Reber: It's also helping them evolve. Started 2011... and as a group we've evolved. CIR, the smallest partner, has helped to educate and inform the partners who are now there.
Reber: Another massive partnership we've developed as CIR... July 2013 gathered with PRX. Q from San Francisco on getting more investigative journalism on the radio.
Reber: Having come from that background, knew we were missing that opportunity in that area for an audience that cares about long-form and public service journalism.
Reber: NPR has a gatekeeper attitude about who gets on the air. How public are the airwaves of a place like CBC? It's probably hard. Having lived it, I was frustrated.
Reber: Joined with PRX with goal of reaching its audience. How? Radio show.
Reber: No one had ever done an investigative radio program. It was unique. PRX is a distributor of programming, digital natives.
By 2015 the reveal podcasts have more than 270 stations and are in all top-10 markets and in the majority of the top-25 in the U.S. Want to grow to 300 by end of 2015 if we can.
Reber: It's a way to grab an audience we didn't have. It's an open platform, working with other investigative newsrooms, partners, to open up the platform to other investigative teams.
Reber: We wanted to open it up, make it be known we had the platform and team for those who wanted to get their stories out there.
Reber: Next example -- Storyworks which started in 2012 with plays. Idea is whether theatre could become more dynamic if it was informed by investigative reporting putting out new facts on the ground.
Reber: It's a Pulitzer nominee. Couldn't have pictured that at the start.
Reber: Foundation support for these projects has been good. Good press. But we're getting people in the theatre world interested in things they'd never done.
Reber: Character in play dealing with questions of pesticides and fumigants used to grow fruits and vegetables, esp. strawberries.
Reber: Character is fictitious. But reaction from the supporting characters is all real. It's all from the documents we dug up. From documents from lobbyists to California gov't pushing to keep using these chemicals.
Reber: Was written by Octavio Solis, a Pulitzer-winning playright.
Reber: Play was a way to create media in two languages, take it on the road and engage audiences in a way we couldn't necessarily do with a 5,000-word text piece.
Reber: The package of media created for this... is getting bigger and bigger, but it allows us to engage all these different streams.
Reber: Strawberry package included mapping of pesticides on fields in an app. Video. Animation. Narration.
Reber: Also engaging people like musicians with tonnes of Twitter followers. Get them to score the production. Another pathway to another audience.
Reber: At the beginning I showed the piece showing "wouldn't it be great if legislation was re-written based not on reporting but poetry?"
Reber: It happened. City of San Francisco condemned buildings we'd had in project, about which slam poetry had been written.
Reber: The three had grown up near the buildings. Not thought about it, but this was their life.
We're watching "This is Home" in the room right now.
Reber: Any response? (from the audience: This is journalism? Awesome.)
Q: Viewers consuming/viewing -- do they make the link that what they're watching comes from journalism?
Reber: At the end of the day, if it can engage the audience into that, mission accomplished. That video was shot entirely on location. Everything they had in poems was based on factual research. It's all real.
Reber: We edit the script for facts. Nothing stated was inaccurate. What's different is expression. The poetry, the characterization.
Reber: One shot was moved slightly... just to make sure lyrics weren't singling out people that weren't relevant to lyric. So that it would be accurate.
Reber: We actually had these guys go into the field with Amy Julian, the reporter, for the interviews.
Reber: Julia commented on how different the interview was. First time really spending time with journalists. They asked amazing questions the journalist didn't prep.
Reber: It brings that different POV. It opened up her eyes as a reporter to do better work. There was trust in the sources as well because the word was out we were working with these poets -- remember they were from these neighbourhoods.
Reber: The project led to a massive town hall meeting. Everyone was up in arms.
Reber: What we had was a force -- the reporters, the poets, the media to show the public. It engaged them. We threw everything we could at it because different people react in different ways.
Reber: The poem was a way to reach people. Interesting way to reach people in a non-traditional way.
Reber: We're still on this story. Housing was condemned, we're following to ensure former residents get a place to live that's suitable.
Q: Talk a bit about the funding model?