What to do when your boss hands you a flip cam

It’s going to happen eventually, if it hasn’t already. Newsrooms are going to start handing out flip cameras to reporters.

It doesn’t have to be an actual Flip cam. Hopefully, it will be a Kodak Zi8 or something else with an audio input, where you can connect a microphone and get decent sound.

There will be snickers from some in what was formerly known as the photo department. People will expect you to fail, because you’re a reporter.

Prepare to blow them away.

See, as reporters, we know how to interview people, get good quotes, take them and put them together in stories. For years, we used audio recorders. Now, we can use these small video recorders. The one thing you can do is killer interviews. That already puts you ahead.

We’ve been over the basics before, but brush up on them. It would help if you have a friend in the photo department. They’ve been through the painful transitions. They should empathize.

I have received encouragement, support and valuable advice from our photo/ video department – the people who really know what they’re doing. They like that I can do some of this on my own. It lessens their workload in a time of dwindling staffs.

Really, I bug the hell out of them for advice. They can attest just how much of a pain in the butt I am. But they also take the time to answer my lame questions, even when they’re crazy busy. I’ve even had a couple of photogs come to me and say, “show me how you did that.”

But in many newsrooms, I’m hearing of reporters getting handed these video cams, then being sent out with no training. Terrible.

Here are a few tips I’ve learned that can make the difference in giving you confidence and competence with video reporting:

• The camera fits in your pocket. Carry it with you everywhere. In case news breaks, you can whip it out and capture it. This will also guarantee news won’t break out around you. Meanwhile, you can finish the following steps.
• If your editors are smart enough to buy a camera with an audeo input, hit them up for a microphone, too. You can buy an “L” bracket to attach it all, and it still won’t be that much bigger than a notebook. You can get a whole outfit for less than $200.
• Just as you read great writers to get inspiration for writing well, find great videos to watch.
• Watch as many documentaries as your Netflix queue will hold. Even if someone else will be editing the final product, you’ll know what kinds of shots work to go with the interview of your main subjects.
• Don’t have Netflix? Watch “Independent Lens” or “Frontline” on PBS. By seeing how it’s done right, and you’ll get pick up some techniques you could use. Ira Glass of “This American Life” says when we start learning a new skill our level of expertise is never up to our level of good taste. But if we know what good looks like, we can strive for that. Oh, and listen to “This American Life” to learn how to put together interviews into great stories that aren’t text.
• Can’t take pretty pictures like your photo counterparts? Use the stills that the photog on the assignment got – but who often doesn’t have time to do the video. You can help with that. I did that on this breaking news story.
• Mine your archives or the AP photos your news org pays for to get good illustrations for B-roll. See if your interviewee has family pictures or other stills you can use. Take some stills on your flip cam. Crime scene photos that are used in court can be great, too.
• Subscribe to this group. Yes, you’ll hear a lot of moaning about how bad it is to give reporters video cameras. But occasionally, you’ll see a post about technique or workload, which will help you. And frequently you’ll see great examples of how it’s supposed to be done and what you should be aiming for in your own work. You can also post your videos and get feedback from real pros.

Hot links: the journalism sessions I couldn't attend in Vegas

NO PLACE LIKE HOME, KS -- The SPJ Convention has been over for days but people are still talking and blogging about what they learned. And we can catch up on the sessions we missed.

Among them:

• Deb Wenger reports on a talk by CNN International's Etan Horowitz: Used to be, broadcasters tried to put TV on the web. Now they put social media on the air.
• Wenger also adds info on Victor Hernandez’s sessions on all-platform journalists, with a list for gearheads like me.
• Libbi Gordon of the University of Missouri sums up her analysis of the convention: "To the youth and young adult market, using the Internet and social media is second nature. YAYAs will thrive in the online journalism."
• No journalism convention would be complete without talk of layoffs of downsizing, and Tim Eigo, editor of Arizona Attorney magazine, reports on a conspicuously empty Gannett booth at the trade show: "Is that angst in your pocket, or are you just sorry to see me?"
• Marnie Kunz writes: "Matt Villano offered helpful advice on diversifying for freelancers and not keeping your eggs in one basket ... . And it soothed my frazzled soul."
• Amanda Maurer reviews Google 101 for Journalists: the session everyone who missed it wished they'd attended.
• And Vince Duffy of Michigan NPR and the most dapper man in radio, blogs highlights of the convention for the RTNDA, which will team with SPJ for next year's convention in New Orleans.

Did you attend a session or blog about the convention?  Leave details or a link to your post in the comments.

This is also CNN: getting out of the way of innovation

LAS VEGAS -- After blowing up their silos, CNN began hiring All-Platform Journalists, or APJs. They do about everything, but don't call them one-man bands. That'll just rile up Victor Hernandez, who thinks it makes them sound like a carnival act, instead of the innovative, hard-working reporters they really are.

Hernandez talked a lot about being "platform agnostic" at the SPJ National Convention, and it's something we all need to start taking much more seriously -- finding the best way to tell stories, instead of digging ourselves in where we're most comfortable. If video is the best way to tell the story, use it, instead of falling back on text, because there's a news hole somewhere that needs to be filled. If text provides context and explanation, then tell it that way, even though someone still thinks there has to be a video over a talking voice.

Or use both. Text with video.

Journalists are listening. I hear a lot less whining that "I'm a newspaper reporter, so I shouldn't have to learn this video." The multimedia presentations this week were packed. People were eager to learn to work on all platforms.

Hernandez said the skills are developing, but there's still one piece that needs work:



Some examples:



Or look what APJ Sarah Hoye did on a multimedia project on natural gas fracking with CNN Money's Steve Hargreaves. It included this video, which follows more of a documentary style than the typical TV formula:



Of course, inspiration for following a different path remains print icon Jimmy Breslin, who wandered off from press pack covering the funeral of John F. Kennedy to interview the man who dug the president's grave.

So as we left the convention, we carried the question: Are we moving toward the future or living in the past?

At least that's what Mark Briggs wondered, while leaving Las Vegas to the tune of John Mellancamp:

"If you’re not part of the future then get out of the way."

What happens in Vegas gets blogged

I'm headed to Las Vegas today for the Society of Professional Journalists National Convention.  I'll blog what I'm learning, and I always pick up some valuable tips. SPJ provides some cutting edge sessions.

You can also follow the #spj10 hashtag on Twitter to see what everyone is talking about.

If you're in Vegas, send me a message on Twitter or stop by the 60 Sites in 60 Minutes session I'm doing with Jeff Cutler at 3:30 p.m. Monday in Melrose A. We'll also be hosting a tweetup Monday night. Watch Twitter for the details.

Meanwhile, back in video class

Whenever I hear about basic video shots, I think of the old television show “Dragnet.”

I brought this up in our video training class the other day, and Stacey, our instructor, and everyone else looked at me strange – except for our photo editor Brian Corn, who has been around as long as I have. Not that I remember the first-run “Dragnet.” I did grow up watching reruns and, yes, saw it the second-time around when it revived in the 1960s.

The show that made “NYPD Blue” and “Law & Order” possible always started off the same: a wide shot of the Los Angeles skyline glistening in the sun, or in the ‘60s, smog hovering overhead.

“This is the city,” Jack Webb’s voice would intone, “Los Angeles, California.”

Cut to an exterior shot of the LAPD headquarters. Cut to inside the office.

"My name’s Friday,” the voice would say, as you would see Webb’s character walking through the office door. “I carry a badge.”

Those are the basics:

An establishing wide shot to set the sense of place, time and even weather conditions.

Gradually tighten the shots, bringing us to where the scene will be set.

Show the characters and their faces.

Catch action: people doing things, moving about. Otherwise, why are we shooting video?

You look for wide shots, medium shots and close-ups. That’s really all you need to get started, when someone hands you a point-and-shoot video camera to take on a story. If you do them in that order, you even spend less time editing them, because the scenes logically go together.

“You need a sense of location, and you need action of what the people are doing,” Stacey said.

Pick up the sounds of what’s going on, and a couple of interviews with people that you can roll behind your other shots, and you’re off to a good start to produce a video that will enhance your multimedia coverage.

It sounds simple but consider this the next time you want your favorite movie. You’ll be surprised how often you see this simple progression.

“Gone with The Wind” opens with a wide shot of the mansion of Tara. Cut to two men with their backs turned talking of war. They step aside to sit by the young lady they are talking to and the camera zooms in to reveal Scarlet O’Hara.

“Manhattan,” displays with the New York skyline and the roar of the clarinet opening Gershwin’s “Rhapsody in Blue.” The camera cuts to a sign flashing “Manhattan” followed by close-ups of a corner café, people bustling about the streets, people milling about a street market, as Woody Allen describes his love for the city.

These are fictional, scripted and directed. Still, we learned how to write narrative journalism by reading the short stories of Hemmingway, Twain and Chekhov and applying their tools to our way of presenting the facts. It’s the same with visual narratives.

I also like the BBC’s “Five Shot Rule” - close-up of the hand, close-up of the face, over-the-shoulder and two shots from other angles.

Be careful, though. This can become addictive. You’ll be watching movies and documentaries, saying to yourself, “Establishing shot … close-up of the hand …”

Just don’t say it out loud. People will stare.

We've got training

The problem is not that we aren’t eager. People are begging to learn about multimedia, especially video, as Angela Grant pointed out recently. What they're not receiving is training.

Although decision makers in newsrooms move more slowly, we're scrambling to learn as much as we can as quickly as we can.

My newsroom is providing training, and that seems to be a rarity. Especially print reporters in the unfamiliar area of video are going to need to know how to react when we're handed a camera and told to “bring back some video.”

So let's use this blog as a starting point. Come train with me.

Your teacher: Stacey Jenkins.

We were lucky to find Stacey in Wichita. Stacey trained as a documentary filmmaker, which is exactly what we needed. The web is opening up these great opportunities to tell stories in different ways. And when it comes to video, the trend is leaning toward more of a documentary model than the historic television model. Stacey has that kind of background. She’s from Canada and worked for public television there and Portland, Ore., before her husband took a job for Bombardier in Wichita.

The first session consisted of three photographers, our photo editor, and me as the only reporter.

Stacey began by asking how we decided what stories would use video each day.

“Uh,” we said. “We just kind of decide on our own.”

“It’s not discussed in the morning meeting by the editors?” she asked.

“Uh, no,” we said.

First, she said, we need to learn how to identify stories that could benefit from a video component.

If editors aren’t asking the question, the reporters should be. The photographers said they depend on communication from reporters, who despite being communicators, I admit, sometimes don't talk to anyone.. Yes, I can hear grumbling. What? We already have to assign still photos, now we have to figure out video, too. Can’t we just write a story?

Multimedia takes planning. You can’t just dial a phone number, jot down a few quotes, write an inverted pyramid story and phone it all in – that’s how newspapers have bored people to death, and maybe caused their own deaths, over the past half-century.

Stacey outlined a quick thought process, which should take about three minutes out of your day:

- “Think about a story in terms of media,” she said. Do you need audio? Would a gallery of stills be best? Or a slide show? Or video?

- Any story with action cries out for video. Covering a new dance class? The aftermath of a tornado (I am in Kansas, after all).

- Even someone with a compelling story might be worth sitting in front of a rolling video camera. “Let them tell their stories,” she said. “There will be parts that you want people to see and hear, because it will never be as powerful reading it.”

This is what filmmakers and broadcasters know well. It's called pre-production. It’s like outlining a story. It’s like deciding what interviews you want to do.

Not all stories may work with video. But ask yourself those questions. If the story fits, you might want to grab a video camera, or talk to a photog who shoots video – or another reporter you’ve seen learning it.

If nothing else, when – not if, but when – an editor hands you a video camera and tells you to add it to your tool box, you’ll at least be able to recognize when to whip it out.

Mark Bowden says he discovered this when he compiled for his paper what would become the outstanding narrative non-fiction book “Black Hawk Down.”

Before it was a book or a movie, back in the old days of 1997, it was a multimedia package.

Now, Bowden writes, such reporting crucial to our work:

“I think the print edition will probably endure to some extent, but, without any doubt, the future of daily journalism is digital, not because it is the latest thing, but because it is, quite simply, a far better medium than paper and ink.”

Bowden is one reporter who thinks video when he tackles an assignment for The Atlantic Monthly:

“Nearly every story I write today for the Atlantic, and every book I undertake, I do in conjunction with a documentary filmmaker.”

Tomorrow, we’ll review the basics of the shot.