Organizational and Operational Rules of the EPER Radio

The founding owner of the Radio is the Media Universalis Alapitvány.

The Radio is a non-profit oriented small community radio.

The Radio broadcasts educational, scientific, cultural and artistic programs, experimental-artistic programs, fictional programs, documentaries, news programs and reports related to higher education, and programs related to the radio preparation of media students.

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1. MANAGEMENT

President

The President of the Radio is the current President of the Owner, who is criminally responsible for the activities of the Radio, including compliance with the Media Act and the settlement of royalties. The owner of the radio has a representative, has the right to approve the budget and the tender.

Editor-in-Chief

The press officer of the radio. The owner and the head of the Department of the Media Department of the Eötvös Loránd University, among the lecturers of the Media Department of the Eötvös Loránd University. The person in charge may be recalled by the Owner and the Head of the Media Department of the Eötvös Loránd University BTK. In the event of appointment or recall, in case of disagreement, the internal staff shall vote, where a majority vote shall be taken. The editor-in-chief is the person responsible to the Owner, responsible for the lawful operation of the radio, the maintenance of its broadcasting, the provision of data, the settlement of tenders. The person supervising the administrative, technical infrastructure, broadcasting, audio and written outputs and tenders of the radio.

The editor-in-chief approves the program projects proposed by the editors and reviews the completed programs. It is obliged to block the broadcasting of programs or parts of programs that violate the media law or would violate collective management agreements. His direct employee is the program director. His superior is the President.

The task of the editor-in-chief is to manage and submit applications in consultation with the Foundation, to edit a news program (if there is no separate news editor), to appoint, direct and control editorial members.

The tasks of the Editor-in-Chief include, in accordance with the principles of community radio, “giving voice to the voiceless.” This means providing members of the community served by the radio the opportunity to express themselves, respecting the principles of freedom of speech, even if the opinions of the program creators do not align with those of the Editor-in-Chief or the owner. The only exception is if the program or activity violates media law, or the ethical codes of Eötvös Loránd University or the radio. The programs must meet basic technical, professional, content, and ethical standards, and they must be credible.

The Editor-in-Chief is also responsible for reflecting the activities of universities, particularly but not exclusively those of Eötvös Loránd University, in the programs. This includes covering educational functions, student life, and reporting on scientific, public, or educational events organized by or for students, making them accessible to a wider audience via radio.

Under the professional supervision of the Program Director, Producer, and Editor-in-Chief, EPER Radio may provide space—i.e., professional, technical, and other assistance—for the creation of podcasts and radio programs produced by individuals, university citizens, or alumni in collaboration with EPER Radio.

The Editor-in-Chief designates operational and content-creating staff and may terminate their assignments or opportunities to create content.

University citizens among the program creators are considered to be university students, faculty, or guest lecturers.

Alumni are considered to be those who have demonstrably graduated from a real university.

Senior staff and staff

Radio workers can hold multiple statuses.

2. MAIN STAFF

The senior staff are key players in the radio. Appointments are decided by the editor-in-chief. A senior staff member may be a staff member who has been in a contractual relationship with Radio for at least one academic year. They are accountable to the editor-in-chief for their activities. They have the right to record keys.

Program director – The editor responsible for the production of radio programs. It helps to determine the radio transmission order and its programming. It broadcasts the finished broadcasts and transmits the online content to the web editor. Keeps in touch with the editors-in-chief, assigns the editors-in-chief and monitors their work. He reports on the programs to the editor-in-chief. Responsible for providing the background for the data provision (metadata of the files). Organizes and organizes editorial meetings. They may be from the faculty and staff of the Department of Media. You have access to studio machine access codes.

Additional responsibilities of the program director: To perform a responsible program editing task and to appoint / train additional staff for this function.

○ Studio time (calendar) coordination

○ Publish (archive) and archive live and approved programs live (eg Dropbox)

○ Monitoring and preparing applications, coordinating drafts with FSZ, submitting in consultation with FSZ (FSZ coordinates with the Foundation)

○ Suggesting news and online content to FSZ.

Technical director A technician who is responsible for the design and infrastructure of the radio studio and assists in determining the development directions of the radio’s technical equipment. If not, then the task of the editor sees it.

● Producer

The Producer is a senior staff member responsible for the audio identity and sound quality of the broadcasted audio materials and provides technical supervision. Their tasks include creating and mastering the signals (jingles) for program series, as well as optionally providing technical and production training. If there is no appointed Program Director, the Producer may also take on some of the Program Director’s responsibilities after consulting with the Editor-in-Chief.

3. STAFF

Radio staff may include:

– Eötvös Loránd University students, lecturers or other employees

– Students, lecturers or other employees of other higher education institutions in Budapest

– People living in the FM broadcast reception area

– Other content creators, in consultation with the Editor-in-Chief

The radio staff can be contracted employees, with a service contract outlining the framework of their cooperation, and their tasks are discussed with the Editor-in-Chief, or they can be volunteers, who enter into a staff relationship with the radio through a Voluntary Contract. Specific provisions for employees are contained in the Voluntary Contract. Those with student status may be scholarship-supported content creators and staff members, governed by a contract and consultation with the Editor-in-Chief.

4. EDITORIAL COMMITTEE

The members of the editorial board of the radio may be employees who have been in a contractual relationship with the Radio for at least one semester. The application for each post on the editorial board is voluntary, the acceptance of which is decided by the program director.

The editorial committee is chaired by the editor-in-chief and the program director. Other posts on the editorial board:

Responsible editor – an editor with permission to enter a studio, who takes over the supervision of another editor’s program, and is responsible for assisting the project manager. The program director appoints or volunteers and he supervises and controls the program. If not, then the task of the program manager performs . Each project must have a responsible editor. He reports to the director. He gives opinions on the testing of projects. Manages the online project datasheet. He listens to the broadcast of each project, gives his opinion, if necessary, returns it for correction, if appropriate, forwards it to the program director for publication. It supervises the proper completion of the promotion of the program and forwards them to the competent authorities.

Lead News Editor – An editor that oversees news and news programs. If not, then the task of the editor sees it. It ensures that the amount of news undertaken in the official contract is broadcast. Manages the news audio folder and publishes text versions of the news on the website.

4.1 EDITORIAL STAFF

Project Manager – an employee who edits a self-defined program and is the head of his or her own ad hoc (individual program) project editorial office. You will report the show to the editor-in-chief of the show. You can only enter the studio on your own with a technician. You must take a reading exam. When designing projects, a new project manager is not yet a staff member unless the project has already been approved.

Assistant – The project manager’s staff (reporter, coordinator, correspondent, etc.). He reports to the editor.

News editor – The editor involved in editing the news . If you are reading, you need to take a reading exam.

Web Editor – Responsible for the content of the website

Community Editor (web2 interface manager)

Music editor (responsible for creating music program projects, monitoring music quotas, managing program-filling music, creating playlists, tagging music mp3 files according to NMHH and MAHASZ codes)

4.2 TECHNICAL-PRODUCTION STAFF

Technician (broadcast, editor, sound engineer) – Technical assistant of the project manager. Each program must be accompanied by a technician, unless the presence of a skilled technician is ensured throughout the production of the program. A prerequisite is the passing of a technical examination by the editor-in-chief or a person designated by him with pre-defined material). You need to know how to use the studio, recorders, and editing programs. The editor or assistant can also be a technician . A staff member with permission to enter the studio.

On-duty technician – A paid technician who takes technical service in the studio at specified times during a given period and helps with live broadcasts and external recordings. Your activity is not tied to a show or editor, but to a specific time period.

Reader – reads text selected by any editor or news editor, but does not write standalone text

4.3 OTHER STAFF

Internship – Any employee who completes a curricular, 100-hour internship program.

Designer – the image designer of the website

Markenting manager (responsible for making the radio more widely known)

Member recruiter – He is looking for people on the radio and casting. Organizes community events. If not, the program director.

● Application coordinator – It monitors and handles applications in consultation with the editor-in-chief

Administrator – The web developer of the radio (the administrator of the radio’s stream and webpage). If not, then the task of the editor sees it .

4.4 ADDITIONAL RADIO PERSONELL

Persons without employee status (do not participate in decision-making, do not have a voluntary contractual relationship)

Observer – A participant in an editorial meeting who has not yet mastered the safe use of the studio and has not produced an accepted program. Admission to employee status is decided jointly by the Chief Technician and the Program Director. Employees have a valid contract.

Demonstrator – The tasks, rights and obligations of the Demonstrator appointed by the Department of Media are defined in the Demonstrator Agreement.

5. PROJECTS

A project can be a live or edited: individual (one-time) program, program series (podcast / magazine series or semester), program-related program stream (eg emigration), performance (series) or conference broadcasting (Radio University). The maximum duration of a project is one academic semester. News programs form a separate editorial office.

Project milestones

Deadline for submission: October 1 / March 1. A new project can only be launched in the following semester.

Departure: October 15 / March 15.

Closing December 15 / June 15.

5.1 INDEPENDENT PROJECT

Independent projects may be initiated by editorial staff.

5.2 COMPOSITION OF A PROJECT EDITORIAL

Designated editor-in-chief – each program is assigned one (min. One semester radio)

Project manager – creates the content concept of the program and prepares the program and its elements.

Assistant – helps the editor to create the content of the program

Technician – responsible for the technical preparation of the program

RECOMMENDED online employee income or creating your own acoustic and visual image.

5.3 JOINT PROJECT

The editorial board (program director, editor-in-chief) can also advertise joint projects every six months. These can be series, programs related to an ad hoc event, and so on. Participation in joint projects is open and recommended to all editorial staff.

6. To receive a program on a broadcast or website:

● The program is available in mp3 format (128 kbps joint stereo or 80 kbps mono)

● Metadata about the show is available (title-title, staff list, keywords (as a comment)

● One for the program. “Album cover” image is available

● Recommended text for the program is available on the website (for the specific episode and the program in general)

● For music content, music copyright information is available

● The audio content of the program has been heard and approved by the editor in charge of the program

● Information on all employees involved in the production of the program can be found on the website under the menu item employees

● Employees received their press card

● It is recommended to translate the program in abstract text form to the Website

7. EXAMS

The exams shall be conducted by the Editor-in-Chief or his / her designee and shall comply with the conditions set out herein.

7.1 The reading exam

It consists of writing 2 news stories and 2 music conference texts, reading them into a microphone and recording them with the equipment of the studio. Assessed in the exam: microphone management, sound recording, cutting the sound recording ready for broadcasting, stressing, pronunciation of foreign words / names, dropping end-of-word sounds, dropping hisses.

7.2 The Technician Exam

Consists of using the studio mixing console with three talking actors, one of whom is the technician himself. Stereo audio recording (Audition single channel module), min. 5 minutes of prose. Trim audio recording. Tagging audio. Edit audio recording to single broadcast (SAM). Stream audio. Mixing music and lyrics (creating a promotional spot, Audition multichannel module). Incorporating a promotional spot into a broadcast. Display audio online. Insert live speakers (microphones + music) in the studio. Voice recording from phone. Voice recording from a Skype connection.

8. PROFESSIONAL PRACTICE

The aim of the internship is for the candidate to acquire the basic knowledge in most radio genres and to be able to solve tasks independently and at a high level when entering the profession .

The EPER radio work plan is for 100 hours of internship

Each unit will be accepted once it is ready for sale, properly prepared. Therefore, both cutting and possible re-cutting are included in the planned number of hours.

● 1-10. h. Recording and linear cutting practice. Recording of a public event, recording of a university lecture, recording and editing of a one-hour interview (studio conversation). The external on-site recording must be echo-free (you can use a radio microphone, clip-on wired microphone, handheld microphone). The recordings can be submitted cut, tagged (pasted into an mp3 comment tag), with a photo, by conference. Repetitions, parts that don’t belong there, stuffing words , (actually, what if you like, etc.), chirping, swallowing, sniffing, “amm” English-influenced, and all repetitions and stuttering, half-started and repeated sentences, resp. the technical errors. Great care must be taken not to cut out every pause and breath, the silences remain! 3 hours recording, 6 hours cutting. Format: 80kbps mono mp3. The volume should be uniform, including conferencing. Conferenceing is part of the task, it also needs to be in the right style.
● 11-20. hours: News editing, reading, editing. Edit your own news. Coordinate three topics on the subject of university / education / ELTE and create them with sounddbite, with continuous co-ordination. Single-channel practice. With soundbite or recorder, smartphone or phone hybrid. The parts of the task: writing news, getting a legal photo, captioning, credit line, reading news (in the right style), cutting the sound bite. Format: 80kbps mono mp3.
● 21-30. h. Musical editing and editing. Make a TOP 5 list on any agreed topic. To do this, write conference texts and mix them to the music to create the music show. With a log in the mp3 tag and a log in the excel file according to NMHH requirements. Multichannel practice. The parts of the task: collecting music, writing and reading conference text, cutting it to rhythm (the requirement is to cut the conference text into an intro, cutting it to rhythm until the beginning of the vocal), mixing. Format: 192kbps stereo mp3.
● 31-40. h. Broadcast programming, music programming. In the SAM broadcaster, program a 55-minute, weekly replay of music in any genre you like. The program clockwheel should contain today’s, new, old, known and moderately known tracks, fast and slow, and arrange them in a logical order. There should be signals between the music. SAM practice. Includes sorting, tagging, importing mp3 files, creating categories, programming a scheduler, testing, creating connecting, starting and ending signals.
● 41-50. h. Program the news program into the above broadcast, which should start at the exact time at full time. Under the news, be humiliated. SAM practice. The preparation includes the application of the PAL code of the exact time, the preparation and testing of the elements of the news, the search / production of subtitles, the preparation of separating signals, reading. News should be treated individually, as categories from which the program always selects the latest.
● 51-70. h. Make a sound fantasy one day on campus topic. Sound fantasy, see Krúdy fantasy, Hungaroton. (music and prose montage). Format: 192kbps stereo mp3. Multi-channel cutting task.
● 71-90. h. Make a documentary, 25 minutes long, with at least 5 speakers recorded at different locations, with intermediate narration. This project can spread throughout the internship. Format: 192kbps stereo mp3.
● 91-100 hours: Live broadcast (magazine). Create a live broadcast that includes live (or stream) input of multiple people in the studio, input of recordings with upconferencing and deconference, input of a broadcast ID (signal), input of a start and end signal, or input of bumper music. The material administered can be prose (news) or music. Preparation includes writing the broadcast script, preparing signals and replays, and roadcasting.

9. AWARDS

Fees to be awarded every six months at the suggestion of the broadcaster:

● The best editor for the best rated content show

● For the best technician, the program with the best technical solution

● The best radio for outstanding work in any status

The awards include a diploma and a cash prize.

10. Entitlements, contracts, remuneration

The radio’s voluntary and contracted senior staff and employees are entitled to press passes and studio access and can participate in the radio’s decision-making processes. The Editor-in-Chief, Technical Director, and Program Director can have either a volunteer contract or a service contract, while the Duty Technician must be a paid employee. Other staff members are also eligible for compensation, provided grant funding or other revenue sources are available. The honorarium is paid after the completion of the program or series.

Without a press pass, employees can receive written studio access and publishing authorization.

The contractual frameworks are always determined based on mutual agreement, and may include employment relationships, simplified employment, service contracts, scholarships, etc. Employees must verify the completion of tasks in advance through agreed methods, such as email-based task completion declarations or attendance sheets. During verification (unless otherwise decided by the Editor-in-Chief, Program Director, or Project Leader), employees must authenticate the submitted report with an offline or online signature, and send the notification to the Editor-in-Chief or one of the senior staff members. The submitted data is either accepted, corrected, or rejected by the senior staff.

11. EDITORIAL MEETINGS

The radio staff may hold a full editorial meeting at the following times: during the first week of the academic semester, and during the last week of the academic semester. In exceptional cases, the Editor-in-Chief (FSZ) can call an ad-hoc meeting.

During the academic period, meetings are held at least every two weeks regarding current matters, involving the editorial staff or its groups. Such meetings can take place as part of a class. During the exam period and academic breaks, there are no editorial meetings at the radio; during these times, the radio broadcasts repeat programs (to meet the minimum legal requirements). If a different type of program is to be aired, it must be preceded by an editorial meeting.

Decisions in editorial meetings are typically made by majority vote (50% + 1 person). If a vote is required, a written record is kept. A vote is necessary for the dismissal of the Editor-in-Chief, the suspension or expulsion of any contracted staff member. A vote can also be held to suspend or cancel a project. However, votes are not required for staff recruitment or the initiation of new projects.

12. PROGRAM QUOTAS

Radio programs are mainly from the following groups:

a) Performances shall be broadcast at least 50% of the time. Edited audio recordings of lectures (exercises, conference lectures) held at ELTE in at least 50% of the lectures; to a lesser extent, edited audio recordings of lectures given by lecturers of any Hungarian or cross-border higher education institution.

b) ELTE as an institution for at least 10% of the airtime; presentation of its institutional units, students, faculty, or other staff

c) Shows, individually or in groups, by internal or external staff that reflect the interests of university students, faculty, or other staff; thus primarily artistic or scientific broadcasts

d) Musical programs aimed at a more in-depth presentation of specific songs, performers or genres using background material; in any genre of music. Due to the legal restrictions in force, Hungarian works in music programs are min. 50%, at least 25% of which must be a recording of more than 5 years Mttv. Section 21. § (2).

Under the MAHASZ contract, the goal is to

– the proportion of musical (sound recording) elements in the entire radio program should not exceed 10%. (max. 2 hours 24 minutes a day, about 35 numbers a day)

– Hungarian music recordings should be broadcast between 06:00 and 20:00

– the proportion of Hungarian music recordings exceeds the legal quota by 9% (ie> 59%).

e) Works of radio art (sound games, radio montages, etc.).

f) Broadcast current events in the reception area

13. STUDIO BOOKING

In all cases, studio use must be notified at least two days in advance to the program director, who will transfer the reservation to the EPER calendar. It is possible to request dates for a semester at fixed times. After two unused studio bookings, the project manager will receive an email alert, after the third the project will be stopped.

Only those whose position is named by the SzMSz and whose personal data (student ID number, name, address) were recorded in the studio together with their signatures can have a studio key admission permit. The person responsible for booking the studio is financially responsible for the objects in the studio at the time of booking (except in case of force majeure).

14. DEPARTURE

Departure must be agreed with the program director, giving the nature and inventory number of the equipment exported to the deportation. The eviction is a project and the project manager takes financial responsibility for the equipment. The personal data of the project manager (student ID number, name, address) must be recorded in the studio together with his / her signature.

15. NATURE OF SHOWS (live / edited)

A pre-recorded program can be created by any editor. Only editors or readers can be broadcast live , or technicians who have produced at least half a year of radio contract staff and have produced at least 5 approved programs can perform the technique.

16. LANGUAGE OF THE PROGRAMS

Shows can be written in any language, but the synopsis must be in Hungarian or English.

17. PROJECT WORKFLOW

The procedure for creating programs is as follows:

1. The program is proposed by a staff member or the editor-in-chief.

2. The editing and coordination of the program is undertaken by a project manager.

3. The editor recruits assistants for your project. They form an ad hoc project editor who work together from now on.

4. The editor writes a symposium about the program ( SAMPLE see in the appendix below) content: job title, editor’s person and e-mail contact, additional staff, technician, general program theme, if a series, three specific program topics (plan), general program purpose, target group, duration, periodicity, number of programs planned, studio requirements, equipment requirements, and nature and length of music used, justification of music elements (since copyrighted content cannot be published for download, music programs are managed separately online; if series, its indication, whether the programs will be broadcast by episode by episode or once all episodes have been completed).

5. The synopsis will be given to the director and editor-in-chief (via email: radioeper97@gmail.com and google), reviewed: rejected, accepted or returned for correction, with an iteration until either accepted or definitively rejected.

6. The program will be supervised by a responsible editor with knowledge of the topic

7. A technician will join the show (if you have not already done so).

8. A trial run is complete.

9. The trial is received and reviewed by the editor-in-chief . You will forward your opinion to the radio email address and to the project manager. When commenting, it can be rejected by closing the project, refused by requesting a new trial, requesting a repair that can be solved by cutting, or accepting it ready for sale. The accepted trial can be published. Aspects of the opinion: image cohesion, themes, speech, technical implementation, the need for musical elements.

10. After an approved rehearsal, the project manager will create a program plan for the entire series (but max. 10 episodes) with the planned program title and the names of any guests (50% deviation is possible during the implementation). This will be sent to the editor-in-chief. 11. At the same time, provide the program director with a ‘datasheet’ on the program for online publication. This includes: title, staff list, short ‘recommender’, photo for publication. The datasheet is published by the web editor or the project manager himself.

12. For subsequent broadcasts, broadcasters will request a fixed studio time from the director.

13. From the first broadcast the finished programs are listened to after the completion or at the end of the whole project, the responsible editor listens, comments if necessary for content or technical reasons, returns for correction, if appropriate (broadcast), forwards to the director for publication.

14 Based on the program plan approved by the editor-in-chief and the editor-in-chief, program makers may request a scholarship for their program. If so requested, the radio will enter into a contract with the project manager for the production of the program plan. If the program is implemented, the project manager will receive a scholarship. There is no scholarship payment without a contract. If the program is not implemented, the scholarship will not be paid. The program schedule may be modified by mutual agreement.

The project must be published no later than the end of the project semester. Unpublished programs will be returned to the project manager for their own use and may be restarted next semester. If a similar problem occurs for the third time in a series, the editor-in-chief or program director must listen to the program and indicate whether the series can be continued. If one of them proposes to terminate it, it must be approved or rejected by the next editorial meeting by 50% + 1 vote.

A program whose authors have knowingly or unintentionally violated the Media Act, or entered into a contract with collective rights managers, or has not provided the necessary musical data will be suspended immediately; The decision to continue or terminate the meeting shall be taken by a two-thirds majority of the participants in the next ordinary editorial meeting.

18. Age-restricted programs, product placement

The radio only broadcasts non-age-restricted or age-restricted programs at 12. Pre-show: “The next track is not recommended for children under 12”. The age limit of 12 should be announced if the program is “fearful under the age of twelve (in the viewer / listener) or cannot be understood or misunderstood from an early age.”

Tracks aged 16 and 18 can only be published online (in the archive, on the website) in the EPER program using the appropriate pictogram on the site.

In the case of a track with a product display, it must be stated that the track contains a product display or the same at the end of the show (included)

19. STAFF RIGHTS AND OBLIGATIONS

All internal staff are entitled to use the radio studio outside of live hours by prior arrangement; to rent mobile radio equipment for a pre-determined period on the basis of a reservation. It is the duty of all internal and external staff to keep the radio studio and its mobile equipment in good condition. If you cause damage to the equipment or lose the mobile equipment, you are obliged to reimburse its value based on the current market price. It is the duty of all employees to enter the data of the royalty-recorded music recordings in their program into the database managed by the Radio in the manner specified by the Radio.

It is the duty of internal and external employees to comply with and enforce the media law in force at any time.

In accordance with the MÚOSZ Code of Ethics, the staff of the Radio must respect human rights. You must not incite hatred, you cannot call for racist discrimination against peoples, nations, nationalities. You may not disparage anyone or spread slander about anyone because of your religion, denomination, gender, physical, mental or spiritual condition, otherness, age, lifestyle or lifestyle differences.

Employees must respect one’s personality rights and dignity. You may not claim untruth, you may not use offensive terms that may damage your reputation or honor.

Employees should not promote violence or hate speech in a positive way in any way. Employees have the right to information, public communication, criticism, opinions, beliefs and the right to express them. He is not obliged to make a work contrary to his opinion or belief.

It is an act contrary to journalistic ethics if an Employee publishes other writing, sound or image material (or a combination thereof) published in other press, whether in print or electronic, as his or her own intellectual product, or the fact of receipt is not clearly stated in the communication. In particular, news programs should always indicate the source of the information.

Neither on the website nor on the radio can be used as true information that the Employee is not convinced of the reality content. In the case of humorous and ironic works, it must always be made clear (e.g. with a notation in the heading) that the work does not contain facts.

In the case of a commercial product program, it should be made clear that the program includes a representative of the product and may only appear as an advertisement or product placement if the Radio or a member of the radio staff has received remuneration for this.

Employees should strive for balanced and impartial information in news programs. However, other programs may be biased and unbalanced if the programmer follows his or her own principles and the nature of the program’s opinion becomes clear.

Information which has been incorrectly provided shall be corrected in the same place, indicating the fact of the correction. Exceptions to this are outdated information, provided that it is possible to identify the date of disclosure. Therefore, in particular, the metadata (in audio and writing) of information programs should always include the date of creation of the material.

19.1 Online Media Tasks of Employees

● Helps EPER online visibility (eg by creating comments, Google Maps posts, etc.)

● Promote the visibility of their own program on social platforms (eg promote the website of their program on Facebook)

20. Studio use (studio rental and editing)

For the use of the studio, ELTE employees, alumni, or students are not required to pay if the program they produce is similar in nature to those typically aired by the Radio or is related to a curricular task assigned by any unit of ELTE MMI. For external users or ELTE members producing programs of a different nature (except for curricular tasks), a fee determined by the Owner must be paid for the use of the studio’s equipment, which is owned by the Foundation. Radio staff may use the studio during available studio time by booking it in advance. In the case of commercial audio recordings, where access to the recording requires payment, the Foundation’s specified fee must be paid for each studio session, including by ELTE students. Permission for studio use may be granted by the Editor-in-Chief.

21. Technical devices

The equipment in the studio is the property of ELTE or the Media Universal Foundation. All technical equipment, including appliances, peripherals, cables, etc., belongs to the Studio. Some of the equipment can be lent to external students and lecturers of the Eötvös Loránd University, in consultation with the technical director, with an appendix to the list, for a specified period of time.

We are not responsible for private items left in the studio.

Please do not see the studio as an extension of your own room. Therefore, items of unknown origin (technical and other) left there for more than a week are either discarded or considered a donation and inventoried. The studio does not request or rent or lease technical equipment. We can accept material donations through the Media Universal Foundation.

22. Managing EPER email addresses

The EPER email address is used to receive incoming mail. Everyone you care about will receive the mail from here and then reply to it from their own account. A copy of EPER’s email address will be sent to the Editor-in-Chief and the Program Director.

24. RADIO WEB INTERFACE

Among the programs performed, programs broadcasting prose and original folk music recordings can be downloaded, and programs containing published music recordings can be recorded in replay. Recordings of university and other lectures given in the broadcast are obligatory to be posted on the website, and they remain constantly up to date; the conditions of the other programs may be decided by the program director or the editor-in-chief on the proposal of the authors of the given program or the editor-in-chief.

24.1 Eavesdropping interfaces, data storage

Technical issues: To listen to content, content must be uploaded to the EPER Google Drive eavesdropping folder. This folder is shared with the editor-in-chief, program director, and editors-in-chief. The technician inserts the program into a live broadcast.

The permanent archive of the programs can be found on the eper.elte.hu server at ELTE.

The programs are stored by the program makers in the Google drive of the given year (eg eper20182019@gmail.com) in their own folder, from where they are transferred to the permanent server when all the program elements have been completed. The host or editor-in-chief shares the appropriate Google Drive folder with the creators’ own Google Drive.

24.2 Privacy, data management

Data storage control: Programs are stored until the radio is switched off. Programs intended for the public shall be published in the archives of the radio until such time as the radio ceases to exist, unless requested to do so by one of the producers or otherwise in the program. All pieces of the archive are public online. Out-of-date programs (including previously up-to-date magazines and news programs) are only available in the online archive, and current programs or non-time programs can be repeated in the live broadcast.

Program raw materials are not stored, they are deleted at the end of each semester.

The right to speak and to manage one’s own sound: The public availability of the programs available in the archive will be terminated upon the request of the speaker in the program and will be removed from the broadcast. Such a request should be sent to the radio email address. The request may relate only to the part where the person’s voice or the person’s text, acquired, performed music, etc. are written. It included. This is not the case for public actors as interviewees and for public appearances, as well as for recordings of public events and mass events (eg demonstrations). Pursuant to Section 459 (1) (24) of Act C of 2012 on the Penal Code, a public event is an event that is: “an event falling within the scope of the Act on the Right of Assembly, as well as an event that is the same for everyone open under the conditions of In addition, however, if the event in question is an educational event in the nature of a university lecture, in this case too the sound recording must be agreed with the lecturer or his / her representative if the entire lecture is broadcast on the radio. If requested by the presenter, in any case before the broadcast, the presenter has the right to check, modify, request a cut in the recording, and these requests must be made by the editor, while maintaining the possibility of further consultation with the instructor.

A minor can only speak on the show with the consent of his or her parent, legal representative and himself or herself. In this case, too, it is recommended that the minor’s real name and other identifying marks not be marked on the program. Minors may only be recorded during teaching and care if, in addition to the above, the relevant competent supervising teacher also consents.

In the case of university curriculum recordings, the basic rule is that we leave only the voice of the lecturer on the edited recording, the voice of the students is removed. Exceptions to this are publicly announced lectures, conferences, events, where all speakers are aware of the public nature of the event.

Radio staff may not record university / college lectures or internships without the prior consent of the presenter. Schedule recordings of lectures that the presenter was unaware of were not made available on the radio.

Programs created as part of a lesson: The radio produces a number of programs that are part of a regular university internship with the help of students enrolled in it. These programs require the consent of all students involved in the program to be included in the radio broadcast and archive. Any student has the right to prohibit the disclosure of material created as part of the lesson, provided that this is not to the detriment of the course in any way, i.e., it is not reflected in ticketing. If a student does not consent to the publication of a program or excerpt made in the course of a lesson, that program or excerpt may not be included in the live broadcast or in the online or offline archive. In order to protect the students, the student has the right to appear in the programs under the name of an artist (author’s name). website, but can only be included in the voluntary contract in your own name.

Right to images: In connection with radio programs and the operation of the radio, photographs may be taken of program makers and interviewees. These can only be published on the radio’s website after consultation with them. The photos will be stored by the radio until the end of the radio and will be continuously available on its website, in its archive materials. Photos made available in the archive will be made publicly available upon request in the photo and removed from the archive. Such a request should be sent to the radio email address. The request can only apply to the image or part of the image where it can be identified. This is not the case for public actors as interviewees and for public appearances, as well as for recordings of public events and mass events (eg demonstrations).

A portrait of a minor can only appear on the radio’s website if his / her parent / guardian and you have agreed to it. In this case, too, it is recommended that the minor’s real name and other identifying marks not be marked on the website.

Procedure relating to sound recordings Act CXII of 2011 on the right to information self-determination and freedom of information. to be treated pursuant to Section 3.  § 2. of the Act.

24.3 Protection of employees

The radio editor is responsible for broadcasts and information on the radio or its online interface.

25. Handling a misdemeanor

In the event of a breach of the above rules, the radio management will hold a meeting at which they will work with the staff member to resolve the issue and prepare corrective material. In the event of a serious violation, the employee may be temporarily or permanently banned from radio activities or a group of them by the radio management and the representative of the foundation operating the radio as an ad hoc ethics committee.

26. Transparent management

Financial indicators of radio, such as e.g. revenues are publicly available on the About Us section of the website. The revenues and expenditures of the foundation operating the radio are available on the Foundation’s website in the public benefit reports documents.

This form of the Regulations shall enter into force on 26 September 2018

In other cases that are unclear or not covered above, the basic information provided by the Radio is authoritative. Questions are to be sent via email.

Henrik Hargitai editor-in-chief                                      Tamás Jamriskó program director

CHANGES

Project workflow 9. Point added 12.10.2018.

Synopsis example added: 10/16/2018

Ethics and data management issues added: 21/04/2020.

From June 1, 2020, Tamás Jamriskó took over the leadership of the Radio.

SYNOPSIS SAMPLE

Project title: THE WORLD OF TATUIN

EMPLOYEES

Project manager and email: Skywalker Luke (skywalker@rebels.com)

Assistant (s) – Han Solo (han@han.com ), Leia Organa (Leia@alderan.gov)

Technician – C3PO (C3po@anakin.net)

Music Editor – Leia Organa (Leia@alderan.gov)

Appointed editor-in- chief Tamás Jamriskó (jamrisko@tamas.hu)

CONTENT CONCEPT

The general theme of the show in one sentence: Presentation of our Tatuin wildlife

Target group / Listeners: Interests keywords: Tatuin, Star Wars, Sci-fi, Nature films

Make a one-line ad title for the show so we can promote it (see image, blue section): As you

haven’t seen Tatuin yet

Provide a one-line description of the show to promote it (see image, black section): Wildlife

on a Desert Planet – The Document

Duration of a show: 40-50 minutes

Periodicity: weekly

Scheduled shows: 8 episodes

Requested studio time : Tuesday 13:00-14:50 per week

Equipment requirements: 1 zoom recorder will be required for external recordings, a total of 8

Times

Will you be a guest? Or just presenters. There are no guests in the studio, only recording.

Program structure (eg monologue, dialogue, replays, external on-site recording, skype interview, etc.): In the studio, the presenters talk while playing replays that we recorded earlier (external on-site interviews)

Nature and length of music used: Imperial start at the beginning and end of the show, 1

minute.

Live / Podcast: podcast (about recording)

If it is a series, then the theme (plan) of a specific program is NOT a recommendation to the Student

Specific enumeration and approach to the topics / topics planned for the broadcast: Presentation of the fauna of Tatuin, what the bantas can be used for, how they adapted to the desert environment

Who is responsible for which topics out of the producers and Credibility: Why it is authentic, what they say, that it is ensured that no ad hoc barroom philosophizing taking place at the show, but actually the speakers or experts on the topic prepared.

Skywalker: general introduction to Tatuin – visited Tatuin, tells about his experiences

Desert Life: Han Solo – makes a report with a museologist: an external recording is spoken by a museologist at the Tatuini National Museum,

bantas: Leia Organa – makes a report with a groom – a conversation with a bounty

hiker (one of the horsemen of Mos Eyesley Riding School)

Synopsis template – copy this into the appropriate document and complete it.

Project title: TITLE TITLE

EMPLOYEES

Project manager and email: XX

Assistant (s) – XX helps the editor to create the content of the program

Technician – XX is responsible for the technical preparation of the program

Music Editor – XX

Designated editor-in-chief (designated by show or editor-in-chief)

CONTENT CONCEPT

General themes of the program in one sentence: XX

Target group / who to listen to: Interests keywords: XX

Form a one-line ad title for the show to promote it (see image, blue section): XX

Provide a one-line description of the show to promote it (see image, black section):

XX

Duration of a show:

Periodicity:

Number of planned shows:

Requested studio time:

Device Requirements:

Will you be a guest? Or just presenters.

Program structure (eg monologue, dialogue, replays, outdoor recording, skype interview, etc.)

Nature and length of music used: XX

Live / Podcast: XX

If it is a series, then the theme (plan) of a specific program is NOT a recommendation to the student

Specific list and approach of topics / topics planned for the program XX

Who is responsible for which topics out of the producers and Credibility:

Why it is authentic, what they say, that it is ensured that no ad hoc barroom philosophizing taking place at the show, but actually the speakers or experts on the topic prepared. XX

When creating textual/video content plans, the above guidelines apply.

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