The Original PC, The Pre-PowerPoint “Electronic” Slide Show, and Physical vs. Digital Cut and Paste

The video below is a capture of the computer screen and interface for the programming language named “ProCall”, the name given to the software used to control multiple slide projectors in order to sync slides to sound and create a slide-show, or “Multi-image” show, as it and the industry built around it was known. What is seen here is the sequencing of a few speaker support slides, and then a “run”– a looping segment that will run onscreen for announcements, introduction, or to kill time until the loops is broken, and the slide projectors advanced by the next command.

Anywhere from 3 to 15 (or more) projectors were focused on a screen, timed to music, with sophisticated graphic effects, photo sequences, title animations all happening in a careful sequence. Timing was precise; manual operation was possible (next slide, please), and even infinite loop sequences for backgrounds or logo animations used during live speaker sequences were possible.

This was in effect a video-like immersive experience for audiences. Sound came off of multi-track magnetic tape recorders, so the sound was full fidelity. Film projectors could be controlled as well. In fact, all elements of a meeting could be controlled via these computer programs– speaker support, multi-image slide shows with sound; film rolls, lights, flash bulb effects, and more.

Why does an old guy like me know computers? Well, I had to program slide shows.

I also had to find a solution to the innumerable script changes I and my clients made.

Before computers, a-v scripts were written on “copy paper” cheap newspaper typing paper that was easy to cut with a ruler. Cutting and pasting was a matter of literally cutting and pasting. Cut the paragraph you wanted to move out of the paper, past it with a big glob of glue past underneath the paragraph were it was destined to go. Because the editing process is very important, my scripts were sometimes hundreds of paper paragraphs reordered and  glued together.

But there were more miracles to come. The popular operating system at the time was CP/M. It was not meant for portable computers but AVL and others (Most notably, Adam Osborne) adopted it for portable and stationary computing. AVL’s computers were at first in a big desk hogging chassis, then reduced to a one piece screen, two drive, computer configuration, and finally, to a luggable portable.

People began putting word processing and accounting programs on their AVL’s, and the personal computer era began. And of course there was Apple. Put a CP/M card in an Apple, and you were able to use WordStar, the word processing giant of the day.

Soon we were using the computer to cut and paste, I was writing a “how to compute” column for A-V / Video magazine, and slides were big business.

But video was coming, and I jumped out of the slide apple cart and into the video fire before other slide producers and began adapting what I had learned producing slides to the art of video.

Pacing, strong soundtracks, good stories– those things never change.

To Slide or Not to Slide, That is the Question: Or, Why PowerPoint Doesn’t Have to Suck.

Slides are how we made our money and made our name.

I love slides. Grew up with them, made shows with them., started a business with them, made friends with them, won awards with them.

Today, the word “slides” has a revised but logical meaning: Powerpoint slides (or Keynote, if you prefer.)

On linkedIn, there is an ongoing discussion on whether speakers should uses slides or not. Actually, the very thought is even more daunting to these “Presentation Gurus” (the name of the group): the question was really “Is there ever a time when a speaker shouldn’t use slides?”

Here’s my quick answer:

Average speaker: No. Always use slides.

Good speaker: Maybe, depending on the size of the crowd. But take advice from a pro PowerPoint person or consultant.

Great Speaker: Yes, go without slides if you can see the eyes of everyone in the room. Or….

Great Speaker: No, use slides, if you’re speaking before 500 or up. Great speakers can use slides effortlessly, have slides that are appropriate and not overwritten, probably don’t even look at them during the presentation, and in many cases have an a-v technician changing the slides for him or her.

The best speaker I ever saw– and he always used slides– was former Chairman and CEO of Walgreens Dan Jorndt.

He could hold a room of 5000 or more in the palm of his hand. No podium. He danced across the stage, in a whirlwind of positive thought. His speeches were carefully written, but delivered in a breezy style that allowed for adlibbing, which he often did– or seemed to at any rate.

But Mr. Jorndt had a secret weapon. Behind the screen, or in the booth, and– for much of his career– behind a computer, was the head of the Walgreens Meetings and Media department, David Harnish. David is an important person at Walgreens. I fear the executives still don’t know HOW important. He is the keeper of the flame, the corporate culture, and the internal audio-visual face of Walgreens. He knows video, interactive, asset management, and of course, slides. And he knows creative communications as good as any client I ever had.

A blank slate: the PowerPoint Editing Interface

Slides more recently means PowerPoint.  But David started at Walgreens literally making “real” physical slides, first primarily on an early computer graphics system using Zenographics software, later  via video on the TVL electronic presentation system, and today, on PowerPoint. Don’t get me wrong: David no longer pushes buttons; but he continues to set the standard for how slides should support speakers, not dominate them.

He knows how many words to use, what photos or graphics are necessary, and what fonts work and don’t work. He knows layout and balance, much of it which might “break the rules” of the way PowerPoint wants you to lay things out.

Whether it was multiple slide projector speaker support, or TVL electronic slide speaker support, videodisc, or PowerPoint speaker support, David and Dan Jorndt made each other look great.

Now understand, I think Dan is a great speaker without slides. But with slides? oh, my.

So, to slide or not to slide, that is the question. When you’ve got a great speaker and a great support team, the answer isn’t so black and white.

Norman Rockwell, Creative Director

The relationship of the well staged and photographed still image to creative direction in advertising and video / film is no more evident than in this article about Norman Rockwell from Photo District News.

Before he ever committed paint to canvas, he set up intricate photoshoots. These were as professional as any video or film shoot, and included casting, set design, lighting, and the directing of talent and expression.

It raises my estimation of Rockwell, perhaps because it makes clear that he wasn’t working from swipe files, but was in fact creating his own masterful photographic tableau’s. Take a look at the comparison of Rockwell photo to Rockwell painting. Each has their own genius.

He picked the right people. He directed the right expressions. He positioned them in a still life pose that rivaled the best photographers and painters.

Then, on canvas, he filled in the details, adjusted, added, enhanced, reimagined and yes, photo-realistically replicated what he had previously created in black and white.

It was quite a process. Probably not unique. But a definite unraveling of a great artistic process.

We need to imagine our own work in video and print as well as Rockwell did his. Great motion is made up of great moments.

Related articles by Zemanta

• Video Painting (buzzfeed.com)
• David Kamp on Norman Rockwell (vanityfair.com)

The Art of the Interview: How to be Invisible

Interviewing for an audio-visual enterprise is an ancient art.

In a good documentary, the star of the interview is the person being interviewed. The interviewer is typically off-camera, and if the interviewer is really good, you’ll never see them or hear them speak. Why?

They ask questions that get full answers.

The art of the interview has been bastardized by today’s TV performer who wants not only to look handsome or pretty, but also smart. So they ask a lot of rapid fire questions. They’ve only got a minute, and they are thinking Emmy. So these questions contain major hints at the answer the interviewer is looking for.

Interviewer: Tell me about how horrible you must feel now that you’re house has burned down?

Interviewee: I feel bad.

Well, yes. But it can be worse. I often hear local cable interviewers ask the question this way:

Interviewer: The fact that your house burned down must make you feel awfully bad, doesn’t it?

Interviewee: Yes, yes it does.

Interviewer: How bad?

Interviewee: pretty bad.

Pretty bad, indeed.

In a corporate long form documentary style video, an ideal scenario is the video that can be “narrated” solely by the interviewees, through their own words, in complete and meaningful sentences. Suffice it to say that this is hard work. You must ask the right questions in the right fashion and then have the editing chops to put it together into a compelling narrative that has a beginning, middle, climax, and end. The interviewee will not be a talking head on camera, so you have no excuse to make your interviews TV style, where editing would cause unsightly jump cuts (therefore giving the producer an excuse to edit less. More gross profit!)

Some producers will pretend that TV style interviews are the right way to sell business-to-business products and services. That’s ridiculous. Looking at two talking heads blathering on without b-roll, music, or story is an absolute waste of a company’s dollars. That producer has no intention of working for his or her money.

We believe in interview style videos, just as surely as we believe in unstaged actualities to convince audiences of a product’s quality or a company’s intent or philosophy.

Yes, it takes longer, and it costs a bit more. But the shelf life can be very long, and the impact multi-tiered. Its a technique that works at meetings, or on the web. Consider this technique for your next video.

An example can be found by clicking on the image below.

Excerpt from Corporate Founder Story Video

Which Comes First, The Video or the Website?

I don’t know, but I do know you need both. There are good marketing reasons for this, and good search engine visibility reasons as well.

Search engines love video. And search engines love links. If your video is on YouTube or another free video hosting site, and you embed the video in your website or blog, Google likes that.

The web loves video. There is video everywhere. Most of it I wouldn’t dream of watching on a large flat panel display; but one out of ten is very good indeed and works to sell the concept or product the website is selling.

So a great video gets you a lot of mileage– on the web, on the flat panel display, on the big screen in a big meeting, or on your iPhone for a quick sales pitch on the 8:15 from New Haven.

So which comes first? Well, they both take time to do right. (Exception: webcam updates are allowed, but NOT as your main video.)

In fact, consider how they will work together. Where will video do a better job than words? Where will words and art prevail?

It’s a planning phase you can’t ignore– we call it Strategic Digital Marketing.

Tribute Video “How-To” Book Now Available

Tribute Videos are videos that celebrate a person, couple, group, or institution. They can be engagement videos, anniversary videos, memorials, retirement videos, milestone birthday videos, company histories, leadership stories, school reunion stories, award-winner portraits, and more. They are at home in the living room, rec room, boardroom or ballroom.

Tribute videos are how I got my start. (See “AVSquad” in the links.) And they remain the most satisfying of the work that we do. There is nothing like telling a people story.

A lot of people are into video these days, some as a hobby, some as a potential profession, some as part of their job duties. There is a perception that video is easy, thanks to point and shoot miniature cameras, computer editing, and thousands of tipsters on-line telling you how easy it is and selling something– usually hardware.

But hardware is only part of the problem, and hardware and editing software are covered pretty readily via training web sites, DVD lessons, and more.

No one is training people on how to tell a compelling story. How to interview, how to move pictures, how to choose music, how to pace videos, how to get a visceral reaction from an audience!

That’s where “Tribute Videos for Love & Money” comes in.

Tribute Videos for Love & Money

It’s an ebook that details my communications beliefs and systems. If you like samples of my work, and you want to know how and why certain creative decisions were made, this is the place to start. It concentrates on the “Tribute” people story type of video, but frankly, if you can tell that kind of story, there isn’t much you won’t be able to do as you grow your capability or career.

For more information, go to videostoryschool.com.

I hope you like it and find it valuable.

Bad Idea #2: Not Budgeting for the Video

If you are a corporate marketing services buyer, you might already be budgeting for video. But if you are a marketing manager, or sales manager, or fund raiser, perhaps you aren’t. Meeting planner? Sometimes. Training Department. Yes, probably. Really, every situation is different.

Throughout my career, I’ve heard time and time again, “We didn’t budget for this…”, as if that was sufficient justification for me to cut prices.

But of course, as the exception, you know it doesn’t work that way. When there’s a line item foer the kind of thing we do in your approved budget, things move along a lot faster, and without additional justification to upper management. So you’re good to go, the minute you’re ready and the demand is there. (Your bosses like to see action, after all… how does that go– “Look busy”?)

Budgeting a video is a tricky process, because it’s all based on the amount of footage you shoot, and the kind of footage you shoot. Controlled, short (one or two days) shoots make for controlled, reasonably fast edits… perhaps this is a new product video and it’s mostly close-up tabletop work.

A history of the company, or a plant tour, or an overview of the entire operation may be a different story. Multiple shooting days, or weeks, combined with a desire to tell the best story ever about OUR GREAT COMPANY, Inc., will conspire to drive the price up. Not unreasonably, mind you– it’s all about the time it takes to do the job.

I’m convinced that professional buyers know what professional video producers and agencies need financially to do a job that meets the buyers’ expectations. I’m also convinced that when the project has not been budgeted for, they will find it necessary to “negotiate”. The problem is that this may eliminate the most credible and accomplished vendors. The  buyer is willing to make that sacrifice because they don’t want to go to the boss with an unbudgeted expenditure, and the lower the expenditure, the less the job impact. But what is sacrificed?

What about the positive impacts on your career? When you hire the right creative video producer, you’re often on your way to having a major message impact on your company (really, call and I’ll give you examples.)  And that can mean big things for you. Budget shouldn’t get in the way. And it won’t, if you’ve thought ahead.

The smartest buyers I’ve worked with investigate the cost of various kinds of projects before budgets are submitted. Granted, for the production company, that might be frustrating because it can mean a 4 or 6 month wait before anything gets going. But when it gets going, you won’t be playing a game of sticker shock driven ” I didn’t budget for that”, “well, maybe we can cut out some graphics”, “can you do this cheaper and we’re pay you more on the next job”, et. al.

You can do the job that will accomplish your goals, get you applause and recognition, impact the company’s bottom line, and impact yours as well.

That’s why we do no obligation creative proposals. We scope out the video or multimedia project or website or meeting, define as much as we can, and quote a turnkey “put it in the budget” figure.

You have to start somewhere. It might as well be ahead of the curve. That puts you a couple of major step closer to success.

Bad Ideas #1: Defining an Open Creative Position by the Equipment that Should be Used

I was sent a help wanted listing by a business associate recently. They thought I’d get a kick out of it because it was for a listing for a video producer position at a business that makes products that I love (I can’t go into any more detail than that out of fairness for all parties involved.)

No, I’m not looking– but since I have done my share of hiring in the past few decades I am always curious as to the expectations set by help wanted ads for creatives.

Let’s forget for a second the impossible expectations and laughable language used in such ads (“Must eat, breath and live advertising”; “You don’t think outside the box, you are the box”, etc.

What interests me is that in a video and web driven world, creativity is often defined not by writing, design or storytelling capability, but instead by the software and hardware employed.

This ad said (paraphrased), “Video producer wanted to produce web videos for our catalog pages and web site. Knowledge of Adobe Premiere, Photoshop, and After Effects required.”

Uh… why? Does a knowledge of these particular programs guarantee that you know the basics of design, writing, creative direction, photography, photo touch-up, shooting and editing?

This was followed by “Windows platform preferred.”

I can see the Windows platform (or Mac platform) preference as perhaps reasonable, since the company may have standardized on and invested in plenty of hardware that is single platform centric. That’s a business decision.

But eliminating perhaps 70% of your creative applicants because they use some other software than what you like or know is like a curator at the Met, MOMA, or Guggenheim who only hangs paintings that use a #12 Kolinsky Red Sable Art Brush.

The talented and driven can and will adapt to almost any software or hardware. That’s easily learned. What can’t easily be learned is what is done with the tools, whether they are using typewriters, yellow legal pad, or Final Cut Pro or Microsoft Word or Final Draft.

It’s the story, stupid. And that’s the basis on which you should hire.

Are You Packin’ Your Video Camera “Heat” Today?

Are you packin’?

Your video camera, that is.

Your camera– and your right to use it– is as important to many of us as our right to pack heat– uh, carry a concealed weapon, that is. And no, I don;t pack heat.

But I do pack cam, and that can be just as important. With it, you can:

• Capture a family moment.
• Witness a crime.
• Record breaking news or a natural disaster.
• Make a personal statement by pointing the camera at yourself.
• Record a coworkers moment of triumph.
• Surreptitiously record b-roll for a company video.
• Ask Grandma 20 questions for posterity before she shuffles off to Baltimore.
• Narrate your own personal documentary.
• Record something worth 100,000 hits on YouTube (like that territorial squirrel fight I saw– and missed– the other day. I forgot to pack cam.)

So pack cam. The links you gain, the views you rank, even the money you make from a once in a lifetime catch, is worth only the amount of cam you take.

“Typical Cost per Minute?”

We were checking our web logs to see what search phrases were leading people to our website and this one caught my eye: "Typical cost per minute for multimedia presentation".

Besides being an interesting search challenge to Google, that’s a question I’ve been hearing for longer than I can remember, and I still can’t provide a simple answer. What I can tell you is we sell time, bundled as an end product directed toward a specific result, and we custom propose and quote each of those potential end products when someone asks us to bid on a project.

However, I can understand why people still need a starting point and will look at viewing length as a potential means of arriving at a quotation.

But it doesn’t work. Here’s why:

Read the rest of this entry »