Audio Slideshows: Soundslides or Final Cut?

Since 2005, Joe Weiss' revolutionary Soundslides software has enabled newspaper Websites to produce audio slideshows -- and paved the way toward multimedia and videojournalism. For the first time, picture stories could be narrated -- by the reporter, the photographer, the subject -- and even augmented with natural sounds.

Its low cost and ease of use have made Soundslides enormously popular. But now that more photographers are shooting and editing video -- which itself has become more accessible and affordable -- they've been producing audio slideshows using Apple's Final Cut Pro or Adobe's Premiere Pro.

The Spokesman-Review's Colin Mulvany, a multimedia trailblazer, writes on his Mastering Multimedia blog: "I cannot say building an audio slide show is easier with a video editing program, but it does afford you some added features that are hard, if not impossible, to replicate in Soundslides."

He then goes on to share invaluable lessons and shortcuts he's learned while producing audio slideshows in Final Cut Pro, and takes you through a step-by-step process for making your pictures look and flow better. He also intelligently addresses such issues as cross-fading:

In Soundslides the default is to add a cross-fade to every image. I see a trend away from this as more people edit in video programs. Most of the time I just use quick cut between photos. It took me a while to break the cross fade habit, but now I see how much better a show flows without all that cross fading. It also makes it easier to edit to a beat in the audio.

Mulvany also cautions against going overboard with the Ken Burns style of zooming in and out of photos. There are occasions when you'll want to take advantage of the ability to create motion with a static image, but as he notes, "you don't want to make the viewer seasick."

Mulvany shot, edited, and narrated a terrific video story about the quirky "One of a Kind in the World Museum." As you can see below, it's essentially an audio slideshow in a video player. Given the static nature of museum objects, which are at the heart of this piece, he made excellent use of Final Cut split-screen features to enhance the use of motion on still images -- something that would not be possible with Soundslides.

Also, video players make it easier to embed and share multimedia stories, as we've done here:


Read Colin Mulvany's blog here. What are your thoughts and experiences regarding audio slideshows? Do you prefer the ease of using Soundslides? Or is it worth the extra effort and expense to produce them as videos in Final Cut?

Why Don't More News Websites Supersize Pictures?

Print newspapers no longer have the physical space to accomodate large images, but high-speed internet and cheaper bandwidth certainly enhance the feasibility of big pictures on Websites.

And yet we rarely see news organizations put big pictures to good use. (Frankly, even in the heyday of print newspapers, when space constraints were less of an issue, big pictures were a rarity, and narrative stories told with a series of pictures even rarer still.)

Gradually some news sites are indeed launching big-picture galleries -- but most focus on individual shots (e.g. "picture of the day") and not a series of images on a unified theme that are sequenced to tell a tale with a dramatic arc.

Storytelling with still pictures, a la Life Magazine, sometimes feels like a lost art form. True, the advent of Soundslides software enabled audio-slideshows -- but most of those are nothing more than photographers talking about their pictures, or pictures of people talking about themselves. Rarely is the medium's potential for dramatic narrative -- complete with you-are-there natural sounds -- fully realized.

But even media organizations that aren't yet willing to dive into multimedia are still puzzlingly standoffish about using large-format photography for narrative stories... even now that bandwidth is no longer an issue.

Glowing exceptions include the Boston Globe's Big Picture, the Chicago Tribune's Assignment Chicago, the New York Times' Lens blog, the Los Angeles Times' Framework blog.

Spokane's Spokesman Review is the latest to join the bigger-is-better club with its Picture Stories. (We can hardly call it "jumping on the bandwagon," since it's still a relatively rare phenomenon.) Their staff's visual journalism guru Colin Mulvany succeeded in badgering the powers that be long enough to finally make it happen. (Read Mulvany's account on his Mastering Multimedia blog.)

Because Mulvany spearheaded the paper's forays into videojournalism, their Web gallery features not just big pictures but big picture stories. So while raindrops shot with a 60-mm macro lens make great eye candy, from our perspective it's memorable stories that make supersizing their images a worthwhile endeavour . For example, Carissa’s Journey (pictured above) tracks an 18-year-old girl battling cancer through her senior year in high school -- including her prom and graduation ceremony. That's a big story, best told with lots of big pictures.

What stories should your newspaper be telling on its Website with big pictures?

What Is Your Newsroom's Video Vision?

As an advisor to Bill Gentile's Backpack Journalism Project (pictured) at American University's School of Communication, multimedia producer Colin Mulvany recently shared his perspective of the rise and fall and eventual resurrection of newspaper videojournalism -- how we got here, and where we're going.

In his expansive essay Video Journalism at Newspapers, Mulvany concludes:

For the last several years, newspaper video journalists have collectively held their breath. Mass layoffs, newsroom reorganizations and non-paid furloughs have left journalists still employed at newspapers on-edge. The good news is the worst may be over.

Mulvany has been in the vanguard of shepherding still photogs into the video fold. He's generously dedicated his time and energies to educating a generation of videojournalists, and has even co-created a community Website, FindingTheFrame.com, to help novitiates learn from their more seasoned confreres.

Having built a seminal multimedia department for the Spokane's Spokesman-Review, Mulvany's advisory capacity extends beyond tutoring in-the-field practitioners and to counseling editorial management.

"I occasionally get calls from video producers or editors struggling with how to successfully integrate video into their newsrooms," he reveals.

These are the blueprint questions I would ask anyone on a similar quest:

* Do you have an overall vision for video in your newsroom?

* Why are you doing video in the first place?

* Is quality video valuable to your viewers?

* Has video gained traction on your website over time? If not, figure out why.

* Has your paper invested in training that empowers your video producers to be able to tell and edit a story effectively?

* Do you have (need) a web-savvy management structure in place to filter out bad video ideas and is an advocate for video based storytelling?

* If you are producing lots of video, do you have a website that showcases this valued web-only content?

* Can viewers find your videos quickly if they land on a story page and not on the home page?

* Can lower levels of video quality be acceptable if they meet a high news value bar?

* Do your videos load fast, have good, clean compression, and have full screen ability?

* Are you using social media to promote your video content?

* If you’re a small paper with dwindling resources, should you really be adding poorly produced video to your already bleak shovelware website?

For all the bleak economic realities he's encountered -- including layoffs and reductions of the troops he's personally trained -- Mulvany remains hopeful.

I still believe video journalism can generate revenue opportunities for newspapers, especially as the economy rebounds. The Internet is growing increasingly visual. Video, in many ways, is becoming the language of the Internet. Online viewers have steadily embraced video, so it’s imperative for newspapers to be there with compelling, well-edited video content for them to consume. But if video journalism, or backpack journalism, is to grow and succeed at newspapers, it will need a lot more nurturing and support from newsroom management than it is getting now.

Amen to that.

LINKS:

Backpack Journalism Project

Colin Mulvany's Mastering Multimedia blog

Finding the Frame Website

Colin Mulvany's Useful Multimedia Tips

Just a heads up that Colin Mulvany, multimedia producer extraordinaire at Spokane's Spokesman-Review, has rounded up links to the "useful tips" he's published intermittently on his Mastering Multimedia blog.

Many of my old posts that deal with tips about how to do video storytelling and audio slideshows get linked on a lot of blogs used by college professors who teach digital media classes. Most of these posts are buried amongst my pontifications about the changes facing the newspaper industry. So for anyone interested, here is a roundup of my best multimedia suggestions and useful tip posts in one place…

Topics include:

* How to make your audio slideshows better
* Great audio starts in the field
* How best to approach a video story
* Sequencing: The foundation of video storytelling
* How to make your video editing easier
* Get creative with your video camera
* Opening your video: How not to lose viewers
* Random Final Cut tip: Lower thirds titles
* What we can learn from TV new shooters

Go learn from the best!

Will the Touch Tablet Save Journalism?

Multimedia pioneer Colin Mulvany, of Spokane's Spokesman-Review, paints a rosy picture on his Mastering Multimedia blog of how professional journalism can be rescued by... the imminent arrival of the touch tablet.

His scenario may not be far-fetched, but first we have to share another funny scene he depicts that pretty much sums up today's precarious state of affairs, and the new demographically dictated digital divide in general. His former newspaper editor was the keynote speaker at one of those ubiquitous conferences dedicated to developing "real-world plans for new media organizations to fill the journalism gaps left by shrinking news staffs at legacy media organizations.”

As [he] was speaking about the need to save “professional” journalism, back in the corner of the room were a bunch of self-proclaimed snarky bloggers and citizen journalists who took offense to the notion professional journalism should be saved. Of course they twittered their opinions in real time.

Now on to Colin's touch-tablet vision, which starts out like this:

A new breed of touch tablet readers hits the market in 2010-2011. Newspaper publishers at first shun the devices. Then one gutsy newspaper chain embraces them. They form a partnership with the tablet maker to subsidize the cost for the consumer. The more publications a consumer subscribes to, the less they have to pay for the reader. Others soon follow…

Go to Colin's blog to follow the next logical steps. He's a content-oriented guy, and never loses sight of what ultimately matters:

Our journalism is what’s most important and will no doubt have to be upgraded. Words and multimedia will need to work better together. The strength in the touch tablet is in its multimedia capabilities. Visuals like photo galleries, graphics, and hi-def video, will add value. Like your current Web site, the front page of the digital newspaper will change as stories are updated throughout the day. The page design will slowly change to integrate new content features.

Once this happens, the true digital media revolution will begin to take place.

Personally, we're enamoured of our iPhone apps that provide virtual newsstands for dozens of publications and broadcast organizations. News Feed, News Fuse, News Addict, News Junkie -- we've deposited our 99 cents and downloaded them all. It's arguable whether we feel more plugged in by scanning dozens of essentially headline services that more or less echo each other. While waiting for a friend to meet us at a restaurant, we're more likely to tune in to an NPR podcast than try to read a lengthy NY Times article on an eye-straining 2x3 screen.

Amazon's Kindle 2 and Barnes & Noble's new Nook e-book readers offer e-newspapers and e-magazines, but unfortunately as text only, not multimedia. However we can readily see how a similarly sized touch tablet with smart-phone features, and standardized and optimized video platforms, would enable and exponentially improve a full-fledged multimedia journalism experience. The portable touch screen is what would differentiate it as a tactile experience from viewing a similar point-and-click Website on your desktop.

Agree? Disagree? We welcome your thoughts.

And be sure to check out Colin Mulvany's stellar videojournalism on the Spokesman Review channel of KobreGuide.com .

Why Not Abandon Expensive Film for Affordable Video?

Colin Mulvany, pioneering multimedia producer at Spokane's Spokesman-Review, recently participated in a panel discussion with local documentary filmmakers, and felt like a fish out of water. Why? Because he's a video guy, and his fellow panelists were devoted to 16mm film.

More to the point, they were devoted to spending years writing grants to raise money to pay for film stock, processing, and post-production costs. Mulvany, on the other hand, has to knock out videos on time-crunched newspaper deadlines -- for a tiny fraction of the expense.

As he reports on his "Mastering Multimedia" blog:

I had to wonder why so many filmmakers stick to using film when high-def video is available for next to nothing. When I asked: “Why not chuck expensive film stock and just go video?” the response was almost universally: “It's the look we like, it's the tradition.”

Funny, that’s the same thing I heard when still photographers were transitioning to digital. I can honestly say now that my images look way better than anything I shot in my early years shooting Tri-X black-and-white film or, God forbid, Kodak high-speed 400 iso negative film.

High-definition video is opening up new opportunities for documentary filmmakers that would otherwise be missed if someone were waiting years to get grant funding to produce it on film. I understand there are still costs, but wow, what one person with decent video camera skills, a laptop and Final Cut Pro can do now. When I look at all the credits on a documentary film, I have to wonder if three-fourths of the names are really needed.

One must wonder if a new wave of documentary filmmakers, freed from the legacy of film and film schools, will focus their small video cameras on stories deemed too risky financially for traditional documentary producers to bother with. I think the film festival circuit is about to get a fresh shot of creativity from a growing legion of former newspaper videojournalists.

Mulvany's full commentary here.

Inspiration for Videojournalists

Digital Journalist
Interactive Narratives
Mastering Multimedia
Multimedia Muse
Multimedia Shooter
News Videographer

Will Newspaper Video Survive?

Colin Mulvany, multimedia producer at The Spokesman-Review in Spokane, Washington, ponders the future of videojournalism in his Mastering Multimedia blog. He notes that there are ample reasons for pessimism, but then encourages a surprisingly optimistic outlook:

Newspaper produced video is at a crossroads. As many U.S. publications turn inward to focus on their traditional print products, many online producers are wondering if they should continue to invest the extra time it takes to shoot and edit video. It’s such a crazy time to be a visual journalist. Newspaper photo staffs are being slashed and devalued, as publishers try to protect what’s left of their bottom lines.

Video was hot a year ago, but now, as newspapers gut their newsrooms, the resources devoted to video storytelling are being scaled back. Many wonder if video storytelling has a future at newspapers.

I believe it does. ...

Read Colin's survival plan here.