How to Shoot Vacation Video that Won’t Bore People to Death

Vacation video

This palm symbolizes “vacation.” It’s a long article, so I figured it needed a photo.

When I was a kid, the Armbrusters had a slide projector.  Which meant that after every vacation they took, we’d troop dutifully to their house for endless carousels of badly-shot Kodachrome slides, narrated  live.  The slide show always seemed longer than the vacation itself.  Washed-out, badly composed views of Disneyland or Paris—dotted here and there with the back of the head of someone we knew.

Today technology has changed everything.  People can record hours and hours of vacation video on a single chip.  But they don’t trap you in their living rooms anymore.  Instead they email links to their hour-long video and quiz you about how you liked it.

Who would do such a thing?  Anyone with a smartphone.  We have met the Armbrusters and they are us.

Luckily for the bore-ees, technology is also a good defense.  Today if the video’s bad, we watch 10 seconds and click off to “Family Guy.”  Then we lie to each other’s faces about how good the video was.

Oh, wait– you actually WANT people to watch your vacation video?  No problem.  Start by shooting vacation video that’s entertaining.  It’s not hard.  All you need is a little bit of thought ahead of time and the awareness that– whether it’s you, your kids or your friends– your video just may have an audience.

Here’s how to shoot vacation video that won’t bore people to death:

1)  Shoot Short Shots: A shot is like a sentence—it has a noun and a verb.  Together the noun and verb are what keep the “move” in “movies.”

On your backpacking trip a random video clip of “Bob” is not a shot.  “Bob picks up his pack” is a shot.  “Bob hikes down the trail” is a shot.  To keep your shots short, stop shooting when the action is complete.  “Bob hikes down the trail” is interesting for about 5 seconds unless Bob falls off a cliff.  So once you’ve got the action covered, be done.  We don’t need to see Bob’s back for another 30 seconds as he heads off into the distance. [more on short shots]

2)  Shoot People, Not Scenery: Think about why you’re shooting vacation video in the first place—to remember.

The Empire State Building will probably look exactly the same 10 years from now,  In case it doesn’t, thousands of great photographers have already shot it better than you can.  What makes your vacation video special is that your kids went up the Empire State Building—and your kids are going to look completely different in 10 years.

“But the scenery’s so beautiful” you say.  It is–  in person.  Video of the Grand Canyon looks great in Imax, pretty good on your 60” flat screen, and like tiny blurry garbage on your iPhone.  Unless you’re shooting Imax, best not to dwell.

Frame a great shot of the kids looking over the railing and that stunning canyon vista will look great too—in the background, where it belongs.

3)  Find the Story: Instead of random shots of the family posing on a boat, find the story of everyone getting together and taking your parents on a cruise. Have your camera ready when you surprise them with the tickets.  Interview your brother, who hates cruises but is coming anyway, armed with Dramamine and wrist-bands because he loves his parents.  Shoot your dad tearing up as he gives a speech to the group at your first big dinner on board

What’s different about your vacation?  Is it the family’s first time out of the country?  Your daughter’s first plane flight?  The Disney vacation you’ve been saving up for for 5 years?  Think before you shoot.  Tell that story.

4) Interview the Family:  Video captures not just what we look like, but how we think.  Which is perfect for that embarrassing wedding video 20 years from now.   Don’t just interview the kids. Interview your spouse, your parents, strangers you meet on the trip.  It’s a great way to capture the emotion of a moment in time.

Your five-year-old will never be 5 again. Ask her open-ended questions about what’s going on.  Let her show you, explain to you, sing to you.

5)  Shoot sparingly. If you shoot just 2 ten-second shots  in each of 8 touring hours a day, that’s almost 3 minutes of footage a day.  A week-long vacation is pushing an Armbrusturian 20 minutes—longer than anyone, including you, will actually watch.  Practice being selective.  Sure you can edit later, but will you?  And even if you do, the shorter and better your footage when you start, the less work it is.

 

Do you have questions about shooting video?  Of course you do.  Click here and ask them!

Making Your Video “Ask for the Order” Doesn’t Work

This week a post on my Linked-In feed reminded me that all good video must “ask for the order” and contain a clear “call to action.” This concept was, as far as I can tell, invented by someone in an ad agency, maybe in the ’80s, and repeated enough that many people take it as gospel. The idea is that your marketing video must tell the customer exactly what you want them to do, and then request that they do it.

Thus a TV commercial that includes the magic phrase “Buy a Toyota tomorrow and save $200!” is presumed to be way more effective than the same commercial without. If you want them to do something, you have to ask. Simple right?

Simple, except that if direct requests worked in marketing this year’s award-winning Super Bowl commercial would be 30 seconds of white letters on a black screen: “GO BUY DORITOS. NOW.” (excuse me, I’m tearing up at the thought of how perfect that would be. SNIFF. So…beautiful!)

“Asking for the order” doesn’t work because brains. Starting roughly at age 0, we each have our own. Plus our own needs, own lives, and our own goals. Just because you’ve told us to do something doesn’t mean we’ll do it. The whole concept is completely contrary to the way humans actually get things done. Here I note that nobody writes articles suggesting “asking for the order” to motivate kids or spouses.

Yet the concept still lives, mostly because it’s a great business ass-coverer. It’s easy to understand and we can point to it when we’ve done it. Which helps us keep our jobs when it doesn’t work: “We asked for the order. Look, right here: the announcer says ‘Come to our Sale.’ Audiences, man…”

For those more interested in effective video than butt-shielding, I invite you to replace “ask for the order” with a concept that’s harder to execute and less obvious: Intriguing your audience. While “Asking for the order” tries to beat the audience into action, intriguing your audience invites them to participate in your video. Intriguing videos pull you in and excite your brain. They make you wonder what’s going on, what things mean, and what will happen next. Best, they allow you space to come to your own conclusions and when you do, take action on your own.

It can be tough to explain, but intrigue at work is easy to see. An early and influential master of intrigue, Tony Schwartz, started doing ads in the 1940s. Here’s a still-brilliant anti-smoking PSA he did in 1963. Over half a century later, the spot still intrigues. You can see how it pulls you in, makes you want to know what happens next. It doesn’t ask for the order. It makes you ask yourself.

Schwartz’s book The Responsive Chord has been re-released in a new edition, and it’s a great read for anyone serious about video marketing. (Extra Intrigue Credit: check out Schwartz’s classic “Daisy” ad for Lyndon Johnson’s presidential campaign in 1964.) Everything Schwartz wrote in 1973 is still true today. Because even though our media is new, the brains we’re trying to affect are largely the same old model.

“Asking for the order” may help you keep your job in the short term, but intrigue will actually change consumer behavior and help your company’s bottom line. It’s a little mysterious. It takes more thought. It’s harder to see and harder to measure.

But once you start watching for it, you’ll realize the best marketing videos and TV commercials (and films! and TV shows!) pull you in, engage your brain, and make you a participant.

 

Do you have a question? Is it about video? Would you like to see it answered here? Please note that these are all rhetorical, and that you should ask your questions here.

Classroom Video: Free Downloadable Lessons

Are you a teacher?  Do you know a teacher?  Have you ever had a teacher?  If so, read on:

It’s the beginning of a new school year.  Which means one more year of school projects shot on video, and hours of misery for the teachers who have to watch them. Shouldn’t classroom videos be fun?  For everyone?

If only there was a way to improve your students’ video literacy, and make student video more watchable.  Like, say, a set of downloadable lessons that could turn students into little Steven Spielbergs in a few short hours.  And wouldn’t it be great if those downloadable lessons were absolutely free?

Well, they are.  We’ve put together 5 free, totally self-contained one-hour lessons to take the misery out of classroom video projects. Teach one or teach them all.  If you teach all five, your students’ videos will be 100% better.  Or at least shorter.  Which is also usually better (see lesson 5).

Click this link to download the Video Bootcamp PDF.  100% Free.  Nothing to buy, no email address to leave, no hoops to jump through.

Please tweet or email the link to your favorite teacher!

downloadable lessons

 Teachers:  Questions on how to use video in the classroom?  Ask them here!

Tricks to Storify Your Travel Video

I shoot videos and landscapes when I travel overseas. Obviously, I cannot shoot to a script or have much of a plan, since this is an unplanned vacation.

How would I construct a story from random scenes in Berlin, Warsaw, Vienna, Budapest, etc?  Usually I end up with a string of shots without any story. This is not what you recommend in your book.

My friend Wendy will be travelling with me, but how could I include her in the video? Shots of her looking at the Danube from Buda and from Pest don’t seem to have much interest. Shooting her eating sauerkraut, etc. wouldn’t cut it either.

Any ideas?

–John

What’s great about your question is that you know there should be a story to your video, you just don’t know how to get to it. Which leads us to this: how do we “storify” video when we can’t plan?

To come up with ideas, let me suggest variations on the idea of brainstorming. Examine your shooting situation by asking questions of yourself in different ways. Then make quick lists of ideas (in your head or on paper), choose the best one(s), and shoot.  Here are a few methods to help you storify fast:

Lens in:  There’s a whole post elsewhere about the idea of looking closer at the details of what you’re shooting to find story. If you become extremely interested in what you see, “zooming in” like a lens does (only, you know, metaphorically), your audience will be fascinated by your interest.

What if you become intensely interested in Wendy eating sauerkraut? What utensil does she eat it with? What food goes with it? What is the restaurant like? Is the sauerkraut different at different restaurants? What does she love about sauerkraut? What’s her earliest memory of eating it? What does her face look like when she likes it? When she doesn’t?

If you dive in to explore one of these detailed observations- say, her earliest sauerkraut memories- you can discover a story she can tell as she samples the local cuisine.  And you wind up with a great 2 minute documentary about Wendy.

Look for the Obstacle: Every day of travel has a challenge- a place you can’t find, a new food you aren’t sure you like, strangers you meet. If you’re lucky there are physical challenges- a journey by canoe, a hike or a hang-gliding session. Try building stories around these challenges. Figure out who the hero is and think beginning/middle/end of that specific challenge.

Create a Journey: Think about each separate piece of your trip as a journey. For example, setting up your trip is a journey, from “I have an idea” to “The plane takes off.” Surprise Wendy with an unexpected gift, and track the story of getting it. Or tell the story of a single day in Pest, from wake-up to bedtime, and let chronology guide your tale.

Interview strangers: Open your circle beyond just you and Wendy. Become very interested in someone you meet. Everyone has a story- what can you learn about their lives, or the way they see the world? Seek out street food recommendations in Budapest by asking humans and shoot it. See if you can get yourself invited to a bar or party. Or just ask their view on local culture, their lives, or how they see America.

More on Travel Video here.

 

Yeah, But is it Any Good? Learning from Mediocre Video

People hate going to the movies with me. It’s not because I talk or text during films, because I religiously don’t do either. It’s what happens after the lights come up.  “That was good” says my wife. “I enjoyed it” says my daughter. “The dialogue in the battle scene in act three sounded like it was cribbed from ‘Alien'” I say. And that’s when the conversation usually slows way down.

As you get better at the film and video thing, what has happened to me may also happen to you: Your tolerance for mediocre work plummets.

Terrible is terrible. Most people can agree on that. And that rare brilliant show or film? Lots of consensus there too, at least in my family. But the mediocre middle? That’s where it’s tough.

Mediocre films and videos are full of things that obviously could have been done better. Worse, you can see exactly how– and how much better the finished product could have been. Instead of getting lost in the story, I’m getting pissed off about the art direction. The more you know about making video, the tougher it gets to watch.

That said, mediocre video is good for two things. First, you learn by critiquing. And second, it’s a hothouse of great ideas.  You can steal everything they didn’t do right and do it right in YOUR next video.

With that in mind, let’s consider how to critique what you watch. This will be fun if you go to the movies with a bunch of directors, less fun with relatives. I’ll leave it to you how much to discuss over drinks:

OVERALL: Big picture–was watching it better than doing something else, or did I want my hour back? Was I lost in the experience, or did I check the time a lot? This is a big one, because no matter how we might nit-pick, if it worked, it worked. And that has to be appreciated. But if you did zone out- when, exactly? Can you figure out why?

STORY: What was the hero’s journey? Did things happen because of choices the hero made, or because a screenwriter was manipulating their way to a conclusion? What about the hero felt (emotionally) real? What did I not buy?

INTRIGUE: Was I actively wondering what would happen next? Was I worried about the hero? Did I figure things out before they happened, so that I felt like I was ahead of the movie? Did the filmmakers drop clues that kept me interested along the way?

AFTER: Did the film leave me with something? After “the end” was I still processing? If it’s a TV show or video, was I ready to dive into the next episode, or did I click to the another show in my queue?

FUTURE IMPROVEMENT: Critiquing film and video shouldn’t (just) be a blood sport- let’s give credit where credit is due and learn from other peoples’ perspectives. What did the filmmaker do that I would never have thought of? What did they do that was way better than the way I would have done it? What can I steal that will improve my work?

There’s no Official Board of Film to rule on whether or not your opinions are right. Think what you like and learn what you can to make your next project better. Owning and defending your opinion (if your family can stand it) is a great learning exercise in and of itself.

The Curse of the Inactive Hero: Lessons from “Ant-Man and the Wasp”

ant-man and the wasp

Okay, who’s the hero again?

A hero is who your story is about. A mute woman rescuing a monster she loves, a lawyer facing down the bigotry of his 1930s community to save a man’s life, a woman of color who wants to do math for NASA to save a mission– all great heroes. They each take big risks and strong actions. Seeing how that action turns out for them is what pulls us through the story.

Generally speaking, the stronger the hero and the tougher the odds they face, the better the story. Which is why superheroes, who are larger than life by definition, make for exciting stories. But Ant-Man and the Wasp, the sequel to 2015’s charming and imaginative Ant-Man, shows us that even the strongest super-hero gets boring fast if you keep them from making choices and taking action.

In Ant-Man and the Wasp, Paul Rudd’s Ant-Man is about to be released from house arrest and live happily ever after with his adorable daughter. But after a mysterious flashback vision, he’s kidnapped by Michael Douglas and love interest Evangeline Lilly, who hate him for something that happened in a Marvel Movie I missed.

The filmmakers sideline Ant-man from the beginning of the film. Instead of Rudd rushing off to find Douglas and Lilly, the filmmakers have them drive the action by drugging and kidnapping the passive hero. Ant-Man sleeps through it. And in a metaphor for this film’s central problem, when he finally wakes up in the back seat, a car chase is already in progress around him. The filmmakers literally don’t let the hero drive his own plot.

For the rest of the film, Paul Rudd is along for the ride. Douglas and Lilly tell him what his goals are. He gets shown around their lab, rides in their cool shrinking cars, meets with their old frenemies. In one scene he watches the Wasp confront two powerful villains via remote monitor while he sits in the car worrying.  Near the end of the film, he’s used as a passive body for the spirit of Michael Douglas’ wife, Michelle Pfeiffer, to inhabit.

It’s not Ant-Man’s desires that drive the film, it’s Michael Douglas’s. Ant-Man should be worried about violating house arrest, frantic to get back home. But he’s not, because the Wasp team has it all handled. His relationship with the Wasp should be fraught with anger and sexual tension. Instead it’s  just sort of— not a big deal. The filmmakers even gave the climactic Quantum Universe rescue scene to Douglas instead of Rudd. While Douglas gets the girl, Ant-Man battles a villain that he’s barely interacted with before and who doesn’t even hate him.

The result is a nice-enough movie. But once you realize how passive the lead character is you can’t stop noticing it. And you can’t stop wishing that Paul Rudd, a super-charming guy, was really the hero of his movie.

The lesson for the rest of us: Make sure your hero owns their own story. Make the hero’s desires and choices kick off the beginning of the story, let their difficulties motivate the middle, and let your hero’s strengths or weaknesses lead them to the story’s end.

Use Paul Rudd asleep in the passenger seat of a van as your mnemonic image and always let your hero drive. The car and the movie.

The True Story of How Tattoos Got Us a Digital Series on Comedy Central

Comedy Central Tattoo Gnarnia

Did Izak’s tattoo get us a show on Comedy Central? It didn’t hurt (much)!

Our new digital series for Comedy Central, Gnarnia went up on Youtube last week.  It’s about 4 guys in a heavy metal band who live together behind a used record store in Los Angeles, who’ll do just about anything to avoid growing up.

We took it to several networks last year. The pitch included a very funny sizzle reel (a 4 minute demo of the project) and an explanation of our plans for the show.The quick pitch was “stoner Monkees”, which caused everyone in the room under 45 to go “Like, actual chimps?” (If you don’t know the Monkees, you can enjoy them here.) Once we explained it as “a lot like Workaholics, except they’re stoned and in a band” everyone nodded.

The series looks kind of like a reality show, but it’s actually an improvised comedy– think Curb Your Enthusiasm, with stoner 28 year-olds. (Once you start pitching “It’s like…” other shows, you can do it all day.) The show has a loose, Dazed and Confused documentary feel (another one!) And not all the networks quite got it.

Our dream network was Comedy Central, but we knew that while the show is really funny (good) it’s also pretty loose. Most Comedy Central shows are super tight, with a lot of rapid fire laughs. After our pitch meeting with the network it was clear that they liked it– but not clear they were ready to buy.

On the way out of the meeting we called the Gnar guys and asked them to think of something they could do fast that would make an even bigger impression.  They over-delivered. Not only did they wrote an incredibly catchy song, Comedy Central, Please Buy our TV Show, that they edited into a video, they also tattooed the Network logo on their arms on screen. For real. As icing on the commitment cake, they silkscreened a couple of customized t-shirts and sent them over to the network execs.

Did the tattoos put the show over the top? It’s hard to say. Commitment works to help launch any entertainment project. Your passion– for the project, the talent, and the outlet– is a huge motivator in getting someone else to believe in what you’re doing. Tattoos may not always be the way to show that commitment, of course. But in the case of this show, as you’ll see, they’re perfect. And luckily Izak and Rikky will have a great story for their grandchildren about their wrinkly Comedy Central tattoos.

Check the series out!  If you’re a fan of dumb humor, bad language and nudity (and who isn’t?), you’ll enjoy all three episodes. And if you could watch each one, say, 250,000 times, that would be a huge help.

WARNING: The theme song is an insane ear worm. I’ve been humming it for months. Don’t say you haven’t been warned.

The Youtube version is censored. For the less sensitive, here’s a Facebook Watch uncensored look at the show:

Day 3: White Fang’s Big Gig – Gnarnia – Uncensored

The Gnar Tapes crew tries to raise money with a gig at a bar mitzvah.

Posted by Comedy Central Central on Friday, July 13, 2018

10 Tips for Doing Better Marketing Video

You write a lot about movies, home video, story, etc. It’s all great, and I use it when I shoot stuff. But I need to convince my company to do better marketing videos and I’m not shooting those.

Any advice?

-Jackson D., Denver

The only thing worse than shooting awful marketing video is paying someone else to shoot awful marketing video for you.

Critical in this age of video overpopulation: A crash course in video literacy for companies. The more you know about how video really works, the less likely you are to waste money and time on something nobody is going to watch.

Here are 10 tips to run through before your company’s next foray into video marketing, whether it’s on YouTube or network TV. Good luck!

  1. Entertain or Die: Whether it’s on the web or TV, nobody watches bad video. There are too many instantly available alternatives.

 

  1. Never confuse what you want with what the audience wants. You may have sales goals, but they have their own needs. Their needs determine how they behave, not yours.

 

  1. The Entertainment Transaction: The audience pays (with time or money) the entertainment must deliver (with an experience). More on entertaining videos here.

 

  1. “Should it Entertain or Sell?” is a fool’s argument. It has to do both. If it doesn’t entertain, it CAN’T sell. And if it doesn’t sell at all, why bother?

 

  1. A Viral Video is a “hit”—and it’s as tough to make as a hit record, hit TV show, or hit movie. A strategy that depends on a single hit is no strategy at all.

 

  1. Video done right works. It can increase the size of your loyal audience, or increase the participation/affiliation of your existing audience. Or both.  Video that’s done wrong vanishes, taking your time and money with it.

 

  1. Make sure what you have to say is really a video. Video does motion and emotion well. Charts and facts are not a video, they are Powerpoint. Bad Powerpoint.

 

  1. “See Something, Say Something” They use it in airports to remind people to report things that are suspicious to keep us all safe. Same in marketing meetings. If your campaign strikes you as a little, um, “suckish”– speak up. It’s not going to get better by itself. And the cost of production may be high, but it’s NOTHING compared with the cost of media. Or embarrassment.

 

  1. Keep your video short. That trailer for a new movie—the one you hate because it shows the whole story? It’s 2 minutes and 30 seconds long. You don’t need a ten minute sales video. Two minutes will be just fine—and even then, it better be good.

 

  1. Welcome to the Entertainment Industry. Like it or not, your marketing video is competing with all videos for attention. Make sure your videos are worth watching.

 

Thanks for the question, Jackson. Do you have a question? I bet you do.  Click here to ask it!