Why Silence Belongs in Your #Video

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Heinz History Center: Sound engineers record on the original    Mr Rogers set

I had trepidation about seeing “A Beautiful Day in the Neighborhood.” I worried no one could play Mr. Rogers, even the gifted Tom Hanks. I worried the film would be a treacly portrait with too many kid scenes.  Luckily, I was dead wrong. The film works in large part because director Marielle Heller tackles the same darkness Rogers was willing to examine with and for children. Hanks was brilliant. And Chris Cooper—one of my favorite character actors–should be nominated for a Best Supporting Actor for his nuanced rendition of a hard-living father trying to reconnect with his son.

The thing that really struck me in this film was its respect for Silence. Silence was an important part of Mr. Rogers’ Neighborhood. It’s what made some people hate the show: those pregnant pauses where he looks at the camera, waiting for small children to consider what he has just said. The silences in the film were, of course, not entirely silent. (Beautiful sound design by

Cheryl Ottenritter (Otthouse Audio) and I collaborating on a sound mix.

Damian Volpe and team that will likely go unnoticed by an Academy who loves to reward explosions and bone-crunching in soundtracks.) If you haven’t seen the film yet, listen for the barely noticeable ticking of a clock in the background of a tense scene between Rogers and Lloyd Vogel, played by Matthew Rhys of “The Americans” fame. Or the very gradually building silence in their meeting at a restaurant, where clattering cutlery, conversations and shuffling feet of waiters gradually come to a pause while Rogers and Vogel share a moment of silence before a meal.

Working in short form nonfiction as I do, there’s often little patience for silence. Short form videos are often limited to under 3 minutes. They’re designed to engage a hyper-busy audience and connect them to a community, a cause, and a brand. But as my co-author and sound designer Cheryl Ottenritter and I say in our new book, Nonfiction Sound and Story for Film and Video (Routledge), it’s critical to “fight for the silences.” They can make a story work. When stringing soundbites together, find a moment where the story arc turns and put in a beat of silence instead. When laying in your music tracks, consider a break from music entirely so the audience can refocus on the story. Rather than inserting a voiceover telling the entire story, create moments where natural sync sound or wild sound can be layered into a scene to help support the story.

Sound is more than half of every video. And silence should be part of that soundscape. Silence is what, in many ways, made Mr. Rogers’ video work unique.  It can elevate your work, too.

Amy DeLouise is a video producer/director and the co-author of the new book Nonfiction Sound and Story for Film and Video: A Practical Guide for Filmmakers and Digital Content Creators (Routledge). Use code HUM19 for a 20% discount at checkout!

 

 

Impact Video: Finding Value in Your Media Archives

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Today I bring you a great case study demonstrating how you can bring impact to a very short organizational story–in this case, for an awards event–if you know where to find your archival media assets. This case has all the classic elements: a quick turnaround deadline, a large quantity of assets to mold into a seamless 2-minute story, and me digging through boxes of old archival sources that no one imagined would be part of a future video. I thought I’d deconstruct the process for you, and shed some light on how you can up your game by mining your own media archive to create content for your organization.

Fulbright Prize Introduction from Amy DeLouise on Vimeo.

The project is a motion graphics opener I just produced for the Fulbright Prize event in Berlin, where this highly regarded international prize was given to Angela Merkel, Chancellor of Germany. As these stories so often start, we had brainstorming meetings about how to tell the history of the prize in 2 minutes. In addition, we wanted to show the breadth of the work of the association giving the prize. Also, we needed to list past prize winners and years. Oh, and show all of their images, some of which were not available in the organization’s archives. Also, we needed to include quotes about the importance of the prize and the value of international exchange from well-known people and prize winners. And…we also needed to incorporate the thematic blue color of the organization’s logo, and create a look and font style that could be incorporated into the print, social, and other materials for the event.

This is all great stuff and just the kind of thing that gets my creative juices flowing! So here was our process:

Step One: Identify existing content that helps tell the story. This involved digging into archives for old footage, transcripts of old speeches, and old newsletter articles. Also pulling together archival images of past awardees, and more recent digital images of association events. We determined in this phase that the quality of archival clips were not good enough to pull footage (and it would make the show too long anyway), so we would look instead for quotes that told the story.

Before the magic begins, we start with raw materials–archival content from a variety of media sources

Step Two: We boiled down the best quotes from the broadest representation of past prize winners, and people who had spoken about the importance of the Fulbright international exchange program, and shaped it into a script. (Note: Scripts don’t have to include spoken words.)

Step Three: We identified the best images of awardees, and then we had to license and request some additional ones, so that we had a full compliment of images of past awardees at the high resolution required for large-screen HD presentation.

Step Four: As part of the image curation process, I pulled together those “action shots” I thought best exemplified the work of the association–as a convener, educator, and source of ongoing cultural exchange.

Step Five: I selected several cuts of music–pacing is critical for animation, and we “cut to the music”, so we have to choose this first. We settled on a piece we felt had rhythm, excitement, and momentum. I also like to lean towards more full orchestrations for videos that will air live in a large space, with quality speakers.

Step Six: Since this was airing abroad, which has different frame rate specs than the US, we sent a test file to the A/V company at the on-site location, to be sure it worked well from their end before we started to animate.

Step Seven (really steps 7 through 10): My graphics team and I went through multiple drafts of the story, honing and tweaking until we–with our client–felt we had the best representation of the story.

Step Eight: We rendered out our final files and shared them, making sure they had been proofed (so many names!)

Step Nine: We delivered the final files via link to the company in Berlin who was running all the A/V at the event.

Final Step: This step hasn’t happened yet, but we need to have the video audio-described, so that a blind or visually impaired viewer can still access this content. Accessibility is not just a matter of captioning, though captions are essential for videos with spoken words and narration.

Here’s the big takeaway: saving your archival assets is essential–you never know when you will need them. Digitizing them at high quality, retaining the originals, and metatagging them with important information is even more important. Your media archive contains gold, if you know where to find it.

Amy DeLouise is a video producer, author and trainer, helping organizations tell their best stories. She has a new LinkedIn Learning course out on Multi-Platform Storytelling, will be giving workshops at NAB Show this Spring (see Speaking page).

Multi-Platform Madness: A Day on the Set

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This week I produced and directed a fun shoot for an international education association. What might appear at first glance to be a simple studio shoot  was really a multi-tasking day that allowed us to gather multiple content streams at once, for later multi-purposing.  Here are some of the elements we shot in less than 8 hours:

-5 interviews with a Canon 300 Mark II camera

-Secondary/side angle of all interviews w/a Canon DSLR camera on a slider

-6 direct-to-camera reads of a brief :30 appeal

-BTS (behind the scenes) video and photos

-Samsung Gear VR footage of our setup

-Hyperlapse time lapse footage of our setup

-Smart phone photos and videos of our day on the set

And now here are all the outputs we can achieve for this client: 

-A short video about the association for their website combining the interviews,  BTS footage, and other existing content from the association

-Social media sharing content using the BTS photo and smart phone content

-A Facebook video campaign using the direct-to-camera content

-An Instagram video campaign using the direct-to-camera content

-Interview transcripts that can be mined for quotes for website and newsletter sharing

-VR and timelapse content that can boost social sharing

 

Planning For Multiple Content Streams

Of course, this all takes advanced planning. You can’t accomplish multiple outputs without having the right people on your production team. You need to have a designated BTS Photographer and ideally a separate BTS Videographer.  These roles are different, but can sometimes be combined as long as you are clear about what you need from each format. You will also need a DIT–Digital Information Tech–who can be offloading, ingesting and verifying your footage and photo media cards as you go, because you will need to keep using cards throughout the day.  That person will also be meta-tagging your shots so you can find what you need for quick turnarounds later. Again, this person could have another role such as production assistant, but you had better be darn sure they really know what they are doing when it comes to media management. On some shoots I rely on my director of photography (camera op) to do this job, but then you have to wait until the end of the day. This means you need to purchase more media cards up front, since you won’t want to “blow them away” until you have ingested, duplicated, and verified all your footage. For a multi-camera shoot like the one we did this week, I did not want to distract my camera guy with that task, so we had our BTS photographer do it because she is also quite experienced at this DIT role. She also pulled up all our footage in a laptop version of Premiere Pro, our NLE (nonlinear editing) platform, so that we could check our colors “in the real world”.

Designing Your Workflow for Spoken Word Content

You’ll also need a workflow plan for your Transcripts. I like to use a real, human transcriber for long interviews or anything involving speakers with accents.  The folks at Noble Transcription do a great job. If you live in a town with lawyers, you can find a transcription service! For quick interviews, Speechmatics is an AI platform that does a pretty nifty job. You might have to correct things like acronyms, which it isn’t good at recognizing. I then import my transcripts into PremierePro using Transcriptives, a new plug-in from Digital Anarchy. Transcriptives attaches speech elements to every clip from the interview, allowing you to build your script, output drafts that everyone can review on paper, and output your final captioning.

Archiving and Future-Proofing

Really, the future-proofing comes in the planning stage. I like to shoot everything in 4K these days. That gives me enough lattitude to compress content for small screen delivery without compromising quality. It also allows me to crop images to 2K, giving me the ability to add a second “angle” without moving my camera.   It also gives me enough color space and pixels to crop unusual specs like the awful Facebook vertical, while keeping high quality color and resolution for larger-screen delivery.  Future-proofing also means ensuring that you have permissions “in any and all media” from all your participants, so you don’t have to go back to them every time you change your output. You also will need to get the right licenses for any music or stock images you add into your final products.  As far as archiving goes, we really don’t know what the next digital medium will be, so the best policy is to save all your content in its highest quality form, without any added text or soundtracks. This will allow you to continue multi-purposing well into the future.

I’ll have a new LinkedIn Learning course on this subject soon, so watch this space for updates!

 

 

NAB Wrap Up Webinar

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What happened at NAB? Join me as we review the emerging industry trends in an IBC365 Webinar today with Carolyn Giardina of the Hollywood Reporter,  dock10 CTO Paul Clennell and IHS analyst Przemek Bozek. Join us TODAY APRIL 18 as 4pm UK time (8am PDT / 11am EDT / 5pm CET) Click here for the webinar

On the show floor at NABSHOW 2018

 

#NABSHOW Survival Guide

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Levi Sim-10

In just a few days I’ll be at NABShow, the Superbowl of my industry. Or as I like to call it, 110,000 of my best friends in content production.  If you want to catch up with me there, here are my 7 (yes, seven) sessions and 2 panels during Post|Production World. Plus, I’ll be hosting an amazing group of women in UAV, VR, 3D, VFX, Editing and more during a multi-camera, livestreamed show called #GALSNGEAR on Tuesday, April 25th.  Come for the coffee and donuts at 8:30, stay for the show at 9AM!

Here are a few things I’ve learned in my years at NABShow. See you in Vegas!

  1. Have a Shoe Strategy – Bring several pairs, and plan to swap out at least once per 15-hour day! While this is especially true for women, it applies to men too. A few years ago I shared a cab with an attendee who confessed he only had brought one pair of shoes. Big mistake. You will walk many miles a day across the 1 Million square feet of show floor (!), not to mention the miles of sidewalk on the strip.
  2. Have a Transportation Strategy – The monorail is great if your hotel is right on it. If not, there’s actually a decent Express bus that runs up the strip and over to the Convention Center. You can buy a multi-day pass for much less than the monorail. Thank goodness Uber has come to Las Vegas, which cuts down the cost of other rides. And of course once the show is in full swing, there are free buses that go to most convention hotels. If you’re in a hurry, however, these can take quite a while.
  3. Bring Business Cards – I’m always amazed at how many people don’t bring them, or don’t bring enough. It’s a show with more than 100,000 people! You can’t remember everyone to tag them on LinkedIn when you get home, so share cards. A strong visual and a simple declaration of what you do is important. I hate getting back with cards to scan that feature only a name. If you’re not Oprah or Cher, include details!
  4. Have a Daytime Food Strategy – Lines at the convention center food trucks and stations can be long. On days when I’m presenting, I bring a sandwich and a yogurt from the Walgreen’s on the strip (there are three). This will save you time and frustration on peak days of the show.walgreens on strip4. Have an Evening Food Strategy – Are you sensing a theme here? Since I’m feeding myself on my own dime during NABShow, I try to skip the overpriced strip restaurants for many meals.  These are some of my all time favorites as well as places I still want to explore.  Let me know if you want to grab a bite!

Lotus of Siam. Excellent, authentic, and seriously spicy Northern Thai cuisine. Try the spicy prawns or the sea bass in any of the three sauces–I’ve had the ginger sauce with mushrooms and it was divine. Kaizon Fusion Roll. Asia fusion with interesting (and gigantic) sushi roll combinations in a low-key, hip bar atmosphere. Just across street from Hard Rock Casino, but not nearly as pricey as their famous sushi spot. Tamba Indian I plan to give this place a try this year based on a recommendation of an Indian friend. Lindo Michoacan. A local Mexican 3-restaurant chain well regarded, including by my local friend whose wife hails from Mexico. Sen of Japan gets rave reviews and is more authentic Japanese, for purists. Pamplemousse. Locals go here for special occasion, reasonably authentic French fare. Pricing more on par with the strip restaurants, but reviews are rave. Echo and Rig Pick out your cut of steak, then have it grilled up at the restaurant next door. Talk about “on-demand” dining! Piero’s. A Las Vegas institution and close to the Convention Center where we’re all living for this conference. Dinner only. The only Vegas eatery on the strip that makes my list is Beijing Noodle No.9 at Caesar’s. Try the Soup Dumplings–the soup is actually IN the dumplings, not the other way around!–and a bowl of Lanzhou noodle soup.

Amy DeLouise is a director-producer specializing in nonfiction, short form videos for large live events. When she’s not in production, Amy is also a frequent speaker and workshop leader. She has courses on #LinkedInLearning and will be presenting at #NABShow. 

 

Focus on #GALSNGEAR at #NABSHOW

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If you’ve been following the #GalsNGear hashtag on Twitter, then you know I’ve been working behind the scenes with many colleages–women and men across production and post–to put the focus on women in the technical fields of our industry during NABShow this year.   On our program, we’ll be featuring 14 top pro’s talking about VR, UAV, VFX, CC, 3D, and more. Plus we’ll be giving away thousaGnG_IG-Post1nds of dollars worth of cool stuff! We want to be sure these professionals get the limelight they deserve, and inspire the next generation of women working behind the lens in our industry.

NABShow in Las Vegas is an incredible annual smorgasboard in our sprawling industry of content creators and distributors in TV, video, cable, OTT, satellite and more. Or as I like to call it, 100,000 of my best friends in media. Special thanks to NAB and Women in Film & Video, and our partners Broadcast Beat Magazine, sponsors Black Magic Design, Snell Advanced Media, and Vitec, as well as supporting partners Adobe, iZotope, Zacuto, Ott House Audio, Rampant Design, Sundance Media Group, and Radiant Images.
If you’re coming to NAB, then we’ll see you at the show! (8:30AM is free coffee/donuts and networking, the show goes live at 9AM). If not, join us live online at 9AM. Broadcast Beat, our streaming partners, will be carrying us to more than 2M viewers in 180 countries! Details here.

Luisa Winters on GalsNGear NABSHOW Live 2016

Check out these amazing women joining us on stage to demo and discuss gear and content production and post-production this year:

Participating women:

Jennifer Pidgen, COO, Sundance Media Group; UAV Pilot

Céline Tricart, Cinematographer & VR Filmmaker

Nina Page, Head of Business Development, Radiant Images

Amanda Shelby, Head of Production, Radiant Images

Csilla Kozma, Head of Content, Nokia Technology

Cheryl Ottenritter, Senior Mixer/Founder, Ott House Audio

Mae Manning, Editor

Sue Lawson, Editor

Megan McGough Christian, Production Manager, “Frontline”, WGBH Boston

Stefanie Mullen, CEO, Rampant Design, Visual Effects

Sophia Kyriacou, Broadcast Designer/3D Artist

E Samantha Cheng, Executive Producer, Heritage Series, LLC

Co-Hosts:

Adryenn Ashley, CEO, Crowded TV

Amy DeLouise, Producer/Director, Author of The Producer’s Playbook: Real People on Camera

 

How to Prepare to Conduct a Video Interview

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Amy Interviews

You’ve got to shoot and interview and ask the questions. How do you get the best from your interview subject(s)? How do you prepare? These four steps will improve the process every time.

  1. Research. I don’t just mean your basic Google search or Wikipedia page look-up. I mean actually reading something your interview subject has written or watching a speech they have given so you can a) learn from it and b) refer to it and build rapport. Also read articles about your person, so you understand where they come from and what they do.  Talking to people who know them well–a spouse, assistant, co-worker–can give insights into their style, character and personal history.
  2. Pre-Interview. Have a phone conversation several weeks in advance of your interview. Weeks not days, because you don’t want someone saying “As I said to you yesterday…” in their answer. I find phone is better than Skype or Google Hangouts, because people are more honest when they can’t see you. If you don’t have the time or ability to pre-interview, then talking to someone who knows this person is even more important. You don’t want to be blindsided by a strong viewpoint, a difficult to understand accent, or some other element that you could easily prepare for in advance.
  3. Create a Story Arc. Everything is story. Even reality. Find the challenge that your subject had to overcome. This is the high point of the story, and you can work backwards from it as you develop questions to lead up to the main high point. Also think of what might hook in viewers to this story. How can you elicit that bit of the story arc? Then think about how the story ends. What’s a good way to help your subject get to this conclusion?
  4. Reverse Engineer Your Questions. Reviewing your research notes, your pre-interview notes, and your draft story arc. Then build questions that can elicit those answers and topics. The goal is not to control every moment, but to help support your subject as they reveal their story.  people always ask me if I send interview questions in advance. Absolutely not! Send a list of topics, sure. But don’t give away your questions that are designed to elicit a story arc or you will find yourself interviewing someone who has over-prepared. If someone tells you that you MUST send questions, send three or four but write them related to themes. Get into the specifics on site.

Look, we all know that nothing is ever set in stone when you conduct an interview with a “real person” (i.e. not an actor or someone highly media-trained) on camera. Good preparation makes the shooting and editing process go much more smoothly.

This blog post is based on one of the chapters of my new book The Producer’s Playbook: Real People on Camera (Focal/Routledge).  Order copies here.  For more details on specific interviewing techniques and post-production strategies for working with interviews, see my Lynda.com courses here: Amy’s stuff on Lynda.com

Using VR to Free Local Space from its Boundaries

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Who isn’t intrigued by the storytelling capabilities of Virtual Reality (VR) and Augmented Reality (AR)? My friend and colleague Danilda Martinez shares some of her experiences exploring this new frontier of media-making. Check out her post!

VR and The Quest to Free Local Space from its Boundaries

By Danilda Martinez, guest blogger

Danilda shooting 3D tour-web

My partners and I founded Immersive Spaces earlier this year with the goal of bringing a seamless VR offering to our local community and businesses. West Palm Beach, Florida has both a warm local vibe and a swank international appeal all at once. We knew that whatever we brought to market here had to feel world-class, not clunky, and accessible.  Immersive Spaces started mainly with real estate tours, and we’ve organically evolved into other spaces like galleries, and entertainment.

VR Challenges

The challenge was that producing 360-video through a traditional production approach is time-consuming and expensive. Not many local businesses have this kind of budget for marketing and content creation, especially for something as new as new virtual reality. So we had to find acquisition and editing technology that would work for our budget. We also had to consider lighting, and tried to take advantage of the best possible ambient lighting since moving lighting fixtures in and out of shots can affect the ability to “stitch” them together efficiently in post.

Exploring VR Tools

With that in mind, we approached the whole process from the end-user and client’s perspectives, which lead us to focus on acquiring technology that would produce fluid intuitive feeling tours for the end-user, and speedy turnaround for our clients. After researching options for gear and services we chose to work with Matterport, a turn-key solution which has proven to be the most effective solution for our start-up, offering affordability and quick turnarounds for us and our clients.  Rather than shoot everything with a traditional 3D set up, using production cameras or Go-Pro rigs, and Cinema 4D or Kolor for stitching, we purchased Matterport’s camera and use their cloud service to stitch and manage the 3D scans. The “Dollhouse” is a feature our clients and their audiences love, and it is essentially a 3D birdseye view of the space that can be interacted with so you select where to go next in the space.

Dollhouse-web

the “Dollhouse” view

While we wouldn’t use Matterport for producing traditional 360 video narratives because of its limited options for shooting flexibility and post-production, for now we can get VR projects going while we take our time exploring other in-house options.  At the heart of it all, we’re just having fun with new VR technology while connecting our community to the world both virtually and literally. We have an exciting year ahead of us as we constantly look to push the limits of how our local community uses VR in telling its stories through exploring space.

Danilda Martinez is the Chief Space Agent for Immersive Spaces in West Palm Beach, FL Her work can be found at www.ImmersiveSpaces.com and at facebook.com/immersivespaces.

 

 

Student Filmmaker Next Steps: Getting Work in the “Real World”

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Through the wonderful serendipity of conferences, I got into an extended conversation with a film educator about what film students, and particularly young women, can do to better position themselves for careers in the technical fields of our industry. As someone who hires production teams regularly, and meets many starting out in our industry when I speak at events like NAB Show or interact with my online students on Lynda.com, here are a few ideas to consider.

Resumes

Credit others, too. When you are just getting started, you are probably not the Director unless it’s your student film. So, if you were the AC on a shoot, be sure to identify the production company and DP (we probably know them and may want to contact them to verify your work).

Be concise. One of my students recently sent me a draft resume of 3 pages, which I reduced to one. He’s got terrific camera department credits, but he’s only been working for 4 years, so one page is sufficient.

Provide references. This might seem self-evident, but your references should say nice things about you. I had a young woman once provide my firm as a reference when she had quit her summer internship with us about a week into it, and not shown up to an important shoot. Hmmm.

Social media. Remember prospective employers will be checking out your Twitter feed, your Facebook page, your blog. Since a lot of millennial crew members use Snapchat, someone on the team might have seen your posts there, too. I’m not suggesting being someone other than who you are, but think about how these reflect on your personal and professional brand.

Apply for appropriate jobs/Help others. I recently put out a call for a Set PA on our DC Women in Film and Video list-serve and got dozens of resumes from DP’s. I’m not likely to consider these folks for DP work, since they didn’t seem able to read instructions. Only one of them prefaced their email with “I realize you’re not looking for a DP for this shoot, but…” etc.  Even that is not really a great way to market. I was much more excited about an email from a DP telling me about a Set PA she thought was terrific, and giving me that person’s contact info. You’ve been helpful to me so now I’m going to keep you on my short list or try to be helpful to you in some way. Karma!

Send only as a PDF. ‘Nuff said.

Portfolio

Balance student work with paid work. Make sure you are posting those clips that best represent your best qualities. A brief line of explanation is helpful—i.e. “I was able to bring this low-budget feature in on time, and on budget, with a team of 6.”

The sizzle reel. I have mixed feelings about these. They can be overly selective and not representative of your work. On the other hand, for aspiring DP’s, editors, and graphics designers, they can be very helpful in demonstrating to a prospective client/employer your unique voice or style. You need to update regularly, so that can become costly/time intensive.

Offer links on your resume. You can include links to your work on company websites, YouTube or Vimeo pages, just be sure to make clear what your credits are on the show.

Networking.

Be polite, be bold. At conferences, workshops, guest lectures, go introduce yourself (especially you, young women!). Don’t apologize. Don’t brag. Make a Specific Ask. For example, would you review my resume? Would you speak to me for 10 minutes by phone about a job offer choice I have? (Do not ask to take us to lunch or coffee!)

Say where you want to go. “I’m working towards being a DP and currently working as an AC…” “I’m a production office PA but working towards becoming an editor…”  This helps the person you’re speaking to understand the big picture quickly and how they might (or may not) be able to help.

Amy DeLouise is attending the University Film and Video Conference, where she’ll be speaking on Tuesday, August 2nd at 11:30 AM about Multi-Platform Production Strategies (6P La Sirena III). Her new book, The Producer’s Playbook: Real People on Camera (Focal/Routledge) is available in the Vendor room.

 

 

 

 

Immersive Storytelling 101

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Henderson, NV – Today I’ve been surrounded by immersive storytellers, sharing their experiences with virtual reality, CG characters and the future of entertainment. 100 professors and filmmakers are taking this journey with me (several hundred more arrive for the main event starting tomorrow, where we’ll get to “hack VR” among other hands-on experiences). We’re participating in Digital Innovation Day, the prequel to the annual conference of the University Film and Video Association, “Content Creation in the 21st Century” where I’ll be speaking on Tuesday. As a self-taught filmmaker, I never took courses from the brilliant educators and industry leaders here this week, so this is an exciting opportunity to learn from them. Here are a few takeaways from the folks on the bleeding edge of this new generation of digital storytelling:

  • the workflow and camera technology are new and still evolving, and costs vary widely (from the $350 Ricoh Theta-S, good for shot planning, to the Nokia Ozo that can cost $60,000)
  • the role of sound is critical–we “see through our ears” (if we want a user to turn in a certain direction to catch some action, the sound might give them a clue)
  • throw out what you think of as “script”–VR doesn’t work that way (there’s not a beginning, middle and end or story arc as you traditionally think of it)
  • where do you hide the crew and gear when you shoot 360? (answer:  VFX is needed in post, and sometimes the director hides in plain sight as one of the talent)
  • promising collaborations between industry and universities are pushing the bounds of this new medium (we watched innovative productions involving professors and students from Florida State University, Loyola Marymount University, University of Nevada Las Vegas, and more)

and…most importantly…

  • the story only works when we have an emotional connection to the experience. (some things don’t change after all!)

I’ll be back with more from the conference. If you’re looking for the slide deck for my prezy, click on the Speaking tab of this website. Tweet to me @brandbuzz if you’d like to connect during the conference. My new book will be at the Focal Press/Routledge booth.

Amy DeLouise is a director-producer of short form nonfiction who speaks at/occasionally gets to attend cool conferences.