Petzl Wins Big With Timmy O’Neill Video
Face it corporate America no longer can using just a “sizzle” video promote your gear. Case in point is this video produced by Momentum Media for Petzl’s new line of climbing harnesses. Thought a tad bit long, just over five minutes, Petzl is able to tap into the heart and soul of climbers everywhere. Of course having climbing stud and all around hilarious guy Timmy O’Neill helps to, but the fact remains Petzl is ahead of the curve and other companies should be taking notes.
Things the video does right:
- Makes us laugh without trying to do too much. The outtakes are hilarious, but the real humor is in Timmy O’Neills antics and the quick editing.
- Petzl is obviously selling something here, but they aren’t pushing the product in an annoying way. Sure it takes a while to even know what they are taking about, but it works because O’Neill commands attention and the video footage is not grainy flip footage.
- The production value is relatively high. Climbers expect a level of quality when it comes to how their sport and image is portrayed and this video fits in.
- And the big takeaway for Petzl is this is the type of content that typically gets repurposed by various media outlets on blogs and social networking sites.
So take a moment and check it out. Even if you’re not into climbing it will be hard to not be entertained.
Photos: Guadalajara, Mexico
Few shots from the Society of American Travel Writers Annual Conference held this year in Guadalajara, Mexico.
You Boys Like Mexico!
We watch entirely way too many movies over here at Plus Ten, so it’s no surprise the only way to announce we’re headed to Mexico for the Society of American Travel Writer’s annual conference, is by using a line from the cult hit Super Troopers.
Other key lines include: “No, did you say ‘yes sir.’?” “I think he said ‘yeah, sure.’” and “Hey Farva what’s the name of that restaurant you like with all the goofy shit on the walls and the mozzarella sticks?” “You mean Shenanigans?” “OOOOOOOOOOOOOO.”
But that’s not the point of this post. The point is for the second year in a row Plus Ten Media’s founder Tim Shisler, will be presenting a session on multimedia to SATW members. Last year’s session resulted in over 1,000 emails throughout the year, and this year’s looks to be no exception.
Some key points of Tim’s presentation are:
- Multimedia is like buying a car: Everyone has an opinion, yet only a select few are putting down the money. In other words, follow your gut and stick to what you know, everything else will work out if you do.
- Though multimedia looks complicated and intimidating it’s actually not as bad as you may think. Start small with what you know and build your skills from there.
- Creating multimedia is like rafting or skiing or mountain biking in that it’s important to look positive and commit. You can’t clear a gnarly rock garden on a bike unless you commit. The same is true for multimedia.
- The myth that you need top-tier equipment to make top-tier multimedia isn’t always true. There still is no camera out there that knows when the opportune time is to push the shutter button.
Tim’s presentation is available to all active SATW members through our website. Just go to the homepage and click on the SATW logo and of course we’ll see you all in Mexico!
Photojournalism at its best – New NYT’s photo blog
Just give yourself a few hours and check out the new New York Times photo blog appropriately titled Lens. The collection of photographs, stories, and slideshows is one of the best things to come out of newspapers today. And the packaging is near genius.
Must Read: NYT’s Talk of the Newsroom: 1 in 8 Million
The New York Times defines 1 in 8 million as “an oral history project in which a different individual among New York City’s 8 million residents is profiled each week of 2009.” Metro editor Jodi Rudoren clarified, “The criteria for profile subjects are simple: Interesting person. Great talker. Never before mentioned in the NYT.”
The project has been stunning. Black and white photography complement strong gritty narratives one only wish they could capture on tape. But the real gem here is the unveiling of how many people it takes to produce the series. It should be something every magazine and newspaper editor takes into account: there is no one person who can do it all.
I would strongly recommend reading through the questions and answers this week, as a door is lifted off a backroom business so few understand. For starters check out this question and answer to how the slideshows are put together.
Copied From NYT’s Talk of the Newsroom
Q. I love the series and have watched all of them, many several times.
My questions are around the mechanics of creating the pieces. What comes first, the audio or the visual? How long is the usual interview? Is it edited down before the photos are taken? How long does Mr. Heisler spend with the subjects? As the scenes frequently go from night to day, I was wondering if it was all in one stretch or does the team revisit multiple times?
In the story on the corner drug store (Columbia Drugs), the tale involvded a hostage taking with “a kid” who — while held at gunpoint — picked the pocket(s) of his captors. How old was the “kid”?
Thanks for your insights. Keep the series going. I look forward to each new addition.
— Steven Lungley
Alexis Mainland: Steven, thanks for your questions.
Typically, the pictures for an audio slide show on our site are made before or during the recording of audio. That’s partly due to the deadline pressures of a daily news organization. The process of One in 8 Million is a little different and it has allowed us a more luxurious (I’m laughing as I type because I know my cohorts would not use that adjective to describe the process) production schedule. For One in 8, Todd Heisler doesn’t shoot any photographs until we’ve interviewed the subject and edited the tape down to a manageable length, about 4 to 10 minutes. This allows us to be sure a piece is going to work from an audio story standpoint before we pursue images. It also allows Todd to listen to the tape and get to know the character and the story before he and Meaghan Looram, the project’s picture editor, brainstorm photo situations. When everything goes right, I think this way of working helps us create the kind of intimate, cohesive pieces that we’re trying for.
Our taped interviews are usually around one hour long, give or take. But the producer almost always first conducts one or more pre-interviews with the subject on the phone or in person so that going into the taped interview we have a good idea of what the piece’s focus will be.
Seeking an accurate answer to your question about Todd’s time with subjects, I just spoke with him by phone. (He and Meaghan are looking forward to answering questions about the series’ photographs this week.) Todd meets with almost every subject at least twice. Instead of spending one long day with someone, he tries to divide his shoots into two or more sessions so that the subject can get gradually acquainted with him and so as to maximize the number of scenes that are available to be photographed. That being said, some stories are more easily captured in fewer sessions because of the singularity of the storyline — take The Sneaker Connoisseur, for example — and some clearly require multiple scenes to capture the narrative, like The Medical Tourist.
I put your last question about The Corner Druggist to Sarah Kramer, who produced this story. She said that the “kid” Joel Karp refers to was a young boy from the neighborhood, one of many who hung out in and around the drugstore back in the day.
- NYT 1 in 8 Million
New Media Skills: Creating Video Part 3 – Sweat The Small Stuff
So what separates the pros from first-timers? Often, it’s just a few boneheaded mistakes that keep amateur videographers from producing quality clips. When I spoke to New York Times video journalist Erik Olsen last week, I got some insight into a few of those stumbling blocks. As you’re preparing to produce your first video here are some of the details that shouldn’t be overlooked.
Sound
“People rely on the camera’s microphone,” Erik told me during our interview. I’d be lying if I said I’d never made this mistake, so his words definitely resonated. “It can mean the difference between a good and bad video.” The lesson: your camera’s onboard microphone doesn’t cut the mustard.
I hate to tell you that there’s something else you have to buy, but take the time to research and invest in a separate microphone that provides professional quality audio. There are literally hundreds of options out there, and some really great articles helping you navigate the spider web of options. I’m currently testing two different microphones next week while shooting some video for Bicycling.com and don’t want to just recommend something I haven’t used, so when I know the pros and cons I’ll post my results and let you know.
Tripods
It sounds pretty intuitive, but Erik couldn’t stress this point enough: “Put your camera on a tripod.” Sure the Blair Witch-style of shooting is intriguing, but for most video a shaky picture will just be annoying and ruin a potentially good shot. Tripods allow you to create smooth and fluid panning shots, and to conduct interviews that are steady-framed and not distracting because of camera movement.
When purchasing a tripod keep the following things in mind:
· The cheaper the tripod, the less stable it will be. Typically, cheaper tripods work for flat surfaces, but the moment they are put on uneven ground they have a hard time keeping the camera steady.
· The lighter the tripod, the higher the price. This usually pertains to carbon fiber tripods, which can skyrocket into the $500+ range. Of course, the exception to this rule are the uber-cheap tripods which might be light, but will have a hard time holding up in the elements.
· The heads on tripods can make or break a shot. If you plan on doing a lot of panning, make sure you get a head that supports this use.
· Finally, if you travel a lot, consider a monopod, or micropod. These are lightweight, versatile, mobile, and easy to pack.
Keep your equipment safe
Be sure to protect your investment. I can’t tell you how many times I’ve dropped a camera (both film and video) only to find that a well-padded camera bag saved my butt. I would strongly recommend either a Lowepro bag, or a waterproof, bombproof, Fort Knox pelican case. I use both: the Lowpro for everyday use and the pelican for traveling or rafting trips. Typically, both run around $100. This might seem steep at first, but making sure your equipment is safe, and in the same place every time, is key to successful video.
New Media Skills: Creating Video Part 2 – Video Editing Programs
Though it’s overwhelming—and often impossible—to keep pace with the innovations in multimedia technology, the good news is that whether you understand them or not, these innovations level the playing field between consumers and professionals. This is the case with video cameras, and it’s also the case with the video editing software you’ll need to produce multimedia clips.
Each of the programs I’ve outlined below really deserve they’re own blog post, but since I’m working in this medium, a few hundred words will have to do. As always, I’m happy to respond to follow-up questions via E-mail or the comments field below.
For Apple Computers:
iMovie 08
Packaged in the iLife Suite $79 (Preloaded on new Apple Computers)
The Good: Compatible with most cameras and video file types. Also, its interface works seamlessly with iPhoto and iTunes for quick importing of other media. Projects can be exported directly to YouTube, iWeb, iDvd and a variety of video formats.
The Bad: Limited transition and audio editing capabilities may become restricting rather quickly. While its user-friendly, the interface is not standard within the video-editing world and it’s missing some editing staples that can be very handy. (IE: There is no timeline for edited video, just a series of thumbnails)
Overall Value: Ideal for novice editors and simple projects that don’t require much editing beyond a few select transitions and title sequences. If you are looking to learn non-linear editing at a low cost this is the ideal program for you.
The Good: Professional-level software, Final Cut Express looks and feels the same as its more expensive brother Final Cut Studio. It provides unlimited transition options, video filters, audio editing options and title sequences, so you’re less likely to get stuck in a creative box. Even better, there are many online resources(including video tutorials) that can coach you through using the software.
The Bad: Unlike iMovie, some video cameras and file types will not work without an added codec. The learning curve for this program can be steep and its more advanced options can be tricky to learn. Some features, including advanced audio editing, 3D graphic design, and advanced exporting are not available.
Overall Value: The workhouse of online video editing, Final Cut Express is a very powerful, yet well-priced editing system utilized by many newspapers and magazines. I would highly recommend this system if you have an Apple and are serious about getting a job producing multimedia.
For PC Users:
The Good: Free and easy to use, this program offers simple editing tools including fades, titles, and exporting options.
The Bad: Most users will find this program to be too simple and limiting. Unlike iMovie, which has some pro-level features built in, Windows Movie Maker is a very stripped down entry-level program. Think Word Pad vs. Microsoft Word, or Paint vs. Photoshop.
Overall Value: Perfect for first time editors, this free program is a great way to learn about non-linear editing. If you do decide to use it though, remember there are a limited amount of transitions and editing capabilities, which may be frustrating at times.
Pinnacle Studio Ultimate 129.99
The Good: Relatively cheap compared to Final Cut Express, but still extremely powerful. Lot’s of new features including: Color correction, HD compatibility, and straight to DVD exporting.
The Bad: As with Final Cut Express, the learning curve is steep, it’s a bit limiting in motion and 3D effects, and some cameras/video files may require an added codec.
Overall Value: Pinnacle’s flagship editing program, I would highly recommend this as an alternative to Final Cut Express for PC users. A good selection of video transitions, audio options, and exporting options make this an appropriate setup for someone who has a PC and doesn’t want to spend more than $150 to edit video.
Looking to edit video the same way Hollywood pros do? Then consider Final Cut Studio 2 ($1,299) andAdobe Premier ($799). Both systems are professional grade and come with everything short of your own personal genius. If you’re really serious about editing they might be worth looking into, but since I started this series off with “How to Create Video Without Losing your Shirt,” it’s not the most economical option out there.
New Media Skills: Creating Video Without Losing Your Shirt – Part 1
Today I toured a million-dollar video production studio and once again have come to the conclusion that producing video can justifiably seem complicated to most people. Like sell-your-first-born-and-mortgage-the-house complicated. As I left the dark wonderland my head was spinning with the thought (and the cost) of it all. That is, until I remembered my own equipment–the stuff that costs a fraction as much and has landed me jobs at national magazines–and then I felt at ease, but still poor.
When getting into video production it’s important to remember that keeping things simple is okay. Every editor is different, but most just want high-quality clips that provide serviceable information and evergreen value to the website. I constantly talk to writers who are apprehensive about video, and usually by the end of the conversation they can’t wait to start experimenting on their own. The fact is, as a writer you may already have the intuitive skills you need to execute an editorial vision in video; all you’re probably lacking is the technical how-to.
Since video is much more complicated than audio slideshows, I feel it would be a disservice to just gloss over the big themes and ask you to figure stuff out on your own. So I’m breaking the topic up into three posts: cameras, editing programs, and accessories. In the future, I’ll explore different editorial concepts behind video direction, but I really feel that the main barrier for most people is the how-to element. If you have any direct questions please leave them in the comments sections below, or feel free to send me a direct email at timshisler [at] gmail [dot] com.
Video Cameras:
Type “buying a video camera” into Google and the resources are endless. Cameras range from a few hundred bucks to upwards of a hundred thousand dollars, and with multiple methods for actually recording video, every model is different. But don’t let that deter you: the options are empowering, and as a travel journalist finding the right camera is the most important avenue to success.
The first important thing to keep in mind is high definition cameras, otherwise known as HD, are now priced at less than a thousand dollars. Just a few years ago they were priced in the thousands and only large studios, or trust-fund babies could afford them. The reason you should purchase an HD model is because everything you shoot has value down the road, and if it’s not in HD, there is a good chance in five years you won’t be able to use it. (Note: Not that it won’t work, but non-HD quality will be noticed if it’s ever edited into HD footage.)
The second important factor in camera choice is how a particular camera records the footage you shoot.
Mini DV
The industry standard a few years back, these cameras use micro cassettes to record video. The upside is that your work is archived on the cassettes and you never run out of space on the camera. The downside, however, is you have to keep buying and lugging around multiple cassette tapes. This format has been more or less ditched by the newer cameras which record on flash-based media and internal hard drives. Based on new developments with Apple, and the decision to eliminate firewire ports from their computers, I would recommend refraining from purchasing one of these cameras unless they are the higher-end pro models.
Hard Disk Camcorders
Many of today’s cameras come with built in hard drives. With these cameras, you don’t need a memory card, or a tape, but just the camera itself. For instance, the Canon Vixia HF10 has a built in 16 gigabyte drive that can record roughly 4 hours of HD video. The hard drive means no loose tapes, but also means you will need a computer nearby to download the video should you run out of space. I’ve used the Canon in multiple situations and never had a problem with the hard drive filling up, but I’ve also been conscious about how much footage is on the camera at any given time.
Flash Memory
Just like point-and-shoot digital cameras, these cameras record to SD or compact flash cards. Since flash media now costs next to nothing, the cameras offer a good solution to travelers looking to travel light and leave the computer at home. I recently shot a video in Moab, Utah, with one of these cameras and the fact that I only carried around a handful of plastic cards meant I wasn’t weighed down and could keep up (or try to) with my talent.
When looking at video cameras the other important things to consider are:
· Can I manually adjust the picture?
· How long does the standard battery last?
· Is this small enough for me to use while traveling, yet large enough to feel comfortable in my hand?
For some specific recommendations, check out this article in November’s Conde Nast Traveler and CNET’s buyers guide. I’ve personally used the Canon Vixia HF10 and love it. If you are in the market for a new camera I would highly recommend giving it a spin. The other choice, the Sony HDR-CX12 is also a solid model, which some reviewers have preferred over the Canon. Either way, it is important to remember that when deciding on technology everyone has an opinion, and though it’s important to take them into account, the camera that fits best in your hand, offers the features you desire, and fits your price point is ultimately the best value.
KISS: Keep It Simple, Stupid, And Other Great Advice
Just this past weekend while sipping coffee and soaking up the late-summer sun in my hometown of Santa Cruz, California, I met up with Karen Kefauver, an experienced adventure travel writer with a growing interest in new media. Karen, who I had connected with through my first post on Written Road, was heading off to Peru and Brazil for a few months, and was seeking advice on buying a camera.
“I don’t mind buying the right equipment,” she reiterated several times, “but I need to keep my stuff down to one bag.”
Karen’s initial itinerary read something like a death wish—whitewater rafting, mountain biking steep singletrack, tromping through the jungle—(everything one should be doing while traveling), and further complicated the situation of keeping things simple.
“Think small,” I first told her. “Buying a fairly high-end pocket digital camera would allow you to take clean video while capturing high-quality photographs. You won’t have to lug around a Digital SLR and video camera while trying to pull your butt up a steep climb,” I explained.
When Karen mentioned she was heading into the rainforest, we started to discuss cameras that shoot well in low light. Double A batteries vs. rechargeable and moisture issues were next on the list, finished with price.
In the end we decided the Canon SD 850 IS was one of her best choices. I have used the camera for just over a year, and the images are stunning to say the least. Video from the camera has wound up in a variety of projects, and I even dropped the little guy going 20 mph while riding my bike. Minus the huge scratch on the LCD (the only proof it hit the pavement) the camera is in nearly perfect condition and still works like a charm.
But the biggest plus—and the central theme of our conversation—was that the camera makes it easy to keep things simple. Without having to fiddle with multiple lenses, batteries, chargers and memory cards, Karen could do what she was there to do: Experience, internalize, and capture.
As for the rest of our conversation here are a few travel writing gems from Karen: (paraphrasing of course)
• If you are starting out, think big, but write as much as you can.
• Find a niche you are passionate about and work towards producing the best writing possible.
• Take risks, even if they could spell disaster.
• Writing takes time and you can’t rush it.
• Network, network, network.
• Be willing to ask for help and then help others when you can.
• Remember to keep it simple.
To follow Karen’s adventure, check out her blog, and if you have a camera you love to use please let us know. I realize personal preference plays a huge part in selecting technology, and I would love to hear yours.
Oh yes, and as for KISS, I learned the acronym from a ten-year-old kid while filming a short movie for the whitewater rafting company I used to work for. Turns out the kid knew I had too many gadgets, and decided to let me know about it at lunch while excitedly throwing his lemonade all over the place. So much for respecting one’s elders.
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