Author: EJohnson

 

Intro to Video Journalism

With video, we build on the compositional techniques of photography and the structural, storytelling aspects of audio with one obvious additional element: Motion.

How does video storytelling for the web and mobile differ from TV and film?

• Need to be CLOSER to your subject. Web videos are smaller and more compressed.
• Something like 20 percent of online viewers bail on a video within 10 seconds. So you don’t have a lot of time to grab your viewers and make sure they stick around.

How important is audio?

Good audio is of paramount importance. If you have low-quality video and good audio, the video will still be watchable. If you have gorgeous visuals but terrible audio, it will not.

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Shooting Your Video

There are two main components to any video: your interviews and your B-roll. The rules of composition we learned for photography (thirds, colors, patterns, symmetry, etc.) all apply here, but you also need to keep an eye out for motion. Tracking shots involve following the action with your camera, while static shots involve keeping your camera still, but that doesn’t mean there’s no motion involved; you might just be letting the action go in and out of the frame.

Unless you are shooting video specifically for distribution on mobile devices like phones and tablets, it is hugely important that you DO NOT SHOOT VERTICALLY. 

 

What is B-roll? And what difference does it make?

A big difference.

 

Things to keep in mind while you’re shooting B-roll:

1. Shoot more than you think you’ll need.
2. Get a variety of shots. Close-up, medium, wide, detail shots, static shots, tracking shots.
3. Use a tripod whenever possible. If you don’t have one or you’re shooting in a mobile, chaotic situation, be resourceful about stabilizing your shots.
4. Think about your interviews and let them inform your B-roll shooting decisions. Look for shots that illustrate what the person is talking about.
5. Hold your shot longer than you think you need to. A good rule of thumb is to hold it for at least 10 seconds (AFTER it’s already steady).

 

Things to keep in mind when you’re shooting your interviews:

1. Frame the shot with your subject on one of the thirds, angled so that they’re looking slightly INTO the frame. Have them look at you, not at the camera, so be mindful of where you are sitting. It’s a bit intense when someone looks directly into the camera.
2. If you’re working with a translator, be mindful that the subject will want to look at them, so make sure they are positioned in the ideal place to draw the person’s gaze.
3. Prioritize good audio.
4. Make sure their face is lit, but not too harshly.
5. Think about composing the shot in a way that allows for some negative space where the Lower Third will eventually go.

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When is narration necessary?

Sometimes, you can let the subjects of your video tell the story all on their own — as long as you edit with care, presenting what they’ve told you in a way that makes narrative sense. One benefit of non-narrated videos is that they can feel more organic. There’s no disembodied voice stepping in to tell the story, which keeps the focus on the characters in the story.

But sometimes, for clarity’s sake or for stylistic reasons, narration is necessary, or text.

Narrated videos

https://www.nytimes.com/video/world/americas/100000005277141/the-last-taushiro.html

Text-Narrated videos

These are more and more popular thanks to social media distribution because they automatically start playing as you scroll through your feed and they can be watched without sound.

Non-Narrated videos

Islamic exorcisms used as a ‘cure’ for homosexuality in Indonesia: ‘If I am Muslim, I can’t be gay’

 

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Intro to Photojournalism

Here are some basic rules and guidelines of photo composition to keep in mind as you start developing your eye:

1. The Rule of Thirds.

If you pay attention to only one element of composition, the rule of thirds should be it. If you start shooting with this “rule” in mind, your pictures will begin to look a lot better immediately.

The general idea is to imagine breaking an image down into thirds, both horizontally and vertically. If you place the main points of interest in your photo where the lines intersect, or along the lines themselves, your image will be far more visually interesting than if you just put the subject smack in the middle. Studies have shown that composing photos this way draws the human eye far more effectively.

2. Use color.

Black and white photography is a beautiful art form, but in photojournalism, most of the time you’ll be shooting in color. It helps to know what combinations of color to look for if you want your images to really pop.

You probably recognize this photo. Known as Afghan Girl, it is one of National Geographic’s most iconic images and was taken by color master Steve McCurry. One of the reasons this relatively simple picture is so stunning and so well-known is the colors: red and green, which fall on opposite sides of the color wheel.

Opposite colors, paired together, can make each other look more vibrant. Notice how the green of the girl’s eyes is picked up by the wall behind her and set off by the rusty red of her scarf.

Images with variations on the same color, known as monochromatic images, can also be quite striking:

3. Capture the decisive moment.

“The decisive moment” is a term that was coined by renowned photographer Henri Cartier-Bresson. It refers to that fleeting instant that photographers love to capture: When someone leans in for a kiss, when a soccer player connects with with the ball, or when a protester throws a rock. If you aren’t ready with your finger on the shutter, you’ll miss the moment. If Bresson had taken this photo a split second earlier or later, it would have been a much more ordinary photo of a man splashing through a puddle. These moments don’t need to be that dramatic; for your assignments, it may be as simple as capturing the moment when the food truck owner you’re profiling flips some meat on the grill or hands the food to her customer. Action shots vs static shots tell more of a story.

4. Leading lines.

Leading lines are lines that move the eye from one part of the image to another part, or sometimes out of the image. They add a sense of drama and perspective, so it’s always good to be on the lookout for roads, bridges, fences, shorelines and the like.

5. Symmetry and patterns.

Symmetry and patterns exist everywhere, both in nature and man-made sights. Looking for repetitions and symmetries, while staying alert to things that then break those very patterns (especially on the thirds!) is a sure way to make an arresting image.

6. Layers.

Another great way to make sure your images are visually interesting is to keep an eye out for what’s happening up close, in the middle distance, and far away. Think in layers. If you can frame your shots so that interesting things are happening in the background as well as at your focal point five feet away, you’re onto something.

Layers will be one of your greatest tools as a photojournalist, because layers add context. They tell a story.

This is a famous photograph by South African photojournalist Kevin Carter. He won a Pulitzer Prize for this image, which showed the effects of the 1993 famine in Sudan.

“Photojournalism” means you’re telling a story, not just taking a picture.

Layers are also a great chance to play around with something called depth of field. This refers to the difference in focus between things that are in the foreground vs. the background—if there isn’t much difference, like in the Kevin Carter photo above, then you’re using greater depth of field. When that difference is dramatic, like when your phone is in Portrait Mode, it’s called shallow depth of field. Shallow depth of field also gives you something called bokeh, which turns background lights into warm globes.

Depth of field is affected by a few things: the focal length of your lens, your distance from the thing in focus, and aperture. We’ll talk more about that when we get into camera settings.

7. Light.

Light impacts everything we do as photographers. How much are we working with? Is it natural or artificial? What is the temperature of the light? What direction is it coming from? Is it harsh or diffuse? What time of day is it? Are you using a flash? Many photojournalists prefer to shoot with natural light as much as possible. Portrait photographers and fashion/fine art photographers often use studio lighting to create interesting lighting environments.

Different kinds of light will affect how different people look in photographs depending on their skin tone.

 

8. Get close. Then, get even closer.

Photographer Robert Capa famously said, “If your pictures aren’t good enough, you’re not close enough.” Proximity with your subjects makes for more powerful and intimate photos. Don’t be afraid to get right in someone’s face with your camera. It may feel intrusive and strange at first, but a huge part of being a reporter is engaging with people and making them feel comfortable.

What’s that process like? How do you go about shoving a camera in someone’s face?

For analysis: The Week in Photos

Discussion: The Business of Multimedia Journalism

Learning how to come up with a story, report that story, compose a photograph, mix sound, and shoot B-roll and then put it all together into a clear and cohesive story is only half the battle. Something that often gets left out in school is the practical side of how to make a career out of this. Sure, you might get a good internship while you’re still in school and then get hired and start working your way up. But there are a lot of different ways into the industry, and a lot of them involve taking a little bit of initiative. I’d venture to say that most journalists I know have freelanced at one point or another.

Freelancing can be a great gig, and it can also be terrifying when you’re first starting out. Here are a few common issues freelancers often run into:

Do I need a website? YES. Showcasing your previous work is more important than any well-crafted resume. The importance of being able to refer an editor to a slick portfolio website cannot be overstated.

How do you know how much money to ask for? It’s easy to undervalue your skills when you’re first starting out, but it’s worse to ask for too little money than to ask for too much. Some publications have set rates: a flat rate for a certain kind of story, or a day rate, or they’ll pay by the word. In other cases, there’s room for negotiation. If you’re not sure how much to ask for, consult your colleagues. Always try and get them to reimburse expenses.

What’s the deal with taxes? You still have to pay them. You’ll become very familiar with the 1099-MISC form. Keep your receipts so you can write off as many business-related expenses as possible: Equipment, plane tickets, etc.

How do you make sure you get paid in a timely manner? Send an invoice as soon as you file the story. I usually ask the person receiving it to confirm they’ve received it and to tell me when I should expect the money to arrive. If they don’t respond, follow up early and often. “Polite but incessant” is my motto.

I can’t use the school’s programs anymore. How much is it to buy Adobe Premiere and Lightroom and all that stuff? Not actually as bad as you might think, because you no longer even have the option to buy them outright; there’s a monthly subscription service to the Adobe Creative Suite that costs anywhere from $10 to $50 a month, depending on how many programs you need.

What kind of equipment should I invest in? When it comes to still cameras, if you’re on a small budget, I usually advise people to start with a pretty basic camera body and to invest in a few good lenses if you’re going to spend money somewhere. When it comes to video, it’s become kind of an arms race out there and DSLR cameras don’t always cut it anymore. Take a look at Storyhunter assignments to get a sense of what outlets are looking for:

“C300 or C100 strongly preferred—higher end DSLRs accepted”

“Need to have a C100 or equivalent and lav mics”

“A camera capable of shooting 1080p 24fps and 60 fps for slow motion, if possible 4k video and 120 fps for slow mo”

The good news is that if you don’t have five grand to drop on a camera and audio equipment tomorrow, you can rent gear from places like Adorama and KitSplit.

I just spent an insane amount of money on my new equipment. How do I protect it? Insure your stuff! Renter’s insurance can sometimes cover your gear, but there’s usually a pretty high deductible for theft etc. If you’re planning on working internationally, insurance tends to be quite expensive, especially if you’re working in areas considered “high-risk.” NPPA members get a discount through one company, but make sure to shop around.

Freelancing is lonely. How do I meet other people in the industry? Journalists tend to be a social bunch. It’s an industry where skills are obviously important but where you can also go pretty far on the strength of your personality and on who you know. You already have a huge advantage by virtue of the fact that you live in New York, one of the world’s biggest media hubs. Make yourself known to editors and colleagues by checking out industry events like these:

ScreenUp NYC 

Video Consortium (New York chapter)

The Bronx Documentary Center

RISC Training (first aid training for freelancers who work in remote, sensitive, and conflict areas, often host events/panel discussions at the Brooklyn Brewery
risctraining.org

Resources

• Photojournalism

The National Press Photographers Association (NPPA membership gets you certain benefits, including discounted camera insurance and press accreditation; follow them to find out about grants)
https://www.facebook.com/groups/2233179993/

Photography/Multimedia Internships and Jobs (great place to find out about entry-level opportunities)
https://www.facebook.com/groups/608650785837641/

Photo Grant Opportunities (great place to learn about grants/competitions/exhibitions for emerging photojournalists) https://www.facebook.com/groups/205928780146/

Lightstalkers/N11 (for photojournalists)
https://www.facebook.com/groups/5235712822/

Photojournalism Now (blog focused on photojournalism and social documentary photography)
https://www.facebook.com/PhotojournalismNow/

Women Photograph (a resource for female* documentary and editorial photographers and the people who would like to hire them—GRANTS!)
https://www.womenphotograph.com/

Eddie Adams Workshop (a prestigious, game-changing, three-day workshop for emerging photographers in upstate NY that puts you in a room with some of the biggest names and top editors in the industry)
https://www.facebook.com/EddieAdamsWorkshop/

The New York Times Portfolio Review (free but competitive, puts you in a room with some of the top photo editors in the world for advice and critiques on your ongoing photo projects)
https://lens.blogs.nytimes.com/…/applications-open-for-the…/

Photoville
http://photoville.com/

The International Festival of Photojournalism
http://www.visapourlimage.com/en

• Audio Journalism

Third Coast Audio Festival
https://thirdcoastfestival.org/

Public Radio NYC Google group. Be warned, you’ll get a LOT of emails but it’s a great place to pick up transcription work and the occasional tape sync, which usually pays about $150 for a fairly easy recording gig: [email protected]
(Let me know if you’d like me to add you.)

Radio Women Rule the World (for women in radio) https://www.facebook.com/groups/1514423228769048/

• Video Journalism

Storyhunter (online brokerage where videojournalists and filmmakers can apply for assignments)
https://storyhunter.com

Global VJs
https://www.facebook.com/groups/globalvjs/

Binders Full of Video Journalists (for female VJ’s) https://www.facebook.com/groups/1006816089433804/

• All Media

Vulture Club (for international journalists) https://www.facebook.com/groups/197918473577006/

The NVC (the non-Vulture Club, founded by people who were kicked out of Vulture Club—long story)
https://www.facebook.com/groups/439000736155194/

Freelancers Get Your Freak On (for freelancers who work in different media and are looking to collaborate) https://www.facebook.com/groups/1021852794578554/

Journo Housing Exchange (for wandering journalists looking for short-term housing around the world) https://www.facebook.com/groups/1639458896367607/

Journalism and Trauma (a place to discuss how we as journalists engage with trauma, from how to interview someone who has experienced it to how to cope with our own direct or indirect trauma)
https://www.facebook.com/groups/468146643386958/

Ladies Writing and Journalism (for female print journalists)
https://www.facebook.com/groups/159810750800770

Binder of International Reporters (for women who work internationally) https://www.facebook.com/groups/634887219990543/

Binders Full of Digital Journalists (for female journos who work in digital) https://www.facebook.com/groups/globalvjs/

Riot Grrrls Of Journalism (global group for women who work in all different media) https://www.facebook.com/groups/1698979077092920/

• Formal Groups/Organizations

New York Association of Black Journalists (NYABJ) https://www.facebook.com/NYABJ/

(NABJ) National Association of Black Journalists
https://www.facebook.com/NABJOfficial/

South Asian Journalists Association (SAJA)
https://www.facebook.com/South.Asian.Journalists.Associati…/

Asian American Journalists Association
https://www.facebook.com/AAJAHQ/?ref=br_rs

National Association of Hispanic Journalists
https://www.facebook.com/NAHJFan/

Arab and Middle Eastern Journalists Association (AMEJA)
https://www.facebook.com/AMEJAGlobal

Association of Health Care Journalists
https://www.facebook.com/healthjournalists

Society of Environmental Journalists
https://www.facebook.com/SocietyOfEnvironmentalJournalists

Native American Journalists Association
https://www.facebook.com/NativeJournalists

The International Association of Religion Journalists
https://www.facebook.com/The-International-Association-of-R…

Association of Food Journalists
https://www.facebook.com/AFJeats

Overseas Press Club of America
https://www.facebook.com/opcofamerica/

Society of Professional Journalists
https://www.facebook.com/SocietyofProfessionalJournalists/

Committee to Protect Journalists
https://www.facebook.com/committeetoprotectjournalists/

Blink (resource where outlets can search for and hire freelancers)
https://blink.la/

 

• Funding Opportunities

International Center for Journalists
https://www.facebook.com/icfj.org/

The International Women’s Media Foundation
https://www.facebook.com/IWMFpage/

Pulitzer Center on Crisis Reporting
https://www.facebook.com/Pulitzercenter/

Open Society Foundations
https://www.opensocietyfoundations.org/

 

If you know of any others, please feel free to share! This is an ever-evolving and incomplete list.

Reminders and Upcoming Dates

Rough cuts of your videos are due today. We will screen them together and you’ll get feedback.

Your blog posts about the short documentary “Extremis” are due on Monday, when we will discuss the film.

Your final cuts are due Monday, May 17, the last day of class.

Reminders and Upcoming Dates

Monday’s class is a production day; I will be available on Zoom for any editing coaching you might need, but you can also take that time to do additional shooting on your videos if you need it.

Rough cuts are due by class time on Wednesday, May 5. Please submit them the way you did with your practice assignment: by uploading to Youtube or Vimeo and posting here on the blog.

Checking in about video progress if needed.

Here are a couple other student videos for inspiration:

This last one was made for the advanced multimedia reporting class I typically teach once a year. If any of you are interested in pursuing video further, I recommend looking into this class.

There is also some discussion within the department of creating a minor in documentary filmmaking, though the timeline is not confirmed.

 

Discussion: The Documentary Filmmaking Industry 

It’s an exciting time in the documentary filmmaking world, especially with streaming sites getting in on the game and producing and distributing so many buzzy, prestige, high-production-value feature-length docs and docuseries. Think about how many documentaries in recent months and years have been talked about around the dinner table: The Last Dance, Leaving Neverland, the R. Kelly documentary, Wild Wild Country,  My Octopus Teacher.

There are different kinds of documentary films: one popular genre tells stories that happened in the past, relying on collecting old/archival footage, usually from numerous different sources, and weaving in present-day interviews with the people who were involved.

Another popular genre these days is verité documentary films, which derives its name from the French film movement cinéma vérité, which basically translates to “truthful cinema.” When applied to documentaries, what it means it that the filmmakers are capturing life as it happens. A lot of the time, they take a sort of fly-on-the-wall approach.

There’s a spectrum of how journalistic documentaries can be. Some allow for moments to be staged or reenacted—this is usually disclosed or obvious—others are scrupulous about letting life unfold as it will and capturing it faithfully.

In this class, you have been learning to do things more or less “one-man-band” style. On a well-funded documentary project, there are more roles available: DP (director of photography), B camera operator, lighting technician, sound technician, producer, editor, etc. If you continue pursuing this field, you may find that there’s something in particular you are drawn to. Maybe you love shooting but hate editing, or vice versa. Maybe you’re a fantastic ideas person, extremely good with people and making things happen, and a good reporter, but not as interested in the technical parts of filmmaking: you could be a great producer.

All that said, there are still plenty of documentary films out there being made by one person.

Benefits/costs of working alone vs. with a team?

Cartel Land: A film made mostly by one guy filming alone for nine months.

“As someone who [is] a director and a producer, and also shoots themselves, it makes it a lot easier to just jump in because I don’t have to necessarily raise money,” Heineman told IndieWire in a panel discussion at the Sundance Film Festival, where his first film “Ghosts” premiered. “Canon was very supportive of me — [they] give me a camera to help shoot this, so it was very easy to just dive in and start making this.”

Heineman has now become a big name who can get all the funding he wants for a film. He directed the Tiger Woods doc, “Tiger” which came out last year, and this is his upcoming film:

Feature-length documentary shot by one woman: First to Fall

Interview with filmmaker Rachel Beth Anderson: 

While there seems to be no shortage of cursory stories from the front lines of recent Middle Eastern conflicts, filmmaker Rachel Beth Anderson decided to dig deeper. During the Libyan uprising the duo smartly embedded themselves not with emotionally inaccessible military units but with two Canadian students – friends who cast away their safe and secure western lives to take up arms in the fight to overthrow their homeland’s dictator. The resulting documentary “First to Fall” is an unflinching look not just into the struggle that would eventually oust Gaddafi, but a cinematic, exacting account of how war turns boys into men.

Lauren Wissot: So how did this doc come about in the first place? How did you meet Hamid and Tarek?

Rachel Beth Anderson: I had been living and working in Cairo as a journalist prior to the Arab Spring. When the Egyptian uprising began in 2011 I found myself filming my own friends as they turned from everyday civilians into revolutionaries. Their world as they’d known it was quickly consumed by protests, teargas, and risking their own livelihoods for the hope of a better future. I was fascinated by how quickly they rose to this “call to action,” never wavering as the danger increased, until the current dictator was removed and they were celebrating what they felt was a victory at the time.

It seemed natural to me that I should cover the next country, which happened to be Libya, where everyday people were rising up. Following the youth in Libya was an entirely different experience than in Egypt, because they weren’t just battling teargas, but were up against Gaddafi’s army who had turned his guns on his own people. Specifically, I found myself fascinated with stories such as that of my main protagonists, Libyan expatriates Hamid and Tarek. They were young men my age, studying at university like I did, living a free and comfortable life – and had felt it their personal duty to give up everything, travel thousands of miles, and go to war as untrained soldiers. I knew they would be the perfect individuals to help reach audiences beyond the borders of Libya. Tarek was incredibly sweet and he always felt it was his responsibility to help me tell the story of Libya, and Hamid had one of those strong and silent personalities that magnetized the other young fighters – everyone flocked to be around him. He took on the role of big brother to Tarek, and you could immediately tell there was something to take from these young men who idealistically wanted to create change as freedom fighters, but hadn’t yet considered the outcome.

How do these kinds of solo independent doc films get made, financially speaking?

Depends on the film. If it’s a passion project and the filmmaker has the access, equipment, and time, they might be able to do most of it themselves. Or the filmmaker may start off covering expenses themselves, and then once they have enough footage to show people, they cut together a “sizzle reel” and either crowd-fund it on something like Kickstarter, or they apply for grant funding, find a private donor, team up with a production company, etc.

 

Example of verite filmmaking: Extremis

https://www.netflix.com/title/80106307

Here’s an assignment that can be done any time between now and Monday, May 10. Watch “Extremis” (I assume most of you have a way to watch Netflix, but if not, please let me know and I’ll figure something out!) and read the following interview with the director:

Interview: Dan Krauss on the Difficult Decisions Behind “Extremis”

 

Write a short (roughly 200 words) blog post about the film, giving your  thoughts about the storytelling, the ethics involved, and any questions or takeaways that stuck with you.

 

 

Practice Video Assignment, Part Two: Editing

Today we’ll be taking the five-shot sequence and short interview you filmed and editing it in Adobe Premiere Pro.

After we wrap this afternoon, I will send out the cloud recording from today’s class so you can refer back to it as needed while you work on editing your practice videos.

Reminders and Upcoming Dates

These practice assignments will be due by class time on Monday (May 26). Please upload the exported video file to either Vimeo or YouTube and then post the video here on the class site.

Rough cuts of your main video assignments will be due Wednesday, May 6. 

Final cuts of your videos will be due the final day of class, Monday, May 17.

Asynchronous Video Assignment

Film a five-shot sequence

The classic sequence that every budding videographer learns when starting out is the five-shot sequence.

• Close-up on the hands.
• Close-up on the face.
• Medium shot.
• Over the shoulder shot.
• One additional creative angle.

You won’t always edit things in this exact way when you do a sequence in the real world; sometimes it’ll only be three shots, or it might be ten, and they might be in a different order. But the five-shot sequence is a useful framework for thinking about depicting an activity clearly and engagingly with video.

 

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Upcoming Dates

Rough cuts of video will be due Wednesday, May 6. 

Final cuts of video will be due the final day of class, Monday, May 17.

 

Intro to Video Journalism

With video, we build on the compositional techniques of photography and the structural, storytelling aspects of audio with one obvious additional element: Motion.

How does video storytelling for the web and mobile differ from TV and film?

• Need to be CLOSER to your subject. Web videos are smaller and more compressed.
• Something like 20 percent of online viewers bail on a video within 10 seconds. So you don’t have a lot of time to grab your viewers and make sure they stick around.

How important is audio?

Good audio is of paramount importance. If you have low-quality video and good audio, the video will still be watchable. If you have gorgeous visuals but terrible audio, it will not.

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Shooting Your Video

There are two main components to any video: your interviews and your B-roll. The rules of composition we learned for photography (thirds, colors, patterns, symmetry, etc.) all apply here, but you also need to keep an eye out for motion. Tracking shots involve following the action with your camera, while static shots involve keeping your camera still, but that doesn’t mean there’s no motion involved; you might just be letting the action go in and out of the frame.

As with the photo essay, since you will be shooting on your phones for this assignment, it is hugely important that you DO NOT SHOOT VERTICALLY.

 

What is B-roll? And what difference does it make?

A big difference.

 

Things to keep in mind while you’re shooting B-roll:

1. Shoot more than you think you’ll need.
2. Get a variety of shots. Close-up, medium, wide, detail shots, static shots, tracking shots.
3. Use a tripod whenever possible. If you don’t have one or you’re shooting in a mobile, chaotic situation, be resourceful about stabilizing your shots.
4. Think about your interviews and let them inform your B-roll shooting decisions. Look for shots that illustrate what the person is talking about.
5. Hold your shot longer than you think you need to. A good rule of thumb is to hold it for at least 10 seconds (AFTER it’s already steady).

 

Things to keep in mind when you’re shooting your interviews:

1. Frame the shot with your subject on one of the thirds, angled so that they’re looking slightly INTO the frame. Have them look at you, not at the camera, so be mindful of where you are sitting. It’s a bit intense when someone looks directly into the camera.
2. If you’re working with a translator, be mindful that the subject will want to look at them, so make sure they are positioned in the ideal place to draw the person’s gaze.
3. Prioritize good audio.
4. Make sure their face is lit, but not too harshly.
5. Think about composing the shot in a way that allows for some negative space where the Lower Third will eventually go.

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When is narration necessary?

Sometimes, you can let the subjects of your video tell the story all on their own — as long as you edit with care, presenting what they’ve told you in a way that makes narrative sense. One benefit of non-narrated videos is that they can feel more organic. There’s no disembodied voice stepping in to tell the story, which keeps the focus on the characters in the story.

But sometimes, for clarity’s sake or for stylistic reasons, narration is necessary, or text.

Narrated videos

https://www.nytimes.com/video/world/americas/100000007049738/as-coronavirus-approaches-mexico-president-looks-other-way.html?playlistId=video/Most-Viewed

https://www.nytimes.com/video/world/americas/100000005277141/the-last-taushiro.html

Text-Narrated videos

These are more and more popular thanks to social media distribution because they automatically start playing as you scroll through your feed and they can be watched without sound.

Non-Narrated videos

Islamic exorcisms used as a ‘cure’ for homosexuality in Indonesia: ‘If I am Muslim, I can’t be gay’

 

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Upcoming Dates

Pitches are due this Wednesday April 12 for your video assignment: a two-minute video news story. (Give or take as much as 30 seconds depending on how tightly paced and edited it is.)

This video can be narrated if you are interested in broadcast video and want on-camera clips of you doing “stand-ups” for your reel. A stand-up is that clip at the end of a news package where the reporter is typically standing there with a microphone summing things up and doing their sign-off.

Here’s what I’m referring to:

There was a herd of bison walking right toward me at @YellowstoneNPS today! pic.twitter.com/sdrBvojpwF

— Deion Broxton (@DeionBroxton) March 25, 2020

Freddie made me smile today. This is probably the first authentic smile I ever gave on TV. pic.twitter.com/dDUkmNi2UQ

— Deion Broxton (@DeionBroxton) April 7, 2021

And here is an example of a broadcast reel:

I will be graduating from Georgia State University in December and am looking for my first sports reporter/anchor job. Your RT would help me out tremendously! pic.twitter.com/sdZHiCueKu

— David Schiele WBIR (@Deacon_Schiele) November 5, 2018

If you are not interested in being on-camera, the video can be non-narrated: doc-style and character-driven.

Restrictions are loosening and some of you may already be vaccinated, which is great. But I still ask for the highest possible degree of caution as you set out to make this video, so if you’re doing a story about someone outside your bubble, I highly encourage you to find a story you can film outdoors if possible. Luckily, it’s getting warm out so that shouldn’t be too painful!

Reminders and Upcoming Dates

Scripts for your radio story are due on Wednesday,  March 24.  Instead of a normal class we will be doing one-one-one edit sessions. You can sign up here. Time slots are first come, first served.

After I have given you feedback on your script, you can go ahead and record the narration and edit the sound. The final, edited 3-4 minute radio story, along with the final script, is due by class time on Nov. 6. 

If you don’t sign up for an edit session, you won’t be directly penalized; however, you will lose the opportunity for feedback on your script, which could affect the quality of your overall radio project. This will be your only opportunity to incorporate editor feedback into this story. Once the audio file is submitted, you will NOT have the chance to re-submit for a chance at a higher grade.

Your final, edited stories will be due April 5, our first class back from break. You will need to post the script on the class blog along with a headline and the embedded audio player from Soundcloud by class time.

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Discussion: The Power of Voices and Speech Patterns

When we hear someone speak, what are the different things we pick up on? What are the things we assume about them?

“NPR Voice”

During a recent long car ride whose soundtrack was a medley of NPR podcasts, I noticed a verbal mannerism during scripted segments that appeared on just about every show. I’ve heard the same tic in countless speeches, TED talks and Moth StorySLAMS — anywhere that features semi-informal first-person narration.

If I could attempt to transcribe it, it sounds kind of like, y’know … this.

That is, in addition to looser language, the speaker generously employs pauses and, particularly at the end of sentences, emphatic inflection. (This is a separate issue from upspeak, the tendency to conclude statements with question marks?) A result is the suggestion of spontaneous speech and unadulterated emotion. The irony is that such presentations are highly rehearsed, with each caesura calculated and every syllable stressed in advance.

In literary circles, the practice of poets reciting verse in singsong registers and unnatural cadences is known, derogatorily, as “poet voice.” I propose calling this phenomenon “NPR voice” (which is distinct from the supple baritones we normally associate with radio voices).

 

“He was hinting at the difficult balancing act reporters face in developing their on-air voice. It isn’t just a challenge of performance — and it’s not as simple as channeling some “authentic” voice into a microphone. It requires grappling with your identity and your writing process, along with history of your institution.”

Decoding identity on the air

Here’s an actual intro by Ira Glass: sound similar?

Challenging the Whiteness of Public Radio

Does public radio sound too white? NPR itself tries to find out.

The reason the sound of your own voice makes you cringe

Why your voice IS a “podcast voice”

On accent bias in the industry, by Baruch’s own Gisele Regetao:

The Many Voices of Journalism

Podcast: Gisele Regatao on NPR’s accent bias

Common speech patterns in today’s world that everyone (men, too!) use all the time:

Upspeak

Vocal fry

“Like”

According to Ira Glass:

“…listeners have always complained about young women reporting on our show. They used to complain about reporters using the word “like” and about upspeak… But we don’t get many emails like that anymore. People who don’t like listening to young women on the radio have moved on to vocal fry.”

Why old men find young women’s voices so annoying

99% Invisible podcast responds to criticism about women’s voices

 

So all of this leads us to the question: How can we be intentional about how we use our voices to tell the best stories as effectively as possible?

Luckily, in radio/podcasting, speaking naturally is what we actually WANT. No one wants to listen to a robot, or someone who sounds like they’re reading.

How I learned to stop worrying and love my voice

Guest Speaker

Please join me in welcoming our distinguished visiting journalist David Gonzalez.

Discussion.

 

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Script Writing Exercise

Here’s my example script based on a very short interview I did with another professor back in the spring. Note some of the different elements of script writing:

• Visual/descriptive, paints a picture to add context to the natural sounds
• Sets up sound bites by introducing the person by their full name and often by paraphrasing or hinting at what they’re about to say.
• No long, rambling, complicated sentences.
• Ends with a final line of narration that looks to the future in some way.

HOST INTRO: With CUNY schools transitioning to online learning this week amid the coronavirus outbreak, professors across New York City are getting creative. Emily Johnson spoke to one CUNY adjunct about what it’s like trying to teach during a pandemic.

AMBI: Nat sounds of tea kettle boiling (FADE DOWN AS TRACK BEGINS)

TRACK: I’m here with Anna Ficek in her Brooklyn apartment, watching her make tea while she works from home. She’s a PhD student at the CUNY Grad Center and when she’s not working on her dissertation she teaches art history at Baruch College and Borough of Manhattan Community College, or BMCC.

ACT: ANNA: When I found out that everything was getting shut down and especially CUNY I felt extremely sad. Because CUNY is such a big part of my life, such a great community that it was hard to feel that kind of dissipating.

TRACK: She says teaching from home has been a real challenge because of the way she runs her classes.

ACT: ANNA: It’s been very difficult to adapt to teaching remotely just because I really value the discussion I have with my students.

TRACK: Still, she’s trying to see this as an opportunity.

ACT: ANNA: What I’m hoping to get out of this is more time to really focus on what’s important both in terms of teaching and my own dissertation and my own research and trying to figure out creative problem solving ways to deal with these new issues that are going to come around like libraries being closed and inaccessibility to archives and how myself as an academic and as a researcher can get around that. So challenges, but also good challenges!

TRACK: CUNY schools will continue with distance learning for at least the remainder of the spring semester. For Baruch College, I’m Emily Johnson.

 

Recording Narration

You’ll need to record your narration in a quiet place with sound-absorbing surfaces. Some people use their closet as a makeshift studio; others just throw a blanket over their head. If your room is carpeted, has curtains and lots of plush surfaces, the sound quality should be decent.

It’s best not to drink or eat dairy products right before recording narration; it makes your voice sound thick.

Try not to speak from high up in your throat. Speak from lower in your belly.

Good posture is important.

Some people in the radio world warm up their voices by singing, stretching, and/or doing tongue twisters.

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Homework due by next class (Wednesday 3/17)

• Write a short script, about the same length as my sample script above (a host intro, three sound bites, narration and a sign-off) based off of the interview you did for homework.
• Record your narration.
• Download Audacity, the free audio editing software, before next class. You don’t have to edit anything yet. You’ll be using your audio interviews and your scripts in an audio editing exercise on Wednesday where you’ll put the whole practice radio assignment together.