Camp VJ London – Day 2: Filming interviews

Yesterday I attended day two of the Visual Editors’ videojournalism training in London. The four-day course covers the fundamentals of videojournalism with proceeds going to not-for-profit news project Beamups.

You can read my report on day one of the course – an introduction to the basics of videojournalism in this post.

Below are some introductory tips to filming interviews learned from the course.

There are still places available on Thursday’s (October 29) programme, which will focus on selling your videos.

As day two was to focus on filming interviews, I spent most of it getting to grips with my tripod. I wanted to be confident with my kit so I could gain confidence of my interview subject; not look like a complete novice while struggling to get my camera to sit straight.

We learned about basic framing for a shot; where to stand to allow you to maintain eye contact and yet monitor your camera; and tips on getting your subject to relax and open up.

But my main lesson of the day went back to confidence: try to anticipate problems that might arise when you’re filming, before you’re doing it, advised our tutor Robb.

Good advice:

• Prepare your tripod and camera as far as possible (e.g. check your battery’s charge).
• Avoid one word or yes/no answers by giving your subject commands rather than asking questions e.g. “Tell me….”, “Describe to me….” – you need longer answers so you can get the worthwhile soundbites to edit.
• Take headphones with you so (if your camera allows it) you can monitor how the footage sounds on location.
• Take plenty of natural sound – you may need this if editing shots together.

Sent out on our lunch hour to find willing interview subjects, I convinced a local businessman to let me film in his shop. A hairdresser for 45 years, he was animated and engaging.

Some things I learned:

• Don’t be afraid to move your camera if you want to change the framing during an interview. I needed to step a little closer to improve the frame and give louder audio. Just make sure you let your subject know what you are doing.
• If your subject is sitting and you’re standing, this doesn’t matter, so long as the camera is at eye-level with the interviewee rather than the camera looking down on them.
• Asking some initial throwaway questions helps your interviewee relax and gives you time to adjust your camera if needs be.

Editing my footage (around 10 minutes including cutaway shots) was much quicker today – less than an hour for three minutes, including work on audio and splicing together different answers with cutaways.

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• Camp VJ London – Day 1: An intro to visual storytelling
• #Tip of the day from Journalism.co.uk – tripod tips for videojournalism
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Camp VJ London – Day 1: An intro to visual storytelling

Yesterday I was lucky enough to attend day one of the Visual Editors’ videojournalism training in London. The four-day course covers the fundamentals of videojournalism with proceeds going to not-for-profit news project Beamups.

Below are some introductory tips to visual storytelling learned from the course.

There are still places available on Wednesday (October 28) and Thursday’s (29) programmes, which will focus on video editing and selling your videos respectively.

Day one was spent learning how to use our cameras, the basic shot types and – after a stint in the field (well, London’s Finchley Road) – some simple editing skills.

Here are my main lessons from the day:

Using your camera:

• Hold your camera from beneath e.g. using your hand beneath to make it more stable;
• If you don’t have a tripod and need to steady your camera, find a natural tripod (a ledge, a table) or use your own body to stabilise the shot.

What film can do:

• Film can handle multiple story forms e.g. images (both still and moving); graphics an animation; and audio;
• Use visual elements to solve problems in your story e.g. to help move between locations or compress time, such as the transition from day to night.

Some tips for audio whilst filming:

• “Microphones don’t have brains,” Robb told us, so you need to monitor how your film might sound while your in the field;
• Take a pair of headphones out with you – while you’re concentrating on the visuals there will be many sounds your camera and its mic pick up that don’t even register;
• Sometimes you need to think of your camera as an audio recorder to capture extra sounds in addition to all the shots you need.

In the afternoon we were sent out to practice the morning’s lessons, in particular the idea of 3:6:9 – three angles; six seconds; nine locations for the camera.

And here’s what I ended up with after an introduction to my editing software (Final Cut Express) and 45 minutes working on it. It’s not finished, but it’s a start!

In particular, I need to look for links (colours/characters/objects) between the scenes which will strengthen the transition from one to the next.

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Beet.tv: WSJ to expand live news video online

Alan Murray, executive editor, Wall Street Journal Online, discusses the site’s plans to expand its live video news online in a beet.tv interview:

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Mashable: A complete guide to videoblogging

From the rise of videoblogging and what it can bring to your website to making a video and distributing it online, Leah Betancourt, digital community manager at the Star Tribune in Minneapolis, US, provides a fantastically thorough guide.

Full guide at this link…

Related reading: ‘Visual Editors partner freelancers network Beamups for videojournalism training’

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#Tip of the day from Journalism.co.uk – quick video sequence for events

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YouTube Biz Blog: YouTube extends advertising partnerships to individuals

The video-sharing website has extended its YouTube Partnership (YPP), which is intended to help channels on the site make money from their clips, to individual users.

The importance of this is perhaps best summed up by the announcement post’s title: ‘In the future, everyone will monetise their 15 minutes’.

If individual, ‘prolific’ users of the site can make revenue from what they share this once more cuts out the middleman – they no longer need mainstream media for distribution and the MSM may be less able to cash in from viral successes. If savvy users realise they can monetise it, will they be less likely to share their postings with commercial outlets?

Full post at this blog…

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Adam Westbrook: 6×6 video for freelance journalists

This is the second in a series of six blog posts by Adam Westbrook, each with six tips for the next generation of freelance multimedia journalists, republished here with permission.

Follow the series at this link or visit Adam’s blog.

Video
Video has by far and away become the most popular medium for the multimedia journalist – to the extent it almost seems many won’t consider it a truly multimedia project unless it’s got a bit of video in it. The thing is, video is a tricky medium and must be treated differently in the world of online journalism.

1) Video doesn’t need to be expensive
Don’t be fooled into thinking you can’t do video just because you haven’t got any cash. Sure, if you want to go right to the top range, say a Sony EX3, Final Cut Pro and After Effects, yes, it’s going to set you back about £3,000 ($5,000). But high quality can be achieved on lower budgets.

Check out my article on how I put together an entire film making kit for £500 ($800).

2) Shoot for the edit
If there’s one piece of advice for multimedia journalists making films – it comes from Harris Watts, in a book he published 20 years ago. In ‘Directing on Camera’ he describes exactly what shooting footage is:

“Shooting is collecting pictures and sound for editing (…) so when you shoot, shoot for editing. Take your shots in a way that keeps your options open.”

Filming with the final piece firmly in mind will keep your shooting focused and short. So when you start filming, start looking for close ups and sequences. The latter is the hardest: an action which tells your story, told over two or more shots.

Sequences are vital to storytelling and must be thought through.

3) Master depth of field
In online video, close-ups matter. The most effective way to hold close-ups – especially of a person – is to master depth of field. Put simply the depth of field how much of your shot in front of and behind your subject is kept in focus. It is controlled by the aperture on your camera – so you’ll need a camera with a manual iris setting.

Your aim – especially with close-ups – is to have your subject in clear focus, and everything behind them blurred: Alexandra Garcia does it very well in her Washington Post In-Scene series. (HT: Innovative Interactivity)

Screenshot: Innovative Interactivity

Here’s a quick guide to getting to grips with depth of field:

1. you need a good distance between the camera and subject
2. a good distance between the subject and the background
3. and a low f-stop on your iris – around f2.8, depending on how much light there is in your scene. A short focal length does this too.
4. You may need to zoom in on your subject from a distance

4) Never wallpaper
If there was ever an example of the phrase ‘easier said than done’ this would be it. It’s a simple tip on first read: make sure every shot in your film is there for a reason. But with pressures of time or bad planning you can often find yourself ‘wallpapering’ shots just to fill a gap.

In his excellent book The Television News Handbook Vin Ray says following this rule will help you out no end:

“One simple rule will dramatically improve your television packaging: never use a shot – any shot – as wallpaper’. Never just write across pictures as though they weren’t there, leaving the viewer wondering what they’re looking at. Never ever.”

5) Look for the detail and the telling shot
Broadcast journalists are taught to look for the ‘telling shot’, and more often than not make it the first image. If your story is about a fire at a school, the first thing the audience need to see is the school on fire. If it’s about a woman with cancer, we must see her in shot immediately.

But the telling shot extends further: you can enhance your storytelling by looking for little details which really bring your story to life.

Vin Ray says looking for the little details are what set great camera operators apart from the rest:

“Small details make a big difference. Nervous hands; pictures on a mantelpiece; someone whispering into an ear; a hand clutching a toy; details of a life.”

I’m midway through shooting a short documentary about a former prisoner turned lawyer. One of the first things I noticed when I met him was a copy of the Shawshank Redemption on his coffee table – a great little vignette to help understand the character.

6) Break the rules
The worst thing a multimedia journalist can do when producing video for the web is to replicate television – unless that’s your commission of course. TV is full of rules and formulas, all designed to hide edits, look good to the eye, and sometimes deceive. Fact is, online video journalism provides the chance to escape all that.

Sure it must look good, but be prepared to experiment – you’ll be amazed what people will put up with online:

• Cutaways are often used to cover over edits in interviews; why not be honest and use a simple flash-dissolve instead. Your audience deserves to know where you’ve edited, right?
• TV packages can’t operate without being leaden with voice over, but your online films don’t need to be.
• Piece to cameras don’t need to be woodenly delivered with the camera on a tripod.

The final word…
Here’s VJ pioneer David Dunkley-Gyimah speaking at this year’s SxSW event in the US:

“When it comes to the net, there is no code yet as I believe that is set in stone (…) we’ve all been taking TV’s language and applying that and it hasn’t quite worked. Video journalism needs a more cinematic, heightened visual base.”

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• Camp VJ London – Day 1: An intro to visual storytelling
• Wired: Interview with war zone video blogger Kevin Sites
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Opposition to BBC’s newspaper video-sharing plans grow (the links)

Journalism.co.uk feels like its gone back in time today – specifically to autumn last year when regional newspaper groups, unions and industry bodies were voicing unanimous opposition to the BBC’s plans to increase its local video news content.

Well, another year, another video plan – and more opposition.

Yesterday the corporation announced an agreement to share news video from four subject areas with the Guardian, Telegraph, Daily Mail and Independent websites. The clips will appear in a BBC-branded player and run alongside the papers’ own news coverage.

In the announcement, the corporation suggested it would extend the plans to other newspaper websites – and asked third parties to register their interest.

The reaction

Welcomed by its launch partners (The Telegraph described the deal as ‘a step in the right direction’) – the plans were quickly denounced by commercial rivals ITN:

“The BBC’s plans to offer free video content to newspaper websites risk undermining the demand for content from independent news providers, potentially undercutting a very important revenue stream,” said ITN CEO John Hardie in a release.

“The pressure on commercial news suppliers has never been greater which is why ITN has led the way in opening up valuable new lines of business, and the BBC’s latest move risks pulling the rug from under us.”

According to a MediaGuardian report, News International says the arrangement is far from a ‘free deal’ for the papers, but rather free marketing for the BBC, which will lead to less diffentiated content on newspaper websites in the UK.

Meanwhile the Press Association said it had spoken with the BBC Trust about the plans before they were announced and was hoping for a market impact assessment – a process it says cannot now be completed because of yesterday’s launch. In a statement given to both Press Gazette and MediaGuardian, a spokeswoman for the PA said there were other ways for the BBC to work with commercial rivals, such as by sharing facilities.

The PA launched its own video newswire for newspapers earlier this year and has said the BBC’s plans undermine investment in video by commercial players.

The questions

Arguably, providing a pool of news video for diary events/supplementary content could free up the titles’ staff to cover original content and produce more multimedia of their own. A similar argument to the PA’s recent announcement of a ‘public service reporting’ trial.

One question that should be asked – hinted at in Alick Mighall’s blog post on the matter – how will the commercial details be hammered out? Will the BBC add pre-roll ads for BBC programming to the clips; and what if a pay wall is erected in front of the video players?

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Jon Bernstein: Five lessons from a week in online video

It’s now four years – give or take a few weeks – since broadband Britain reached its tipping point.

Halfway through 2005 there were finally more homes connected to the internet via high speed broadband than via achingly slow dial-up. Video on the web suddenly made a lot more sense.

And given that we’re still in the early stages of this particular media evolution, it’s not surprising that we are are still learning.

Here are five such moments from the last seven days:

1. If you build it they will come…
…provided you build something elegant and easy to use. And then market it like crazy.

This was the week that we learned how the hugely successful BBC iPlayer has overtaken MySpace to become the 20th most visited website in the UK . The iPlayer is now comfortably the second most popular video site even if its 13 per cent share is still dwarfed by YouTube’s 65 per cent.

If you want more evidence of success just look at the BBC’s terrestrial rivals. ITV, Five and even Channel 4 – which had a year’s head start over the BBC – are now aping the look, feel and functionality of the corporation’s efforts. No hefty applets to download – just click and play.

Of course, this model – a different player for each network – will look anachronistic within a few years. Maybe less. Hulu arrives on these shores soon.

2. Don’t do video unless you’re adding value
If you are going to put moving pictures on your newspaper website it’s a good idea to ask why? And the answer should be that it adds something to your storytelling.

Last week the Independent completed a deal that sees the Press Association providing more than 100 90-second clips a week, each focusing on a single news item.

Nothing wrong with the quality or content of the video that the Indy is getting, but where’s the added value? Unless the video has some killer footage or a must-see interview, why would a reader of a 500-word news article click play? I’m not sure they would.

As someone eloquently put it on my blog:

If it’s visual, it needs pictures and maybe video. If it’s verbal, sound will do. For everything else, words are cheaper for the producer and quicker for the consumer.

3. You can’t control the message
Singer Chris Brown chose YouTube as the medium to deliver his first public pronouncements following February’s assault on his now ex-girlfriend Rihanna.

He plumped for the video-sharing site rather than a TV or newspaper interview presumably so he could control the message – no out-of-context editing of his words and no awkward follow-up questions.

To some extent he got his wish. Within 24 hours of posting his 120-second, unmediated mea culpa, it had been viewed nearly half-a-million times.

More significantly, however, the video had received over 12,000 comments and most were hostile.

4. Brands love YouTube
In an oddly defensive post on its YouTube Biz Blog, the people behind Google’s file-sharing site set about busting what it claims are five popular myths.

Putting ‘Myth 4′ to rest – namely that ‘Advertisers are afraid of YouTube’ – the post asserted:

Over 70 per cent of Ad Age Top 100 marketers ran campaigns on YouTube in 2008. They’re buying our homepage, Promoted Videos, overlays, and in-stream ads. Many are organizing contests that encourage the uploading of user videos to their brand channels, or running advertising exclusively on popular user partner content.

We wait, breathlessly, for a follow-up post so we can discover how many of these elite brands made a return on their YouTube investment.

5. Death becomes you
Nearly a month after his passing, Michael Jackson’s life is still being celebrated online. Eight out of this week’s viral video top 20 are either Jackson originals or owe their inspiration to the singer.

A case of the long tail occupying the head. For a few weeks at least.

Jon Bernstein is former multimedia editor of Channel 4 News. This is part of a series of regular columns for Journalism.co.uk. You can read his personal blog at this link.

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CNET: Traffic surge to news sites as web holds (just) for Jackson memorial

CNET has a great overview of the traffic surge to news sites caused by coverage of Michael Jackson’s memorial last night.

According to the report, Ustream, which provided livestreaming of the event in partnership with CBS, said it was the largest ever event hosted on the service with 4.6 million streams and 12,000 messages posted every minute to the chatrooms surrounding the streams.

[Also see Lost Remote's post on MSNBC.com's aggregation of tweets around its livestream]

Figures from web usage monitoring company Gomez International suggest news sites were less available, because of the slowdown caused by video streaming, with some taking nearly triple the time to load pages.

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