video for printosaurs
DESCRIPTION
Sometimes print journalism students are reluctant to explore the power of video in online storytelling. Here's a primer on the power and limits of video, and the basics of video storytelling.TRANSCRIPT
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When text just isn’t enough
Enhancing Your Storytelling with Video
+But I’m a print journalist! **
Why do I have to learn (eeiuw!) video? Acquire another marketable skill Communicate coherently when you’re working with a
team of multimedia journalists Enrich your story with power that words alone can’t
convey Think afresh about new ways to tell stories
** “There are only two kinds of ‘print’ journalists:
Those who are unemployed and those who soon will be.”
– source unknown
+What can video accomplishthat my stellar writing can’t?
Immediacy Viewer gets sense of “being there”
Strong visuals Sometimes a picture IS worth a thousand words
Emotion Facial, vocal and body expression
Action
+What can video accomplishthat my stellar writing can’t?
Example: NYT’s “Gazan Doctor Loses Family,” 1/17/2009 The print version The video version
+What can video accomplishthat my stellar writing can’t?
Example: NYT’s “An Ambush and a Comrade Lost,” 4/19/2009 The print version The audio slideshow version
+The basics of video storytelling
Not every story is a good video story If you have only information, no emotion or action, don’t waste
video on it
Best video stories? Information + emotional connection = understanding Good characters
Distinguish between topic and story Find the story! Find the main theme
Much of video’s power comes from the audio
WashPost’s “Crisis in Darfur Expands”
“Basics of Video Storytelling” draws extensively from a June 2008 Society of News Design Video Storytelling quick course taught by Regina McCombs, now of the Poynter Institute.
+The basics of video storytelling
The F-word: Focus Keep it tight Define it in 10 words or less Focus on emotional aspect of story Ask yourself:
What’s important about this story? Why are we spending time, resources to do it? Why should the reader/viewer care?
“Basics of Video Storytelling” draws extensively from a June 2008 Society of News Design Video Storytelling quick course taught by Regina McCombs, now of the Poynter Institute.
+The basics of video storytelling
The inverted pyramid doesn’t work for video storytelling!
Employ literary techniques of a short-story writer A complete story, with beginning, middle, end An attention-grabbing opening Fast-paced plot Good characters
“Basics of Video Storytelling” draws extensively from a June 2008 Society of News Design Video Storytelling quick course taught by Regina McCombs, now of the Poynter Institute.
+The basics of video storytelling
Structure, or story arc, is critical Constant conversation in your head:
What’s the beginning? What’s next? How do I build the story sequentially? How do I use transitions to move from one to the other? What’s the ending? How do I get there?
“Basics of Video Storytelling” draws extensively from a June 2008 Society of News Design Video Storytelling quick course taught by Regina McCombs, now of the Poynter Institute.
+The basics of video storytelling
Key difference between print and video? Video: think visually and plan ahead!
What compelling visuals will the story have? If no visuals, it’s not a video story
Once again: Video storytelling is linear Your story needs a beginning, middle, end
Think in acts (Act 1, Act 2, Act 3) Sketch it out before you head out Write up a list of shots you need
How will your shots come together sequentially? Forces you to “pre-write” your story (counterintuitive to
printosaurs!)“Basics of Video Storytelling” draws extensively from a June 2008 Society of News Design Video Storytelling quick course taught by Regina McCombs, now of the Poynter Institute.
+A word about audio
AUDIO is the most important thing in video Bad sound = lost audience In your quest for compelling visuals, pay
attention to sound
+Assembling the video story
A video story is not merely an assemblage of shots Go beyond “shot-shot-shot-shot” to true storytelling Sequencing: compressing time
Shoot wide, medium and close-up of every shot Record at least 15 seconds of every shot Break down action into multiple sequences Shoot lots and lots of close-ups
Help you avoid jump cuts Help you sequence Especially important for Web viewing
+Assembling the video story
Open your video with natural sound, wide shot Establishes place/scene Often close with a wide shot
Use many clips of 3-10 seconds in length A 1:30 package can have 20-25 shots NEVER run a single long clip of someone talking into the
camera Achieve appropriate story pacing through careful pacing of
clips
+Assembling the video story
A-roll and B-roll A-roll: interview B-roll: background video on which we often overlay the
audio from the A-roll Shoot lots and lots of B-roll
Plan ahead before you shoot to save time and headache when you edit. Don’t shoot everything Make a list of the shots you need, whom to interview Have a plan, but be flexible and be prepared to follow a
different angle if the story leads you there
+Keep in mind…
Video moves your source to the forefront The writer should be invisible Video evokes feelings, emotions, opinions in the viewer,
rather than the writer imposing them Video lets other people tell their stories. Get out of the way
and let them!
+The basics of video storytelling:An example
“Pushing the Limit: Being Aron Ralston,” NYT, 3/31/2009 A good example of:
Narrative arc Good pacing Mix of A-roll and B-roll Variety of shots Good audio Drama, suspense, resolution