Visual Storytelling Techniques

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Techniques

Techniques

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 STORYTELL!"STORYTELL!" •

• In every culture all around the world, storytelling is how people connect with oneIn every culture all around the world, storytelling is how people connect with one

another. State-of-the-art technology will change, but state-of-the-heart storytelling will another. State-of-the-art technology will change, but state-of-the-heart storytelling will always be the same.

always be the same.

 –Sid Ganis, Pr

 –Sid Ganis, President of the Aesident of the Academy of otion Piccademy of otion Picture Ature A!S,!S, "#th Academy Awards $%%&

"#th Academy Awards $%%&

•

• 'hroughout the history, story'hroughout the history, storytelling has been telling has been an important communication tool inan important communication tool in

 building a community  building a community..

•

• In every culture all around the world, storytelling is how people connect with oneIn every culture all around the world, storytelling is how people connect with one

another. another.

•

• 'he forms of stories and the media have changed with the shift in digital technologies.'he forms of stories and the media have changed with the shift in digital technologies. •

• And the role of visual messages in the communication process e(panded.And the role of visual messages in the communication process e(panded. •

• 'o'oday, everyday, everybody is a body is a potential filmma)er potential filmma)er on web than)s on web than)s to poc)etmedia.to poc)etmedia. 

 *.*. Poc)etmedia means +Poc)etmedia means +

everyone is everyone is

a communicator, a filmma)er, a ournalist, a communicator, a filmma)er, a ournalist, a content creator,

a content creator, a community a community organier,organier, a rabble rouser, a message

a rabble rouser, a message disrupter,disrupter, a salesperson, a mar)eter,

a salesperson, a mar)eter, a broadcaster, a

a broadcaster, a narrowcaster./narrowcaster./

 – 0anson 0osein  – 0anson 0osein

1irector - 23 1igital

1irector - 23 1igital asters 1egreeIasters 1egreeIndependent filmma)er ndependent filmma)er 



 4.4. Storytelling processStorytelling process

Pre-production 5planning6 Pre-production 5planning6 Production 5shooting6 Production 5shooting6 Post-production 5editing6 Post-production 5editing6 

 7.7. #re$production %planning&#re$production %planning& •

• a)e a research about your topica)e a research about your topic •

• 'ranslate thoughts into words'ranslate thoughts into words

'ry to write one8two sentences

'ry to write one8two sentences logline for your story, 5a '9 guide description6logline for your story, 5a '9 guide description6 3hat is the goal of your story:

3hat is the goal of your story:

;bectives: 'ry to ma)e an outline of

;bectives: 'ry to ma)e an outline of your storyyour story 3ho is the audience:

3ho is the audience:

3hat is the medium 5distribution channel8s6: 3hat is the medium 5distribution channel8s6: 3hat ma)es this story an interesting story: 3hat ma)es this story an interesting story:

•

• Are there any legal issues or ethical considerations:Are there any legal issues or ethical considerations:

<lear copyright8places and people <lear copyright8places and people

Paperwor)= site8character release, permissions Paperwor)= site8character release, permissions 1ecide who will have the copyright of your story: 1ecide who will have the copyright of your story:

•

• 9i9isualie the storsualie the storyy

>ist some possible introduction and endings for your story that will ma)e the audience react >ist some possible introduction and endings for your story that will ma)e the audience react the way that you would li)e

the way that you would li)e



 &.&. #roduction %shooting&#roduction %shooting&

'O(#OSTO! 'O(#OSTO!

• In visual arts, composition is the placement or arrangement of visual elements in a

wor). It is the organiation of the elements of art according to the principles of art. 5<omposition, $%%?6

• In video production for web, although the principles of art are not strictly applied,

visual grammar will help us to convey our message in a better way.

• @raming, camera shots, camera angles and camera movements are the vocabulary

of the visual storytelling language. 'hey are very important in shaping the meaning of a story.

 ". #roduction %shooting&

FRA(!"

• It is a techniue used to bring the focus to the subect. 5@raming, $%%?6 It is all about

selecting what to show in the entire image. @raming an action shows our intention about the subect. It needs a decision ma)ing what to put in the frame and what to leave out of it. It is an e(ercise to control over the content to display in frame.

• It is important to maintain proper head room, chin room, and loo) room in order to ma)e

sure the frame does not overpower subects or obects in the frame. 5;sgood, $%%?6

• )ead roo*= It is the space between the top of the subectBs head and the top of the frame. • 'hin roo*= It is the space from the subectBs chin to the bottom of the frame.

• Loo+ roo*= It is the space left in the frame for the subect to tal) or loo) in a particular

direction.

 #. Production 5shooting6

<ACDA S0;' 'EPCS

A camera shot is the amount of setting that is seen in frame. 'hey are used to demonstrate different aspects of setting, themes and characters.

Long %Wide,Establishing& Shot: shows the entire scene area where the action is to ta)e place. Full Shot: It shows the entire obect or human figure.

(ediu* Shot: 'he characters or a character from the waist up. It wor)s well to show body language.

(ediu* 'lose$-p: 'his shot includes a space euivalent to a personBs head and their shoulders. 'lose$-p: 'a)en from a close distance in which the scale of the obect appears relatively large and fills the entire frame to focus attention and emphasie its importance. 'his enables viewers to understand the actorBs emotions.

E.tre*e 'lose$-p: 'his shot contains one part of a characterBs face or other obect. #oint$o/$Vie0 %#OV&: 'his is a shot that shows what a subect is loo)ing at 5represented through the camera6. 'he camera is positioned where the character stands. It puts the reader in the place of the character.

O1er the Shoulder: is a shot ta)en over the shoulder of the subect. 'his type of shot is very common when two characters are having a discussion and will usually follow an establishing shot which helps the audience place the characters in their setting. It retains the identification with the subect but adds more conte(t about relationships. 5Feller, $%%&6

 ?. #roduction %shooting&

'A(ERA A!"LES

A scene may be shot from several camera angles. <amera angle mar)s the specific location at which a camera is placed to ta)e a shot. It shows the relation to the subect and affects the viewer   perception of that subect. 5<amera Angle, $%%#6 <amera angles can amplify the dramatic impact

)igh Angle: >oo)ing down upon a subect. 'he camera points down on the action, to ma)e the subect appear smaller. 'his angle will diminish a character. 'he character8s will loo) vulnerable or small. 'hese angles are often used to demonstrate the power relationship to the audience. Eye$Le1el Angle: >oo)ing in eual level. 'his puts the viewer on an eual footing with the character8s. 'his is the most common angle as it allows the viewers to feel comfortable with the characters.

Lo0 Angle: >oo)ing up at a subect. 'he camera points up at the action, to ma)e the subect appear larger. 'his is the opposite of a high angle. It elevates the stature of a character in the story and ma)es them loo) more powerful.

Feep in mind Feep the camera at the subectBs eye level, unless you have a good reason not to.

 H%. #roduction %shooting&

VS-AL AEST)ET'S

3e follow some basic principles in visual arts in order to maintain the visual aesthetics. 'he two important visual principles are 'he Dule of 'hirdsB and 'he H#% 1egree DuleB=

The Rule o/ Thirds: 'he design principle wor)s on the theory that an unbalanced composition will be more interesting and dynamic. 5;sgood, $%%?6. 3e divide the frame into nine eual part  by two horiontal and two vertical imaginary lines and place the subect on the intersection  points.

The 234 5egree Rule: 'his rule is about the camera placement during a scene to ensure a consistent screen direction. It is best understood in the conte(t of an interview. 3hen you cross the a(is of H#% degree in camera placement, it will appear that the characters are not loo)ing to each other. 5;sgood, $%%?6 Eou can assume yourself as a viewer loo)ing to the stage where the action ta)es place.

 HH. #roduction %shooting&

'A(ERA (OVE(E!T

5yna*ic Shot: 'his shot has camera moves8movements. Static Shot: 'his shot has no camera moves8movements.

<amera movements are important compositional elements and they represent the viewerBs viewpoint or perspective. 'hey are used to follow or reveal an action.

#an: 0oriontal shift in viewpoint from a fi(ed positionJ li)e turning your head side-to-side. 0oriontal movement can suggest travel or momentum. ovement from left-to-right across the screen is more common for western cultures. 5;sgood, $%%?6

Tilting: 9ertical shift in viewpoint from a fi(ed positionJ li)e tipping your head bac) to loo) at the s)y or down to loo) at the ground. 9ertical camera movement can suggest growth and freedom from traditional bounds. 'ilting down can suggest danger or overwhelming power. 5;sgood, $%%?6

6oo*: It is a single shot ta)en with a lens that has a variable focal length, moving from a wide-angle shot to a telephoto shot in one continuous movement.

Feep in mind

Avoid oom. ove physically closer to the subect when necessary.

ove when subects move. Pan the camera to a specific place or cut to your subect in motion.

 H$. #roduction %shooting&

Feep in mind

• <lean your cameraBs lens.

• >oo) at every corner of the frame and the bac)ground.

• If using artificial light, try to get more than one light source to fill the subect. • 2se a tripod or )eep it steady http=88www.vimeo.com844%&?%?

• Shoot a wide establishing shot of the scene, a medium shot, and then your content. • Shoot K-roll 5close-ups, environment, subects being referenced, hands moving6

• Start recording at least 7 seconds before action begins and )eep rolling a while after the

action stops.

• Shooting with flip camera http=88www.vimeo.com8*$%"#"% ,

http=88www.youtube.com8watch:vLMGH>FNODr) 

 H*. !TERVEW S)OOT!"

An interview shooting reuires research, planning, coordination, error-free technical production and creativity to achieve the best results=

• Research=<onte(t – subect – interviewee

• #lanning= prepareyour uestions 5open-ended6 ! prepare your euipment • 'oordination= time8budget – People - Places

• Technical production= Good audio - Proper shot composition - Good lighting

• 'reati1e input= ;pen your eyes and listen, be fle(ible and use your creativity as you go

along

Feep in mind=

• 'ry telling your stories through people= As) them to convert your uestions to a complete

sentence in their answers.

• <hec) the intervieweeBs appearance before start shooting.

• Dela( Eou will get the best interviews when the subect is rela(ed and at ease. • 0ave a written release or as) to record his8her verbal permission on tape.

 !TERVEW S)OOT!" 7 A-5O

• 3hat types of microphones and techniues will be used to capture the audio:

• If the microphone is on the camcorder, the closer that you are to the camcorder, the better 

that the sound will be.

• 3hat is the natural sound: 3ill it play any role in your story:

• <hec) the bac)ground noise , listen to the sounds around you for a minute. In a place

with a lot of bac)ground noise it is li)ely that your subects voice will be drowned out, so  pay attention to your surroundings=

o <ell phones

o  Moisy air-conditioners o 'raffic

• Always monitor the sound through headphones during the s hoot • a)e a test recording before the shoot

• 1onBt be afraid to as) the interviewee to redo parts of the interview that might be

unusable due to content or technical difficulty.

 $*. #ost$#roduction %editing&

Start with freely available software= either 3indows ovie a)er for 3indows, or iovie for ac.

;rganie all of your material. Put all still photos, music files, storyboards and narration files into a folder on your computer and label it Proect Q. 5Feep all files and materials in one location on your computer6

li)e an e(ternal drive, copy and paste the video files to your ProectQfolder. Alternatively, you may capture8import the files through the editing software you use.

Import your files into your editing system. Cach of the programs is a little different but generally you can either drag and drop or clic) @ile – Import.

Start putting the pieces together. Decord a uic) narration, lay down a music trac) and try some simple transitions. @EI, effects often ta)e away more than they add so )eep it simple - let your subects tell your compelling story. a)e sure you save every couple minutes. 5@lip 9ideo Desources 6

 $4. 9I1C; 1IS'DIK2'I;M

Sites 3ith a Social @ocus= 'hese sites are all connected with a larger social change mission. Krowse through them to see which might wor) best for your organiation.

1oGooder - 1oGooder'9 enables nonprofit organiations to present new videos and e(isting media assets to new audiences. ;nce site visitors see the compelling stories of

nonprofits, 1oGooder'9 gives them a direct way to donate to the organiation, oin, volunteer or simply find out more information.

Eou'ube Mon-Profit - 9ideo is a powerful way to show your organiationBs impact and needs, and with a designated Monprofit/ channel on Eou'ube, you can deliver your message to the worldBs largest online video community.

'he 02K - 'hrough the 0ub, individuals, organiations, networ)s and groups around t he world are able to bring their human rights stories and campaigns to global attention and to

mobilie action to protect and promote human rights.

'9 'hin) - '9 has launched 'hin) to give young people everywhere the opportunity to ma)e your life, your community and your world better. 'he 'hin) community provides the tools so you can do ust that.

<ausecast - <ausecast, dubbed a one stop philanthropy shop/ by 'ech<runch, is a

 platform where media, philanthropy, social networ)ing, entertainment and education converge to serve a greater purpose.

ySpace Impact - ySpaceBs hub for social and civic engagement – a channel for the causes and campaigns ySpace users care about. As part of the mission of IPA<', we assist not-for-profit organiations and political campaigns in their efforts to ma)e a positive difference in the world

'eacher'ube - ;ur goal is to provide an online community for sharing instructional videos. 3e see) to fill a need for a more educationally focused, safe venue for teachers, schools, and home learners.

General 9ideo 0osting

If you need a place to host your videos in order to embed on your own website, share through email, or spread through a social networ), the following sites might be good for you.

9imeo - Klip.tv - Eou'ube - @aceboo) - ySpace Source= flip video spotlight

 $7. 1;BS ;@ S';DE'C>>IMG

Feep It Short– ma( $ min.

Feep It Simple– focus on one main topic

Feep It @luid – story arc= beginning-middle-end. Feep It oving – use narration8music.

Feep It Interesting – variety of shots, lighting.

Practice, Practice, Practice – shoot, download, review, edit Source= flip video spotlight

 $&. 1;BS ;@ S';DE'C>>IMG

 $". references

Cngeli, . 5$%%%6. 1igital stories= 'he poetics of communication. 'he I' revolution in architecture. Kasel= Kir)hauser.

@ields, A. ., ! 1Ra, F. D. 5$%%#6. @ostering community through digital storytelling= A guide for academic libraries. 3estport, <onn= >ibraries 2nlimited.

@lip 9ideo Desources http=88www.flipvideospotlight.com8resources8production.asp(

Feller, 1. 5$%%&6. 'he 0istory and @uture of Storytelling= @rom yth to ash-ups. Seattle, 3A= icrosoft

Feller, 1. 5$%%?6 <;74"< <lass Motes and Instr uctional 9ideos – <1 2niversity of 3ashington http=88www.vimeo.com8drew)e

c<lean, S. '. 5$%%"6. 1igital storytelling= 'he narrative power of visual effects in film. <ambridge, ass= I' Press.

;sgood, D. N., ! 0inshaw, . N. 5$%%?6. 9isual storytelling= 9ideography and post production in the digital age. Koston, A= 3adsworth <engage >earning.