February 2017

The Multimedia Journalist in Web 2.0: A Lesson on Self-Promotion

Whether we represent multimedia journalists with years of experience or none at all, we all seek ways to improve our production skills within the framework of non-fiction storytelling. A variety of platforms and publications can help take our work to the next level by targeting a larger or niche audience. Through my research, I found that Short of the Week and Vimeo Staff Picks together provide lessons on self-promotion through the various tools that Web 2.0 has to offer. Based on individual strengths, these tools can help us find our own answer to the following question:

While thousands of videos are uploaded every day, what can multimedia journalists do to separate themselves from the pack?

All Vimeo Staff Picks are “Hand-picked by real humans”

A Brief Background

“Film with a Passion” remains the slogan of the first video sharing site to support high-definition video: Vimeo.com. One of the website’s founders, Jake Lodwick, saw the opportunity for a play on words that spoke to the heart of every filmmaker: video + me. Vimeo is also an anagram of “movie”.

An article written in October 2016 discusses the new and improved Vimeo Staff Picks platform that introduced its pioneering “Staff Pick Premieres” last fall. Emily Buder, managing editor of No Film School, describes Vimeo Staff Picks as “the linchpin of the online short film community.” The “Premieres” added to “Vimeo Staff Picks” denoted a year-long online film festival that did more than elevate great vimeo videos that have already seen success in the filmmaking community.

Open Submission

In an interview with No Film School, Vimeo’s lead curator Sam Morrill said that “one of the most exciting elements of the new platform is its open submission process.” What does that mean for us? Without pushing our short non-fiction films and documentaries as potential film festival entries, now all we need are the tools of Web 2.0 (i.e. open admission) to help showcase our talent and promote our brand. Vimeo as well as contributors of Short of the Week have answered filmmakers questions about how to reach the right audience and how to get their work published.

Today, the most interesting stories aren’t being told in theaters or even on TV. They’re being told here on the web.

– Short of the Week

Well that’s good news for us. Now what next? Vimeo prides itself on the promise that Staff Picks are “handpicked by real humans.” While thousands of videos are uploaded to Vimeo every day, what can multimedia journalists do to separate themselves from the pack?

According to co-founder and managing editor of Short of the Week, Jason Sondhi, it’s all about staying relevant and interesting online. Take risks and try new things but target the appropriate audience to better the chances of your submission––to any publication––actually being published.

This brings me to tip #1:

Use Vimeo as a springboard to promote your work. Why Vimeo? According to Andrew Allen, co-creator and managing director of Short of the Week, Vimeo has a stronger filmmaking community than YouTube, which “may hit more viewers but Vimeo will attract the right viewers.”
Sondhi reminds us that first impressions count. Two things are key in a producer’s initial video presentation: thumbnail and description. Vimeo has a feature that allows users to choose a frame from any moment in their video. Grab the perfect visually captivating moment in time to encourage viewers and readers to take a chance on you and your work. As far as descriptions go, give your best elevator pitch in just a couple sentences.
The Vimeo Staff Picks always have captivating thumbnails. In Jeremy McNamara’s “Day By Day – The Iris Story,” the extensive depth of field in this wide shot as well as its cool color palette help captivate viewers––a great first impression indeed.
Social media is your friend. It may be obvious, but I admit that keeping up is difficult. In today’s age of user-generated content and participatory culture, we must be willing and able to brand ourselves through social media outlets. More importantly, we need to stick with it. One of my participation grades in a journalism class at the University of Oregon was based on our Twitter accounts: 50% of the total grade was contingent on professionalism/relevancy (no one wants to see or hear about what you ate for dinner) and the other 50% was based on frequency (how often you are actually engaging with what’s going on in the world). Allen suggests uploading your video to Vimeo first thing Monday morning (12 a.m. EST) “to give the film a full 24 hours to rack up views and stay relevant all week.” He says that letting everyone who worked on the video in on “the game plan” (i.e. what hashtags to use, where to post and to what outlet and when, etc.), will increasing your chances of not just the quantity of views but the quality of views. Tags will helps your chances of reaching your target audience.

–– According to 16 studies on CoSchedule

A variety of blog posts and interviews helped me decide what avenues are best for self-promotion (according to the multimedia experts). I believe that the tips and tricks above are most relevant for the kind of work I am producing and I hope you find their advice useful in promoting your personal style. It should be noted that this can and should be applied to all facets of branding. This information is valuable when seeking publication for everything from photo essays to long feature stories and multimedia packages. Good luck out there!

Show Don’t Tell

The deeper I get into my Winter term video project, the more challenging it becomes to wade through the material I’ve amassed and keep the story focused. I’m tempted to provide too much detail, background information, and context in order to convey a multi-dimensional character.

He Who Dances On Wood video effectively cuts to the heart of the story, without bogging us down in unnecessary process or detail. In a beautifully poetic piece – both narratively and cinematically – we learn why the subject dances, and what it means to him. It is a great example of “show don’t tell.”

The story is not rushed. In fact, the first minute is very quiet, allowing anticipation to build, with fantastic morning light, imagery, and different POVs to set the scene around the tunnel where he dances. It’s not until one minute in that we hear the character tapping.

At 1:06 there’s a creative shot with the tap shoes hanging from a tree.

1:24-1:34 slow motion is used, keeping with the unhurried pace, yet holding viewer interest. The opening two minutes are primarily intimate, we get to know the character up close. At 2:00, the shots open up as we see other people in the frame, passing by as the subject dances.

Nice detail shots and symbolism as he describes his relationship with the wood and with rhythm / time:

2:35 a nice silhouette effect.

A key overall takeaway for me in this video, is how cinematic techniques can be used to allow the character space to reflect on the past or present. For example, the quiet scenes of nature and subtle movement, or the character himself walking along the river, in slow motion, or staring into the sunset.

Wonderful character selection – I thought the narrative was deep and rich – taking us way beyond the surface level story.

Film School Shorts: Comedic Relief in Suspense

An ill-fated criminal speeds up to a deserted gas station in his Ford Mustang. The attached 24-hour convenient mart blares twangy country music as its only employee behind the counter flips through a “Home & Life” magazine. Swiftly moving through the aisles, the customer finds what he came for and approaches the counter. His demeanor and mannerisms express the need to quickly pay and leave. The clerk warns him of an approaching storm––completely unenthused by his sense of urgency. Astute composition and camera movement in the short film Open 24 Hours by Henry Chaisson of Brown University reflects techniques used in some of the greatest thrillers in cinema. This short film published by OPB’s Film School Shorts shows viewers how vexing one detour can become in a matter of seconds. What makes Open 24 Hours unique is its nod to true suspense with a touch of comedic flair.

Every shot in the opening sequence alludes to a potentially dangerous man with a secret in his trunk. The intro begins with an old Mustang swinging into a vacant gas station; the only source of light outside comes from above the gas pump (0:16). Before the noisy Mustang’s arrival, cricket chirps are the only sign of life.

At (0:27), the wide shot of the car cuts to a medium shot of the subject’s trunk, which is held for five seconds before the camera pans left––focusing attention on the driver’s boots as he steps out of the car. The camera slowly tilts up with high-pitched music becoming increasingly louder to reveal the back of the driver’s head looking up at the empty convenient store. At this point, his face has not been revealed, depicting the subject as mysterious and potentially dangerous.

Secluded location: Big storm. The wide and ultra wide shots of inside the empty market reinforce the sense of isolation we gather in the intro. As the subject grabs the only two items he came for (rope and duct tape), the camera slowly pans toward the clerk who’s unaware and uninterested in the shopper’s quick arrival to the cash register (1:41).

When the driver says, “no,” to being an “Extra Value” member of the store, the clerk insists on using her card for his purchase. This particular sequence is prolonged to raise the stakes for the man with a mystery in the trunk of his car.

A series of action/reaction shots between the clerk and the criminal create tension in the scene. After scanning the value card, an exorbitant amount of coupons slowly prints at the register as the subject looks on in awe.

Rather than compress time, editors extended the register scene to emphasize the awkward, high tension exchange between killer and clerk.

For viewers, the conflicting expressions between the two allude to an impending climax: we can sense a problematic event looming over our characters in the film. The contents of the man’s car trunk remain a mystery, yet we do know he needs to act fast. His car continues to rock back and forth and coupons continue to print (2:45).

Suspense peaks when a human hand punches through the Mustang’s taillight as we see an arm flailing outside the trunk (3:28).

Gobbling down a donut, a new customer looms over the duct tape and rope the man tries to purchase; he represents small-town law enforcement (4:33). The officer asks: “Special night?”

Realizing the man did not pay for the purchase, the officer chases after him out the door (5:29). The camera focuses on the clerk who comes face-to-face with the temptation to steal money-saving coupons. She eventually scoops up all the “Extra Value” coupons and shoves them in her purse while the bandit, the officer, and the victim chase each other back and forth directly behind our view of the clerk. Oblivious to the impending gunshots, the short ends with a boisterous maniacal laugh.

“You naughty thing, you!”

This Film School Short uses a variety of techniques to exude tension and suspense. In addition to the composition of action/reaction shots in Open 24 Hours, the casting and lighting play significant roles in the overall feel of the film. The coolness of the color palette and the strategic sound effects alluded to the idea that the main character was indeed a killer.

Onscreen, the filmmakers depict the odd exchange between characters in a way that provokes comedic relief while still maintaining its initial feel of impending doom. I find that the most entertaining thrillers have an absurd or comedic air about them as we can see in Open 24 Hours. In just seven minutes, the film evokes a variety of emotions and leaves the viewer postulating the ending. After all, we still don’t know who was shot. We only know that the clerk went home with a purse-full of stolen coupons, which producers placed emphasis on instead of the chase outside. This quirky ending seals the deal for me: indeed funny and suspenseful.

A Study in Pacing

I’m not sure why I didn’t start watching National Geographic’s Youtube channel sooner, or why it didn’t come up in my searches when I was looking for stories like this. Somehow Google and the Internet figured out what I was up to and suggested this video to me, but that’s a talk for another day.

This 109-year-old World War II Veteran’s story was shot beautifully and the music was placed really well within the piece. As a study, I think this piece does a great job of pacing. The music, the transitions, the gaps between quotes and the scenes are all calm and slow. You don’t have to watch the whole 12 minute video to get the idea, but the story progresses slowly, but he moves slowly. So, I think that’s why it works so well.

I mean, 109 years doesn’t pass quickly. The first time you get a sense of this feeling is when he gets in his pick-up truck (yes, he just got his license renewed the year the video was shot), and he puts the key in the ignitions. I never thought about this, but putting your keys in the ignition is a fairly quick task. The vet didn’t take forever, but it definitely took an extra second or two, and it’s impossible to not feel.

Another time I really get a sense of it is when he’s depicted in what looks like the hallway leading to the exit of a generic mall. They stand there for about 10 seconds, he takes her purse so she can put her cane int he other hand. The entire exchange took about 10 seconds before they took another step.

The pacing, living slow, really brings the emotional element of understanding this person to the forefront. The guy basically eats, drinks and smokes what he wants and he’s happy.

The Man Without A Mask

Here is a great piece of advertising.

If you’re not familiar with lucha libre, the words are Spanish language, and they refer to a type of wrestling that is athletic entertainment popular in Mexico especially. It is very similar to what we know as WWE wrestling here in the U.S. Likewise the term luchador refers to a fighter or wrestler.

Roger Ross Williams (Look him up! Amazing body of work!) created this video, which was based on a profile of Cassandro, the Mexican lucha libre luchador written by William Finnegan for The New Yorker.

There are three points I want to focus on in considering this piece: the subject, the lighting during the interview, and the beats that build the arc of the story. Take a look:

http://www.newyorker.com/culture/culture-desk/how-the-drag-queen-cassandro-became-a-star-of-mexican-wrestling

The subject: I love how musical Cassandro is on camera. He is very expressive and adds to that with his hand and shoulder movements. And his voice is so animated, especially as he’s talking about putting on his make up and feeling beautiful and ready for the stage right from the start of the interview.

The lighting: In class we briefly talked about Spike Lee and the importance of lighting people of color properly. We learned about the ratio of light to dark, and where the light should be in relation to the camera. I’m curious about the way Williams decided to light Cassando, and whether or not there were factors beyond his control that made directing the light a challenge because there are shadows created by the contours of Cassandro’s face, and at times he appears shiny. The shine could be due to his makeup though.

This is small thing, but there also seems to be a mix of natural light and artificial light, based on the change in the light on his face around 3:54, and then again if you pay attention through the rest of the piece. I had this issue in a piece I made last year, so this is a reminder for me about why natural light can be both a gift and a curse during long sit-down interviews.

The story beats: The story arch is very much like a roller coaster that peaks and falls continuously as we hear about the early years of Cassandro, his early years as a gay wrestler, his coming out as an éxotico and being able to embrace himself and be embraced by others. Then the toll his art has taken on his body, and how he’s “made peace with the pain” and has overcome that challenge by teaching. And then the big reveal, long before Cassandro there was 6 year old Saúl Armendáriz, and he was sexually abused for eleven years, until he came to a turning point in his life and decided to fight back. Then we slowly start to descend, but it’s not a straight line to the conclusion: domestic violence, death and loss, addiction, self-harm, defeat, redemption. All of this is illuminated and the overall piece elevated by the music and pristine audio, the use of archival footage, and the selective use of slow motion in pivotal moments, including the pull out on the family picture that slowly reveals Sául’s father as he admits that his father abused his mother (8:15). The use of fade to black was great, and the final fade to white I loved because white represents hope and freedom.

I hope you enjoyed this piece as much I did!

1000 Years of Less Ordinary

I follow Wieden + Kennedy’s London office on Facebook, and by the end of this blog post I know you’ll want to too. This post is about three elements of the “1000 Years of Less Ordinary” Finlandia vodka campaign: video portraits, sound, and the “unaswered question.”

The video portraits: I love the initial video portraits. There are so many interesting looking people, and then there is the text, which is presumably their ages. You get a few seconds to take in some of the individuals and then around 0:12 the portraits speed up, and you only get a flash of each person. This is important because it builds intrigue and if you’re like me, it hooks you and you continue to watch for another few seconds instead of scrolling on to the next thing in your social media feed.

The music: All the while the music, which sounds like a racing heart, with sounds of people physically exerting themselves builds and builds. This technique may make you feel as if your adrenaline is high. It did for me, and my curiosity and excitement about what would come next built too: Who are these people? What’s their story? What makes them remarkable at age X?

The unanswered question: And finally, we are introduced to one of the most important characters in the story: vodka. But it’s not just any vodka, it’s Finlandia vodka that appears very clearly at 00:50. This sets up the central question. The unanswered question. What is 1000 years of less ordinary? And what does Finlandia vodka have to do with being less ordinary? This is a significant point in the arch of the story because we need the unanswered question for us to care about these subjects and their lives, and above all for us to care (and want to buy) Finlandia vodka.

Finally, the big reveals of each subject in the montage of portraits, and it becomes very clear that Finlandia vodka is their vodka of choice in their less ordinary lives. My favorite quote of them all, “Be nobody’s bitch but your own” from Cassandro, the Mexican drag wrestler. Now we understand what less ordinary looks like, and what less ordinary people drink. Don’t we want to be less ordinary? Hell yeah we do!

Great advertising! Read the short explanation about the concept here.