![]() The high schooler in “ Running Blind” by Corky Scholl is one such character.ħ. They shine on camera, and they draw viewers into their worlds. Through interviews and live shots, video stories can achieve these same ends. For eons, storytellers have used characters to advance plot lines, provide a point of view and gives audiences someone to cheer or jeer. The most interesting video stories show people in conflict with each other, themselves or some force in their worlds. The most interesting stories involve people. Huppert is there to capture the reaction of one couple opening the package with a painting of their son, who was killed in Iraq.Ħ. In “ Portrait of Compassion,” KARE-TV’s Boyd Huppert tells the story of Kaziah, a woman who paints portraits of fallen soldiers and mails them to the soldiers’ families. Video offers an unrivaled way to document unique moments in time, and video storytellers are always looking for ways to capture the things that only happen once. The audio in this piece carries the story, whereas the visuals (strong as they are) reinforce the sound.ĥ. In “ The Sword Maker,” Takeshi Fukunaga uses a variety of natural and ambient sounds to bring the sword-making process to life. Audio that’s recorded too low tends to drown in noise, resulting in the static and hum produced by HVAC systems and other on-location sound sources (and the recording equipment itself). Audio recorded at a level that’s too high becomes distorted. Surprisingly, video is often edited to match audio, not the other way around.Īnd, when good sound goes bad, audiences know right away. And narration ties everything together.Īudio is often the backbone of a video story, setting the tempo and, in many cases, informing how and when shots are edited together. Natural sound punctuates actions and important moments. Ambient, or location, sound creates a sense of place. Interview soundbites tell us what the people in our stories are thinking and feeling. That’s because audio conveys so much meaning. ![]() It’s easy to overlook sound, but it matters as much as - if not more than - images in a video story. From start to finish, the video is pure movement.Ĥ. In his “ Escape from Tomorrow” video, Vimeo user 13thWitness shows us a day in a life of BMX rider Nigel Sylvester. Other media can describe or hint at motion, but only video can really show it. Whether it’s someone using, operating, creating or destroying something, video can reveal exactly what the process looks like and precisely how it works. Processes, sequences and motions are made for video. The video, which was done by Art Island, takes place in Phuket, Thailand, and benefits from great visual appeal (and excellent shot composition).ģ. Here’s an example of some obvious visual appeal. Even everyday locations and activities can spring to life with fresh perspectives, angles and composition. Rather, we want to find ways to discover the appeal that might be hidden. We don’t want to avoid certain stories because they don’t appear to have strong visuals. Visual appeal comes in both obvious and unexpected ways. So, focusing on these high-impact elements makes good sense.īut there’s a pitfall here. And, let’s face it: Some places, people and things are inherently more visually interesting. Naturally, video stories need visual appeal. ![]() And the empathy video fosters can stir similar feelings in our viewers.Ģ. Whether it’s a daughter’s pain and loss or a gym full of jubilant high school basketball fans, video can help us understand exactly what another person is going through. Video excels at both displaying and evoking emotion. Related Training: TV Power Reporting Academy ![]() ![]() And emotion gives storytellers a larger palette, making it possible to show not just concrete facts but the abstract reality of the human experience. It gives audiences a reason to care and a way to connect to a story, sometimes in a very personal way. Let’s consider the elements and see them in action.ġ.
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