Just Joe and a Great Idea

Any one working in our business knows its hallmark is collaboration. Yeah, we hear about the Director as Auteur and the Client as King. But nothing happens without a bunch of people working together. One-man-bands only work on street corners. So here's a new approach to an old concept. Maybe brilliant. Maybe unworkable. But like any new idea, it's worth a closer look. And if what you see is any example of what may be, then it could be a definer for how we creatives will come together to play in the web sandbox in the next decade.

Joe Gordon-Levitt is the proud creator of HitREcord.org which is a site for many people to work on a project as each contributes and/or reforms the work. It could be as simple as a remix or as complicated as a grand production with Joe as the Director/Prime Mover. Joe's concept explainer video is here. And a fantastical collaboration video, inspired perhaps by his great work in the (500) Days of Summer can be seen in the fanciful Morgan and Destiny's Eleventeenth Date - The Zeppelin Zoo. Check out the language. That in itself is worth the price of admission.

Natalie Tran

YouTube has introduced me to a number of people who've found their calling as video bloggers. My latest fascination is Australian Natalie Tran, who goes by the name Community Channel. Here's what Wikipedia has to say about her:

Natalie Tran is a digital media student and a second-generation Vietnamese Australian with more than 720,000 subscribers and more than 268 million views.

As of July 2010, there are 238 videos available on her YouTube channel and she's the most-subscribed of all-time in Australia and the 22nd-most subscribed of all-time on YouTube.

Here's Forbes. Yes, Forbes the business magazine:

Natalie Tran isn’t just some 22-year-old who lives in her parent’s house, makes look-at-me videos and posts them on YouTube for kicks.

OK, she is.

But her clips on Community Channel have also made her one of 10 global independent YouTube stars who have earned more than $100,000 in the past year.

She's funny, has a great sense of the absurd, talks about the daily flotsam and jetsum of her life with a wry sense of humor. And she brings in her cultural heritage to the mix, which gives her life commentary and observations all the more flavor. And every video ends with her responding to comments from her viewers. Making you feel like one of the Community Channel posse. Her self-effacing attitude makes the whole experience fun. And then you go on to screen the next one.

So she gets to share the world of Natalie with all her video viewers and get paid for it too. Not a bad gig.

It's a Wrap

Introducing the Sniper Twins, two hiphop pals creating their own brand of viral videos for the corporate world. Barry Flanagan and Dax Martinez-Vargas, former high School buddies, attended the same film school and eventually found their way to MTV, making on air promos. But their claim to fame, such as it is, has come from doing the corporate video thing, only, doing it their way.

Their first big effort, "Computer Friends" (over 700,000 plays on Youtube) was a spec project they eventually "sold" to Seagate Technology. According to one article, "payment" was in the form of hard drives. Okay, but they clearly had a good time making the video and it's fun to watch them do a send up of office geekdom as they revel in the bits and bytes of their computer rap.

Their next effort, "Chocolate Shoppe," shows them rapping and prancing through a Hershey Chocolate Factory, plopping on their chairs doing the "chocolate drop." Sweet. And I suppose they got a lot of lettuce for their video praising the virtue of salads. And so it goes.

While I applaud their efforts, using the trappings of rap to brand a corporate image or market a product is, let's face it, a bit of a stretch. Although, given their enthusiasm, they almost pull it off. But the corporate thing gets lost in the funky egoism of their rap. It's hard to wag your finger around a coherent message and they wrap each video with the Sniper Twins logo. So dudes, what are you really branding?

I checked the Seagate Website to see how the video was being used and failed to find it. Oh well.

But kudos to them for taking the leap. And given the in-your-face flavor of new media, I'm sure we'll be hearing more from the Sniper Twins.

As a PS, check out the video they did for Reese's, Flippo's BIG Stunt. Perfect.

A Little Learning Goes A Long Way

I went to Yale University this afternoon to audit an American Lit class on one of my favorite writers, J.D. Salinger and his book, Franny and Zooey. As I listened to Professor Amy Hungerford plunge into the text to find deeper meaning in the story, I thought again about Salinger's terse style and his unique way of telling a story. And the really cool thing was that I didn't have to travel, or register or anything. I just listened to her lecture online, courtesy of an educational website, Academic Earth and their web video collection. Their site lists "thousands of lectures from the world's top scholars." And it's free! Prof. Hungerford's contribution is 25 lectures on the American Novel since 1945. What a great idea, placing all that knowledge and expertise online for for anyone who has a yen for learning.

A New Way of Seeing

New York Times staffer Chang W. Lee is a master photographer. His beautifully composed images are regularly featured in the NYT website. If you follow the link above to visit his profile site, you'll see some striking international feature pieces that will make it immediately obvious why he's won the Pulitzer Prize for Photography. But as a still photographer, he's stayed away from working with moving images until a recent profile of jazz singer Deanna Kirk -- featured on the NYT Lens site.
I found his approach to creating her video profile fascinating. In one sense, I could describe his piece as a sequence of captured moments; a collection of images, some frozen and others unfolding. Just what you might expect, you could say, from a still photographer.

But I think he's accomplished much more than that. In a sense, he's presenting what amounts to almost a new way of seeing by stripping down everything to its' essence. With his approach to storytelling, he's moved away from the traditional tools of video shooting and editing. No zooms, pans, or cutting within a scene from wide shot to closeup or medium shot or what ever. And while he certainly moves his camera around as he shoots from a wonderful variety of angles, he uses just about every image to create its' own scene. (The traditional way depicts an event from a variety of angles and edits them together to build a scene with a beginning, middle and end.)

And with an artist's eye for the telling moment, his freeze frames and video moments work together to create a sophisticated and intimate portrait of a modern woman, jazz performer and engaged mother. Through his gently-paced images, we see Deanna as she tries to recapture the career she put on hold when her son was born and embrace the music that was her first love. And we hang out with her as she shares some of her hard-won truths about being a single mother caring for her young son. And as the stream of her words wash over us, the video images fade in and out or pause to heighten the impact and suggest a deeper exploration of the thoughts, gestures and moments that make up a life. In all, an innovative and stimulating approach to telling a story. And a very creative way of showing a life in flux.

"Old guys like me will still be calling it television"

If anyone has a crystal ball about the future of television, it's John Malone. Recently, at the All Things Digital conference he was interviewed by technology guru Walter Mossberg. They talked, of course, about money and how the web and TV are merging. I think we're really at that point of convergence that everyone was talking about a few years ago. And it's the iphone and its' imitators that bring me to that conclusion. Will we all be walking around with one little device that can do what ever strikes us? Sooner rather than later. Anyway, when asked about the future of television, Malone said: "Probably in five years old guys like me will still be calling it television, but I think it will come from anywhere... it's everything, everywhere, in increasing quality, increasing quantity and lower cost. That's been the whole trend."
And as far as the money thing, he talks about why cable has done so well -- because, in the viewers mind, cable was providing content by charging for connectivity. And, Malone says, in the future, people will pay for content if it connects with quality and convenience. And who will be providing that? Meet the Aggregators. Companies like Netflix, Amazon, and Apple. And maybe Liberty Media, Malone's company, too.
Okay, that's pretty much the future of the media and video world from one man's vantage point. But one thing I certainly agree with, is that quality matters. And putting quality work on all those everywhere devices will make it stand out above everything else.

The Guy's Manual

Being a guy, I was delighted to learn about the Guy's Manual -- powered, as they say, by Grape Nuts. I've always wanted a manual to help me with the finer points of being a guy and now finally there's a manual is full of helpful tips, like how to take your fiancee's poodle for a morning jog, how to install your own home entertainment center, or how to cram a whole nights work into four hours because you just got playoff tickets. You get the idea. All very droll, this Guy's manual. Full of Larry Losers and Hapless Harrys who learn to do the tough stuff with the help of good old Grape Nuts, all told in funny little video vignettes.
I should warn you though, just like Doritos, you can't just do one. And there are dozens of videos out there, dealing with sports, work, family, relationships and cars, all ready to grab your funny bone.

Sharing our stories

The New York Times website has a great interactive feature, inviting people to share their creative energies in describing living through hard times. The project is called The New Hard Times and it features reader created videos. At the site you have Jackson Pollack's descendants reading letters and showing art work he created during the Great Depression, another reader's photo montage of images from that period set to music, interviews with people who survived that devastating era and so on. What an innovative approach to discovering what we all can bring to the table of ideas. And a great creative outlet as well.

They've even posted their own video encouraging you to submit yours.

Doing Well and Good at the Same Time

How do you make video that gets noticed? By thinking outside the box.

As reported in the WSJ, auto maker Fiat was strapped for cash and struggling to promote their brand. So a few years ago they came up with an audacious but attention-getting concept: show their Lancia brand as helping improve society. That's right, buy this car and make the world a better place. So they made a commercial featuring their cars and human rights activists, in a spot supporting San Suu Kyi, a democracy activist and winner of the Nobel Peace Prize living under house arrest in Myanmar.

And, because Fiat presents it as a public service announcement, networks in nine European countries (Fiat's big market) agreed to show it free of charge.

So let's think about this for a minute. So often we think the easiest way to get from point A to point B is a straight line. But what I see is that the memorable, standout moments come from the unusual and the unexpected. It's that juxtaposition of what you assume and the surprising discovery that make work stand out. It could be a new way of thinking, a new way of describing the commonplace or using familiar images words or music in an innovate way.

Years ago I worked a Governor's re-election campaign. He was an old time pol and what's worse, he looked like one. Middle age, wide of girth, and somewhat dull. So to give him some verve and buoyancy in his commercials, I used classical music in a celebratory style, like Vivaldi.

Suddenly, he had a friendly gravitas. The exuberant music made him seem fun, accessible and active.

Just like the pseudo-somber Fiat spot makes the Lancia seem a suitable platform for democracy's heroes. And taking the approach they did garnered a lot of attention and free publicity. Doing good and doing well, right?

Meaning What?

An article on a recent front page of the WSJ described a city's angst over a controversial Mustang sculpture by artist Luis Jimenez. Here's how the paper describes it, "The mustang rears on splayed hind legs-his nostrils flaring, his eyes glowing red, his taut body a slick, sweaty sheen of blue. Anatomically correct - eye poppingly so- the 32-toot-tall sculpture makes quite a statement..."

The article, "A Horse of a Different Color Divides Denver" goes on to describe how Jimenez's sculpture at the gateway to Denver International Airport has the town in an uproar. It's been called "mean," "terrifying," "a demon horse" and a local developer launched a campaign to remove it.

But when I read this piece, I realized immediately it was a horse of a different color. Not too long ago we created a series of artist portraits for the Smithsonian American Art Museum. One of those featured Luis Jiminez. A gentle, soft spoken man, he was proud of his Hispanic heritage and had a great love of horses and the expressive moment. His work adorns the entrance to the Museum and is featured in public places across America. I was sure his flair for dramatic expression drove his creative impulse to create what he probably saw as a proud and heroic creature and an embodiment of the adventurous Western Spirit.

Unfortunately the artist passed away last year. But his widow was quoted later in the article: "You look at the piece and you know it was built with love." She said that the stallion's neon red eyes are an homage to the artist's father who ran a neon sign studio in Texas. The keenly articulated stallion's body is a symbol of freedom, strength and the American West. And it makes her think of his beloved horse "Blackjack" that hung around just outside his studio.



Which brings me to think about how differently people can perceive the same thing. Of course, that's why art exists, to make us think, feel and experience in new ways. But it also is a lesson in how we interpret and find meaning. And how easy it is to get lost within our own assumptions and ways of seeing without testing them in the outside world.

And we encounter this often in our work as we try to translate our client's needs into a visual language to effectively communicate their vision. And help them move from their organizational world view to reach and impact a wider audience. And with almost everything ending up on the internet, it's even more essential that we all get it right. So the meaning and intent will be clear. And the message will be heard.

deja vu all over again

While most people watch the Superbowl for the game, some put their focus on the commercials. It may be the year's most expensive advertising slot and a lot of creative energy and marketing dollars were spent honing a message. And now the spots can live on another day, namely on the WSJ website. I found it inspired. They have a feature front and center on today's homepage, inviting you to rate the best and worst superbowl TV spot.

For me, this is a great example of thinking outside the box. Here's why: they could have just had an print article about the spots or they could have put up a few sample videos of what they thought were the best spots. But by putting all the spots there and inviting readers to vote, they made the whole thing interactive and fun. And they branded each viewing with a WSJ logo and music. So you're constantly reminded the spots are brought to you by the Journal. It's an innovative and creative way to make yesterday's news fresh and inviting. And of course the companies like it because people get to see their commercials again for free. So everyone wins. Which is the best result for out of the box thinking.
You can check it out at

http://online.wsj.com/public/resources/documents/info-SUPERBOWL09.html

My favorite is the Bud Light Swedish commercial featuring Conan

Art of the Interview

If nothing else, Errol Morris has perfected the art of the interview. And more than that, he has a keen talent for drawing people out. Which means he's able to present them as their real or authentic selves. And that kind of authenticity really communicates, making his work at once powerful and intimate. That's the magic of using real people in video and political campaigns.

The New York Times has an interesting article about the history of using real people in campaigns, written by Errol Morris. In addition to his well-known documentaries, he makes his living producing commercials and political campaigns.

Having worked on many campaigns myself, I know effective interviewing is a subtle art form. You have to use a great deal of skill to create something that seems so real and unedited. You have to gain a person's trust, make them feel at ease, be patient, empathetic and gently lead them to the place where they will let down their defenses and say what is on their mind. It's not something that you can force or fake. And watching the raw footage, you can feel when those moments are there and when they are not.

You have a greater ability to manipulate the words and to some degree the sentiment if you take the person off camera, edit their comments, and add strong images and music. That's what you usually see with politicals, but Morris takes a more pure and difficult approach.

And you can see some of his current work in the political realm at People in the Middle for Obama. No matter your party affiliation, it's worth a look at how he's able to craft a message. Each person is shot against a white background. And their comments are pasted together to create an informational moment. There is basically nothing there except the person and their comments, yet the overall effect can be quite moving.

You can see the same technique employed by Jennifer Crandall and her wonderful people portraits at "On Being" a special video feature of the Washington Post. Jennifer's series has been running for some time and creates an in depth look at character and life story through a similar approach to the art of the intervew.

No More Deja Vu

I've been thinking about what makes video so effective and reflecting on a project we completed last year and one we're about to begin this year. Last year we went to the Denver School of Science and Technology to show how innovative design can create a dynamic and highly effective environment for learning. The results of that effort is on our website, as part of the Great Schools by Design series we're doing for the American Architectural Foundation.

The point of the video was to show how the extraordinary use of space, place and design has transformed teaching and learning. In the video we hear from many people touched by the project: the architects, teachers, students, the school principal and founder. Even the mayor had something thoughtful to say. And we spend a lot of time showing different aspects of the school, exploring everything from the physical design to the overall vibe.

So, you might ask, why does the piece work so well? I'd say the answer is in how the piece is put together. First of all, there's no narration. People express themselves in their own words. So that brings in a level of enthusiasm and passion that helps carry the ideas. Second, there are few facts. Facts and data work well in print. Ideas and feelings work well in video. So the video focuses on how people feel about the new school, what they like, what excites them, why it feels special and so on. While we do include some specific information, we tend to show instead of tell. And that leads to the next point. The piece has a beginning middle and end. Because we structure our pieces to tell a story -- starting in one place and ending in another -- and along the way we take the viewer on a journey of discovery and understanding.

And now we're about to embark on the next video in the series, about a primary school in Portland, Oregon. This school serves younger kids, so there will be perhaps less to tell and more to show. And the big challenge will be to find a new way to tell the story. So it won't be deja vu all over again.

The Web is a Window

A recent report from the Association of National Advertisers notes that 80% of Americans are now online and spend as much time on the Web as on TV. Pretty amazing, that. But most marketers allocate only 5 - 10% of their budgets to digital media. And many organizations we work with, who are in the business of information and advocacy, likely do less than that.

Which makes this a good time to talk about ways to use the Web to get your message out there.

The Web is more about experiencing than reading. The path to the brain is through the eye and ear. The written word is so last century. (True confessions: I see myself as a writer, so I'm exaggerating to make a point. But Web writing should be sparse -- more about headlines and concepts -- not turgid bureaucratic prose that so many organizations use to conceal rather than enlighten).

I recently had reason to visit the site of a large NGO organization which manages projects around the world. Their annual budget is quite substantial. Yet their Web presence consisted primarily of page upon page filled with long written passages describing their activities and programs. There were almost no visuals whatsoever. No video, no flash. Filled with jargon and memo style language.

How would I describe the Web experience for this particular site? Not so hot.
What could they do to make it work better for them?

Throw out most of the verbiage. Use video to make it all real. Video can show what it's really like when words fall short. Video can make the difference between knowing and understanding. Video can make people laugh, cry or get angry. And those feelings can move people to act. And all of it can be right there on the Web site amplifying the text and serving the mission. Some quick examples of how they could use video include:

** Short video stories about the people they are serving.
** Video profiles of people out in the field doing the work.
** Video reports on how they are making a difference.
** Short video packages describing
the challenges they face
the needs they are meeting
their goals and vision for the organization.
** A short recruiting video to bring in new people
** A fund-raising video
** A history of the organization and its evolving mission
** A short documentary on an issue important to the organization

Of course, some of these can also be placed on other sites like YouTube with links back to their site.

We recently finished two advocacy videos for Defenders of Wildlife. Within just a few short weeks almost 100,000 people have viewed the pieces and heard their message, all because of the Web. Does that mean well-planned and placed video can make an impact? You bet.

The Web is your window. Open it up.