Hawaiki AutoGrade for Final Cut Pro X

As I was making some final edits to a 10-minute long video project, an ad for the new Hawaiki AutoGrade color correction plug-in for Final Cut Pro X (Through Noise Industries FXFactory for $29.00) popped up in my Facebook feed. Normally, I just ignore these FB ads, but this one received my full attention. I was just about ready to do the final color correction on my project and I was not thrilled with having to use the limited color correction tools in FCPX (yes I’m pretty creeped out that Facebook knew what I was about to do.)

autograde_effectsI love editing video stories in FCPX, but the one thing I gnash my teeth over is the funky way the program color grades video. Yes, it gets the job done for most projects, but it is not intuitive and has many feature limitations compared to other editing programs like Adobe Premiere.

The one feature I miss the most from my days working with the Final Cut Pro 7′s three-way color corrector was the white eyedropper. Look for something in a video clip that was white with a colorcast and click it. Instant cast remover. Many times that is all the color correction I would need to do. It worked best for tight deadlines where I needed to post a news video quickly.

With AutoGrade, the eyedropper returns to FCPX as well as a slew of other features that will make color correcting your video a breeze.

Learning how to use the plug-in took about as much time as watching the excellent provided video tutorial. Once I got rolling, I color corrected all my clips, about 50 in all, in about two hours. My workflow went like this:

In the effects browser, I clicked the global adjustment picker and chose something neutral in my photo, and then I did the same with the white and black pickers. When done, I turned on “ Enabled Auto Balance” to show the correction. What’s really sweet is that each of the pickers has a slider that allows you to dial back an adjustment. This made fine-tuning simple and fast.

With my video scope set to Waveform/Luma I set my contrast of each clip. In “Manual Adjustment” I would start with my black exposure and pull it down so that the waveform kissed the bottom of the scale. I did the same with the “Whites Exposure” but this time I pulled the slider until the waveform touched the top of the scale. If needed, I would also tweak the “Mids” slider.  Finally, a bump in saturation and maybe a fine adjustment with the cool/warm slider and I was done.

I found with this plug-in, I never needed to use Final Cut Pro X’s color corrector. The only draw back I found is there is more clicking with a plug-in.  You also have to drag the filter onto each clip so that it loads into the effects browser. Still, the program is feature rich and really enhances FCPX color correction limitations. Until Apple makes an upgrade to the its color correction tools, Hawaiki AutoGrade is a perfect alternative.

Part 2: DSLR camera accessories-image stabilization

In this part two examination of DSLR accessories, I look ways to outfit your camera to ensure stability of your video (see part one on the Juicedlink audio interface.)

I shoot primarily news video for my newspaper’s website using a Nikon D3s as a video camera. It captures only 720p HD video, not 1080p of the newer models, but it’s resolution perfect for most online delivery.

One of the issues I’ve had as I transitioned from shooting with a Sony EX1 video camera to now using a DSLR, was the stability of my video. When handholding a DSLR during a shoot, I founds it almost impossible to capture stable video. Because I couldn’t put the camera up to my eye when shooting in live view, the shaky-cam effect from holding the camera unsupported out in front of me was really pronounced. It made me realize  how much the optical stabilization on most traditional video cameras work to minimize camera vibration.

In putting my DSLR video camera kit together, I looked for the best lens I could find that would not only give me the zoom focal lengths I needed, but would also have built-in image stabilization. My final choice was the Nikon 24-120mm f/4 VR lens.

VR (vibration reduction) is Nikon’s version of the Canon’s IS (Image Stabilization.) Vibration Reduction (VR) systems in DSLR camera lenses compensate for image blur caused by small, involuntary movements from unsupported cameras.

I can attest that VR works. I’ve seen and shot a lot of handheld DSLR video that was so shaky it was unwatchable. Switching VR on will not make your footage look like it was shot on a tripod, but it will smooth it out considerably. In my video below, I used the Nikon 24-120mm with VR for the first time. I was pleased with the results. VR  allowed to  move with my subjects without encountering the jarring shake of typical handheld footage. I was most impressed with the clip of me running with the subject. No way would this look this smooth without VR.

The next accessory I use for stabilizing my DSLR video is the wonderful  Zacuto Z-Finder optical viewfinder that I attach to my camera’s rear viewing monitor. This allows me to press the eyepiece against the bridge of my shootin’ eye, which helps stabilize the camera–especially the up and down movement you get when holding the camera out in front of you. This, paired with the lens VR, really makes for some excellent looking handheld footage.

Finally, I can’t stress enough about having a solid tripod handy on EVERY shoot. I always try to use a tripod for long interviews. This allows me to spend time looking my subject in the eye, rather than hiding behind the camera monitor.

The best video tripods are ones that have a fluid head, which allows you to do smooth pan and tilt movements. I have three that I have access to, from small (light) to large (heavy.) The one thing that I have come to love about shooting with a tripod is that I can frame a shot and then shoot a three-shot sequence of wide, medium and tight ten second clips. When I edit, I have three different views to choose from—and best of all, they are all rock steady.

I could go on about camera rigs and such, but in my type of work, they are a bit much for what I do. As a one-man band, I find keeping it simple is the best hedge against missing shots and moments. One of the things that I don’t want to do is create the three-headed monster camera rig that would draw too much attention to myself.

In part three, I will look at the Zacuto Finder up close and a round-up of the other necessary accessories to outfit your DSLR to make it a bad ass video camera.

What I learned shooting my first two DSLR video stories

A PETA protest video story shot with a Nikon D3s

In the past 24 hours I have produced two news videos that I shot for the first time with my Nikon D3s. The transition for me shooting DSLR video has been slow. I have been quite comfortable with my Sony XDCAM EX1. But as more photographers embrace shooting video with a DSLR, I figured it was time to jump in. Here are some issues I encountered while shooting my stories.

Workflow
When I first started shooting with a traditional video camera, I was challenged by the workflow. Having to monitor audio, think in sequences and deal with a dozen other simultaneous details was overwhelming at times. I feel like that now shooting video with my DSLR camera. The workflow is a house of cards. Mess up one thing and your story is hosed. Forget to turn on the mic? Without being able to monitor your audio like a video camera, you’ll end up with a bunch of clips with no audio. I live in fear of this.

Mics
I’m shooting with a Sennheiser MKE 400 mic mounted on the camera’s hot shoe. I’m used to shooting with a full-sized Sennheiser ME-66 shotgun. This mini mic is definitely not in the same class as its big ME66 brother. It is important to get the mic close to the subject, and watch out for wind noise. Get a dead cat windscreen for this mic. The little one that came with mine fell off into the abyss within 15 minutes of ownership.

Stability
Using a DSLR makes me fully understand how much the optical stabilization on a video camera really works. Without some type of support, DSLRs are damn hard to hold steady. I’ve downsized to a smaller and lighter tripod that works pretty well. I can shorten it up and use it as a brace in a pinch. Monopods, I’ve found, stop the up and down camera movements, but not the side-to-side.

Focus
Focus really sucks with the DSLR. I am manually focusing every shot. I have remapped the back of my D3s to zoom the monitor 50% using the rear toggle button. To record, I use the front function button next to the grip on the front of the camera. This allows me to quickly zoom in on my subject, focus and zoom out. Without the feature my clips would be a blurry mess. I have a Zacuto Z-Finder Pro on order, which should really help my aging eyes.

A candlelight vigil video story shot at 4000 ISO on a Nikon D3s

Lenses
I’m used to having a wide to telephoto lens with my video camera. On my DSLR, I constantly have to change lenses. The only cool thing about this is the ability to use specialty glass like my 60 mm macro lens and my 85mm f/1.4. Shallow DOF rocks with a DSLR, but it makes focus all the more critical.

ND filter
I need a neutral density filter. Last night, shooting a candlelight vigil was not a problem, but today during a PETA protest in bright sunlight, I had a hard time keeping my f-stops low enough. With DSLRs you want keep your shutter speed between a 30th to no more that 125th of a second. Go higher than that, and your video will start to look funky. An ND filter blocks the light, but not the image quality. They are pricey. I have one on order for a hundred bucks and that’s a cheap one.

Editing
I have been a Final Cut Pro fan boy for seven years, but when Apple reinvented the wheel with Final Cut X, I decided to explore other options. I purchased a copy of Adobe Production Premium for my home computer. This suite of programs is topnotch and includes Premiere Pro CS5.5. My two videos were both edited in Premiere. This modern program edits my DSLR video without transcoding. It didn’t take much effort to jump right in and start editing. It’s not as intuitive as Final Cut. Some things like track heights and how the timeline functions are driving me crazy, but all in all, I settled in just fine.

I feel I’m over the hump. Shooting and editing two quick stories showed me I could do this without losing the quality of my storytelling.

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!

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.

I do have the coolest job ever!

A slap upside the head always comes when you least expect it.

“You have the coolest job ever,” said a hockey fan standing behind me admiring one of my photos at the Spokane Arena last night.  I was on deadline preparing to transmit my pictures of a blowout Spokane Chiefs hockey game back to the paper when those six words stopped me cold.

“You have the coolest job ever.”

Up until that utterance, I’d beg to differ.  It had been a long 14-hour day and I was tired. I started in the morning shooting a freelance job. I take extra work now whenever I can.  It helps make up for the furlough days and pay cuts I have endured over the past year.

The economic trauma and turmoil facing my and every other newspaper in the country weighs heavily on my shoulders at times. When someone asks me why I entered the newspaper biz, I tell them it’s because I have a passion for telling stories.  Like any good photojournalist, I see the world a bit differently from most people. There is a creative energy that burns inside me.  When I put a camera up to my eye, life becomes my palette.  I felt it when I bought my first professional camera in high school and I still feel it today…well most days.

“You have the coolest job ever.”

As I sat there hunched over my laptop, awareness washed over me. Here I was at a hockey game that I didn’t have to pay to get in, surrounded by the best cameras, lenses and laptop that I didn’t have to buy. The only thing missing was a cold beer by my side.

Looking back over the past seven days at some of what I have produced for the readers of my newspaper and viewers of our website, I realize that I can’t let the uncertainty of the future kill my creativity. Today, I put a sticky note on my computer monitor that simply says, “Try Harder.” It is my little reminder  that  (slap upside the head)  I do have the coolest job ever!

These are some of the highlights of my past week– a mix of multimedia and stills.

Several dozen great blue herons were perched on pilings in the Pend Oreille River at Usk, Washington Tuesday, March 2, 2010. Area birding enthusiasts said this is the time of year large groups of the giant birds can be seen migrating and resting in certain areas, such as the Pack River Delta along Lake Pend Oreille. Soon they will disperse in smaller groups to nesting rookeries in cottonwoods or other woodlands near water.COLIN MULVANY colinm@spokesman.com

Tim Michaels, who lost part of his leg in a grain elevator accident holds a wooden foot carving a relative brought him during his stay at Providence Sacred Heart Medical Center in Spokane, Wash.

Videos: Click image to view.

The king of Cat Tales Zoological Training Center gets a root canal.

In the Kalispel Tribal Language Program, new Salish speakers immerse themselves in daily conversation with elders and then teach what they have learned in nearby public schools.

Photojournalism in the age of the Internet

I’ve been working on a presentation I will give next month called “Photojournalism in the age of the Internet.” In the process, I’ve been thinking a lot about how much photojournalism has changed for newspaper photojournalists.

With the rise of the  Internet, traditional photojournalists have been faced with a dilemma. Stay a purist to the craft by clinging to their still cameras or embrace the change by venturing out into the online world by adding video and audio to their storytelling toolboxes.

Back in 2006, I was invited to speak about newspaper multimedia at The Southern Short Course in News Photography conference. During some free time, I dropped in on a panel discussion about the future of photojournalism. The panel was made up of a stellar group of veteran, but mostly old-school photojournalists.  The room was packed, so I stood in the side-shadows taking in the conversation.

An audience member asked whether video was something she needed to learn. After a pause, one panel member said, “I don’t know, why don’t you ask Colin? He’s standing over there.”  All 200 heads turned and looked at me.

My answer made many people squirm in their seats. “Yes,” I said. “You need to learn video. You need to add audio to your pictures and yes you’ll need to embrace change.”

I felt a little uneasy as the questions kept coming at me and not the panel. I could sense that many people thought I was crazy. I started to see the panic in some people’s eyes. One woman volunteered that her editor at a small newspaper was requiring her on a single story to write it, take the photographs and produce a video. An uneasy murmur rose in the room. I could tell, my belief that video was important to the future of online journalism, was  a tough sell in this room of die-hard  photojournalists.

Flash-forward some four years. Whereas, in 2006 I was an anomaly, now most newspaper photojournalists produce some sort of multimedia, be it  audio slideshows or video. J-school programs have finally stopped wallowing in the past and are junking old curriculums for new ones that are multimedia focused.

Looking at the troubling position newspapers are in, one must wonder if all this talk of multimedia storytelling really matters. After all the rounds of layoffs, who has time to shoot video?

There are some days I wonder myself, but I quickly shake off the feeling. I have to remind myself that newspapers are awash in transition. As we near rock bottom, the economy is starting to show some life. I can only hope for some stability to return to the newspaper industry.

Today, if I faced a similar crowd like the one in 2006, I would say the same thing. Learn video storytelling, master audio gathering and editing. Embrace change. The future, I would tell them, is not in the printed-paper, but in the digital delivery that will eventually replace it.

Photojournalists are a curious lot. They are independent, visual thinkers. Most take photographs because they love to shoot and share their work. They know they’ll never get rich on this career choice, but instead find happiness in the people they meet and photograph along the way.

The disruption that online journalism has placed on the photojournalist, whose career choice was based solely on taking still photos for newspapers, has been gut wrenching. “That’s not what I signed up for,” is what I often see posted in forums dealing with the changes facing photojournalists today.

The technology being deployed is slowly changing the definition of what photojournalism is. Newspaper photojournalists are becoming multifaceted visual journalists who can now use a variety of formats to tell a story.

As lean as newspapers are running these days, I think we’re about to get a dose of “oh shit” real soon. Circulation is not coming back. Just look at the downward trend of the last forty years as proof of that. Our readership is dying off and screenagers are just not interested in buying the dead trees we’re selling. I think the last transition will be the messiest. More talented journalists will leave the profession. More photojournalists will become freelance wedding photographers.

What awaits those few who make it across the proverbial burning bridge is anyone’s guess. If I could flash forward four years, I can visualize in my crystal ball a world where newspapers have transitioned most of their subscriber base to the touch screen tablet platform that has suddenly gone white-hot with advertisers.  I predict these multimedia centric devices will need a steady stream of visual content.  And guess what?  Visual journalists, who honed their multimedia skills during newspapers darkest hours, will be there to gladly step up and help feed the daily digital beast.

Looking back at the state of newspaper multimedia in 2009

It’s been a challenging year on the multimedia front. Many newspapers retrenched by refocusing their limited resources back on traditional print products and away from online innovation. This is in sharp contrast to the rush to develop online products so prevalent in 2008. Disturbing as it’s been, this trend is not wholly unexpected. Business model disruptions are historically messy. As publishers resisted the unfathomable idea that the era of the printing press is fading, precious time was wasted in preparing for their inevitable digital future. For the employees of these publications, the stress has been excruciating. Mass newspaper layoffs have hit visual and online staffs hard this year. Word people still control the tempo of most newsrooms. Seeing Washington Post master video storyteller Travis Fox shown the door is an example of this shortsighted trend.

Newspaper-produced video, once seen for its potential as an online revenue generator, was scaled back at many publications in 2009. Layoffs in photo departments left too few visual journalists with the time to do effective volume video storytelling. Just when the training curve knowledge was kicking in, many talented video journalists/photojournalists were sliced away from newspaper payrolls.

Newsroom innovation (beyond talk of pay walls) slowed too. Fear and uncertainty ruled many  newsrooms in 2009. A brain drain has left the few remaining innovators reluctant to stick their necks out for fear of having them cut off.

Still, multimedia workshops like the NPPA’s Multimedia Immersion, Platypus and Knight Digital Media Center’s Multimedia Training continue to fill up with reporters, photojournalists and online folk who, many on their own dime, continue seeking out digital storytelling training.

Social media kicked in big time in 2009. The rise of Facebook and Twitter allowed everyone, including newspapers, to propagate their online content in the social media universe. Many, including myself, found new viewers for multimedia projects by posting links to social media sites.

University journalism programs got the multimedia religion in 2009. Curriculums are finally being rewritten in ways that reflect the new digital future of journalism. Students, hopefully, will now graduate with a skill set that will better prepare them for a multitasking future. As I’ve said many times before: “There can no longer be  ‘just reporters’ or ‘just photojournalists.’ We all need to be multimedia, multi-platform savvy.”

Video technology took a big leap forward with the introduction of  DSLR cameras capable of shooting high–def video. A visual journalist needs only one camera now to shoot stills and video. Though the technology and its clunky editing workflows are still in its infancy, the era of large, bulky video cameras for newspaper visual journalists is coming to an end.

Video delivery at newspapers improved dramatically in 2009. Many publications added full-screen modes to their players and improved video compression for stutter free viewing. Still, video seems like an afterthought at many newspaper websites.

In 2009, newspaper video storyteller’s experience and understanding of the craft improved, but a troubling gap in understanding basic video fundamentals, weakens the majority of videos produced at newspapers. The art of good storytelling is missing in many videos I’ve watched this year. I continue to gather inspiration from a few in TV journalism that are allowed the time to tell a great story. Learning to script and voice narration should be a goal for most newspaper video storytellers in the coming year.

For 2010, I see a bumpy road ahead as publishers continue working to bring expenses and revenues back in line. While they’re doing that, some interesting changes will begin to disrupt their plans and the print industry big time. Tablet computers will be released this year by not only Apple, but by a half-dozen other big manufactures. Digital content, expressly made for these devices, will start putting pressure on print products late in 2010. It will take some time for these enhanced digital readers to gain traction, but when they do, my prediction is that it might be game over for many struggling print newspapers. Whether the content these publications produce survives in a digital form will be dictated by how much publishers invest in transitioning advertisers and subscribers to digital delivery.

Whatever happens, 2010 is going to be an interesting year. Hold on tight…

Drumming my fingers as I try to figure it all out

As I sit on my back deck gazing out at the setting sun, I feel its warmth diminish as the golden glow slowly fades below the horizon. Sadly, I can think of nothing but bad “newspapers are dying” metaphors right now. I have struggled these last few weeks to find the inspiration to write something compelling about multimedia. Truth is, I’ve temporarily have lost my creative spark at work and here in print. I could blame it on my Sony EX-1 video camera being in the shop for the last couple of weeks, but that would  be scapegoating on my part.

Anyway, taking a break from being the multimedia evangelist at my paper is probably healthy for me. In my mental absence, other multimedia producers that I helped train have stepped up and continue to hold the torch for video and audio slideshows at my newspaper.

In my moment of reflection, I have come to realize that telling stories with video, or still photos and audio is hard. Damn hard. Yes, you can do it half-assed and call it good enough, but to do multimedia exceptionally well is creatively and technologically demanding, I’ve reached a point where I just need to do something outstanding with visual journalism. I’m just not sure what that is yet.

Last March, as part of my story “From stills to Video” for Digital Journalist Magazine, I was asked to put together a portfolio of my favorite still photographs I’ve taken over my 21-year career at The Spokesman-Review. I spent a few days digging through piles of yellowed special sections of projects I worked on in the ‘90s. It was depressing really. I had some incredible opportunities to tell intimate documentary-style stories back then. It seems like a distant memory now. My newspaper, like every other in the county, has turned the screws on space, staffing and design.  I can’t say I didn’t see this coming. When the first (of six) rounds of layoffs in came to in 2001, I knew the end of the golden age of photojournalism at the S-R was pretty much a done deal. Oh sure, we still produce great photojournalism from time-to-time, but most of that mojo has moved on.

During this transition, I tried to motivate our photo staff to turn to online as their creative salvation. “It is a blank canvas with no space limitations,” I would trumpet. I was usually met with: “Our site sucks for photos and nobody looks at it anyway.” They did have a point. Of course Soundslides helped change all of that. This one genius computer program gave rise to a new era of online visual storytelling at newspapers.

Still, I can’t help but see the missed opportunities that my and most newspapers made here. Visuals on the web have skyrocketed as broadband Internet connections grew. Problem is, most newspapers failed to capitalize on this transition from being a primarily text-based web to a more visual web. Most newspapers still cling to the notion that making their photos big will slow down page downloads or, heaven forbid, lead to people swiping images to pin on their office cubicle walls and home refrigerators. You just have to look at Boston.com’s “Big Picture” blog to see what we all have been missing. Seeing powerful photos in all there 950 pixel-wide glory is inspiring. From what I’ve read the hits are staggering and reading the hundreds of comments that each photo gets, well, what’s everyone waiting for? Next month, The Spokesman-Review will join the growing legions of newspapers that have transitioned to the narrow web. One my co-workers duly noted that photos online will actually be bigger than in the print edition. While I’m drumming my fingers, trying to figure it all out, I hope the ebb in my flow of creativity will soon have an uptick. I’m getting mighty tired of feeling hopeless in an industry that can’t fix what ails it.

In search of “The Lemonade Kid”

I received an email from Texas State journalism student Lesley Ornelas today with an odd request:

 

Hello,

My name is Lesley Ornelas and I am currently a journalism student at Texas State University in San Marcos,TX.

John Goheen recently spoke to one of my journalism classes  and asked that we help him find the boy in his Lemonade Kid news story. He would like to do a follow up on him.

I found a post about the video on your web site.

I see that you have a large following and was hoping you could post something on the site to help in the search.

This is the basic information I have so far about the boy.

The video was shot in 88′ or 89′.

His name is either Sean or Shane and the video was shot by Lake Washington in a suburb of Seattle, Washington.

Thank you,

Lesley Ornelas

If  anyone has info on this kid–now an adult– let me know and I will pass it on. The “Lemonade Kid” is one of may all-time favorite nat sound pieces and one the my early inspirations for doing video at my newspaper.

lemonade1

Here is my original post on The Lemonade Kid:

 

In my  “What can we learn from TV news shooter’s” post, I asked if anybody had a link to The Lemonade Kid nat sound piece I’d seen years ago. Thankfully “Thom4″ came through for me and found it, and other classic videos shot by master video storyteller John Goheen.  The Lemonade Kid really peaked my interest in video storytelling early in my still photojournalism career.  I believe I saw it at a NPPA Flying Short Course way back in the early 90′s. It just blew me away. Watching the Nat sound package back then, I had no concept of how it was edited together. All I knew was that it just worked brilliantly as a story. I watched it again today for the first time since I gained some video editing knowledge. What I saw was a master class in video sequencing. This is not a hard news story, or some barnburner with action. It is just a slice-of-life story, with a precocious kid as the star attraction of a street corner lemonade stand. “Thom4″ writes:

 “Thanks for the respect and a chance to provide you with the link to one of my favorite TV nat sound packages “The Lemonade Kid.” It was shot by photographer John C.P. Goheen and you can watch it by going to Terranova Pictures under the television projects tab. I heard John speak and show his work at a seminar more than 12 years ago in Atlanta. I had never seen this type non-narrated story before. John does some of the most amazing television photography I’ve ever seen. I would jump at a chance to spend more time learning from him. I steal all my best ideas. By the way, I’m a TV news photographer working in Orlando, FL. I’ve been shooting video for 13 years now.”  

 Play it through once and just enjoy it. Then play it again and watch the edits carefully. Look at how they flow. Watch how effectively Goheen uses his detail shots and the sequencing of wide, medium and tight shots. The other thing that works in the piece the way the narrative is gathered. A wireless mic was all that was needed to capture the sound of the kid and the customers. This allowed Goheen to pull back and get nice long shots without missing a beat in the audio. After checking out The Lemonade Kid, click on Keith’s Lunchyet another Goheen classic. I wish the compressions on both were better, but I am just grateful as hell to see these stories again. Truly inspirational.