Poynter's Video Storytelling Workshop (9/25)

Reminder to all videojournalists to tune in at 10 a.m. (ET) this Saturday for the 2010 edition of Poynter's Video Storytelling Workshop, brought to you by Poynter's NewsU and the National Press Photographers Foundation.

In this full day of training, veteran photojournalists will show you how to find and develop memorable characters; how to make mundane stories -- like meetings and weather stories -- more interesting; and how to anticipate moments in the field, even on tight deadlines.

Presenters:

Darren Durlach, NPPA's 2009 Ernie Crisp Television News Photographer of the Year, and senior photojournalist at WBFF-TV in Baltimore;

Lynn French, assistant chief photographer and veteran multimedia journalist at KPNX-TV in Phoenix ;

Jason Witmer, winner of numerous NPPA and Texas AP awards for his work as a solo videojournalist for Chron.com in Houston;

Joe Fryer, winner of four national Edward R. Murrow awards and a regional Emmy for best reporter in 2009, of KARE-TV in Minneapolis

The host is Poynter's Al Tompkins.

On your computer, you can see and hear the presentations and join the interactive discussion -- asking and answering questions posed by the speakers. Your advance registration will give you online access to the replays of each presentation when they become available.

Tuition is $65, with discounts for NPPA members and students.

For more information and to register, go here.

Making the Leap from Print to Video

Making the transition from photojournalism to videojournalism is a tough challenge. But making the leap from print to video -- now that's a big mountain to climb. Especially when your newspaper still expects you to keep churning out news and feature text stories.

And yet that's exactly what's been happening in newsrooms across the nation for the past few years. The assumption is that vidcam technology is sufficiently cheap and ubiquitous, and instinctive to use, that any reporter can point and shoot some footage while on assignment ... and then stitch together something in Final Cut that flickers and talks to go along with the story.

Lost in the equation is any notion that videos must constitute a) good journalism, and b) good storytelling.

Ian Shapira is a veteran Washington Post journalist who pursued a master's degree in "interactive journalism" at American University, nights and weekends, while still hammering away at his day job.

In the newspaper's Story Lab blog, he posted his first video effort online, and invited his readers to assess his progress. It's a four-minute profile of a DC-based DJ. But what caught our attention was his candid assessment of what it entails to bridge that chasm between print and video.

Excerpt:

My transition from writer to video journalist has not been comfortable. I constantly fumbled with the tripod -- right in front of my subject -- which was about as embarrassing as getting caught with one's fly open. And I spent so many hours late into the evening with the video editing software Final Cut Express that I wondered whether I was even doing journalism anymore, or computer science.

More important, I discovered that making a compelling video for a website such as The Post's requires a fundamentally different kind of journalistic skill. As a writer with a pen and notepad, I have several logistical advantages over the video folks: I can reconstruct scenes that I am physically not able to witness; I don't need to lug around heavy equipment to film or record every tiny yet important atmospheric nuance; and, perhaps most obvious, I can persuade people in sensitive situations -- often, the very people who make the essence of a story -- to be quoted in an article, while those same people might scram when you utter the words "Can I mic you up?"

As fate would have it, his colleague Whitney Shefte, an accomplished Post videojournalist, concurrently made the reverse transition -- penning her first-ever article, a profile of a blues musician (for which she shot an accompanying video). Here's what she had to say:

[W]riting is telling and not showing. A written story asks for more of my own voice. It requires me to verbalize my observations instead of just piecing together what the camera captures. I can allow the subject to tell their own story from beginning to end in video. Sure, I edit out a lot of material, inevitably inserting my voice with each cut I make. But I’m never adding anything that wasn’t there. Video feels more true to me, more objective...

Unless the video has a narrator, old photographs or reenactments, history can’t really be shown on the screen. I had to do a lot more research than I do for video to uncover that history. At the same time, subjects open up more when a camera isn’t present. There are nuggets in written stories that no photographer or video journalist has access to. And while writing, I was also able to focus in a new way.

Both Shapira and Shefte's observations are noteworthy, and offer insight into the bigger picture, as publications plunge headlong into multimedia journalism.

Does it even make sense for writers to learn how to shoot and edit video? For video journalists to become writers? Shouldn't news organizations such as The Post invest in more specialists? Or, given our industry's financial upheaval, is a more versatile staff better?

Check out Shapira's video, and Shefte's text story, and see what you think.

The First 10 Seconds

In this video, videojournalist Richard Koci Hernandez underscores the importance of the first 10-15 seconds of your video, and the need to grab your audience immediately. He offers tips, tricks and observations for creating openings that work -- with examples.

However! This video tutorial itself opens with an interminable static shot of a visually boring bar graph, which, by his own admission, does not provide a good example of how videos should start. A classic case of "Do as I say, not as I do." And because the video supports an unscripted lecture, it tends to meander.

But there's plenty of good advice within it to warrant your attention.

Tell us -- what are some of the techniques you have used, or have seen used, to create compelling openings for video stories?

Video Storytelling Workshop (NPPA & Poynter)

The Poynter Institute and the National Photographers Press Foundation are again teaming up to present a day-long event that will help you be a better videojournalist: Video Storytelling Workshop: 2010 Edition

Mark your calendar: Saturday, September 25, 2010, starting at 10:00am ET.

They're offering four hour-long presentations with a Q&A session, and you can take it on-site at Poynter's campus in St. Petersburg, Florida, or online in your own home or office.

"The online live event will be available to everyone who enrolls, even if you choose to join us on-site and at the last-minute can't make it. Everyone will have access to the live virtual presentations and posted replays, even if you stay the whole day with us or just join us for a session or two. Each presentation will be sold separately after the live event. Your registration will give you access to the replay plus our bonus resources."

Cost is $65, with discounts for NPPA members.

Learn how to be today's savvy video journalist. Produce creative stories while making immediate deadlines, multitasking as a solo reporter, covering the same-old-story assignments, and managing nonconventional devices to get the story done.

This is your opportunity to learn from veteran journalists who are successful at handling new technology and adapting to new reporting practices, all while staying creative.

A complete roster of presenters and topics will be posted soon on the NPPA and Poynter's News University Websites. So far, Darren Durlach has committed to returning as an instructor this year. Durlach is a photojournalist at WBFF-TV in Baltimore, Md., and winner of the 2009 Ernie Crisp Television News Photographer of the Year.

How to Turn a Blah Event into a Video Story

Here's a simple technique for turning a bland video report about an event into a compelling video story.

Instead of simply shooting the event itself,  capture footage of the story's subject before and after the event -- preferably at a variety of locales.

That way, viewers get a fuller perspective of the central protagonist of the story, and are also more likely to experience an emotionally charged transition or change created by the event.

Too often, videojournalists treat an assignment like a photojournalist would -- they show up and shoot.  But whereas a still photographer needs to only capture a critical moment (e.g. receiving an award), it's the videojournalist's job to create a dramatic narrative by showing a sequence of activities (e.g. events leading up to and following the award.)

Too many attempts at videojournalism fail because they incorporate only one time and place setting -- the here and now.  What they desperately need is "before" and "after" coverage, and a variety of venues.

Obviously, that makes for a more time-consuming assignment, and requires more planning. But the results will be worth it.  Rather than just show the ending of the story, you show events that build to the climactic action, instilling anticipation and suspense into your storytelling.

KobreGuide to the Web's Best Videojournalism is filled with excellent examples of stories whose narrative arc is improved simply by getting the camera to the action before and after the central activity -- and following the central character to his other habitats.

***

Here are three stories about performers that would have been OK if all we had seen was their performance. But in all three instances, we're treated to scenes leading up to and following their performances that not only exponentially enhance the story's entertainment value, but also  add up to an infinitely better understanding and appreciation of the artists themselves.

Start with  Day With a Tap Legend -- imagine how much less satisfying it would have been if the day began with the school performance. Instead, we get to meet the "legend" at home, with his protege, as they prepare for their show. And we follow them after the show, to catch their revealing post-performance banter.

Similarly, whereas most videojournalists would have been content to shoot the iconic Naked Cowboy performing in Times Square,  what makes One Man Brand stand out is how cleverly the narrative builds to that performance, and also how the camera follows him home to reveal previously unknown dimensions  of his life and personality.

Think how pedestrian An Apollo Legend (pictured) would have been if all we had seen was the climactic audition, and not the contestants' preparation before and their reactions afterwards.

The next time you go on assignment, ask yourself, "What footage can I capture before and after the main event? Where else can I observe my subject in action, and interacting with other people in his life?"

Check out KobreGuide's "Hall of Fame" for more examples of videojournalism that benefits from following a subject over a period of time,  in a variety of settings.

Vote for KobreGuide's ONA10 Presentation

We'd like to announce that KobreGuide will be putting together a dazzling videojournalism presentation at the Online News Association Conference 2010 this fall.

But we can't. Yet. Because conference presenters are being selected partly on the basis of votes.

Whose votes? Yours!

So... we're shamelessly inviting you to take thirty seconds to vote for us -- and you don't have to be an ONA member or even plan to attend ONA10 to participate.

Simply go here:

http://conference.journalists.org/2010conference/sessionselector/ideas/view/5192

... and be sure to REGISTER (using the link at the top right of the Web page)... and then click the "thumbs up" icon (pictured).

As you'll see, our presentation is designed to share "3 Ways to Dramatically Improve Video Storytelling."

By analyzing award-winning examples of stellar videojournalism published on KobreGuide, you will discover the keys to finding, developing and creating powerful videojournalism stories that attract and impact audiences.

Is it kosher for presenters to ask their fans, followers and colleagues to vote?

ONA says:

Absolutely. Rallying your friends and associates to vote for your proposal demonstrates energy, motivation and organizational ability. And, all of these skills are important when it comes to organizing a successful session for ONA10.

So don't delay! Vote early and often... and we'll save you a front-row seat.

The ONA10 conference is October 28-30 in Washington, DC. Hope to see you there!

Many thanks!

5 Tips for Making Better Video Stories

Documentary filmmaker Robb Montgomery (right), who produces video workshops around the world, offers "5 tips for making better video reports" on his blog.

Here's the gist of the tutorial:

1. Beg, borrow or rent a better microphone.

2. Lock your camera down.

3. Maintain eye contact with interview subjects.

4. Film for sequences.

5. Study the classic arc of storytelling.

For details, go here.

Google's Storytelling Ad: Here Are 6 More

Lots of theories circulating about why Google's Super Bowl ad ("Parisian Love") was such a smash hit.

We think its charm and popularity can be summed up in one word.

Storytelling.

Look how cleverly it hooks and rivets you with its suspenseful, fast-paced narrative. A character, a quest, an obstacle, a climax, a satisfying resolution.

All in less than a minute.



Lesson for videojournalists: look for the natural dramatic arc as you shoot and edit your non-fiction narratives. It's what will make them memorable.

Now here's a treat: six more similarly structured short storytelling videos, courtesy of Google's "Search Stories" channel on YouTube. Enjoy!

Out of Office



Mad to Live



High School



Potholes



Cheermobile



Newbie

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!

KobreGuide Showcases 400th Video Story

This week, KobreGuide.com, which launched in Fall 2008, features its 400th video story.

Yeah, we're pretty amazed ourselves. (It seems like only yesterday that we posted our 300th story!) And every day provides more amazement as we watch and assess the merits of the highest quality online videojournalism being produced today.

We see signs everywhere that, despite the shabby economic state of the journalism industry, the medium of video is becoming more central to its mission. As the audience appetite grows for well-told, well-reported visual stories, the savviest producers and publishers are responding in kind.

But that river flows both ways. It's incumbent upon industry leaders to create and present compelling video stories that will entice viewers and whet their appetite for more.

To be honest, most videojournalism storytelling we see -- and we see a heck of a lot of it -- falls short in at least one of three key areas. It's either poorly shot and edited video, or it's substandard journalism, or it lacks narrative storytelling qualities that hook and engage viewers.

It's no wonder when newspapers distribute cheap Flip cams to print reporters and, expecting miracles, wind up instead with a mess. And even though still photographers have a visual sensibility, and may therefore seem more suited to the task of shooting video, there's still a world of difference between taking pictures and weaving a story with scenes and sequences. Plus, most photographers' experience with interviewing subjects begins and ends with grabbing caption info -- not asking hard-hitting questions, or even knowing who to track down for a balancing perspective.

In short, print reporters, writers, editors and photographers all bring valuable skill sets to the table, but they need to be trained and mentored by (and ideally partnered with) talented and experienced video professionals who excel in that medium.

Not to harangue, but imagine our perpetual disappointment at video stories that are promising in many ways, but ultimately missing key ingredients. They're not quite KobreGuide quality, but would have been a slam dunk had there been a real pro aboard to push them to the next level.

And that's what we recommend and foresee for 2010 -- print publications redoubling their efforts in the online video arena. More people are watching moving images than at any time in history, and, YouTube anomalies aside, professional quality will win the day. Follow the eyeballs, and the money will come.

As another year winds down, and we head into the holiday season, we want to thank the media outlets whose videos are showcased on KobreGuide for their generous cooperation and commitment to the cause, and wish them continued success in 2010.

And we want to thank you for your support, encouragement and feedback. It's your eyeballs, after all, that we aim to please! So it's especially gratifying to watch our month-to-month traffic grow steadily. Come along for the ride as we enter a new decade; we promise it won't be boring.

Meanwhile, you can review the best of KobreGuide's first 400 stories by checking out our Top 10 selections. And be sure to visit our Hall of Fame, where all the best KobreGuide stories are archived. Let us know what you think.

Happy holidays!

Video Storytelling in 10 Easy Steps

Targeted for nonprofit organizations, this Digital Storytelling tutorial on TechSoup -- subtitled "Expert tips on creating a polished, professional digital video" -- is chockablock with good advice. It is designed to jumpstart beginners and remind intermediary-level practitioners of the basics.

Though some of the technology has been upgraded since it was originally published, the underlying principles are sound. It is written by Ourmedia executive director J.D. Lasica, who has an impressive editorial and Web tech background, and fleshes out these topics:

Step 1: Decide on the Story You Want to Tell
Step 2: Gather Your Materials
Step 3: Begin Writing Your Script
Step 4: Prep Your Equipment
Step 5: Create a Storyboard
Step 6: Digitize Your Media
Step 7: Record a Voice-Over
Step 8: Add Music
Step 9: Edit Your Story
Step 10: Share Your Story

Tip of the hat to Storytellin (sic).

Michael Rosenblum's New Online Video School & Video Wall Project

Videojournalism pioneer Michael Rosenblum, who has produced TV and video documentaries -- and trained aspiring visual journalists -- around the globe for decades, is now bringing his school online.

So if you don't have the concentrated time or tuition for one of his $2000 weekend bootcamps, you can study at your own pace for $9.95 per month (or $99.95 per year) via his online video tutorials at his New York Video School, now in beta. It is patterned after lynda.com's all-you-can-eat monthly subscription fee model.

While you won't get the hands-on personal instruction that comes with joining one of Rosenblum's real-world group sessions, you will get access to training materials and lessons, forums and member groups. Students will be able to upload and share their work with others, receive comments and critiques, and then re-shoot and/or re-edit their assignments accordingly. From Rosenblum's perspective, it makes more sense to learn about video from video, as opposed to reading books about it.

In a recent interview, he told Journalism.co.uk that, despite the name, the school's reach will be global -- and, in fact, not even limited to professional training:

"The school's target audience is not just journalists, he said: "We live in a world that is increasingly going to be dominated by video. You will use video to sell your car, to file a resume, to get a date.

"We think video literacy is going to be essential for survival in the 21st century. Our audience thus, is everyone."

While most of the material is tech-related tutorials about shooting and editing, we were gratified to see that visual storytelling was among the curricula offered.

In the Basic Video Storytelling class, students will learn "how to find a compelling story, shoot it with great coverage on the topic, and put it together in a exciting and interesting way that audiences will love." The Intermediate Video Storytelling class offers further instruction on sound bites, procuring and conducting interviews, and script writing.

***

On his blog, Rosenblum reveals that he has applied for a Knight Foundation grant for an unusual video project.

He is proposing to give 1,000 Flip cameras to 1,000 people in Newark, NJ, teach them how to shoot and edit their own stories, and then "create a gigantic video wall in a public space where we will show those videos, 100 at a time, simultaneously, while editing the sound to move your attention from square to square."

(He is separately trying to launch a similar project with 100 Flip cams in Gaza.)

Both ideas, he says, constitute "an attempt to change the shape and architecture of journalism for the 21st century."

The video wall I wish to construct, is both journalism and it is art.

We have, in the past few decades, dessicated journalism. We have removed the art from it. It has, from time to time, tried to sneak back, in the form of great photography, for example. But we have failed to embrace the art side of journalism, much to our detriment.

[The video wall] is a kind of impressionism brought to video. Instead of getting one linear video story, we are going to deliver a pointillism of video, if you will, in which the viewer of the work will be bathed in the ’sense’ of what Newark is really like.

Rosenblum's Knight proposal can be found here, and makes for provocative reading.

What do you think of Rosenblum's video wall concept? Is it art? Is it journalism? Please share your thoughts.