Cathy Rajcan, RDR, CRR, CRC, understands the importance of access in all situations. One of her regular assignments is providing CART for lectures at the Art Institute of Chicago.
The Art Institute recently offered a tour to a group interested in accessibility and asked Rajcan to provide CART for the group. Since tours do not stay still, neither could Rajcan. The JCR talked to Rajcan about how she handled this mobile CART assignment.
How did you get the assignment to CART an art museum tour? How often have you done an assignment like this?
I have been providing CART for lectures at the Art Institute of Chicago for a few years. The lectures are offered to members and the general public. This was the first time I have provided mobile CART at the Art Institute, and it was a lot of fun. The event was organized in conjunction with the Chicago Cultural Accessibility Consortium, a nonprofit volunteer organization that has been facilitating various cultural venues in Chicago to create welcoming environments for people with disabilities. This particular event was focused on making visual art more accessible to people who are blind or have low vision, and participants were learning how to audio-describe the artwork they were observing. The Art Institute has WiFi throughout the building, which is very helpful in making communication access available to large groups.
Does the Art Institute offer CART regularly for tours and other events, or was this organized separately?
The Art Institute of Chicago has been providing ASL-interpreted tours for a couple years, and I have been discussing with their education department making the mobile CART available for the tours specifically for people who have hearing loss but do not use ASL. CART captioning has been made available particularly to mature audiences, who have a higher incidence of hearing loss.
What is your setup for mobile CART?
For mobile CART, I loaded my CAT software onto my tablet and Bluetoothed my Diamonte to the tablet. From the tablet I sent my realtime stream to an Internet platform, and then provided the URL to the tour attendees so that additional people could view the CART stream from their handheld devices and smartphones. The setup with the mobile table is quite different ergonomically. I practiced on several occasions in advance prior to providing mobile CART to become comfortable writing while standing and getting my steno machine situated in the best way possible. I also told the docent in advance to please only speak while stopped rather than while walking, which would maintain a high degree of accuracy — I told them, “This is much more difficult than walking and chewing gum!” My steno machine was attached to the mobile table with a large commercial strength Velcro circle as well as a small stabilizing strap for extra peace of mind — it is, after all, a $5,000 piece of equipment!
What were some of the words and phrases you made sure you had in your dictionary for this assignment?
This was literally “thinking on my feet” as far as consciously recalling the unique dictionary entries I have created for art-related names and terms. I have approximately 200 specifically unique job dictionaries that I use according to the topic and setting. My Art Institute dictionary is approximately 400 entries; however, I always request in advance of a CART assignment prep materials for that particular day, and then I study those entries prior to the event. This tour was in the Modern Wing, which currently houses the Edlis/Neesen Contemporary Art collection, a gift from Stefan Edlis, a Chicago-based art collector and philanthropist, and his wife Gael Neesen. In addition to the donors’ names, I included in my dictionary the names of artists who created the pieces — e.g. Andy Warhol, Jeff Koons, Katharina Fritsch, and Jasper Johns — and the names of some of the pieces, such as Liz # 3, Target, and Woman with Dog (Frau mit Hund).
Was this assignment related to your personal interests at all?
I have a true appreciation for visual, musical, and performing arts. Other than my unique skill as a court reporter and captioner and some domestic textile talents, I am not gifted in the arts. Although several years ago a friend of mine who is a master violinist explained to me that we all have various talents, and those with skills in the performing arts and fine arts are grateful for those of us who appreciate their talents and are audience members and enthusiasts. Having provided realtime captioning at performing arts events, I have gained a great appreciation for the abilities of performers to memorize and perform the dialogue and lyrics in plays and musicals. They are truly amazing!
Cathy Rajcan, RDR, CRR, CRC, is a CART captioner in Wheaton, Ill. She can be reached at email@example.com.
The duties of a court reporter, often referred to as a stenographer, have essentially remained the same for the past 100 years. The primary task of a court reporter is to capture the spoken word.
Technology, of course, has made the job of a court reporter much easier. From feather quills to computers, the evolution of the profession has been quite remarkable. Before the invention of an official shorthand, court proceedings were taken down in full writing. Of course, getting everything accurately was probably a stretch, but a basic summation of what occurred was recorded. The proceedings were then put into some form of a legible document, today referred to as a transcript, which could later be reviewed by the attorneys and judges for appeal purposes.
In the early 19th century, an American by the name of Isaac Pitman invented a phonetic shorthand theory that enabled stenographers to record proceedings at quicker speeds. This theory of shorthand was adopted by pen writers throughout the English-speaking world. Pitman then produced a varied number of new “editions” of his theory. However, some of his modifications did not bode well with the international shorthand community. One of the major changes was the placement of dot vowels. He reversed the order of the dot vowels and published his new theory in his following edition.
This slight modification rattled a few foundations throughout the steno community. After spending months, even years, crafting their skills with the original version, writers were faced with having to adopt these basic changes if they wanted to keep up with progressing trends. The British, in traditional stiff upper lip fashion, accepted the changes, stating that the modification would be the last they would accept. The Americans, however, in true rebellious fashion, were less accommodating. Some adopted the new theory, however, others produced their separate shorthand versions, keeping the vowels were they originally were. This resulted in several different versions, although not too dissimilar to the original version.
Fractions of these shorthand theories were used for many years until the arrival of a young, ambitious Irish immigrant called John Gregg. Often referred to as the “Apple MacIntosh of the 19th Century,” a new version of shorthand that Gregg created had many more appealing factors. Still phonetic in nature, Gregg’s shorthand proved to be more efficient than Pitman. It allowed the stenographer to keep the pen on the surface of the paper, so hand movements flowed easier. Pitman’s version had both thick and thin lines, whereas Gregg’s version depended on lighter strokes. Although both versions were utilized, in the end it was Gregg’s creation that won the popular vote. Gregg still remains the most popular version of pen shorthand to this day in North America.
Despite these advances in efficient notetaking, the pace technology quickly caught up with stenographers at the dawn of the 20th Century with the invention of the first functional stenotype machine. Created in 1877 by an American named Miles Bartholomew, this remarkable machine, comprising only ten keys, enabled the user to utilize the keys depressed singularly or simultaneously to capture the spoken word with a combination of dots and dashes. There were various improvements to this original prototype over the ensuing years. The modern steno machine keyboard that most resembles the keyboard utilized today by stenographers made its debut a few decades later in 1939. Still based on the use of phonetics, the machine enabled the operator to create “briefs,” allowing for entire phrases to be taken down at once. Extra keys were added, to a total of 26, and letters were assigned to each key or a combination thereof. A typical brief, for example, is the phrase beyond a reasonable doubt. These four words can be written simultaneously, and would look like this on a typical stenotype machine: “kwr a eu r d.” All it took to record this simple phrase was one stroke; all relevant keys being depressed at once. This was transferred to a roll of paper, similar in appearance to a grocery store bill, which was then typed up by the stenographer or a note reader, who could decipher these mysterious combination of letters.
The demise of Pitman/Gregg shorthand pen writers in the court systems began in much earlier, however, in 1914 at a national shorthand speed competition. Hundreds of hopeful pen writers crowded the convention, when in walked a group of teenage competitors. Sponsored by the Universal Stenotype Company, these upstart youths were trained to operate steno machines at equal or in excess speeds of the most seasoned of pen writers. These machine writers managed to win every contest and walked off with all of the awards. Alarmed at this new technological development, and fearing for their very livelihood, contest organizers pulled the plug on the national competition for five years. However, by the time the next national competition returned in 1919, the point had been made. Even though machine writers were banned from the competition, it was too late. Machine writers had already begun to replace pen writers in court rooms across America.
Today there are thousands of court reporters employed in various aspects of the profession. Increasing computer technology has enabled court reporters to be useful in other areas besides the courtroom. One of these areas is called CART, or Communication Access Realtime Translation. This enables the end user to read almost simultaneously what is being spoken on a computer or television screen. Specialized software is programmed to translate the reporter’s machine strokes, turning the seemingly unintelligible mass of letters into a comprehensible language. This is particularly helpful for the hearing impaired, who use the services of court reporters to follow live proceedings such as the news, government hearings, sporting events, and even in university settings.
Because of these rapid technological advances over the past 100 years, the future of the court reporting has remained a pertinent concern for those in the profession. There has always been speculation of what new invention could completely take over the duties of a court reporter. Budget cuts, lack of funding, and the economy have all played a part in the reduction of reporters and many government entities are implementing the use of electronic recording device systems. However, headways in technology have also assisted the profession. The widest area of changing direction is in the captioning field. Several captioning services are finding that there are more captioning hours to fill than trained stenographic captioners.
Despite the shifting trends that have affected the reporting profession, there is one fact that cannot be disputed, and that is the accuracy of having a live reporter at a proceeding. In the words of Vykki Morgan, RDR, CRI, CPE (Ret.), a court reporting instructor at Cerritos College in California: “Costs and technology can’t completely wipe out a reporter’s work duties as long as an accurate record is treasured and regarded as essential.” And because the profession of reporting has evolved and grown with the modern innovation, it is almost certain that reporters will be utilized and will remain essential for an accurate record for hopefully another 100 years or more.
On Feb. 17, Gramann Reporting posted part three of an interview with Julie Poenitsch, RDR, CRR, a freelance reporter from Wind Lake, Wis. In part three, Poenitsch talks about how she’s used her skills outside of reporting, specifically to provide captioning at her church. In the article, Poenitsch comments, “If there aren’t always people who aren’t hard of hearing to watch the screens, little kids like to watch the screens too! They’ll behave.”
The post links to parts one and two of the interview as well.
Members of state court reporting associations across the country have spent the week celebrating their profession by participating in career fairs, visiting court reporting schools, hosting Veterans History Project events, and being quoted by local media, in honor of the 2017 Court Reporting & Captioning Week.
State associations and schools around the country promote the profession
For members of the Kansas Court Reporters Association (KCRA), however the week proved to be exceptionally busy. KCRA members kicked off the week by meeting with the state’s governor and securing an official proclamation recognizing 2017 Court Reporting & Captioning Week. In addition, representatives from the association were also invited to visit with members of the state’s Supreme Court where they also secured another official proclamation and pictures with the justices.
Left to right: Cayley Rodrigue, Kelley Morrison, Judge Michael Joyce, Brenda Highberger, Cindy Isaacsen, Judge Thomas Sutherland
KCRA members marched onward throughout the week with other stops. They visited with members of the State Judiciary Committee where reporters provided a realtime presentation that left the attendees mesmerized. They also visited with members of the Johnson Board of County Commissioners complete with breakfast and another realtime demonstration that led to yet another official proclamation recognizing the week.
KCRA members wrapped up their celebration with a special write-a-thon at Neosho County Community College to help raise funds to aid students in its court reporting program.
“It’s been a very busy week,” said Cindy Isaacsen RPR, an official court reporter from Olathe and president of KCRA.
Kelley Morrison provides a demonstration
“I think I’ve said Court Reporting & Captioning Week about 1.75 million times. This week was just another way to spread the word about court reporting and captioning. It’s not just the young people we have to educate about what we do,” Isaacsen added. “My judge always says that I think court reporting is the best job out there … he’s right.”
2017 Court Reporting & Captioning Week also earned national recognition from U.S. Rep. Ron Kind (Wis.) in a floor speech before the U.S. House of Representatives on Feb. 14, and by state governors in Alabama, California, Colorado, Florida, Illinois, Iowa, Kansas, Minnesota, North Carolina, Ohio, Oklahoma, Pennsylvania, South Dakota, Washington, and Wisconsin as well as by officials in Bexar County, Texas.
Presentation at Bryan University
Other activities included visits with students at GateWay Community College in Phoenix and Bryan University in Tempe, both in Arizona. A number of members who visited with students were in the area attending the 2017 NCRA Firm Owners Executive Conference being held in Tucson. Students at both sites were able to ask the professionals questions and for advice. The panel discussion at Bryan University was open to both on-site and online students.
Members of the Missouri Court Reporters Association visited with state legislators in Jefferson City when they held their annual cookie drop. “We are always warmly received and welcomed, and this time was no different,” said Linda M. Dattilo, RPR, an official court reporter from Florissant, Mo., and the association’s executive director.
Students at GateWay Community College
“They know when we’re coming, and we’ve had senators call our lobbyists and ask where the cookies are because they are waiting for them. At the end of the day, we’re always exhausted by all the running around, but satisfied, and hopefully they are too,” she added.
Members of the Wisconsin Court Reporters Association also promoted the court reporting and captioning professions at an open house held by North Wisconsin Technical College in Green Bay.
Finding the spotlight: Court Reporting & Captioning Week in the news
As with all previous Court Reporting & Captioning Week celebrations, the efforts of NCRA members at the state and local levels were also successful in getting the word about the profession and its benefits as a career to media outlets in their areas. Among those:
The Andrews Gazette (Easton, Md.) posted an article about the Hard-of-Hearing Heroes Veterans History Project event that NCRF and the Hearing Loss Association of America will host on Feb. 18 in Bethesda, Md., as part of NCRA’s 2017 Court Reporting & Captioning Week.
The Newton Daily News posted an article on Feb. 9 announcing that the Des Moines Area Community College, Des Moines, Iowa, is hosting several events to mark 2017 Court Reporting & Captioning Week. Among the activities will be two information sessions where prospective students can learn about the court reporting and captioning professions.
In an article posted Feb. 13, the RegisterNews.com, Mt. Vernon, Ill., announced that Gov. Bruce Rauner has designated Feb. 11-18 as National Court Reporting & Captioning Week. The article also noted that several court reporters from the 2nd Judicial Circuit will promote the profession at an upcoming local career fair.
In a press release issued Feb. 10, NCRA member Ginger Baze, owner of Steno Services in Hugo, Okla., announced that her firm is launching an outreach and education campaign for National Court Reporting & Captioning Week.
The Gilmer [Texas] Mirror posted an article on Feb. 13 about the Texas Supreme Court holding a formal court session to hear oral arguments in two cases at LeTourneau University in Longview, in conjunction with “Law as a Career Day” being held on campus. Numerous law schools, paralegal schools, and court reporting schools will have recruiting booths on-site.
Sheri Smargon, RDR, CRR, CRC, has shared her experiences on social media working with the Federal Emergency Management Agency (FEMA), and I thought everyone would enjoy hearing more about these adventures.
Sheri, tell us a little about your background as a CART captioner, I know it’s extensive.
I started captioning directly out of court reporting school in 1992, working for our local county commission. We were the first county in the nation to caption its government meetings, and it was in an open caption format, which means that anyone turning to the channel could see the captions, whether they wanted to or not. In the early days, it probably was more of a “not” situation. The people in charge figured if you could write “on that machine,” you must be able to caption. Boy, we proved them wrong!
After two years, I moved from Florida to Pittsburgh, Penn., and went to work at VITAC, the country’s largest captioning provider. I loved the job, but hated the weather. I’m from Massachusetts originally and thought I missed snow and seasons. Not so much! So after two years, I moved back to Florida and started freelance work for the local court reporting firm who had the contract with the county courthouse for court reporters.
During that time, even though we had a seniority system, I was the only one with any realtime or captioning experience, so I was given the opportunity to realtime a vice presidential debate with Al Gore and Jack Kemp. I was realtiming, and a transcript of my work was being printed every 15 minutes for the hundreds of national and international media that were in attendance. It was quite the experience.
I only did court reporting for a short time because then I got a job with Caption Colorado, captioning from home. I worked there for seven-and-a-half years. During my time with Caption Colorado, I captioned a lot of news, baseball games, and the Olympics a few times.
Then the opportunity to caption in Sydney, Australia, popped up. So I moved to Sydney to work for the Australian Caption Centre. While there, I captioned everything from news and reality TV to sports, like cricket and rugby. It was quite a learning curve because I had to adjust my dictionary to true English spellings (colour, favour, etc.) I worked there for six months and moved back to Florida, picking up with a few captioning companies and a court reporting firm.
I went to an NCRA Convention & Expo in New York City and ran into my old boss and former NCRA President Kathy DiLorenzo. She told me VITAC was hiring, so I should apply again. I did apply because now they were allowing people to work from home, versus having to move to Pittsburgh. I was hired on by VITAC in 2007.
While there, I captioned everything from CNN to the Stanley Cup Finals to the Olympics. I also captioned a couple of musicals on NBC: “The Sound of Music” and “Peter Pan.” Never having seen either the movie or the stage production of either tale, there was a bit of a learning curve for sure!
I left VITAC in January of 2016 to strike out on my own as an independent contractor, trying to find different CART and captioning experiences. My final job with VITAC was captioning the Golden Globe Awards. So I think I went out on a high point.
(August 18, 2007, Denver, Colo.) FEMA’s Denver-based MERS leave for Texas to support operations ahead of hurricane Dean. Photo: Michael Rieger/FEMA
How is it you started working with FEMA as an independent contractor? What was the hiring process like?
I am the administrator of a group on Facebook called The Captioning Klatch. I started it a few years ago, just as a place to come and talk about all things captioning and CART related. One of our members posted that FEMA was hiring for CART writers, so I looked at the job description and decided to apply.
The hiring process involved a lot of paperwork … reams, it seemed like at times. Eventually, I was given an interview, but no one told me it would be a Skype interview. So I was in my pajamas, with no makeup on, because I was in the middle of my captioning day. I kept my webcam aimed pretty high that day for sure!
I was asked a lot of questions by interviewers, both hearing and Deaf, and then I was given a practical examination, where the interviewers could see me caption. The clip they played for me was a press conference from the aftermath of Hurricane Katrina. Luckily, I had captioned the news from Louisiana during that time, so I had all of those cities and parishes in my dictionary.
A short while after the interview, I was offered the job, contingent on a thorough background check and security clearance. While I have nothing to worry about, having the FBI contact friends and family is kind of freaky!
You were deployed to an assignment in North Carolina. What was an average day, the good and the bad, and how you were helping in this emergency situation? How much notice did you have beforehand?
When there’s a disaster and the Joint Field Office (JFO) is opened, that becomes the hub in the state for FEMA employees to go and work. They go out in the field to different locations, called Regional Field Offices (RFOs) but in general, the main administration and IT, etc., are located at the JFO. They work a minimum 12 hours a day, seven days a week, in the first couple of months, just because of the sheer number of things that have to be accomplished to help the disaster survivors.
When I arrived at the JFO, the disaster was so new that in the first few weeks of the aftermath, staff was in a temporary location while they looked for a permanent location. FEMA remains on-site, with a state presence, for quite some time. There is still FEMA staff in Louisiana working on Katrina, if that gives you a timeline. So I was with everyone else in the temporary offices, basically, just finding a spot to sit where I could.
My first day at the temporary JFO, I was issued a FEMA computer, signed paperwork, got login information. All of the usual boring, but necessary, aspects of being on a temporary assignment with the government. I then had to be issued a projector and a portable screen for me to take to any realtime jobs that may be scheduled. When all was said and done, between my personal equipment, a FEMA computer, a projector, and a screen, I had more than 100 pounds of equipment to carry with me.
There are no average days when it comes to a disaster. The slogan is “If you’ve been to one disaster, you’ve been to one disaster.” Every day is different. I would go into the office at 7 in the morning, and see what the schedule was like for the day. If a disaster site wanted or needed sign language interpreters, they would put in a request and that was added to the interpreters’ schedule. And almost always, the meeting was at 5 or 6 at night with a couple hours’ drive to get to the location. Because I was the one and only realtime reporter, I was assigned to larger events, so that we could reach more people. Sometimes, it was a gymnasium with 200 people; sometimes, it was a city council chamber with 30 people. Every day was something different.
There were also days where we had no assignments to cover, but I would still go into work at 7. I would work on my dictionary, go through a recently written file to add acronyms or anything I may have gotten wrong. Eventually, on days where I didn’t have a meeting, I decided to hook up my projector and aim it toward the wall and practice to whatever I could find on the Internet.
I believe you were gone for two weeks. How were you able to manage your own clients and regular work at home?
Because I work with a great court reporting firm, they were able to take me off the books the week before I deployed. I was initially supposed to deploy to a staging area in Atlanta, Ga., because of the fact there was no office set up in North Carolina yet. So I was already off the books for my court reporting firm and wasn’t accepting or bidding on any CART or captioning work. I ended up not going to Atlanta and just having my deployment delayed a week, which was great for me because I had a court reporting training class in Washington, D.C., that I had scheduled months previous to my deployment. Gratefully, scheduling worked out for me.
Were you using your own equipment? What was your setup? Were you working with any other CART captioners?
I was mostly using my own equipment, yes. So I brought my Luminex, cables, cords, extensions, laptop, and cool table with me. FEMA provided the projector and the screen. I wrote a proposal for FEMA to buy everything they needed for the CART project, but as of this time, it’s still bogged down in purchasing … or somewhere governmental.
FEMA wants to hire 37 more CART captioners over the next three years. So far, they have hired myself and one other reporter in Ohio, Molly Adams. We both deployed once with the caveat we will use our equipment one time, and then FEMA would have to purchase what we needed. Our concern was if our personal equipment breaks while in the field, we can’t work while deployed and we can’t work when we get home. It’s not like you can go buy most of our gear at Best Buy. So, Molly and I continue to wait.
Are there any unique skill sets that are needed for this type of work?
You have to be okay with not being home for an extended period of time. I did 30 days, and that was a lot. Most people do 60- to 90-day deployments and can rotate home for two weeks at a time.
You have to be okay with being in a strange place and not having your creature comforts of home, potentially. I was in a rural area, and I’ve never traveled behind so many tractors! You’re staying in a hotel, most likely. And while the hotel I was in was nice, there was no oven. It had a stovetop and a fridge and microwave, but no oven. What I wanted most was a roast. I learned tips and tricks on how to find rooms with full kitchens, so next time I get deployed, I am hopeful a roast will be in the offing.
Would you recommend this type of work to other CART captioners?
I would totally recommend this to CART captioners. While there were never any people who were Deaf or hard of hearing at any of the meetings I went to, I was thanked quite a bit by people in attendance, who either were taking notes and missed what was said or just thought it was nice to have access. Most didn’t even realize how the “words were getting up there” on to my screen. They didn’t realize it was a real person. So the education aspect was especially nice.
Is this a long-term assignment?
We have a two-year contract, which may or may not be renewed when that time comes. Hopefully, I will be able to report a positive update in the next few months regarding our equipment. Obviously, if you get deployed, it means someone, somewhere, is having the worst day of their life. You wouldn’t want that, but you also want to be there to be helpful, if you can.
I wouldn’t want this to be my full-time job due to the traveling and being away from home, but branching out and helping people, actually one on one, is quite a rewarding experience.
The JCR Weekly reached out to NCRA member Carol Studenmund, RDR, CRR, CRC, Chair of NCRA’s Certified Realtime Captioner (CRC) Committee, a broadcast captioner from Portland, Ore., to talk about why captioners should consider earning the CRC.
Tell us a little about your background. How did you get involved in the captioning profession?
Our company, LNS Court Reporting is celebrating its 30th anniversary this month! We expanded into the captioning world back in 1992. It was a natural progression for our business. My first big gig was helping to caption a regional conference of Self-Help for Hard-of-Hearing People here in Portland, where I met NCRA member Deanna Baker, RMR, a broadcast captioner from Flagstaff, Ariz.
Who would you say would benefit most by earning the CRC in this profession?
Our company is seeing more and more contract opportunities that specifically ask for proof of our captioners having the CRC. We only schedule captioners with the CRC for court work we caption in our state. We work both on-site and remotely for our court system. All of that adds up to the fact that we need more captioners who have the CRC.
Do you see an increase in the demand for certified captioners in the near future and if so, why?
More and more contract opportunities will have this requirement. Our potential clients know there is a wide variety in caption quality. They can’t afford to spend their tight public money on services that are not provided by a qualified captioner.
How has earning the CRC helped you professionally?
I earned my CRR back in 1993. I took the Written Knowledge Tests for the Certified Broadcast Captioner and Certified CART Provider in 2009. [Members who held the CBC and/or CCP before Jan. 1, 2016, were automatically transitioned to holding the CRC.] Certifications always give the person who earns them confidence in his or her skills. I haven’t looked for a job in 30 years, but I have hired many people in that time. And when I see a certification, I know a good deal about the captioner’s capabilities right off the bat. And maintaining my certifications has led to me knowing captioners and court reporters across the country, and exposed me to the latest trends and technology for our professions.
What do you advise someone considering earning the CRC to encourage them to do so?
Get busy! This certification has three legs: the Written Knowledge Test, the Skills Test, and a Workshop. They’re all essential to the certification program. Our captioning profession has grown for more than three decades. And during that time, we’ve gone from a community of pioneers, who truly did make it up as they went, to a profession that is depended upon by millions of people all over our country. Our consumers want a way to know they are working with a qualified service provider.
Are you eligible for the CRC exception? Learn more here.
Candidates who passed the Certified Realtime Reporter (CRR) test prior to November 2011 are eligible to earn the Certified Realtime Captioner (CRC) upon successful completion of the CRC Workshop and Written Knowledge Test. These candidates are not required to take the Skills Test to earn the CRC under a recent exception approved by NCRA’s Council of the Academy of Professional Reporters (CAPR) that recognizes the Skills Test requirement of the CRR certification as equivalent.
Note: The exception to use the CRR Skills Test history towards earning the CRC expires Dec. 31. Any CRC candidate who has not fully earned the certification by that date will be required to pass the CRC Skills Test, regardless of prior testing history.
CAPR’s recent action to exclude the Skills Test requirement for the CRC for candidates who earned the CRR prior to November 2011 was based on the findings that prior to November 2011, the Certified Broadcast Captioner (CBC), the Certified Captioning Provider (CCP), and the CRR Skills Tests were the same: five minutes of literary matter at 180 wpm.
Anyone who passed the CRR during or after November 2011 will need to take the CRC Skills Test, the CRC Workshop, and pass the Written Knowledge Test to become certified.
The requirements to earn the CRC are the successful completion of:
CRC Written Knowledge Test — offered in April, with registration open March 1-31, on-site in August at the NCRA Convention & Expo, or in October with registration open Sept. 1-30
CRC Skills Test — unless using the CRR exception by Dec. 31
Candidates wishing to use the exception for the CRC Skills Test must successfully complete the CRC Workshop and the CRC Written Knowledge Test. Candidates must then notify firstname.lastname@example.org upon successful completion of the Workshop and Written Knowledge Test in order to reflect their CRC status. Only current members in good standing can hold the CRC status.
Dictionary Jumpstart, a dictionary-building software company for court reporters and broadcast captioners, announced in a press release issued Jan. 16 that the firm has launched LearnToCaption.com, a new website that offers training, software, and resources to court reporters seeking to make the jump to captioning.
The Sports Venue Group announced on Jan. 12 the release of its latest section of a white paper that summarizes closed captioning regulations, reviews technical and operational requirements, and offers examples of quality in-venue captioning from several professional and collegiate teams.