Story Tellers, an excellent resource for video storytelling

If you want to learn to be a better video storyteller, check out Story Tellers: Tips Stories and Resources for video storytelling. It is geared for TV news shooters, but the fundamentals are there for all kinds of video stories. This week, Darren Durlach, a former TV news shooter, now with the Boston Globe, gives great tips for gather audio.

Story Tellers Tips , Stories and Resources

 

Video editing breakdown: “Everyone needs a painting”

It’s not often a video story comes knocking at my door. A few weeks ago, Pat Adams, my next-door neighbor, came over to my house to ask me how she could get in contact with Dan Pelle, a co-worker of mine at The Spokesman-Review. Adams told me she had painted a picture of Pelle’s dog Koko, who died in a vicious pit bull attack last year, and wanted give the painting to him.

I learned Adams has been churning out dozens of oil paintings of people’s pets that have died, and that most of the painting recipients had never met her. When she told me she did the paintings free of charge, I knew I had a story.

I spent a few mornings shooting Adams as she painted. As you watch the video, take note of some of the production and editing techniques I used:

I start the story with a video title card with music. This short opener allows web viewers to adjust their audio. It also makes a great thumbnail for Vimeo, if that is where you upload to.

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I open the video with Adams painting at her kitchen saying: “I love to paint…”  I use a camera slider to add movement in the first two shots. It gives the video a cinematic feel and helps reveal my subject for the first time.

At 0.24 I introduce Adams with my opening narration. “For the past thirty years, artist Pat Adams has set up a painting easel and palette on her kitchen table…”  Yes, I could have told this story without narration, but I don’t think the storytelling would have been as efficient. In this video, I only narrate in places where the story needs definition or a transition of time or place.

When I started shooting with my Nikon D4 DSLR–a great low-light camera–I didn’t think I needed to light Adam’s kitchen. But the cool window light mixed with the warm incandescent light made it tough to get a clean white balance. Thankfully, I had a light kit at my house next door, and a few minutes later, I had two quartz halogen lights set up to bounce off the white kitchen ceiling. The white balance improved dramatically with the added warmer, softer light.

Audio. I love using a wireless mic on subjects. The audio is clean and dynamically full compared to using just a shotgun mic. It has one other huge benefit—it allows the subject to be more natural without having a big microphone pointed at them from a foot away. I can be across the room shooting wide shots and still be getting wonderful soundbites to use later in the edit. Where the wireless mic paid off in this story is when Adams would talk to the painting. Those parts were emotional gold when I assembled this story later in Final Cut Pro X.

In the first minute of the video, Adams reveals, as a young mother of a Down syndrome child, she had a small stroke. Her cardiologist told her she had to paint to relieve the stress. This is the first gold coin in the video. I don’t reveal the true direction of the story yet because I want to pull the viewer in and surprise them with the next revealing moment.

At 1.06, I say: “Adams put her brush to canvas. At this point in the video I use a super-tight shot of her brush dabbing the canvas with paint. This is one of my favorite clips in the video. I shot it with a 60mm macro lens. It helps hold viewer interest in the story because I am showing them something they can’t normally see.

The interview. I waited to do the interview until the second time I shot Adams painting. This allowed me to ask better questions. I kept a mental list to things Adams told me during the first shoot, which then helped me formulate better questions to ask her in the formal interview.

The next big gold coin comes at 1.47. Adams says: “I think the first animal I painted was Sage…” This is where the first emotional tug in the story comes. It reveals what the story is really about, and hopefully, keeps the viewer engaged in where the story is going.

Music. I learned a valuable lesson about how to use music after I posted the video asking for feedback on a Final Cut Pro X forum site. Professional editor Jeff Bartsch gave me this advice:

“Big sloppy rule of thumb: in much doc/reality/verite TV, you’ll find that most cues of music run between 30-60 seconds. Anything longer runs the risk of saying the same thing too many times or getting old. At the moment, the piece is 6 minutes and has only 2 cues of music that are pretty much the same, though the piece has multiple sections of exposition and progression of thought.”

What Bartsch helped me understand was I needed to use music as a transitional element. As the scenes, or tone of the story changed, so too should the music. I added in three more music tracks, each to fit the different tones of the story. It was a huge improvement (Thanks Jeff.)

At 2.15, I start showing some of Adam’s animal paintings. I used an out of focus photo of a painting palette as a colorful background. I use a drop shadow on the paintings to set them off a bit from the background.

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The one thing I kept telling myself as I shot Adams as she painted was to, “shoot wide, medium, tight, tight, tight.” The variety of the tight shots really made the editing job easier because I could use those shots as transitions between scenes.

The next story gold coin comes at 3.07 when Adams says: “What’s the scariest thing in handing someone a painting”? I cut to Adams walking out of her kitchen with a dog painting and giving it to a young couple in the living room. Adams voice over continues to talk about her fear of rejection, but at the same time, the couple tells her they love and are amazed by her generous gift. This is where understanding the power of the edit—how you can weave different threads of narrative and have it all work together to advance the story–is so important.

At 4.00 I take Adams out of the house and into her car to deliver the painting to Dan Pelle. Other than knowing that she is bringing him a painting of his dog Koko, they had not met until he opens his door. I just told Dan I was going to be there and to just ignore me during their interaction.

I shot some driving scenes on the way, and then a shot of Adam’s pulling into the driveway. This is where it starts to get technically messy. I switched to a traditional video camera for these scenes, because in run-and-gun situations, I find a DSLR is too slow to focus and make auto balance corrections on the fly. And because my video camera has two channels of audio (shotgun on the camera and a wireless on Adams) it gave me backup audio if one of the audio channels failed.

My favorite edit comes as Adams exits her car and shuts the door. I straight cut directly to Pelle opening his front door and greeting Adams. In one simple edit, I cut a whole bunch of time out of getting Adams from her car to the front door. I think it works, but it is a bit jarring.

At 4.30, Adams is invited into the house. It is technically challenging to go from outside daylight to inside incandescent mixed light. I put the camera into full-auto mode and hoped for the best. As I headed into the house, the camera was recording Adams and the Pelle’s as they introduced themselves. I can’t really shoot any cut-aways to cover the weird transition of white balance and exposure shift. Later, as I was editing this scene, I added a still photograph of the dog painting to cover of some of bad color shift. I always strive for perfection, but sometimes it just out of reach.

The next gold coin is the interaction between Dan Pelle and Adams during the painting hand off. It is emotional (for her) and yet what Dan Pelle tells Adams is heartfelt.

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So how to get out of this story? Ira Glass, producer of “This American Life” says that a good story has to have a moment of reflection to remind the viewer why it was worth spending their time watching your story. As I was reviewing my footage, I came across this audio gem: “Its wonderful to see them. It’s like having your pet back home. Everyone needs a painting,” said Adams. I knew this clip was going to be my ender, my moment of reflection in the story.

“Everyone needs a painting” has gotten a lot of positive feedback from viewers. “I’m bawling in front of my computer,” is one common comment on Facebook. Knowing that my edit instilled an emotional response, makes me feel confident I told a compelling story.

 

Get low-noise audio with a DSLR and a wireless microphone

The more I do video production with my Nikon D4 DSLR, the more I have come to like how it handles in-camera audio with an external mic attached. One of the big issues with the first generation video-enabled cameras like the Canon 5D Mark II and the Nikon D3s was they had limited audio capabilities. Many producers felt the need to record separate audio into a recorder like a Zoom H4n and then sync it later in post. What a pain. It’s one of the reasons I put off switching from a traditional video camera to a DSLR.

Sennheiser G2 Wireless MicWith my Nikon D3s, I went the route of trying to use a JuicedLink audio interface to manage my audio. The unit bolted on to the base of my camera, which made it feel bulky. It had great features like dual XLR audio inputs, levels monitoring and a headphone jack, but the truth is, on that piece of equipment, I could never dial in a clean audio signal.

A big part of the problem was the way the D3s handled audio with only three levels settings—high, medium and low. The last time I used the camera with the JuicedLink, I had such a high noise floor (a low background hiss) in my interview audio that I just left it on the shelf after that. Soon after, I upgraded to the Nikon D4 and have found I could generate low-noise audio, especially with a wireless mic, all without all the add-on accessories.

I like using a DSLR to shoot formal interviews. The shallow depth-of-field makes the subject look great. I use my trusted Sennheiser G2 wireless mic for my audio. Be advised,  out of the box the gain on these mics are set really high. The first time used it,  I had such distorted audio that it ruined the video story I produced for the newspaper. I quickly learned how to turn down the levels and make them work with my Sony Z1u video camera.

When I first used a wireless mic with My Nikon D4 (plugged directly into the camera’s mic jack,) I found the same high noise floor that my JuicedLink produced. After fooling around with the settings I came to this conclusion: I had to turn the levels on the mic back up and turn the camera audio levels way down. With the right balance (the mic sending the clean signal, which I assume overpowers the camera’s weak pre-amps), I now  get quality audio without a lot noise-floor hiss.

Is my camera audio as good as recording separately to a Zoom H4n? I’d say depends on what you are doing with the video. If its going to be broadcast on TV, or destined for the big screen, then maybe not. But, if you are producing for the Web like I am, I’d say it’s more than good enough.

You can hear an example of what my wireless Nikon D4 audio sounds like in the interview and voiceover audio in this video I produced for a speech therapy clinic:

Here are my settings:

On my Nikon D4 (the same as on the Nikon D800,) I set the camera on manual and dialed the camera audio down to number 4 level.

On the Sennheiser receiver pack (the one that connects to the camera) hit the “Set” button then toggle the left selection button until you get to “AF Out.” Hit “Set” again and toggle the left arrow until you see -12 Db. Hit “Set” again.

Next on the transmitter pack (the one connected to the lav mic) hit “Set” then toggle to “Sensit” and hit “Set” again. Toggle until you get -06 Db. Hit “Set” again.

Now do a test. Watch your in-camera levels. If they are too low, bump up your audio level to “5,” but no more. If they are still too low go back into the mic pack and set the AF Out level to -6 Db.

Just remember that there is no phantom power with DSLRs. You need battery power from the mic for it to work properly. I sometimes put my big Sennheiser ME-60 shotgun mic on top of camera and it works like a charm with very low noise. Just make sure you have a fresh battery in mic and that it is turned on. If you don’t, you won’t record any audio.

One of the great things about the new generation DSLR’s is that they have headphone jacks to monitor your audio. Use it, or you’ll regret it later (trust me on this one.)

The change: Video storytelling and the rise of the DSLR

It happened so fast. The change. One day, photojournalists were just doing their thing. Shooting daily photos for their newspapers. Maybe even an odd photo story or two. A lucky day was getting a page or a double truck on Sunday to showcase all their hard work.

Video at newspapers was out there on the fringes. A few staffers braved the online world and embraced a new way to tell a visual story. Except this time, it was on the World Wide Web. No space restrictions here. Most traditional still shooters shrugged their shoulders and continued on with the status quo. Video cameras were for “TV types,” they said.

Then the layoffs hit hard. In 2009 and onwards, photo departments at many newspapers were gutted. Hundreds of staff photographers were tossed onto the streets to fend for themselves. To freelance.

In the midst of all this chaos, a new type of still camera was quietly released by Canon. The 5D Mark II had a little secret– it could shoot kick-ass HD video. A few brave photojournalists used the new technology to produce stunning imagery. Images unlike anything ever seen in the video camera world. Shallow depth-of-field shots and cinematic looks that mimicked film dropped many jaws along the way. The smart ones ran with it. Reinvented themselves and in doing so, reinvented the genre of documentary filmmaking. Overnight the doc film industry changed. Shooting with Film stock was done. Former still photojournalists, once resistant to shooting video, now embraced it.

The commercial still photography market tanked as a “billion of photojournalists” raised their iPhones and posted their snaps on Flickr.

Because the DSLR camera was familiar, still photojournalists could buy in without judgment. The taint of video, hidden in a tiny package of a pro DSLR camera gave courage to those that once scoffed at the idea. It did not matter that the DSLR was much harder to shoot with than a traditional video camera. What did they know? They had never shot with a Sony or Panasonic video camera with built-in stabilization and pro audio inputs.

The aftermarket kicked in with a plethora of accessories to make the 5D Mark II easier to focus and improve the bad audio the camera outputted.

Soon the former photojournalists were now calling themselves filmmakers. The old ideas of us (still) vs. them (TV) dissipated. “Us” became “them,” but in a different way.

Video storytelling changed. The entry point into the documentary film world flattened. An army of new filmmakers, not confined by the limitations and cost of film, were unleashed. Stories, some short, some long (most too long,) gave rise to publishing platforms like YouTube and Vimeo. No longer did you need a TV to showcase your vision. Shoot and edit your story yourself, then post it to the Web. Maybe even enter a film festival or two.

Former photojournalists, the ones newspapers turned their backs on, were the most creative with the new DSLR video medium. They brought a keen sense of composition, moment and storytelling to the table. But sometimes that was not enough. They needed to understand that great imagery did not a great story make. Each failure was a learning opportunity.

The unfortunate ones were the Nikon shooters. The Nikon D90 was the first DSLR to have video capabilities. But Nikon took a nap after that release. Canon became the de facto standard for DSLR video. The release of the Nikon D800 and D4 played catch up and now a lost generation of Nikon users are joining the fray of filmmaking.

I sit here now stewing, one of the first still photojournalists that embraced digital video storytelling at a newspaper. I was a change agent; embracing the idea that video was an important path to enhancing our online content. In those early days of 2004, our website was mostly text-based with a few postage stamp-sized photos sprinkled about.  I evangelized, I shared, and I taught video sequencing to anyone who wanted to learn. I produced hundreds of video and multimedia stories. I even survived 11 rounds of layoffs at my newspaper. But now I feel like the old man talking about the good old days. Many of my photojournalists friends who left newspapers unwillingly are doing incredible documentary video stories now.

Video storytelling is hard. It takes commitment to keep learning. To keep pushing the boundaries of what is possible with the tools available.

In the blink of an eye, things change. It comes down to how you respond to that change. Give up and you stagnate. Embrace and you risk failure. Fear is the great equalizer. I keep telling myself  “no fear, no fear.”

I really love video storytelling. Though now I feel the cool kids have taken the torch and somehow passed me by. I tell myself I still have knowledge and experience on my side.

Inside me is a storytelling machine waiting to be unleashed. My Nikon D4 beckons. The world is full of stories. The only one that keeps me from telling them is fear.  No fear. No fear. No fear.

My final choice of video editing program: Final Cut Pro X

The cries were fierce and seething. What did Apple do to my Final Cut Pro? It has been a little over two years since Apple software engineers upended the video-editing universe with the release of an “all new” Final Cut Pro X version of the proverbial video-editing program. Not long after the initial discussions as to whether it is called “X” or “Ten” subsided, did the bitchin’ and moaning among the ranks start.

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Me? Well, I just dove in with gusto. Unfortunately, many fine editors made one big mistake. They tried to use the program without investing the time to learn how to use the new features—many of which were either a totally new way to edit (magnetic timeline) or ran counter to the way they worked in FCP 7 (dual viewers, bins etc.)  They complained. Then they complained some more. Change was tough, especially for editors that lived in the old FCP paradigm since version 1.0

Before I even tried to edit my first project, my first stop was IzzyVideo’s excellent free FCPX video tutorials. I watched each several times until I began to grasp all the new concepts–connected clips, skimming, magnetic and secondary timelines, keywording and so on . I  made sure I knew what each button in the interface did.

My first story edit went off without much fanfare. Still, I wasn’t totally convinced FCPX was better than my beloved FCP 7. The magnetic timeline drove me nuts, the single view monitor was strange and all that skimming took some time to get used to. I soldiered on and by the end of my third or fourth project, I started to jell with the program. Having to edit something in FCP7 now felt foreign. I kept wanting to skim clips in the browser.

My foray into FCPX was not without a hiccup that almost gave me a heart attack. Since its release, Apple has moved quickly to restore some of the lost features in the previous version. Multi-cam editing, XML export and dual viewers to name a few. But with all this updating, some versions became show-stopping unstable. Discussion boards were full of “FCPX didn’t save my project and now it is gone” type posts, which drove many editors over to the Adobe Premiere or Avid camps for good.

I was just completing a week-long editing project in version 10.05 when I started to trim a black slug at the tail end of my video. All of a sudden, poof, my entire project timeline turned gray. All the clips just vanished. A trip to the Apple discussion boards turned up many angry folks in the same boat as me. In typical Apple fashion, they shrugged their shoulders with silence and it took a user to figure out a convoluted solution to restore corrupted projects.

It made me realize at the time how much more FCPX needed to germinate before it was ready for real world work. That was a year ago and things seem to have smoothed out. My editing speed has accelerated dramatically the more I use FCPX.  I feel much more comfortable and trusting of the program. I taught a video storytelling and production class at a community college and I found the students learned the basics much faster than they did in Final Cut Express.

So for now, Adobe Premiere sits in my applications folder unused. I have chosen FCPX as my video editing program. I continue to suck up as much information on how to use the program as I can. Lynda.com has really stepped up and provided some of the best FCPX tutorials around. If you invest the time, I believe you will become much more comfortable with FCPX. It truly is video editing reimagined. I look forward to what future upgrades bring.

Time to move to DSLR video

Being a Nikon shooter in a multimedia world has some disadvantages. In 2008, Nikon launched the D90, which was the first DSLR with the ability to shoot video as well as stills. The camera was rife with limitations. Without an audio mic jack, you could not use an external microphone to gather quality sound.  The Motion JPEG codec the D90 recorded in was a nightmare for Final Cut Pro to deal with. My newspaper bought two of these cameras on release. I played around with one, shrugged my shoulders, and went back to my Sony XDCAM EX1.

Then the shockwave hit a short time later when Canon released the 5D Mk II. With its full-frame sensor, 1920 x 1280p resolution and, hallelujah, a mic jack, photojournalists who resisted shooting video, were now intrigued. Shooters like Vincent LaForet have since built their careers promoting filmmaking with the 5D Mk II. Whole ecosystems of accessories to outfit the camera have blossomed. So what happened to Nikon’s response? Did their engineers shrug their shoulders like I did and move on to only service the consumer market? Over time, Nikon has added video capabilities to many of their cameras, but none have been able to meet or exceed the specifications of the Canon 5D Mk II.
During the last several years, I have sat on the sidelines, preferring to use my traditional video camera.  I kept telling myself that I would jump in when Nikon launched its 5D killer. I’m still waiting. Last year, I talked my editor into buying me the Nikon D3s. This amazing camera is unfortunately saddled with the same video 720 x 1280p resolution and Motion JPEG codec of the D90 and the Nikon D300s.

I have stewed as the newspaper photojournalism world embraced the entire Canon line with its superior video capabilities. Last year, Brian Immel and I founded Finding the Frame, a video critique website for multimedia storytellers. I started noticing something right away. Most of the videos uploaded had been shot with Canon DSLRs. I’ve noticed something else. The visual storytelling is way better than it was just two or three years ago. I attribute that to talented still photographers taking their composition, moment, and visual creativity with them in to the realm of DSLR video storytelling.

When I started this blog in January of 2008, video storytelling at newspapers was in full swing. It was a time when video cameras were being handed out to newsroom staff like candy. Little training and cameras in the hands of non-visual word folk led to some sad results.

The implosion at newspaper newsrooms over the last three years has showcased new realities when it comes to video. I think management finally understood that video storytelling takes time; so most of the consumer-level cameras given to reporters have gone into some drawer never to be seen again.  Photo staffs have been decimated too, but not the amount of work expected from them.  Video is still alive and well at newspapers. The transition from videotape cameras to DSLR based video has upped the expectations for photojournalists. One camera that can do it all has made the job of visual storytelling more exciting, but infinitely more complicated and challenging.

My time to stew is over. My time to wait for Nikon to up its game is over too. No, I’m not jumping to Canon. What I plan to do is to make the DSLR technology I do have work for me. Yesterday I put in a request that was approved to purchase accessories to will allow my Nikon D3s it function as a video camera better.  In the coming weeks and months I will explore on this blog my experiences as I make this transition to shooting video with a DSLR. Stayed Tuned!

The Nikon D3s is, like, WOW!

My new Nikon D3s arrived last Friday and I’m still kicking the tires.

This camera is one bad boy. Yesterday, I set my ISO at 4000 and left it there for three photo assignments. ISO 4000 looks like 800 did on my vintage Nikon D2h  of just a few years ago.

My newspaper has always been a Nikon shop. Though I was tempted by all the low-light Canon camera offerings of yore, management never blinked or gave my informed blathering much acknowledgement to make the switch. Now I’m glad they didn’t listen to me.  This camera kicks! In the past, when I needed to spin the ISO dial up to, say, ISO 3200, I would often regret the decision later. Noise in digital files looks horrible.

This camera easily handled 4000, and 6400 ISO. I haven’t needed to go higher on the account that I don’t need 500th of a second for an environmental portrait.

Take a look at this shot I did of my daughter Brenna, right, and her friend Shea.

I shot it on my living room floor with just lamplight at 6400 ISO in RAW. I tweaked the color to get the skin tones right and made just basic Adobe CS5 RAW converter adjustments. If I had shot this with my D2h, it would have noise the size of gravel.

This camera will open many new low-light avenues for me and any other shooter lucky enough to get their hands on one.  I had to go through Nikon Professional Services to find one. I’m told they are as elusive as unicorns.

The next thing for me to tackle is the whole DSLR video learning curve. I have shot video for five years. My Sony Z-1U and XDCAM EX-1 have served me well.  Lately, I’ve been feeling I’m on the outside looking in as the Canon 5D Mk II has dominated  the video gear spotlight.

Mostly, I suspect, for the look of the files coming out of these cameras. Shallow depth-of-field is all the rage, but at what cost? Audio is a DSLR camera’s Achilles heel. The contraptions DP’s and video producers are building to make these cameras work gives me pause.

If I was the subject of a story and someone came at me with a steering wheel contraption laden with mics, lights and other paraphernalia,  I’d probably freeze up like a deer in headlights.

So my toe dipping starts with the limited video capabilities of the D3s. It has been much maligned for not shooting in the higher resolution of 1920p that Canon cameras do. This doesn’t really concern me. The test files I’ve shot so far look better than anything that comes out of my XDCAM. The huge full-frame sensor in the D3s makes shooting in the dark a breeze. Its 720p file size is just about right for the web-based video storytelling I do.  I have to compress the hell out of the videos I shoot, so the huge files from a 5D Mk II will only slow my edit down. I’m not planning to shoot any Hollywood movies, so I’m cool with the Nikon’s smaller file size for now. Of course, in a few months, my camera will probably be rendered obsolete by the rumored Nikon D4. Such is life of a techno geek.

Feedback website “Finding the Frame” launches

Finding the Frame, a website dedicated to giving feedback to newspaper multimedia producers and video journalists has launched.

My post in Mastering Multimedia last month,  “Video at newspapers needs to improve,” resonated with many people. I received lots emails from producers who vented their frustration at not being able to get feedback on their multimedia stories.

After a brainstorming session over a few beers, Brian Immel, a former multimedia producer and programmer at The Spokesman-Review, graciously agreed to build a website for the sole purpose of connecting those who need feedback on their multimedia, to professionals willing to share some time and knowledge.

Here’s how it works

The plan is to have onboard as many “expert” volunteers as possible that have solid foundations in video storytelling, audio slide shows or Flash projects. This pool of reviewers will peruse the submitted links of multimedia in the “Story Pool”. If they decide to comment on a story, it will then become public on the Finding the Frame home page where anyone else is free to give added feedback.

So why do this?

While most publications have driven head first into the online world, multimedia storytelling is still in its infancy at many newspapers. Unfortunately, not all people tasked with producing multimedia received adequate training or had the financial ability to attend a multimedia storytelling workshop. Many multimedia producers are self-taught, having picked up bit and pieces of knowledge along the way.

When I judge a multimedia contest, I often get frustrated at seeing the same problems in the execution of basic video and audio production fundamentals. Many photojournalists are struggling with how to tell an effective video or audio slideshow story that is different from the traditional still picture story.

Our hope is that Finding the Frame will begin to address the need for feedback and in turn, help multimedia producers improve their storytelling. Just read some of the comments by reviewers so far–you’ll be impressed. The professionals that have signed on as reviewers are the some of the top in the industry. If they critique your story, please thank them for giving up some of their precious time to help out a fellow visual journalist.

What we need

What we need is for enough producers, multimedia editors and photojournalists who have a solid experience with multimedia storytelling to step forward and share some of their knowledge with those that are looking for constructive, honest feedback.

So if you feel you have something to offer, we would really like you to join the pool of reviewers on Finding the Frame.

So go check it out and give Brian and me some feedback. Create an account. Upload a link to a video, audio slide show or Flash project. Be patient, as it might take some time for your story to get reviewed

I am not sure how many people will upload stories, so let’s take this slow at first. It would also be helpful if non-reviewers could give some feedback to others by commenting on their work.

If you would like to be added to the reviewer pool, register your account, making sure you create a profile and upload a photo of yourself or avatar, then email me at cmulvany@findingtheframe.com with the request.

This website is for you. We would really appreciate your support and feedback.

Video at newspapers needs to improve

I was disappointed after this year’s NPPA Best of Photojournalism Multimedia Contest results were posted . In the News Video category, I won an honorable mention. Great! That’s until I realized  my video was the only award given in the category. What gives? This is the second year in a row I’ve placed in this News Video category. Last year I received a second place, but no third was given.  This troubles  me. Not because I didn’t place higher, but because the judges didn’t see a video that reached a high enough level of excellence to place.

During an online chat on the Poynter Institute’s website, I asked the judges:

“Why didn’t you award first through third in news video?”

The Response:

1:27 theresa: @Colin – this was a real struggle for us. Many were full of technical errors and ignored the basic principles of photojournalism. We saw lots of evidence of urgency, however we really couldn’t award anything that had technical or fundamental errors.

I stewed about this for a time. Then after helping judge the NPPA’s Monthly Multimedia Contest last week, I began to understand the BOP judge’s dilemma.

Bottom line: Video at newspapers needs to improve. Dramatically.

The problems I continually see:

Storytelling

Many still photographers have not transitioned their storytelling skills effectively to video. Editing a video story is different from editing still photos for a newspaper picture story. With video, you have to master the fundamentals of sequencing and audio before you can tell an effective story in video. Too many still photojournalists have dipped their toes in the video world with limited training and it shows.

Bland Videos

Many newspaper-produced video stories are boring. The best stories have surprises sprinkled throughout the timeline, which helps keep the viewer engaged. This is mature storytelling that most newspaper video producers have failed to master.

Structure

A great video story is one that pulls you in from the opening sequence and never let’s go of your attention until it fades out at the end. Weak video jars you out of the moment, whether it’s from a technical issue like distorted audio, or from a narrative that fails to captivate the viewer. So many things can go wrong with a video story. Understanding these pitfalls is the first step to avoiding them.

Editing

You can have great raw video, but fail miserably in the edit. Pacing, narration, use of transitions, sequencing, layering and mixing audio all have to come together like an orchestra to make a  video story work. Fail at any one of these and your house of cards comes a tumblin’ down.

Journalism

Lots of newspaper-produced video is weak in basic journalism. Many videos I’ve watched only have one person as the subject. How many print news stories would get past an editor with only one source?

Narration

For the longest time I told myself that I didn’t want my videos to be like TV. I worked hard at telling a story by using only the subjects as my narrative spine. What you risk, doing it this way, is a story that rambles along and is not defined until long after the viewer has hit the back button. Get past the idea that narration is a bad thing. Good scripting moves a story along and serves as an objective voice for facts.

Collaboration

So you say you hate the sound of your voice and you don’t feel comfortable writing a script. Then get out into your newsroom and find a writer with a great voice and collaborate. I like to voice my own videos, but I also know my limitations. Some of my best work has been when I’ve worked with a reporter on a video story. I shoot and edit the story; he or she scripts and does the voiceover. We play to each other strengths. The final product, in the end, is better than if I tried to do it all myself.

Solutions?

When I started this blog, I wrote a post called “What we can learn from TV news shooters.” The crux of that post : TV news shooters have done video storytelling decades longer than us newbie’s in the newspaper biz, and we can learn a lot from their successes. If you are lucky enough to go to a TV video workshop, you’ll get the fundamentals drilled into your head–Shoot wide, medium tight, super tight. Shoot action, then reaction. Get that camera on sticks! Use a wireless mic. Gather natural sound. What’s your opener? Closer? And, for Christ sake, white balance your video!

These are the just the basics of video news production. Yet many newspaper video producers are still unaware of these fundamentals.

If you can, my advise is enroll in a video production workshop like the Platypus, or the NPPA’s Multimedia Immersion Workshop that is coming in May. Until you know what you are doing wrong you can’t improve your video storytelling.