SYN Staff: General Manager Tess Lawley [email protected]

Operations Manager Lana Wilson [email protected]

Education & Training Manager Campbell McNolty [email protected]

Experience & Membership [email protected] Manager

Schools on Air Producer Anita Michalski [email protected]

Access Programming Coordinator Fiona Wright [email protected]

Content Development Coordinator Lindsey Green [email protected]

National Project Coordinator Jessica Lukjanow [email protected]

Technical Coordinator Harry Valerio [email protected]

Finance Coordinator Johan Lee [email protected]

Internal Training Coordinator [email protected]

Important numbers: SYN Front Office 9925 4747 RMIT Security - emergency 9925 3333 RMIT Security - general enquiries (24/7) 9925 3895 SYN Emergency phone 0475 883 705 Emergency services 000 or 112 Office hours:

Monday to Friday, 10am – 5:30pm

SYN House back door is accessible 24/7- all you need to do is punch in the code into keypad located on the wall next to the back door– you can get the code from Pip ~ [email protected]

Please do NOT contact SYN Staff via their private email accounts or social media out of business hours. Try the SYN Facebook Group → there’s always someone else who has ​ ​ experienced something similar and will do their best to help you out.

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SYN Leadership Team – comprises of volunteers who manage and produce the flagship ​ radio shows at SYN and are responsible for coordinating the SYN departments

SYN FLAGSHIPS – 90.7FM & Digital ‘SYN Nation’

Get Cereal – [email protected] Represent – [email protected] ​ ​

The Sports Desk – [email protected] Player One – [email protected] ​ ​

Panorama – [email protected] Art Smitten – [email protected] ​ ​

Amplify – [email protected] Queeries – [email protected] ​ ​ Amplify assistant – [email protected]

New & Approved – Hear me Roar – [email protected] ​ [email protected]

The Hoist – [email protected] Great Minds Don’t Think Alike (podcast) ​ [email protected] ​

Asian Pop Nation – [email protected] All The Best Production Manager – ​ [email protected]

Moshpit – [email protected] In Joke – [email protected] ​ ​

Sunday Sweets – [email protected] Naughty Rude – [email protected] ​ ​

Raise the Platform – Hip Hop – [email protected] ​ [email protected]

SYN DEPARTMENTS

TALKS RADIO MANAGERS Talks Manager – [email protected] FM Manager – [email protected] ​ ​ Arts Talks Manager – [email protected] Digital Manager – [email protected] ​ ​ Local Talks Manager – [email protected] Radio Assistant – [email protected] ​ ​ TV Talks Manager – [email protected] Digital Assistant – [email protected] ​ ​

TV MUSIC & EVENTS TV & Screen Manager – [email protected] Music Manager – [email protected] ​ ​ 1700 Executive Producer – [email protected] Music Assistant – [email protected] ​ ​ 1700 Social Media Manager – Events Manager – [email protected] ​ [email protected]

ONLINE NEWS Online Manager – [email protected] Radio News Executive Producer – ​ Online Content Manager / Editor – [email protected] [email protected] Online News Coordinator – Reviews Coordinator – [email protected] [email protected] ​ Social Media Coordinator – [email protected]

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“With great power comes great responsibility” – Uncle Ben, Spider-Man (2002)

Introduction to Media Law: Broadcasting is a great privilege and opportunity for anyone involved. Broadcast carries with it a great power to influence our society and community.

It’s this power that makes it imperative that we act responsibly when accessing a broadcast medium. At SYN, this extends to all media platforms including: radio, podcasts, TV, online, web publishing, and social media.

Before we go any further – this is the ABSOLUTE key info you need to remember from this chapter! The Golden Rules of Media Law at SYN ​ ​ - Do not promote violence or brutality - Do not encourage the consumption of alcohol, drugs or tobacco - Do not publish anything that is deemed discriminatory on the basis of gender, race, sexuality, mental or physical ability *Rules that apply specifically to SYN’s Youth broadcast licence ​ − Do not publish anything that could harm someone’s reputation *Defamation ​

- Do not publish anything that could influence an ongoing court case *Contempt of Court

- Do not advertise ticket prices or points of sale *Sponsorship & Advertising ​

- Do not copy other people’s work at SYN - Do not use commercial music (includes professional sound effects) or film + audio grabs in your podcasts / online content *Plagiarism & Copyright ​

- YOU MUST give content / language / trigger warnings AND provide hotline numbers if your content could negatively impact the mental health of your listeners *Media Ethics ​ 9 | Page ​

The Australian Radio landscape: ​

There are 3 broad types of radio that exist, and each type has specific purpose in its approach to broadcasting.

1. Commercial Sector: eg. Fox, Nova, KIIS etc. ​ a. Funding: Advertising b. Goal: Profit-making through high listenership c. Broadcasting License: Purchased with $$$ bills from ACMA ​ ​

2. Public Sector: eg. ABC, SBS, triple J etc. ​ ​ a. Funding: Public broadcasting tax (aka: the working population) b. Goal: Representing the nation/state adequately c. Broadcasting License: Provided via ACMA (Australian Communications and Media ​ ​ Authority)

3. Community Sector: eg. 3MBS, 3RRR, PBS etc. ​ ​ ​ ​ a. Funding: Radiothon, government grants, donations b. Goal: Disaster relief, news source for community, specific license function d. Broadcasting License: Specific licenses depending on nature of station (e.g. 3MBS = fine music broadcasting license, JOY = LGBTIQ broadcasting license, 3MDR = rural community broadcasting license etc. Provided via ACMA (Australian Communications and ​ ​ Media Authority)

Broadcasting at SYN: SYN Media broadcasts on a Community Broadcasting license. With a Community Broadcasting license comes a number of responsibilities we have to follow.

This license is awarded by the Australian Communications and Media Authority (ACMA) who regulate the broadcast industry.

Ours is a “Youth” license. This means that SYN must demonstrate that it actively represents and makes content by and for young people.

This is why SYN restricts participation to those under the age of 26.

Image caption: a photo of a SYN Information session - a SYN staff member is standing in front of a large group of seated people.SYN posters line a wall.

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The Community Broadcasting Codes of Practice The Community Broadcasting Codes of Practice is the document that the ACMA uses to ensure Community Broadcasters are acting within the law. If we do not follow these codes the ACMA may apply penalties including significant fines or in the worst case scenario they may remove our license. ​

Community Broadcasters are united by six guiding principles. We will work to: - Promote harmony and diversity and contribute to an inclusive, cohesive and culturally diverse Australian community - Pursue the principles of democracy, access and equity, especially for people and issues not adequately represented in other media - Enhance the diversity of programming choices available to the public and present programs that expand the variety of viewpoints broadcast in Australia - Demonstrate independence in programming as well as in editorial and management decisions - *Support and develop local arts and music - Increase community involvement in broadcasting.

*Follow up information – playing music at SYN! ​ - As an Australian community broadcaster, SYN is required to play a minimum of 25% Australian-made music - At SYN we aim to play 40% and more Australian-made music - SYN is required to play a minimum of 50% music made by female-identifying artists

SYN is bound by the following broadcast principles in particular: you MUST NOT publish these things on any media platform!

➔ SYN will not publish anything deemed as racist, homophobic or discriminatory on the basis of gender, religion, age, nationality or physical/mental ability.

➔ SYN will not incite, encourage or present violence or brutality. ​

➔ SYN will not promote the use of drugs including alcohol, tobacco and illegal drugs.

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DEFAMATION “Do not publish anything that could harm someone’s reputation” ​

Basics: Defamation is the act of spreading false communication, either written or spoken, ​ ​ and as a result damages someone’s reputation.

Why is it important? : Defamation is one of the biggest legal issues for any media ​ organisation. Bad cases of defamation can cost media organisations millions of dollars. SYN is a not for profit organisation - a bad defamation case could potentially shut SYN down.

You can defame someone on any public medium – including television, radio, publication or the internet (including social media)

Who is responsible?: All parties are considered responsible ​ ➔ YOU for making the comment or allowing someone else’s comment to go to public ➔ GUESTS who you’ve invited to comment ➔ SYN as an organisation

Defences for defamation, 2 types: SPECIFIC DEFENCES BROAD DEFENCES - Consent - Honest Opinion / ‘Fair Comment’ - Innocent dissemination - Truth - Triviality - Privilege

Remember - INTENTIONS ARE IRRELEVANT! This will make life a lot easier!

When is a statement defamatory? Material is defamatory if what you say / write: ● injures the reputation of a person, a not for profit organisation, or company with fewer than 10 employees (the plaintiff) in the eyes of ordinary reasonable member of the society ● exposes the plaintiff to hatred, contempt or ridicule, and/or ● causes plaintiff to be shunned or avoided

Defamed persons or organisations need not prove adverse effects on their reputation, the court objectively assess what the ‘reasonable member of society’ would think. However these values change over time as community standards shift. In such cases if an allegation will damage the person’s reputation in the eyes of a section of society that is considered ‘substantial, intelligent, and reasonable’, this is enough to render it defamatory. (e.g. In the past it was considered defamatory to say a doctor carries out legal abortions, but no longer).

An easy way to think of this, is to think of reputation as a physical property.

All states and territories have uniform defamation legislation as of 1 January 2006. Under these new laws, any legal action must begin within 12 months of the date of media publication, and a successful defamation action can generally attract a maximum award of damages of $250,000.

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“No Fault” Defamation ​ ​ Individuals can also be defamed by mentioning something beyond their control, if doing so will ● cause them to be shunned or avoided; or ● exposes them to ridicule

Examples of this would be saying someone has an infectious disease or insolvent, or ​ ​ ​ ​ publishing nude photos of individuals who have not consented to being photographed nude.

Intention is Irrelevant It should be pretty obvious at this point that with defamation, perception always wins supersedes intentions. What listeners think you said or implied is the imputation or “sting” ​ ​ ​ of the particular broadcast. Always attempt to understand how your story could be seen in the viewpoint of your audience. When in doubt, always get someone to proofread it.

Defamatory imputations can occur in a few ways ● Natural and Ordinary Meaning o literal meaning on the face of words (e.g. Joe Bloggs is a child molester) o a meaning reasonably inferred by reading between the lines, colloquialism or double meanings (e.g. Joe Bloggs sure enjoys his children!) ● Special Knowledge o Words may carry additional meanings where some or all readers have ‘special knowledge’ (e.g. The Prime Minister Kevin Rudd is reported to be spending many evenings at 14 Cobden Street, Sunshine). This may seem innocent in nature, except some readers may know this is the address of a notorious crack den. ● Audience error o Unintended meanings may occur due to context such as juxtaposing sound, humor/satire, rumours/allegations, and misused jargons. o The court assumes that listeners hear the whole story and interpret what is shown in context, but even so beware of sensationalizing headlines that are designed to hook listeners but also lead to misleading impressions. ● Allegations and rumours o Using ‘allegedly’ or similar qualifications will NOT completely protect you from ​ ​ defamation suits o Allegedly is effective in reporting a charge or allegation that is yet to be ruled upon ▪ always make sure you report no more than what the police have released ▪ Assume innocence until proven guilty, as the court does this too ​ ● WRONG: Joe Bloggs clubbed a seal last weekend, the police have taken him into custody for questioning ● BETTER: It has been alleged that Joe Bloggs clubbed a seal last weekend. Police have taken him into custody for questioning. o You will need to defend the strongest imputation that comes out of from the ​ ​ publication ● Jargon o When using legal/technical terms always make sure you understand the effect of the term e.g. “facing charges” suggests that they are involved in criminal proceedings

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So how does defamation occur? 1. Media is published ​ a. ‘publication’ refers to where a statement is communicated to a third person i. the following are all viable ‘publications’: radio, tv broadcast, internet transmission, newspaper article, book, letter, email, cartoon, poster, advertisement, gesture. b. In order to sue for defamation they must first prove that defamatory material about them was communicated by someone to at least one other person ​ Aka person cannot sue where something nasty is said to them but no one else hears the particular remark 1. The publication contains defamatory material ​ 2. The material identifies a 3rd person, a not for profit organisation, or a company ​ with fewer than 10 employees.

Whilst a company with 10 or more employees may not be able to sue, an individual linked with this company is able to sue where that individual has been specifically identified and defamed.

Not named but identifiable from other information given, it is sufficient that ​ ​ pointers lead to identification by public or smaller groups. i.e.g. The last Prime Minister of Australia b. use of sound bites accompanying a broadcast “danger areas”. This refers to ​ ​ people heard in the soundbite being identifiable as the subject of allegations that are being aired i.e.g. sounds of sampled government individuals accompanying a story of money laundering might suggest that the government officials heard are themselves corrupt. b. Persons of the same name. Identification needs to be unambiguous, when ​ ​ giving details about a person charged with a crime or in court, give more details to avoid the risk of someone with the same name suing you 2. There is no legal defence available to all involved in publication ​ ​

A plaintiff (party who initiates lawsuit) has to prove that the first three elements are in existence. It is up to the defendant to establish any available defence, in other words the plaintiff does not have to prove that the defamatory statements aren’t true, it is up to the defendant to do so.

Anyone involved in the publication may be liable. (e.g.: The broadcasting organisation, the editor, producer, journalist, and the journalist’s source.)

A station that retransmits a defamatory publication can be sued along with the original ​ ​ broadcaster, even if it rebroadcasts live.

If an interviewee says something defamatory, all the above can be sued for reporting/allowing it, even if they do not agree to the defamatory comments.

Broadcasting is a privilege please do not bring down the organisation and the opportunities it allows others.

One way of avoiding identifying a particular individual is to refer to them as a large group of people. The larger the group, the less likely each person in the group is individually ​ identified.

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● E.g. Doctors in Melbourne overcharge is less risky than doctors in a clinic on Lygon Street, Carlton overcharge.

Even if clearly identified the following plaintiffs cannot sue for defamation ​ ​ ● companies with 10 or more employees without not for profit status ● governments and certain quasi government bodies (such as land councils) ● local councils ● unincorporated associations (societies and clubs) ● deceased persons (but be careful to not defame living friends/relatives/estates through association)

*~Individual members of all of the above organisations can still sue~*

Defences and making amends Media outlets can offer to make amends within 28 days of receiving defamation complaint. ​ ​ ● offer must include o reasonable correction of defamatory statement o payment for expenses incurred by plaintiff up to time of the offer ● If plaintiff accepts offer, matter ends there. If not, there may be a defence to the defamation action Broadcasting or publishing an apology cannot be used as an admission of liability. An apology may however help reduce the damages.

There are 3 specific and 3 broad categories for defence to defamation. ​ ​

Specific

1. Consent ​ If a person consents to defamatory material and imputation about them being published, the broadcaster will have a complete defence against future defamation action.

E.g.: Allowing themselves to be filmed does not equate to allowing footage to be used in different/defamatory context.

A written release, signed by person and covering all bases is the best protection.

2. Innocent Dissemination ​ An example of this is when newsagents, librarians, internet service providers are involved in the broadcasting of defamatory material who did not and could not reasonably have known that the material was defamatory. However all other parties involved are still potentially liable.

3. Triviality ​ For this to succeed as a defence, the defendant must prove that it is unlikely that the plaintiff would suffer any harm or monetary loss as a result of the defamatory media publication.

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Broad

1. Truth ​ Defence based on truth of material being published. Material in media publication needs to be substantially true and in public interest or benefits ​ ​ the public in telling the story. “Contextual Truth” means that because an imputation that the plaintiff did not complain about ​ ​ can be shown to be true, no further harm can be occasioned by imputations that the plaintiff did ​ complain about.

It is necessary to prove in court that every defamatory imputation in the publication is true. Sometimes even if one fact in story is found to be false, the defence fails. Burden of proof is on the journalist and media organisation, the defamed person does not have to prove they are false.

Proving the facts in the story may be very different task to proving the imputations. The ​ court requires evidence, not hearsay or second hand evidence.

2. Privilege: All the below privileges do not app​ ly where publisher was acting with malice.

In certain situations it is important for people to speak out, even if the speaker cannot prove the truth of what they are saying. Such situations are protected by what is known as privilege. ​ ​

Absolute Privilege Persons who speak in Federal, State, and Territory parliaments, courts, inquiries, and certain tribunals have complete immunity from laws of defamation as long as they are in the above stated locations. Even if this is malicious, or incorrect.

E.g.: A witness giving evidence in a court case may be afraid of being sued for defamation thus reluctant to speak freely, depriving the court of the benefit of the whole story.

Absolute privilege is only relevant to when and where things are said in a particular form, thus it does not cover reporting or republication. ​

Qualified Privilege The media relies on qualified privilege extensively when reporting on public documents, and proceedings of public interests (court reporting, sports journalism, trade associations).

Reports need to be fair and accurate, and not motivated by improper purpose. ​ ​ A good way to ensure this, is to apply a “what, when, where, who, what next” approach. ​ ​ what type of proceedings/case The RSPCA into the seal clubbing of real estate developer ​ is about Joe Bloggs ... when the case was heard Last week ... ​ where the case was heard In the Supreme Court of Victoria ... ​

16 | Page ​ who the proceedings were The committal hearing of Joe Bloggs continued today in the ​ involved with, who is Supreme Court of Victoria. The prosecutor told the court he ​ ​ accused/defending charges would call 10 witnesses who identified him at the scene of who made particular the seal clubbing on the night in question ... ​ statements what next? The case is postponed to next week ...

Reports need to be 1. accurate and clear 2. not sensationalised and unbiased 3. free of comment or interpretation

Common Law Qualified Privilege

This is where a person has moral, social, or legal duty to communication potentially defamatory material to another person, who has a reciprocal duty to receive it.

E.g.: Reporting your neighbour to the police after hearing screams, shattering glass from their house. Even if you were mistaken.

The ‘qualification’ is that the communication must be for a proper purpose. In the above example, lying to the police to harass your neighbor would leave you liable for defamation suits amongst other things.

This protection is not generally available to media organisations, because it is not regarded as having a duty to report to the public. There are 2 exceptions to this.

1. Platform to reply to attack Where media gives platform to a person to respond to a public attack, there may be a defence. The media organisation is no longer protected if the person launches a further attack.

2. Political discussion Media has common law qualified privilege to discuss government and political matters as the high court believes that each member of the Australian community has an interest in disseminating and receiving information, opinions, and arguments concerning governments and political matters that affect the people of Australia. As long as the action of the publisher was reasonable.

What constitutes ‘Reasonable’? ● Taking reasonable steps to verify accuracy of material ● Having a reasonable belief in the truth of the material ● Not believing the imputations to be untrue ● Seeking out and publishing a response from the person defamed ● Reasonableness of conduct cannot be evaluated in isolation from gravity of imputation ● Shortness of time to establish relevant facts does not justify the publication of defamatory untrue statements

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Statutory Qualified Privilege (duty and interest privilege at common law)

This applies if: ● recipient has interest in having information on some subject ● journalist acted reasonably ​

The court determines whether defamatory conduct was reasonable and will consider: ​ ​ ● whether story is of public concern/interest ● how it relates to activities of persona being written about ● how serious the defamatory imputations are ● whether it distinguishes between suspicions, allegations, and proven facts ● whether expeditious publication was necessary ● the nature of the business environment in which the media outlet operates ● the source of information and their integrity ● whether there has been a reasonable attempt to obtain and publish a response ● whether any other steps were taken to very the information published

Official Notices E.g.: The police may request media outlets to broadcast a detailed description of a person they are seeking to question.

The media is protected from defamation action if broadcasting in accordance to official request, however the story must go no further than the actual material provided.

3. Honest Opinion / Fair Comment ​ This applies to commentary, analysis, reviews, and satire. It is necessary to defend the objective imputations, not just what was subjectively intended by publisher. ● Defamatory statements must be clearly identifiable as opinions and not factual ​ ​ ​ statements. ● Opinions must be based on facts which are provable. ​ ​ ● Facts must be set out in story or be well known ​ ​ ​ ● Opinion must be honestly held ​ ● Comment must be on a matter of public interest ​

Non-Defamation Tips

● When publishing, ensure sources can personally verify claims being made with hard evidence, find out if sources re willing to be called to testify beforehand ● Keep copies of research and original documents which support the story. People do not always sue immediately and have 12 months from date of publications to issue ​ ​ proceedings. ● Be careful about relying heavily on sources with vested interest in a case, always aim to get a range of perspectives from different angles. ● Try to get a response from person who is subject of defamatory material. They may deny the story but they may also present an alternative set of facts in their defence which will provide a better position to assess your defence, or even create a more well-rounded story.

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● Never rely on what someone else said in court or parliament (or other locations of absolute privilege). Check transcripts or speak to court officers. ● Make sure to check with court that no suppression/gag orders have been made.

Court Reporting

Australia’s court system recognises that the media plays an important role in communicating this information to the public. However media also has the power to influence public perceptions and can run into conflict with the judicial process by creating the potential for trial by media. ​

To ensure that witnesses and the jury are not influenced by the media, restrictions are placed on what can be reported about court cases.

These restrictions are aimed at protecting the legal rights of people involved in these cases, and ensuring a fair trial/presumption of innocence.

When covering information about people who are either before or likely to be before the courts, it is crucial to check details with court staff and Director of Public Prosecutions, but also to seek legal advice about the report.

Civil Proceedings From the time a writ, a statement of claim or summons is issued until the appeal process is exhausted.

Criminal Proceedings When a summons or warrant for arrest is issued, or a person is arrested or charged, until the person is acquitted or their appeal processes are exhausted. Proceedings are NOT pending just because police inquiries have commenced.

Civil Cases Disputes between individuals and companies. (e.g. contract claims, negligence, discrimination claims, defamation cases). Outcome may be payment from one side other, return of property, or inhibitory order (restraining orders).

Criminal Cases Offence against society, and prosecutions are at a state or Commonwealth level. The punishment can be much more serious from imprisonment, fines, to community services. Fines are paid to state, not victims (even though victims can sometimes separately claim compensation).

Reporting Restrictions

1. Sub judice contempt: publications which interfere with a fair trial ​ a. this restricts reporting of material which may prejudice the conduct or outcome of court proceedings b. juries must make decisions only on what they have heard and seen in courtroom rather than in media commentary c. witnesses are able to testify on the basis of what they known from their own experience than what has been suggested in media

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2. Suppression orders: court can order that certain information about a case should not ​ be published 3. Protected People: children sexual assault victims, and other groups of people who ​ come into contact with court system are protected from identification 4. Scandalising the court: publications which bring court system into disrepute ​ 5. Defamation: even if something is written about a court case is not in contempt or breach ​ of a restriction, it may still be defamatory

CONTEMPT OF COURT “Do not broadcast anything that could influence an ongoing court case” ​

Basics: contempt of court is publishing material that could interfere with the administration of ​ justice.

Keep in mind that, a person is innocent until proven guilty – only a judge in a court of law can ​ ​ determine a person’s guilt or innocence

Why is this important?: You could face potential jail time if found in contempt of court. ​ ​ ​

Ask yourself: could this information affect a court case in any way?

What to look out for:

1. Alarm Bells: Material in story that has potential to prejudice an upcoming/ongoing case. ​

● Prior convictions, charges, and confessions. (are they necessary to publish?)

● Evidence and witnesses (witnesses should not feel that they are bound to stick to story they are told by media)

● Expressions of support for the accused, this could sway public opinion. E.g.: This is a miscarriage of justice, they’ll definitely get off.

● Character of the accused / another party Avoid information which may sway sympathy of potential jurors E.g.: Describing them as “honest and hardworking” etc.

● Photographs, drawings, or sound bites of the accused As defence lawyers will try to show that the witness is confused because of media coverage of the accused. So block out / pixelate images, alter sound bites of acused person’s voice.

● Assertions of guilt / innocence: trial by media ​ Jury should be protected from public pressure to reach a particular conclusion, therefore the media must not assume the court’s role by attempting to decide, or offer view on, the issues which the court must judge. Reports should not assess merits, comment or make statements that someone is at fault. Ensure overall story does not suggest guilt or innocence

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2. Balancing Factors: The practical extent to which it is safe to broadcast the material ​ ​ ​

● Temporal length prior to trial: The longer the delay before trial, the less likely potential jurors will be prejudiced

● Nature and extent of publication The wider the audience, the greater the chance of prejudicing a trial.

● Authority/status of person making the statement The more senior the person, the greater the potential prejudice. E.g.: Prominent politicians or TV commentators

● Place of publication and court proceedings E.g.: Broadcasting in states other than where the court proceedings are heard there may be less risk of reaching and influence potential jurors. This is less relevant now due to internet streaming, social media reach etc.

● Broadcasts about matters of public concern Where prejudicial material is an “incidental by-product” or about matters of public interest, courts may find there is no contempt. The importance of public discussion may outweigh individual’s right to a fair trial. E.g: A documentary about the misdirection of the war on drugs could prejudice a trial of an ice addict charged with grand theft auto. However as long as documentary is not targeted of that individual, it may be argued that the public interest is strong it outweighs the risk of a prejudiced trial.

What the media CAN report prior to or during a trial ​ ​

1. Bare facts ● Anything which does not tend to prejudice the trial ● General details that are not suppressed or restricted ● Facts that will not be contested at trial

2. Fair and accurate reports of proceedings in open court (once case moves into courtroom) ● Media plays important role in communicating info about court proceedings to community at large ● Follow what, when, where, who, what next rule ​ ​ ● Avoid paraphrasing, witty remarks, comments, or descriptions. Try to avoid adjectives and adverb in general ● Fully describe actual charge/s and avoid colloquialisms E.g.: Manslaughter VS. Murder ● Proceedings must occur in open court, there is no defence for reporting material from a voir dire, closed court, or where information is suppressed or contested. ● Report must be contemporaneous (published fairly soon after court hearing). Material aired at a bail hearing or committal must not be re-published closer to trial ● Report must be fair and accurate summary of what happened, not sensationalised or biased. IF case is adjourned before a party answers accusations, this should be made clear in publication/broadcast.

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Trial proceedings Media Reporting

Bail proceedings Media may fairly report on day of bail Decide whether accused should be jailed proceedings or the following day. Be very clear until their trial. Prosecution may give that broadcast is about a bail hearing. evidence on character, likelihood of absconding, and prior convictions. * This does not apply in Tasmania.

Committal hearings Media must make clear that person will face trial Decides if there is enough evidence to at later date. Story should be broadcast that convict at trial. This is not actual trial. night or the next day. Prejudicial material must not be repeated closer to actual trial.

Trials Crucial that material mentioned in bail or Determines guilt/innocence of the accused committal hearings are not repeated. Listeners based on whether prosecution can prove and jurors who hear report of court proceedings its case. must hear no more than what was presented at trial

Penalty Hearings Prior convictions and other prejudicial material Deals with sentencing, which is usually may be presented and can be reported. done separately by judge. Hearing will look at how the accused should be punished.

Appeals It is possible to report freely as appeal is heard Looks at whether trial judge made an error by other judges. However if case is sent for of law. re-trial this is different.

Retrials The same reporting restrictions apply in retrials Same reporting restrictions apply in retrial as in original trials. Do not report it as a retrial ​ as in the original trial. unless it has been mentioned in court in the presence of the new jury

The law also protects the privacy of certain groups of people who come into contact with the court system. The level of protection varies significantly between states and territories.

Protected People

1. Alleged victims and people accused of 4. Children sexual offences

2. People involved in Family Court and 5. Jurors adoption cases

3. people with “old” convictions

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Sexual Assault To protect people who have already been traumatised, the law generally prohibits the identification of sexual assault victims. This means name, address, occupation, or any other identifying information cannot be used when reporting on court proceedings. Each state and territory in Australia has its own set of conditions for allowing publication with consent. Be extra careful when reporting on children as there may be additional restrictions beyond receiving the parent’s consent.

For obvious reasons we will only cover Victoria.

In Victoria the sexual assault complainant cannot be identified unless: ​ ​ ● court gives permission, or ● if proceedings are not pending — at time of publication there was no complaint to the police about the alleged assault or complainant consented to publication

Definition of Child Can you identify Is the Can you report child involved in media proceedings court entitled to (subject to rules proceedings? be in court? regarding identification of child)?

If charged with an offence, No, unless court Yes, unless Yes, unless court 10-17 at the time of offence consents. court orders orders otherwise (but no older than 18 when otherwise brought before court). Otherwise under 17 (or under 18 if subject to a child protection order).

Family Courts & Adoption Family courts are open to media (unless court orders otherwise). Reporters must not ​ broadcast an account of the case which identifies any persons associated. This includes: 1. name, title, pseudonym, or alias 2. address

3. physical appearance 4. job / profession

5. person’s relationship with identified others 6. person’s recreational, religious, or political beliefs and interests

7. property interests 8. identifiable voice of person

9. photographs or film footage of the person

In Victoria, with adoption cases, the child or parties cannot be identified while proceedings ​ ​ are current, unless court and party have provided identified consent (If party is under 18 then parent or legal guardian).

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Jurors They may seem like good sources of information but are protected from media attention by restrictions. It is unlawful to identify juror without consent in most cases, but the media may not seek out information from a juror or publish juror deliberations. This may be found in contempt of court.

People with ‘old’ convictions There are restrictions in most states about what can be reported in relation to a person’s criminal past. This is so people who have paid their debts to society can put their indiscretions behind them. Thus it is an offence to reveal a person’s prior convictions after a specified period of time unless they have given their consent. Currently in Victoria there is no legislation but it is expected to introduce a possible 5 year period for juvenile and 10 year period for adults. So if they commit another offence after three years, the clock goes back to the beginning.

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SPONSORSHIP & ADVERTISING

“Do not advertise ticket prices or points of sale” ​ Basics: Advertising is strictly prohibited at SYN. We are a not for profit organisation ​ operating under a Community Broadcasting license.

Why is it important?: Because of the ban on advertising, presenters on Community Radio ​ have to be especially careful about not accidentally advertising or promoting a particular service or product.

Plus, being not for profit is an important part of our identity and operations. We don’t want to be perceived as motivated by commercial interests

Advertising is strictly prohibited on SYN Radio. Instead, SYN is able to sell “sponsorship” with some strict rules: - SYN may broadcast no more than 5 minutes of sponsorship per hour. - Sponsors must be clearly identified in the sponsorship announcement.

Only SYN management may coordinate sponsorship. Even if no money changes hands we can still be found in breach of the advertising ban.

The key way to avoid breaching the advertising ban is to do the following: - Provide balance in your content or reporting. Don’t focus too much one product, company or service. - Use generic names when presenting (e.g.: soda instead of pepsi) - Don’t mention prices or points of sale. Example: It’s fine to say a video game has ​ been released, but don’t direct people specifically towards a store or talk about their prices. - Post the information on your show’s page on our website. Our website doesn’t have the same restrictions, so you can refer people to our site instead.

You should declare any commercial conflicts of interest to SYN staff. Example: You want ​ ​ ​ to host a football show, but you work for your Uncle’s football merchandise shop.

This includes but is not limited to overt and guerrilla marketing of ● Commercial products ● Commercial services ● Ticket prices ● Religious aligned parties / organisations ● Political aligned parties / organisations

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PLAGIARISM & COPYRIGHT

“Do not copy other people’s work at SYN” & “Do not use commercial music online” ​

Basics: In Australia you automatically receive copyright for your original work. You do not ​ need to register your original work to be protected by copyright law.

Why is this important?: Copyright law is mostly about respect. Respect for you, respect for ​ ​ SYN and respect for other people’s work. You must obtain permission before using someone else’s work or for using any SYN intellectual or physical property for non SYN purposes.

Similar to when you write an essay, you need to credit the original owner of an idea when publishing anything at SYN. You can paraphrase an idea into your own words, quote or write your own material

At SYN, there are certain things you do not need permission to play on live radio or TV:

➔ Commercial music - SYN pays a license each year to be able to play commercial music. “Commercial music” is defined as any music that is public and legally obtainable. ➔ Professional sound effects - treated the same as commercial music. ➔ Film or audio grabs to illustrate a review or story (Make sure you credit the source).

HOWEVER, you cannot use these sources online, ie. Uploading your show to the SYN website or to Omny. SYN’s licence is only covered for broadcast. You must have permission for: ➔ Film grabs if it’s not for a review. ➔ Song parodies. ➔ Unreleased musical material.

You can use royalty-free music / sound effects on both radio & online. (just make sure you double check the creative commons usage for the track you want to use → check out ​ ​ freemusicarchive.org for inspiration!

Copyright ~ in more depth:

This is a bundle of exclusive rights in an original creative work that enables the owner to control the use of that work and therefore exploits its commercial potential.

Copyright protection does not need to be obtained. It is automatic and free. “©” followed by name and year of creation is a useful reminder but in Australia it is not necessary to use it.

So what does it protect?

Copyright is intended to protect the expression as opposed to information, ideas, styles, or ​ ​ techniques contained within such an expression. So this means that all of that can be repurposed as long as there has been no substantial appropriation of the original expression of such ideas and information.

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Copyright doesn’t protect ideas or concepts, only the form of the idea, not the information ​ ​ itself. Ideas need to be free for usage otherwise it impedes invention and creation.

The Copyright Act divides material into two categories: ​

Works Subject matter other than works

Copyright owned by author or creator Copyright owned by maker

These are the building blocks for creative These are a combination of two or more endeavors, and incorporate a significant proportion of the building blocks which rewards the of material relied upon by journalists, including entrepreneur who invests in the creative press articles, reports, scripts, and interviews. process.

Artistic work (painting, sculpture, engraving, Sound and TV broadcasts photograph, maps, models of buildings, buildings, craftwork)

Literary work (books, articles, poems, lyrics, Cinematographic film letters, instruction manuals, compilation tables, computer programs)

Musical work (instrumental music, arrangements) Sound recordings

Dramatic work (plays, film, radio and TV scripts, Published Editions treatments, adaptations)

The copyright ownership may vary with journalists depending on contracts and express agreements between parties. E.g.: With freelance journalists, if material is commissioned by media organisations, thean the publisher will be entitled to use it for the purpose it was commissioned for.

Each particular ‘works’ and ‘subject matter other than works’ have different list of exclusive rights. The exclusive rights of the copyright owner in an article is to: ● reproduce the article (digitalize, photocopy) ● publish the article ● communicate the article to the public (internet, downloadable content, send via email) ● make an adaptation of the article (turn into screenplay, parody, make translation of article into another language)

Infringement occurs when someone, other than copyright owner does or authorises someone to do any of the above.

In order for a claim for copyright infringement to succeed, the second work must be copied from the first. This requires that there must be a link between the first work with the creation of the second. If not, even when similarity is substantial it may be difficult to make a case.

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When can copyright material be used?

Once copyright has expired (varying 70 years after death of creator), the work is now of the public domain and is free to use. Other circumstances include: ​ ● material was created by your employee during their course of employment ● copyright in work has been transferred / assigned to you, and you have permission to use the material in that particular way

● Fair Dealing — using material for the purpose of ​ ● research / study This will only apply when the use is legitimate. ● criticism / review Australia does not automatically regard parody as ● reporting the news criticism or review. ● professional advice

● judicial proceedings

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MEDIA ETHICS “YOU MUST give content / language / trigger warnings AND provide hotline numbers if your content could negatively impact the mental health of your listeners”

Basics: Media ethics are the values you promote and follow when you broadcast. They might ​ not be prescribed in the law, but they are part of your responsibility as a broadcaster.

Why is this important?: You are making an ethical choice every time you go to air. You ​ should always consider the impact your content may have on the audience.

A few ethical considerations:

● Is your program content appropriate for the time slot ? ​ ​ o If your show is about alien sex fan-fiction perhaps this is an evening timeslot or never kind of show. o In breakfast shows, perhaps use less crude language, and always give warnings ahead of music with foul language ● Is your content well balanced? Are you providing context? ​ ​ o If you’re expressing different viewpoints, are they proportionately done? Should the 2% of scientists who don’t believe in climate change get as much airtime as the 98% who do? o If you’re playing music from Die Antwoord which can be quite misogynistic, provide cultural context, not just a warning. Tell the audience why they are the way they are. ● Is your goal to influence or inform your audience? o If you’re wondering, the answer is to inform. ● Could your content potentially negatively affect any audience members? o It is important to be considerate and inclusive of all different individuals with their own individual dispositions.

Broadcasters have an ethical responsibility to consider the mental health of the audience and how they can be affected by the broadcast. In all forms of broadcast media, they are obligated to provide information about mental health services whenever content can be of sensitive nature. ***If you ever reference mental health conditions or suicide you MUST read out mental health services.***

Lifeline Beyond Blue http://lifeline.org.au http://beyondblue.org.au 13 11 14 1300 22 4636

National Sexual Assault, Domestic Kids Help Line Violence Counselling Service http://kidshelpline.com.au/ https://www.1800respect.org.au/ 1800 55 1800 1800 737 732

Headspace Frontyard Youth Services http://headspace.org.au/ [email protected] 1800 650 890 03 9611 2411

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The language you use is also extremely important. Being politically correct can be difficult because it accompanies the fluidity of language. However, it is imperative that you stay up to date with this.

E.g.: To take your own life, or to complete suicide (after multiple attempts) are the correct terms to use as opposed to ‘commit suicide’ which carries the connotation of crime. ‘Successfully committed suicide’ is even worse, as it encourages the activity. Neutrality is key.

If you are ever concerned about the potential impact your content may have on the audience, contact SYN staff who can assist.

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Audio content, includes podcasts and radio, is a conversational medium. It’s a ​ ​ conversation between you and your audience. You can talk about ANYTHING!

So…how do I create a good conversation? With good content!

Types of Content

Basic Talk breaks, the most basic level of radio as a conversation. Content This level of content is the easiest to pull off but may also be the most appropriate for content such as album reviews, gig guides, comedy sketches.

Good Getting an expert’s opinion, interviews with insiders. This level of content Content is useful when exploring sensitive topics. (e.g. Interviewing a psychiatrist when discussing mental health).

Excellent Audio packages, including vox pops, interviews, illustrative sound beds. Content This level of content is what you want to aim for when podcasting or creating pre-recorded content.

Enjoyable audio content is rarely thought up on-the-spot. Even the most ‘relaxed’ sounding show has usually been meticulously planned. (Radio or Podcast presenters can sound ​ relaxed because they know their material!) ​ ​ Your content should be well researched, well planned and well prepared. Do your research ​ and know your topic. ​

Content comes in many forms. Excellent content is dynamic, engaging and makes the audience feel included in the conversation. Always remember your audience and why your content is worth their time.

Tips to remember: ​ ™ Content Checklist ​ ● What is the goal of your show? ● Is your show sustainable? (can I ​ ​ ​ ​ ● Who is your target audience? keep this up?) ​ ​ ● What is your content? ● What time slot is appropriate for ​ ​ ● Are you aiming to inform or your show idea? ​ ​ influence your audience? ​ 31 | Page ​

™ Lack of visual elements in the audio medium is an advantage not a limitation! ​ ​ ● Let the listeners create their own visual images as they listen to you. ● Be descriptive with your storytelling and sounds to help them along! ● Two listeners can listen to the same audio piece and create completely different visual representations, and THAT IS THE BEAUTY OF IT. ​ ™ Creativity is best fostered within constraints ​ ​ ● As much as it sounds good to have all the freedom in the world when sculpting your shows, that can also be extremely daunting. ● It’s highly recommended you have regular segments each week (e.g. for a cooking ​ ​ show, “Outrageous Frankenfood Of The Week!” or “Healthy recipe in 10 minutes or less”). ● That way sourcing content becomes more like filling out the blanks and much less intimidating than starting from a blank sheet!

RADIO STRUCTURE

Now that you have ideas for what to talk about, let’s go through some of the basics of ​ ​ presenting your ideas. Here is the standard structure of a radio program: ​

Intro: The introduction is your first impression to the listener. It’s your best opportunity to ​ hook them in and keep them listening. A good introduction sets the tone for your show and teases the listener - enticing them to stay tuned because your content is going to be so good!

IDs: IDs are your identifiers. They identify the presenter, the radio station and the program. ​ It might sound repetitive to you, but you must do your IDs every time you talk.

Segments: Your show is broken up into “segments” - each segment is a different topic or ​ piece of content. Segments can be:

Talk break - This is the opportunity for you to speak directly to the listener. Tell them ​ why the track you just played is so great. Share a story. Inform your audience. Teach ​ them something new.

Interview - Interviews allow you to share someone else’s story or get an expert ​ opinion. Interviews are a great way to share perspectives outside of your own and a common element of good radio shows.

Package - A package is a pre-recorded piece of audio that incorporates a variety of ​ elements. It might include a mix of voice over, interviews, music and vox pops.

Front / Back Announcing: Out of respect for the music you must announce all of the songs ​ ​ ​ you’ve just played. That’s the artist and the music track title. Don’t make listeners wait too ​ long to hear the name of that awesome song!

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Outro: At the end of your show, give a quick wrap up about what you covered on your show, ​ plug your show’s social media accounts, and thank the audience! You want your audience to continue listening to your show in the future. And, if you are organised, you can even plug the content on next week’s show.

When you're broadcasting, It’s important to promote other shows at SYN. In the last couple of minutes of your show, you could have one of the presenters of the next show to join you in the studio to talk about their show.

Intro (30 secs ~ 1 minute)

Timecheck e.g. Good evening, It’s a rainy 6PM here in Melbourne…. ​ 3ID’s (presenter name(s), show name, station name) ​ e.g. I’m Greg and you’re listening to Jamaican Slam Poetry here on Radio Fodder. ​ ​ ​ ​ ​ ​ Signposting (what’s coming up in today’s show?) ​ e.g. For the next hour, I’ll be sharing with you some of my favorite contemporary Jamaican poets and their best known works.

Front announce e.g. Here’s a track that always gets me in the mood, we’ve got Them Changes by ​ ​ Thundercat

~ music ~

Segment (3 - 7 minutes)

Back announce e.g. Thundercat with Them Changes off his 2015 album Where The Giants Roam ​ ​ ​ ​ ​ 3ID’s

Content

Front announce

~ music ~

Outro (30 secs ~ 1 minute)

Back announce

3ID’s

Farewell (plug social media? cross promo with next show? etc.) ​ e.g. That’s all from me today, I’ll catch you next week on Jamaican Slam Poetry here on Radio Fodder. Meanwhile, follow us @JPSlam on twitter and we’ll keep in touch throughout the week! Coming up next we’ve got Christine from the weekly film review bringing us up to date with the newest box office releases, stay tuned!

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In brief, your radio structure should look like:

Intro → Song → Segment → Song → Segment → Song → Segment …. Song → Outro.

Running sheet

Your running sheet and scripts are like your road map. Even if you know the way, they’re useful to have just in case you get lost along the way. You should be able to glance at your running sheet and see what segment / song is coming up next.

When planning a radio show, you should plan so that anyone would be able to pick up the show and do it for you.

If you came down with a last minute illness a fellow broadcaster should be able to pick up your running sheet, scripts and CDs and do a stellar job of your show.

Planning and preparation is often the difference between good radio and excellent radio.

You can print blank running sheets via the SYN website → http://syn.org.au/members/volunteer-resources

Image caption: An example runsheet for music radio show - columns left to right read: Clock Time, Source, Track, Item (Song titles, interviews, packages, talk breaks, etc), Duration, Notes

Timing It’s a common courtesy to your fellow broadcasters to start and finish your program on time. ​ ​ The easiest way to achieve this is to plan your music and segments well before you enter ​ the studio.

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You should always finish your program with a music track of at least 3 minutes ​ minimum to allow the next broadcasters time to settle into the studio. You should time the ​ track to finish at your program end time.

A good broadcaster is able to adjust to changing circumstances. If a segment goes longer or shorter than you expect, adapt by playing a shorter/longer song instead or making adjustments to the running sheet.

PRESENTING The great thing about community media is that our audience tune in to hear and watch real people with real voices. You aren’t expected to sound like what you might hear on commercial radio or the ABC. The most important thing is that you relax and be yourself ​

With practice you will “find your voice”. The best way to improve your radio presentation is to record your work and listen back on a regular basis. It might feel weird at first, but after a while you’ll learn to love it. We promise.

A few key tips when you present: - Open your mouth. Mumbling sounds terrible - try to articulate your words as clearly as possible. - Slow down. Broadcasting isn’t a race. Give yourself enough time to breathe and pause where necessary. - If you make a mistake don’t draw attention to it. Unless you’ve made - a major factual error - don’t apologise. It’s unnecessary and most listeners probably didn’t even notice - Provide the listener with context and doesn’t assume knowledge - you want to include the listener in the conversation ​ - Plan for things not to go to plan. A good presenter is adaptable and always has a backup plan.

Writing for Radio Your script should be in and use bolding, italics or underlining ​ ​large, clear fonts ​ ​ ​ ​ ​ when emphasis is necessary. ​

Spell out hard to say words as they sound (phonetically) instead of how they are spelt.

Don’t write like you are writing an essay. Write for your ears.

The best way to test a script is to read it out aloud. If your sentences don’t roll off the ​ ​ tongue naturally, you need to rescript. Practice and revision is the key.

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Interviews

Interviewing is an important skill for any broadcaster. Interviews usually occur for one or more of the following reasons: ● Promotion of an artist/event or new release book/album/film ● Consultation with an expert (A plague of toads has taken over Melbourne - you talk to a toad expert to find out why) ● To add an outside voice or perspective to the program.

Here are some key steps to a top interview:

Research: Know your interviewee and what it is you’re focusing on. ​ Listen to prior interviews of your interviewee, or maybe catch up with them over the phone first. Do they know their subject well? Are they a good talker/storyteller? Do they talk for the layman or will you have to clarify for the listeners? If the answer is yes for these questions, then book them in! - Using social media to find extremely personal information about them could make for quirky questions! - Are you repeating questions that have been asked before? Listening to previous interviews is the only way to find out!

Angle: Work out how you’re going to tackle the conversation. You might frame it as an open ​ discussion, or hone in on a specific point that you and the audience would find particularly interesting. WHY are you doing this interview? What exactly is it you want to know from the person you’re interviewing? Why are they the right candidate? WHy should the listener care?

Preparation: After your research you’ll be armed with your extensive knowledge of the ​ interviewee and the topic of the conversation. Prepare a script with a written introduction, 4-8 questions pre-prepared and a written conclusion to the interview. This is called an interview ​ brief. The introduction is important, it should be accurate but also engaging to hook the listener and tell them WHY they should listen to your interview

During the interview: Treat it like a conversation. Don’t ask your questions like a robot - if ​ they bring up an interesting point you think is worth exploring further you don’t have to follow your interview brief.

Writing for Interviews ● Open-ended questions tend to triumph close-ended questions ​ ​ ​

Open-Ended Question Close-Ended Question

Tell us about your relationship with your Do you get on well with your boss? boss.

What do you think about the two recently Which album did you like better? released albums?

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Leading questions are questions that subtly prompt interviewees to answer in a particular ​ way or connotation. These tend to be generally undesirable as they result in slanted responses.

Do you get on well with your boss? → Tell me about your relationship with your boss.

The first subtly raises the prospect that maybe the interviewee does not get on with their boss, whereas the latter does not seek judgement and there is less implication that something may be wrong with their relationship.

IN THE STUDIO

TECHNICAL OPERATION

In radio, the person who presses the buttons is known as the panel operator. Any good ​ ​ radio presenter should have basic panel operating technique.The panel operator’s job is to ensure that sound flows smoothly, with minimal interruption. A good panel operator switches seamlessly between multiple sources of audio.

As the panel operator you should be focused, attentive and aware in the studio ​ ​ environment.

Image caption: a photo of a radio panel with a hand sliding a fader on the panel.

There are a few basics tips that will serve you well in any studio environment: ​ ​

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● Headphones You should ALWAYS wear headphones in the studio. There are no exceptions to this. When you start producing radio, it’s a good idea to purchase a set of headphones that feel comfortable to you. Headphones are vital because you need to hear your broadcast.

Image caption: a photo of a young woman in a radio studio - she is wearing headphones and is speaking into a microphone

● Levels Levels are a visual representation of your sound. A good panel operator listens AND watches the sound they are producing.

There is one key rule with watching levels: Red is bad. ​ ​

Image caption: a photo of levels on a radio panel. ​ There are 2 coloured horizontal bars which go from green - orange - redto red ​

● Monitoring The panel operator must always be monitoring the sound. There are two main ways to do ​ ​ this: 1. LOOK at the panel levels - Too much red means your broadcast is distorting. ​ 2. LISTEN to the sound in your headphones - Distortion happens when the sound is too ​ loud for the equipment to handle. It’s like turning up the car speakers too loud. It sounds bad! ● Mixing “But how do I control the sound?” You control the sound by mixing. ​

Mixing is done with the faders. Each fader controls a different ​ ​ source of sound. The higher you place a fader, the louder that source of sound is - the lower you place a fader, the quieter that source of sound is.

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PANEL OPERATION In order to eliminate dead air while broadcasting, SYN volunteers use the following techniques when operating microphones:

[Approximately 1 minute before song ends]

1) Bring faders up for appropriate microphones - Do NOT turn on.

2) Announce “MICS ON” to all present in studio and press the “ON” buttons while music is still loud and prominent.

3) Start talking as the music reaches its natural fade/cut OR gently bring the “CD” fader down as you begin to talk.

4) Talk as necessary - once talking is complete turn on your next source.

5) Listen and watch to ensure your next source has played correctly.

6) Turn off your microphones and announce “MICS OFF” to all present in studio

Other important things to think about when you are paneling: ​

Panelling technique - ‘Banish the studio’ - The studio should not exist in the mind of the ​ listener. It should sound ​ like the presenter of the show is sitting next to the listener having a conversation. “Banish the studio” means to eliminate all unnecessary sound in studio - banging the desks, ruffling papers, etc.

Eliminate “dead air” - ‘Dead air’ - is when there is an extended period of silence on the ​ radio station. This is to be avoided at all costs. If silence goes for too long our “back up CD” will start playing from our transmitter. This costs SYN money and sounds terrible.

Always think ahead - You should have the next source of sound ready to play well before ​ you need it. Panel operation is about good planning and forward thinking. You should always have a running sheet and clear scripts for your program. Always prepare a backup - Anything can go wrong. Always prepare a backup in case they ​ do. This may be another CD or a sponsorship announcement lined up on the computer. Cueing - Cueing - is the process of listening/previewing a source of sound before it goes to ​ air. This is important to ensure you have prepared the correct song/know what the start of a song sounds like

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There are a few key sources of sound that almost every radio station relies upon: ​ ​

MICROPHONES Microphones are the key tool of radio production. They allow the listener to hear your voice. You MUST be close to the microphone and directly in front. A good distance from the microphone is the length of your palm.

CDs CDs still provide one of the most reliable ways to broadcast music. CDs are still heavily used in the SYN studio.

If you are burning CDs for broadcast you should burn them at slow speeds and ensure your audio is high quality audio.

COMPUTER Radio stations use what is called “playout” software. Playout software is used to play theme music, sponsorship announcements, IDs and pre-prepared material for broadcast. The software that SYN uses is called Jazler.

TELEPHONE Interviews are a common part of most radio stations. Unfortunately guests can’t always join you in the studio. This is where the telephone comes into play.

IMPORTANT - SYN does not do talkback radio. ​ ​ ​ ​

*When calling someone from the SYN studio, remember to press ‘0’ first, then the phone ​ number

AUXILIARY (AUX) The auxiliary allows you to play sound from an external device (an iPod, laptop, etc). The auxiliary input is discouraged. Your personal equipment is usually not designed for broadcast. Only use if absolutely necessary.

*IMPORTANT - If you want to use an AUX cable in the studios, you MUST bring your own AUX cables.

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From time to time you will need to use the SYN studios to make pre-recorded content.This ​ ​ is the stuff you can’t do live. It might be an interview with a guest who couldn’t speak to you during your show or you might be producing a package - a piece of edited audio that brings together a wide range of sound sources.

The program we use to record and edit audio at SYN is called Adobe Audition. Adobe ​ ​ Audition records sound into what is called a “waveform” (pictured below) - a visual representation of sound

Image caption: A screenshot of an audio file in the waveform view in Adobe Audition - the waveform is represented as green peaks on a black background. On the Y axis is the volume range: -3 to +3 decibels. On the X axis is the time duration ​ ​ ​ range: 0 - 12mins ​

Once you have recording a waveform you can cut, copy and paste sound similar to how you might edit words in a document.

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GETTING STARTED

1. Start + Stop recording To start a new recording in Adobe Audition - click on the red circular button on the left hand side of the screen. To stop recording, press the red button again.

To save your audio recording, click on FILE > Save as > create a title for your recording > save to the Production Drive.

For the highest quality (uncompressed) you should save your audio as Windows PCM WAVE files (.wav) For compressed files (smaller files) we use MPEG Audio Layer 3 (More commonly known as .mp3)

You’ll see lots of different options for saving your audio files. For basic audio editing you should only need: Windows PCM (.wav) or mp3PRO (.mp3)

Check VERY carefully you have not saved as another file format. Some file types are inaudible and cannot be fixed after saving.

2. Basic audio settings When you open a new file in Adobe Audition, the program will ask you for 3 settings: - Sample rate: 44100 is CD quality sound. This is ​ appropriate for most broadcast purposes. - Channels: Mono = Only voice ​ Stereo = Music or mix of voice and music. - Resolution: We use 16-bit. ​ Then click ‘OK’

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Basic editing When you first start basic editing you will only need the “Edit View” (see below). The edit ​ ​ view allows you to edit one source of sound at a time.

Normalizing Once you have you audio file in Adobe Audition, you need to normalize your audio! This makes sure that certain parts of your piece aren’t too quiet or too loud. It also makes sure that the audio that you put out is loud enough to be heard on air.

Normalizing brings all of your audio to an average peak level, so that no one element of your audio is too low or too loud. It does this by still maintaining the quality of your audio.

Remember that quiet and mono audio may either not be broadcast or will put the station on backup CD. If it is broadcast, it may be very hard to listen to.

“Multitrack View” (see below) allows you to edit multiple sources of sound together. ​ ​

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The screen content that you make at SYN can be anything from

Making a video production requires a whole team of people. Here’s a quick introduction to the different crew roles in production team:

CREW ROLES

Director Primarily focuses on getting the best Director of Photography performance out of an actor. Also Works with the director to determine the manages the cast and crew and works look and feel of the project. Makes choices with the crew to create the look and feel about types of cameras, lenses, lighting they imagine for the project. and shooting styles.

Editor Works with the director to pull the footage Producer together into a logical and emotionally Manages funding and distribution, hires engaging story. Pays special attention to key team members and is in charge of rhythm, pacing and tone. overall quality control for a project.

FILMING As a director, there are many ways to describe what you want a shot to look like, but it’s ​ ​ best for everybody if you learn the correct screen language. This will ensure that everyone understands each other.

As a director of photography, it’s important to know this language so you understand what ​ ​ a director is asking of you. There are: -shot types -camera movements -angles -other camera techniques It might seem overwhelming, but once you start using them it will become more natural to think of them in their correct terms. The rest of this chapter looks at different screen terms and conventions.

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The rule of thirds A screen is divided into three vertical sections (thirds), and three horizontal sections. Where the lines cross - the intersections - are called ‘points of interest’.

This is flexible in narrative filmmaking, but the rules exist because they make viewing easier and more visually appealing.

In Figure A, the guest is a little too centred, whereas in Figure B, the green lines show the ​ ​ ​ ​ guest crossing one of the points of interest.

There is no set formula to where exactly the subject should be, but use this concept as a ​ ​ guide.

Figure A: The red lines show where the points of interest are in the original shot.

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Talking room This is really important. Talking room refers to the space on the side of the frame which the subject is facing. If you stick someone’s face right up against the edge of frame, they’re going to seem like they’re talking to a wall (and it just looks REALLY bad).

This isn’t to say you can’t use a close up, of course you can! But just be sure you know what you’re doing. If two people are talking to each other, and they have their own shots, they will also need talking room.

A. Too much dead space on the right Imagine if the red frame in Figure A was the shot: there’d be dead space at his right and he’d be talking to what is effectively a visual wall.

B. Too much talking room The red frame in Figure B would be too much talking room, and he’d be falling off shot at the right.

C. Well balanced The green frame in Figure C is balanced properly.

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Shot types

We’re going to look at the most commonly used shots in film-making. Try to think about how you might use these different shots in your own productions.

EXTREME WIDE SHOT An extreme wide shot (EWS) is what might also be called an ‘establishing shot’ and you’ll see it in films heaps.

If there was a human subject in Figure A, they’d be positioned in about the same place as the plane. As soon as the subject moves closer/becomes more prominent, the shot type changes.

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WIDE SHOT A wide shot shows a subject from head to feet, regardless of whether they are sitting or standing.

Don’t cut off heads or toes In Figure A the subjects’ feet are cut off a little, which isn’t ideal, and there is a bit too much head room [but note the well balanced shot in terms of space on the left and right!]

Figure B is from the Terrence Malick film Badlands, and shows the protagonists ​ fully in frame.

Figure C is from the Cosmo Jarvis interview. The host’s and guest’s feet are all in shot (no cut off toes) and the tallest subject’s head is fully in frame. It could perhaps be centred a little

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MID SHOT A mid shot (MS) usually shows a subject from the waist up. In Figure A, Claudia Karvan and Don Hany are both framed from the waist up. Note: this is also a two shot.

Figure B shows Bruce Springsteen from the waist up and from a low angle (we’ll get to angles later). This gives the viewer the same perspective as the crowd.

Quick note There is also a shot type called a mid wide shot (MWS) or a mid long shot (MLS), which shows a subject from the knees up.

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CLOSE UP A close up (CU) is usually shot from the shoulders up. In Figure A you can see both Ben Mendelsohn and Laura Wheelwright from just below the shoulders to above their heads. Note: this is also a two shot. Figure B shows Aaron Pedersen also from the shoulders up. (Thinking back to the rule of thirds, it seems as though he is centred, but in fact notice how his face is crossing a point of interest?)

Figure A: A CU from Ivan Sen’s 2013 film Mystery Road ​

BIG CLOSE UP A big close up (BCU) usually shows a subject from the top of their head or forehead to their chin.

Figure A shows Claudia Karvan from the chin to almost the top of her head. This kind of shot can be used to create emotional depth and connection between the performance and the viewer.

You can see that Figure B is a bit tighter than a usual close up, making it a big close up.

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EXTREME CLOSE UP An extreme close up (ECU) shows a portion of a face or object.

These can be used in the shows in various ways. For example, if an artist has a new album they are plugging, capture an ECU of the CD (if they have a copy), so the viewer can get a good look at it.

Pick up details for visual interest

Another way is to have an ECU of an artist’s autograph on the set after an interview, then you can cut to the segment currently taking place. This provides a link between studio segments and makes the show more visually engaging. Don’t be scared to get creative! Figure A is a still of Lily Sullivan in Galore. In the film this is a handheld shot which roams ​ ​ over her face. This builds intimacy and emotional connection. If an artist/band is playing a particularly emotional song, a shot like this could come in handy.

Figure B shows an ECU of the guitar during Calling Mayday’s performance. It’s good to get right in there with the shots; show the strings of a guitar as they’re being strummed or fingers on a keyboard.

Practice looking for details that are worth showing the audience and make the show more interesting.

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Camera angles LOW ANGLE A low angle shot is one where the camera is positioned below the subject and the lens pointed upwards towards them. ​ ​

You might hear people describe this as a way of showing a character in a film as powerful, because it positions the viewer below them.

HIGH ANGLE A high angle shot is one where the camera is positioned above the subject and the lens points downwards towards them. ​ ​

This is often used in films (and fictional TV) to portray characters as vulnerable, as it places them low down.

You might notice some YouTubers use a high angle shot, because it is usually more flattering. It essentially comes down to artistic preferences, but if you put it too high, it will be distracting for the viewer.

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Camera movements ZOOM A zoom is a technique where the subject becomes more or less prominent, by adjusting the focal length of the camera lens. It gives a feeling of moving closer to, or further away from the subject, without moving the camera.

An opposite kind of zoom can been seen in this Bruce Springsteen music video for his 1987 song Brilliant Disguise. The whole video itself is just a slow zoom, but if you look closely, ​ ​ ​ there are also some little pans (watch the notches on the oven), and a tiny tilt at the end.

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TRACK A track is where the camera itself physically follows the action taking place. The camera is often placed on a wheeled platform and moved along a track. Or, a camera can be held and the camera operator will walk with it (you may have heard of steadicams; this is what they are used for).

Have a look at this little bit from the Vance Joy music video for From Afar. 0:20-0:24 ​ ​ ​ ​ ​ It’s only short but shows you how they are often used. They can be good for gradually revealing something about a scene in a film.

Other techniques FOCUSING, AND FOCUS PULLS Focusing is SUPER important. It makes the visuals look clean and professional.

Get right in their face To focus properly, zoom right into the subject’s face (preferably their eye), and focus on that, then zoom out. Don’t adjust the focus without zooming right in. It’s good to focus on someone’s eye because we get most of our emotional connection and information from people’s faces, especially their eyes.

Focus on a feature if there is no face Focus on the most important part of the shot. Whatever it is, ZOOM IN before you focus, and then zoom back out.

A focus pull is when you alter focus during a shot. It might start in focus and then you take it out of focus, or the other way around. Check out the focus pull in the London Grammar ​ ​ performance: 2:54-3:00

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Stills from London Grammar’s performance for KEXP

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STUDIO RELATED:

How do I book a studio? To make a studio booking call or email the Experience & Membership Manager during office hours: 9925 4747 or [email protected]

Why does the Experience & Membership Manager have to book it for me? ​ ​ There are lots of SYN staff and volunteers who need to use the studios. The Experience & Membership ​ Manager makes sure that everyone gets the time they need in the studio. ​

What times are best to book studios? Outside of school hours are the easiest time to get a booking

How do I get the door codes? Ask your executive producer or call or email the Experience & Membership Manager during office hours. ​ ​ Be organised and make sure you have the codes before your first program. Your teacher will give them to you in class when you join SYN. Do not call the emergency phone to ask about the studio codes.

SYN EQUIPMENT RELATED:

Why doesn't SYN have more equipment to borrow? Equipment is expensive. If you can’t get the gear at the time that you need it please be patient. All our volunteers are working on important productions.

How do I book the equipment SYN has to borrow? Call or email the Experience & Membership Manager during office hours: 9925 4747 or ​ ​ ​ [email protected]

Do I have to leave money? Do I get it back? To borrow any of SYN’s cameras or recording equipment you need to leave a $50 deposit. You will get your money back when you return the equipment. Please bring the cash with you.

TECH RELATED:

Why does none of the tech work? SYN has hundreds of different volunteers and students using our equipment every week. It needs a lot of maintenance and we do our best to keep up with it. If something is broken please lodge a tech report through the website.

SYN HOUSE RELATED:

What's the password to log on to the computers in the house? It’s right there on the wall on a big poster on the computer lab wall.

VOLUNTEERING RELATED:

Who do I contact if I want to get involved with ______show? You can contact the executive producer of any program yourself. Their contact details are on the SYN website and they are always looking for new people to join their team. There is also a list of all the executive producers and heads of departments in this manual → go to page: 8 57 | Page ​

Who do I talk to about getting a Seasonal? Contact the radio managers if you have any questions about seasonal. you can reach them on [email protected] or [email protected] ​ ​

How do I book interviews for my Seasonal? You can contacts the SYN Talks Department - [email protected] and specify the sorts of people you would ​ ​ like to book an interview for on your show. Important - ALL interviews on SYN need to be booked through the Talks Department. (to avoid doubling up)

Why don't I have my membership number yet? It takes the Experience & Membership Manager time to process everyone’s membership. Just be patient. ​ ​ When the Experience & Membership Manager has created your membership number they will email it to ​ ​ you.

I've only just started at SYN, can I apply for a Leadership Team position? Yes! There is no experience requirement and sometimes the fresh new faces are the best.

What's SYN Camp? Should I go? Yes you should go! It’s a fun two day camp that happens every January. Any SYN volunteers can come. There are workshops, talks from media professionals and lots of activities where you can meet your fellow SYNners.

Can I nominate myself for a SYN Award without looking like I'm bragging? You can nominate yourself in every category if you like. Seriously, go for it!

Am I allowed to play clips of other audio and how much can I play? You can use short snippets of copyrighted music and other audio clips in a broadcast program. Unfortunately this doesn’t apply to podcasts and other online content.

Can I play cover songs? If it's a well known recognisable cover song e.g this classic cover of We Will Rock You from the boy band ​ ​ Five which for a long time I thought was the original, SYN will say it’s okay. But if it's a niche YouTuber nobody has heard of, or a JJJ Like A Version, then no.

SYN Staff related: ​ What do all of the staff do if they're not actually on air?

General Manager The General Manager oversees the staff and general running of SYN, ensuring that bills are paid on time, Full time and making sure that SYN is legally compliant. The General Manager is also key in creating the SYN Strategic Plan, alongside the SYN Board of Management.

The General Manager has an open door policy - feel free to drop in and chat if you ever have a concern or problem at SYN, or even just an amazingly ambitious idea!

Operations Manager The Operations Manager helps look after the day-today business happenings at SYN, in addition to Full time overseeing SYN's technical infrastructure and finances with the Systems Administrator and Finance Coordinator.

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The Operations Manager supports and advises all SYN staff members and generally knows what is going on at SYN at any given time.

Education & Training The Education and Training Manager is responsible for Manager all the training and schools activities that happen at SYN. They oversee the Internal Training Coordinator, Full time Schools on Air Producer and SYN's Casual Workshop Facilitators.

You can contact the E&T Manager if you have any questions about training or if you know a school or community group that might like to visit SYN.

Experience & Membership The Experience & Membership Manager is responsible Manager for looking after all of the volunteers, as well as the National Programming Coordinator, Access Full time Programming Coordinator and the Content Development Coordinator.

They are your go-to contact whenever you need help-- they work 5 days a week and sit at the front desk.

Schools on Air Producer The SYN Media Learning department at SYN runs a social enterprise business model where schools pay Full time SYN in order to learn new skills through media making.

The Schools on Air Producer coordinates and facilitates the "Schools on Air" radio program and runs all the school related programs at SYN. The responsibilities of this role include being the in studio producer for the Schools on Air live radio program, scheduling Schools on Air content on air, maintaining relationships with teachers, processing bookings for our education programs, marketing and promotion of SYN's education programs, creating radio resources and attending education networking and professional development events.

If you have a contact at your current or old Victorian High School / Primary School / Tertiary Institute and you think they'd like to make some media at SYN as a class then get in touch with the Schools on Air Producer so we can promote the program to your school.

Access Programming The access programming coordinator runs programs Coordinator for participants that may not have access to broadcaster training without additional support. This Part time involves applying for grants, arranging and coordinating broadcaster training, supporting the group

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through 12 weeks of training and live broadcasting, along with acquitting the grants at the completion of the project.

The Access Planning Coordinator also provides one on one support to program participants to ensure that they are still creating content at SYN long after their original season of broadcasting has finished.

Content Development The Content Development Coordinator helps all SYN Coordinator volunteers with their content, including talking about ideas, troubleshooting problems, providing resources Part time and a whole bunch of other things.

The Content Development Coordinator also coordinates 'Catapult' shifts. These are one hour blocks of live radio during the middle of the day that give new volunteers a chance to put into practice what you learned during SYN induction.

You can book a shift here, and once you've filled in an ​ ​ application I will get in touch with you to discuss what days and times are available and I'll book you in. I'm able to come into the studio with you to help you, or you can go solo. If you can’t do weekdays, but still ​ want some practice, you can book a Graveyard shift. These shifts go to air from 2-6am every day.

You can find the Content Development Coordinator at the House of SYN up the back of the House near the printer.

National Project Coordinator The Nation Project Coordinator manages the SYN Nation project, SYN's media arm which solely aims to Part time provide access and support to young media makers in regional and rural areas, and from disadvantaged circumstances. This includes managing all national partnerships SYN has with other broadcasters and social programs, providing training and support to individuals in rural areas, and managing content creation and broadcast on SYN's digital channel.

The National Project Coordinator is part of the Membership Experience team, and works closely with SYN's Content Coordinator and Membership Experience Manager alongside other team members at SYN. ​ Technical Coordinator The Technical Coordinator is responsible for overseeing the ongoing management and maintenance Part time of SYN’s technical assets and equipment.

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If you notice that something is broken, or is not working properly, you can lodge a Tech Report – and our Technical Coordinator will appear like a lacklustre superhero

Finance Coordinator The Finance Coordinator is responsible for processing payments and paying the bills. They ensure that SYN's Part time finances are in order and that the organisation complies with statutory financial reporting and other financial obligations.

Internal Training Coordinator The Internal Training Coordinator is responsible for delivering the SYN Induction. They are also Part time responsible for organising course materials, managing induction bookings and payments.

Radio Trainers & Workshop Our casual staff teach school students and other young Facilitators people how to make media. How cool is that!

Casual

Have questions about the media industry? Ask a SYN Staff member! Many of the SYN Staff have experience of working in the media industry and are happy to share their experiences and answer your questions.

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The SYN website is not only home to excellent SYN content, but it also hosts a bunch of useful media making resources, ie. How to use OMNY & iTunes, How to Prepare for an Interview, etc.

To access the ‘Volunteer Resources’ page on the SYN website, you’ll first need to log on to the website > You’ll be directed to the ‘DASHBOARD’ page > Click on the ‘Person’ icon located at the top right-hand point of the screen > Click on the ‘Resources’ tab > You’ll be directed to this page (see below).

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If you want to learn more about how to use the SYN website,you’ll first need to log on to the website > You’ll be directed to the ‘DASHBOARD’ page > Scroll down to the bottom of the page until you see the ‘Click here to be taken to some of the Website FAQ’ > You’ll then be directed to the ‘SYN Website FAQ’ page.

Audio Editing SYN Media has a super handy playlist of YouTube clips, Audition Basics, that can ​ ​ help you learn how to record and edit on Adobe Auditions. - Audition Basics - Set Up: https://www.youtube.com/watch?v=95VJNtXBbnQ&list=PLO2DaFBfWRiFPhw E9AG4eaHMjsv5kaRq6&index=1 - Audition Basics - Saving: https://www.youtube.com/watch?v=593t058oZrU&list=PLO2DaFBfWRiFPhwE 9AG4eaHMjsv5kaRq6&index=2 - Audition Basics - Recording, Normalising and Fading Audio: https://www.youtube.com/watch?v=hYAryXp6NlQ&list=PLO2DaFBfWRiFPhw E9AG4eaHMjsv5kaRq6&index=3 - Audition Basics - Editing and Saving with Multi-track: https://www.youtube.com/watch?v=zroGN8I3eAQ&list=PLO2DaFBfWRiFPhw E9AG4eaHMjsv5kaRq6&index=4 Video Editing https://helpx.adobe.com/premiere-pro/tutorials.html https://www.premiumbeat.com/blog/15-premiere-pro-tutorials-every-video-editor-wat ch/

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