Is Apple’s New iPod Touch the best budget #mojo device?

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We’re recently bought a couple of Apple’s latest iteration of the iPod touch. I’ve been testing it for the last few days and I have to say – this really is a great budget #mojo solution.

I’ve tested our preferred video App: FilMiCPro on it and it works fine with only one little bug* which is in full manual focus mode, when you slide the control bar on the left to set a focus point the iPod Touch Autofocus overrides it. But that may well be something that the FilMiC team can sort out. 1080 25p works perfectly. The camera is the same 8MP iSight as used in the iPhone 5 (which was pretty damn good) though aperture is f2.4 whereas 5s/6/6plus all have f2.2.

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If you buy the new iPod Touch you get iMovie free (as well as a selection of other Apple Apps) and the great news is Audio In via lightning works perfectly too. I tested the Sennheiser ClipMic Digital and the iKMultimedia iRig Pro with the AKG 417pp Lav mic.

Speaking of the Sennheiser ClipMic Digital I found it for under €200 on the Thomann website thats the cheapest price I’ve seen anywhere (so far).

When you think about the inspired project that BBC’s Nick Garnett initiated with Dr. Alex Kumar during the Ebola crisis, where, with a previous generation iPod touch, Dr. Kumar shot first person iWitness content on the ground at one of the Ebola Treatment centres and it auto transferred back to BBC via Dropbox whenever the iPod was connected to WiFi.

Click image to view report:

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it suggests to me that the iPod touch may well be the perfect solution for Hyperlocal content creation or NGO projects. Remember you can pair the iPod to any smartphone via WiFi tethering to allow it to livestream and transfer so you are not restricted to just fixed wifi spots for connectivity either. If you go for the 128Gb version of the new iPod Touch it is less than half the price (€469 in the Irish Apple Store) of the 6plus 128Gb (€999) version – thats one hell of a saving!

So with all that in mind here is my latest #budgetmojo solution. (it links to an interactive Thinglink image)

newbudgetmojo

Unboxing and 1st audio tests with the Sennheiser ClipMic Digital for iOS

Today I got my hands on the Sennheiser ClipMic Digital mic for iOS so I decided to shoot a quick unboxing video and then do an audio test and a video test to pitch it against the iKmultimedia iRigPro and AKG 417pp Lav which we currently use for Mobile Journalism here in RTÉ.

I have to say the build quality is excellent. The capsule is very high quality and the windscreen is a very snug fit (unlike the one with the AKG mic)

I decided to use two iPhone 5’s with the Apogee MetaRecorder App on both to test the audio performance. First in an open space (my training room) then briefly outside and then finally in one of our radio booths (sound insulated).

Lastly I tested both mic setups into FiLMic Pro to see how the audio performed in that situation.

Probably best to listen using headphones as I put both recordings into a stereo track and panned them L and R. I’m going to get some of my colleagues from radio to test the Sennheiser also, just to get their feedback (well trained ears!)

Also one final note – I was incorrect about the price of the Sennheiser ClipMic Digital, I said about €300 but I found it for €227 so quite a difference. Worth noting the iRig Pro €120 and AKG 417pp around €130 will bring them quite close cost wise.

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8 Journalists, 4 iPhones, one big experiment. NDR Hamburg tries out mobile journalism

Guest post by Bjorn Staschen NDR Bjoern The outset might have been a little bold: We wanted to try out the possibilities of mobile journalism for a regional newsroom. And we wanted to do it with colleagues who had quite some journalistic experience, but hadn´t tried reporting from their mobile phones yet. The goal was to produce a proper special edition of our regional news. It  wouldn´t go out on air, but we would use the studio crew, our known workflows and structures. The only thing that was differemt: The whole content should be produced on smartphones. Would it work? I work at NDR, the public service broadcaster providing Northern Germany with television, radio and internet. My department is the Hamburg Newsroom, which contributes to ARD´s national news in „Tagesschau“ and „Tagesthemen“, but also produces its own regional news bulletin „NDR Aktuell“. We had started intruducing a VJ workflow into our daily routines about a year ago, and we had looked into mobile journalism. Though so far we hadn´t actively tried it out. It was a Friday afternoon, when eight of my colleagues gathered around our conference table. The had a proper day´s work behind them already. But they were enthusiastic enough to try out something new. We had about three hours to prepare for the „big day“ on Saturday: We wanted to cover a civil protection exercise that the Hamburg regional government had organized with more than 300 volunteers. Their story: Hamburg was suffering from a great flood and had to open up emergency shelters for citizens who had lost their homes. For producing packages, I introduced my colleagues to filming with FilmicPro and editing with Pinnacle Studio. I had chosen both Apps in order to be able to film and edit with 25 frames per second. We had tried Pinnacle Studio beforehand and compared an edited report to the same material gone through iMovie which only does 30 fps – Pinnacle´s result on air was remarkably better. Our equipment We used iPhone5s with iRig Pre, the low-cost-alternative to iRig Pro (and that´s the reason – to keep it cheap…), and Rode (NTG1 & 3) microphones. The issues were the usual ones during our first trials: The focus was not in the face of an interviewee, but on the wall behind him. Same for the exposure, which highlighted a window, but not the person in shot. Sound was too low and editing was quite rough. We also planned to go live from the scene via LiveU and Dejero mobile Apps. We had asked the companies to install a server for this trial, and they had agreed. ARD had introduced a ReporterApp (VizReporter) about 2 years ago which we used for the upload of the finished packages. It doesn´t provide good enough quality for live links though. Then came Saturday morning. We had split up in four groups with two reporters each, having to produce one package and a live talk. And we had arranged a WhatsApp group for internal communication which helped a lot. I introduced my colleagues to the scenario bit by bit, like it was a real developping news situation: „There´s severe flooding in the South of Hamburg, homes being evacuated.“ „We´ll produce a ´NDR Aktuell extra´ at 2pm“.  Which meant: My colleagues had about two hours on the scene to film, edit and overvoice their packages before getting ready for the live link. Reporting via iPhone About an hour before the programme I sat nervously in front of my computer screen waiting for the first reports to come in. The first uploads appeared on the screen the blue progress bars moved nerve wreckingly slowly. When the first transmission was done, I looked at the news piece: It was a great report of nearly two minutes length, focusssing on the story of a family who had come into one of the emergency shelters. Four soundbites, good pictures – I was amazed at what my colleagues had done. All four reports would have been broadcast quality in an emergency scenario though some sound transitions were a bit rough and some pictures weren´t perfect. On two iPhones, we encountered a problem with Pinnacle Studio: During saving the finished report to the camera roll, some pictures were distorted by artefacts. I did some research with Glen Mulcahy´s help and spoke to Luma Touch. They came back to me quickly and acknowledged that Pinnacle Studio produces some glitches with the Apple H264 decoder when writing in „best“ quality. We started our bulletin on time at 2 pm. It went through without any interruption. Our sound engineer had to do some serious correcting on the packages and the life links, the audience though would possibly not have noticed a lot. The first live link via Dejero was great: My colleague Michael reported standing in front of a school that was used as an emergency shelter. The picture was good, he transmited with around 5 Megabit per second. Little arterfacts only showed up some seconds long. The second live link via LiveU app was about as good though the latency wasn´t put in correctly. Therefore we had a delay of about 5 seconds. Torben, the reporter on scene, didn´t get a second question therefore. The third live link to Elena via LiveU had some serious connection problems with only 2Mbps. Also, the camera tried to refocus throughout the link. It would have still been good enough in an emergency. With Daniel standing inside a building where an emergency task force was set up, everything went fine via Dejero. Livelink to studio via Dejero This is one feedback we gave to the Dejero and LiveU developpers: Their apps need some simple camera control like locking focus and exposure. That wouldn´t make the Apps much more complex, but it would improve the broadcast quality immensly. After 12 minutes, our bulletin was over. The studio crew was a little irritated by the picture quality and sound problems. They are used to perfect material. On our side though, we found the result at least good enough to use it in case of an emergency. And some stuff was really amazing. My colleagues had only three hours of training, and they had done some great work. Which was a surprising result to me: Mobile journalism doesn´t seem to be too complicated to open it up to many colleagues throughout a broadcasting company. Everyone taking part in our little experiment was enthusiastic afterwards. I am sure they will stay friends of #mojo. And for NDR Hamburg, we have discovered a way to improve our coverage of breaking news situations and go on air quicker, with more material from the scene. ***Editors note*** The manual focus and exposure controls were raised with both Dejero and LiveU at the Mojocon exhibition. I believe that if more broadcasters created/signed an online petition we would see faster respone to these requests. Also 3 hours training for a “as real world” live situation is really putting journalists and support crews under pressure. It takes some time to get used to the process of locking exposure, focus and white balance in FilMic and ensuring audio levels are set at their optimum. I would advise NDR to identify 8-10 Mojo “Champions” who could participate in a 4 or 5 day #mojo masterclass which **gratuitous plug** both myself and Philip Bromwell run on behalf of RTE. Your 8-10 mojo masters could then perfect the specific training for your staff and be the “Go To” people on the ground should an emergency like the one rehearsed for, ever actually happen. All that said, I think this was a very ambitious undertaking and I’m extremely grateful that Bjorn shared it with the blog. You can follow Bjorn on Twitter: @BjoernSta

DXO ONE – Could this be a “Game Changer” for Mojo? We’ll have to wait and see…

UPDATED 28-6-15 with 2 demo videos from the DxO YouTube Channel.

Two years ago Sony introduced the QX range of Cameras, designed to work as an image capture device which uses a smartphone as the viewfinder. All the heavy lifting was done by the QX camera with connection to the smartphone via WiFi or NFC. The cameras originally released were the QX10 and QX100 with the QX1 and QX30 being introduced the following year. I bought the QX10 shortly after release and I was very impressed with the image quality and the 10X optical zoom. Sony-QX-range The downsides however were the latency between the camera and the phone over wifi. At times this could be as long as 8 seconds which meant shooting video with any sort of movement was virtually impossible. They also lacked any microphone in which would have been excellent as the QX could be operated via over wifi with a substantial distance between itself and the phone. I’ve written previously about the QX and my colleague Ivor Carroll did a great field trial with them also. I picked up a story yesterday on Twitter from PetaPixel about a new iOS only Camera called the DXO ONE.DxO ONE iPhone Angle What we know so far is the camera is 20.2 megapixel, 1″ CMOS sensor, 32mm equivalent f1.8 lens. The body is aluminium. It has no viewfinder – the iPhone acts as the viewfinder using the companion App. It connects to the iPhone via Lightning connector. THIS IS NEW and to me this is big news. To the best of my knowledge this is the first time an external imaging device has been released which has connected to the iPhone via Lightning. I cannot say for certain but one immediate benefit should be the latency experienced with the QX range over Wifi is virtually non existent. But more importantly this means that the Lightning port can support Digital stereo Audio in AND camera control! Why is this a big deal…? It potentially paves the way for fantastic prototypes that really could revolutionise mojo. Screenshot 2015-06-19 10.33.14 Remember this from 2011 from Antonio DeRosa via  ADRSTUDIODESIGN? https://www.youtube.com/watch?v=v2RDcL0X5vc#t=44 OK I’m letting my imagination run away with me but one thing is for sure the DXO ONE is an exciting development. Back to what we do know… DxO ONE Connecting to iPhone It has a rechargeable (hopefully removable) Lithion ion battery and a microSD slot. DxO ONE iPhone APri DxO ONE iPhone Selfie It records video .mov (h.264) at 1080p/30fps or 720p/120fps which is a bummer for anyone in Europe wishing to use the footage for broadcast. Hopefully the French company with look to 25fps in a firmware update in the near future. The Aperture range is f1.8 to f11. Digital 3x zoom, Shutter speed from 1/8000 to 15s and ISO range from 100 to 51200 (Hi2). It remains to be seen how well that camera performs in the real world. External audio in would be fantastic but I see no mention of it on the spec sheet. Better Zoom and Optical Image stabilisation would also be desirable. I’m not even sure if it sports a 1/4-20 tripod mount underneath. Pre Order price €649 via the DXO WEBSITE DxO-ONE-Fact-Sheet_EN

Mojo solutions: Are we ready to make documentaries and longer form content with mobile?

Are we ready to make documentaries and longer form content with mobile? This is a question which was quietly bounded around at Mojocon. The various responses were quiet interesting. For many the consensus was that #mojo was best suited to short form content like 1minute 30 news reports or shorter form social video and multimedia content. However, I pointed out that there were a number of different solutions available which would allow you to back up your HD video while shooting on location. To begin with…

MojoOnTheGo

Back up to iPad via Camera Connection Kit or Via AirDrop

Backup to a Laptop via USB and move to an external hard drive via thunderbolt/usb

Backup to one of the variety of cloud services (iCloud/Dropbox/OneDrive/Google Drive etc)

All of these solutions are tried and tested and will provide you with the necessary off-device storage.

However none of them are a 100% failsafe solution. What you hear again and again is the essence of Mojo: “the camera you always have with you” You won’t always have your iPad/Laptop/HDD with you. You won’t always have access to 3G/4G/Wifi. So what are your options if you want to shoot discreetly – for extended periods of time, without resorting to slow and expensive cloud uploads or carting around more and more gear (making you less mobile).

When Sandisk came on board as sponsors for Mojocon and opted to sponsor a product rather than financial support I was really delighted. I had read about the iXpand as well as a number of other lightning based external storage devices but hadn’t had time to buy/try any of them.

Having got my hands on one at the conference I decided to do a quick unboxing of the iXpand to run through its features and to elaborate on its potential for Mojo-in particular for how it enables longer form content production with a discreet “pocketable” solution.

When you think about the recent audio solutions that have hit the market from Rode, Sennheiser/Apogee and Shure and look at the extremely high quality lenses now available from iPro (Schneider Optics), Moment, MoonDog Labs and Olloclip it really shows how far mobile journalism and content creation has come in the last 12 months.

MojoLenses

The quality and potential of this method of production is growing exponentially. Just think what 5G mobile networks, better optics and camera sensors and even more mojo accessories will bring with them in a few years!

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Unboxing and quick test with RodeLink Filmmakers kit

I just got my hands on the RodeLink Filmmakers kit and wanted to take it out for a quick field test. The RodeLink is different to most other wireless microphone solutions in that it uses Wifi frequencies instead of traditional UHF radio frequencies.

To begin I shot a quick unboxing video using Google Glass to show you the contents of the kit.

Then I decided to take the kit out to the front of the RTE building to do a rudimentary range test. There are at least 9 wifi networks in the area I tested the mics, two of which are campus wide with industrial grade routers supply a strong signal so its worth bearing that in mind while I do the test.

Until the launch of the RodeLink kit your radio mics options were most likely to be either the Sony UWP set or the Sennheiser Ew range. Both of which cost in the region of €800 for the set.

EG: Sennhesiser Evolution Wireless : €785 from CVP.com

Sennheiser-ew-112  UWP-V1_zm

However Sony have released a new version of the UWP Wireless (D11) set and it is just over half the price of its predecessor positioning it in direct competition with the RodeLink system and it too is digital. €500 from CVP.com


sony_uwp_d11

On the subject of microphones I’m eagerly awaiting the arrival of the Sennheiser MKE ClipMic Digital and MKE Digital Lapel mics for iOS. These lapel microphones use an Apogee Digital preAmp which should position them as premium audio solutions for iOS Mojo. What remains to be seen is will Sennheiser make a USB version of these mics to work with Android devices like Samsung Galaxy phones and other high end smartphones.

ClipMic-3quarters SILVER-MKE-2-digital-3quarters-windscreen

Interestingly not long after the release of the Sennheiser solutions for iOS Shure, another premium audio device maker announced a new range of iOS compatible solutions also, including a direct competitor for the Sennheiser ones mentioned above.

One thing is for sure, with an ever expanding range of professional grade audio solutions being released targeted directly at mobile content production its the mobile journalists and mobile content creators who will reap the benefits.

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Finally!: Mojocon Sessions are now online

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I’ve been beavering away quietly trying to edit together the sessions from Day one of Mojocon. I know its taken longer than anticipated – mainly because I have a day job to balance with it and since Mojocon there has been a steady stream of Mobile journalism training requests. Right now I’m in Dundalk Institute of technology teaching 14 European journalists the principles of mojo on a 5 Day Circom Mojo Masterclass.

Joining me as trainers are my colleague Phillip Bromwell from RTÉ, John Inge Johansen from NRK Norway, Darko Flajpan from HRT Croatia, Guillaume Kuster from France 3 and Karol Cioma Training project Manager for Circom. I’ll post about the course once it finishes later this week.

Please note I did not censor the sessions – expletives are as stated on stage!

Here are the sessions in order:

I know there are some camera mistakes, audio mistakes and absence of screen displays a couple of times (where cameramen decided to wander off the screen and shoot cut aways) but in spite of those shortcomings I think the sessions capture the essence of the day. Enjoy!

Guest Post: Wytse Vellinga from Frisian PSB Omrop Fryslan- 1 year with #MoJo

Dutch regional broadcasters are in trouble. Big trouble.
Funds are running low and the audience is running away. The question is: Do people really need these regional broadcast stations? Are they relevant? And if not, could they be relevant again? It was these questions that got me interested in mobile journalism and made me start a bold experiment that has lasted for one whole year now. I handed in my VJ camera and my dedicated radio recorder and became one of the first all out mobile journalists.
For a whole year all I took with me was my mobile phone and some necessary extra’s  like a microphone, tripod and headphones. It has been both a great and a frustrating experience. After just half a day of training by Glen Mulcahy and Karol Cioma, there was a lot I had to find out for myself. Here’s what I found.
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1. I can be cheap
First thing you will have to do when you start as a MoJo is to get your gear. Shop around for a good microphone, a tripod and all the other gadgets you might want to use. I bought some stupid stuff (some weird looking lenses, monopod) and some smart stuff (shoulderpod, Irig Mic HD). But no matter how much gear you buy (and there is a lot of it out there), it is going to be relatively cheap.
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Of course you can easily spend a couple of hundred euro’s on a microphone, but compared to the ‘pro’ stuff it is going to seem ridiculously cheap. And believe me: The quality is fine. Don’t believe the tech guys, who say it cannot be done, because it can be done! I made over 300 reports for radio with my MoJo equipment and close to a hundred pieces for TV or Online. It can be done.
2. I can be quick
One of the biggest advantages of MoJo is the fact that you can take your time recording or shooting your story. I do not have to rush back to the studio to do the editing or to get it broadcasted. I can do everything on the scene, which saves me a lot of time. Time I can invest in the story itself. And if all goes wrong and I’m not ready in time? Then I’ve got all the equipment with me to do a live report. And I have done so dozens of times for radio.
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Being able to be quick means that my working area has expanded. Before I became a MoJo I had to stay within an hour’s drive of the office. Now I can travel far beyond. Even to the Waddeneilanden, a group of islands off the coast of Friesland. Reporting from these island used to take a lot of planning and I usually had no more than one hour to record both my radio and TV story. Now, I can take my time and wait for the last boat to travel back home.
3. I can be close
Shooting with a mobile phone is far more personal than doing the same with a cameraman or a VJ-camera. Every shot I make is a shot I thought about. Shooting with a phone is like being a photographer. Everything has to add up: framing, light and sequence. For me this means that it is MY story. I can mould it in every form or shape that I want, because I am in total control of the shots, the sounds and the way I want to tell the story.
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Also, it’s more personal from the interviewees perspective. People who usually would’ve been reluctant to appear on camera with their story, had no problem with me and my phone. And yes, people do take you seriously with a phone, because they are familiar with the picture quality of modern phones. They use it themselves everyday.
4. I can be interactive
Twitter, Periscope, Meerkat, Facebook, Vine, Storehouse, Steller, Bubbli. The list of apps to start publishing whilst still on the scene is endless. By doing so you can tease your story before it is being broadcasted. And maybe even get some extra people to watch it. Added bonus is the fact that you will get instant responses. People will ask questions you might have forgotten to ask, or correct you when you’re wrong. Your public can get involved in the story in a way they previously couldn’t.
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5. I can be secret
As a journalist you sometimes have to go places that aren’t very journalism friendly. I’m not talking warzones here, but every now and then there is a situation you wouldn’t be very comfortable with carrying your big camera with the big logo. Angry football supporters, disgruntled farmers or, in my home territory: angry aaisikers (just look it up and you WILL be afraid). When in a situation like that, just shoot your story using just your phone. And no extra’s. It will keep you safe and secret.
6. I can be experimental
Being a MoJo is all about not being afraid to experiment. The apps you will use change every day and new stuff will be just around the corner. I have tried dozens of apps in the field. Some were a bit gimmicky and not very useful. Usually they disappeared from my phone after a day. Other apps are now in my everyday mojo folder (Vine, Bubbli, Pinnacle Studios, Gravie, Skitch and many more)
But the experimental part of MoJo is more than looking for the right apps or gear. Shooting every possible story with a mobile phone, means you have to be very creative in getting your story. Experiment with the angles you shoot, the way you edit your story and the use of sound and text. Surprise your audience.
7. I can be a pain in the ass
Some of my colleagues really hate my guts. Especially the technical guys. They feel like I am trying to steal their jobs. And trying to be an expert in their field of expertise. I decide which microphone to buy or which stabilizer to use and I can be very stubborn in my decisions. Not that I don’t trust their opinions, but mostly because they are stuck in their very conservative way of doing things. I know it annoys them, but I have found that it is the only way to get things going.
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Does that mean you do not have to listen to them at all? Nope, it doesn’t. I have had a lot of discussions with cameramen, editors and radio technicians. And I have learned a lot. But I am still just a journalist and they are the technical experts. So listen to them. But whether or not you are going to use their advice is up to you. I have made choices they are not happy about because it is not technically perfect. But it does help ME tell my stories in a far better way. And in the end it is all about the storytelling.
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8. I can be a storyteller.
And this is the most important part of being a MoJo. In the past year I have made a lot of radio and TV stories which I could not have made in the traditional way. I am now more in control of the news pieces I produce than I ever was. I am more comfortable with every aspect of the job at hand. Being fast, personal and very flexible improves my stories. Sure there are things that have gone wrong (edited pieces that never reached the newsroom because of technical issues, tripods breaking down, apps not working) but even with these issues I still feel I am a more complete journalist now. And most of all, a more complete storyteller.
Here are some of Wytse’s reports (in Frisian):
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About the author:
wytse
Wytse Vellinga is a Radio and TV-journalist working for Frisian public broadcasting company Omrop Fryslân in the north of the Netherlands. Learned about MoJo for the first time in april 2014 from Glen Mulcahy and Karol Cioma. He has been experimenting MoJo to its maximum since then. Uses his iphone and lumia phones for making radio, tv and online content every day. He blogs about mojo in dutch here: https://mobielejournalistiek.wordpress.com/
You can follow Wytse on Twitter: @WytseVellinga

Guest Post: RTÉ’s Leola Lillis hands on with Switcher Studio App for iPad

There were 26 exhibitors at the Mojocon conference on 27th and 28th March. One of those exhibitors was Switcher Studio. http://switcherstudio.com/en/

Swither Studio is an App for Video that lets you sync up to 4 iPhones and/or iPads to allow you to record ad stream live video to services like Youtube an Ustream.

Leola Lillis work in RTÉ News where she is part of the production team which delivers daily news bulletins for RTÉ Nuacht-the irish language news swrvice.

Here are Leola’s impressions of Switcher Studio:

You can follow Leola on Twitter: @thisisleola

Mojocon is over but the mojo debate is just kicking off!

So Mojocon 2015 is over, the feedback has been incredible and the debate has shifted to “will we do it again”.

I don’t have an answer for that right now but I do think the fantastic dialogue that kicked off during the conference should be encouraged to continue. On Twitter, #Mojocon was where the majority of the virtual conversations took place before, during and after the conference and I, and several of my colleagues, feel that Twitter is a natural home for that conversation to continue. (See slideshow at end of post)

It has come to our attention that there has been a solo run by an individual (who shall remain unnamed) to curate a LinkedIn group to “keep the mojo conversation going”.

It is important to note that neither I as the organiser of Mojocon or RTÉ have any involvement in or association with that group. Its marketing has included multiple twitter accounts using the conference hashtag for repeated promotion and also sending unsolicited email (aka spam) to the Mojocon email list that the individual in question was privy to as a speaker.

While we welcome and encourage the continuation of the mojo dialogue and sharing of ideas we are not supportive of a closed/exclusive LinkedIn group. We cannot stop this group but we can offer an inclusive, accessible and open alternative. So today I’m announcing #mojomeetups using Meetup.com

MoJoCon Meetup

If you want to join us sign up here: http://www.meetup.com/MoJoCon-Meetup/grow/

As promised at the last session at Mojocon there is now a dedicated public group on Facebook for Mojocon also – Click here to join

My initial plan is to host a meetup every fortnight in Dublin – Venue to be announced. One huge aspect of the conference itself was to use the conference App to network with individuals at the event. Face to face time networking is incredibly effective and it is this aspect I want to encourage further.

I want the sessions to be inclusive and accessible so I intend to setup a Google Hangout / Skype / Spreecast session to livestream the meetup so even if you are not in Dublin you can still join in. We will experiment with solutions like Switcher Studio at the events also to try to create a professional record of the events for posterity.

As with the hangouts before Mojocon the recordings will be hosted on the Mojocon Youtube channel.

I’m currently editing the sessions from Day One which I hope to post online very soon and I am also working on a free eBook which includes essays from some of the speakers and contributors and photos of the conference as a record also.

See you again soon! Glen

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