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Camp VJ: Interview tips from Chicago’s Carol Marin

Camp Video Journalism

I am so proud to be teaching video journalism to more and more print reporters. And humbled by the amazing volunteer contributions of colleagues old and new that are donating their time and expertise to the Camp Video Journalism training workshops.

Today I am preparing two lectures that I will be giving in Bucharest October 2-3 for the World Editors Forum Master Class series but last week I was joined in the Chicago Sun-Times classroom by my former Sun-Times colleague, Carol Marin and some new CampVJ instructors: Danielle Guerra, Mark Flescher and Aaron Cahan.

CAROL MARIN
I like to document the training I do in venues around the globe and in this first video clip, Chicago TV journalist and Chicago Sun-Times political columnist, Carol Marin, answers questions from Camp VJ Chicago students about interviewing techniques for video reports.


(See the students videos at Camp Video Journalism)

The class was made up of print reporters, videographers, newsroom executive staff, journalism instructors and multimedia editors for Web sites. They got more they than bargained for when Carol agreed to share her vast expertise with the class. Carol has, of course, worked for 60 Minutes and is one of the top Chicago journalists in print and television.

What’s more is that she agreed to teach a session with only about 15 minutes notice. Her esprit de corps and passion for strong reporting, of course, is no surprise to those of us who have worked beside her. I can vividly recall teaming up with her on the Loop LaSalle bank fire story a few years ago when I still worked at the paper. She is as generous with her time as she is professional in her work. I am so grateful to her to have had this chance to collaborate again.

DANIELLE GUERRA
Danielle Guerra is a 23-year-old videographer working at the Northwest Herald in the Chicago Suburbs and she shared her experiences as a photographer and reporter who took quickly to the Web video medium. She has a natural gift and combines those skills to great effect in her video reports.

Take a look at this film she produced recently - it’s amazing. The class loved her.

Find more videos like this on Visual Editors

MARK SCHEFFLER
Mark Scheffler is a former Crain’s Chicago Business Reporter and the founder of BusinessPOV.com, an influential video blog launched in September 2006 focusing on innovation and entrepreneurship. He also regularly shoots for ChicagoBusiness.com (Crain’s Chicago Business). His video stories have dealt with everything from entrepreneur profiles to CEO interviews to overseas segments about Motorola in India and Miller Beer in Argentina.

Mark showed his videos and deconstructed how he reported them for the students. His experiences really connected and he has an easy, yet very articulate teaching style that resonates with working journalists.

Check this video he shot in Indonesia for Crain’s.
The Teak Hunters: Through Bali and Java in search of Indonesian wood
Video link

Just like Carol Marin, Danielle and Mark volunteered their time and talents to the Camp VJ training experience. When they saw the Chicago workshop posted on Camp VJ, they contacted me immediately and offer their services. Wow. I can’t say enough about how humbling e-mails from pros like that are to get and how perfectly matched their hearts are to the mission that the Visual Editors charity stands for.
The charity is on their debt.

AARON CAHAN
Aaron Cahan is a recent graduate of NYU’s famed film school and also taught a session at Camp VJ on story boarding and narrative development. Aaron is also the son of Sun-Times legend, Rich Cahan - the paper’s former picture editor and author of some tremendous photo books about Chicago’s History.

Aaron is as astute as his old man and was able to relay some key points from his recent training in documentary filmmaking and journalism to the class.

LEARNING FROM THE STUDENTS
All of these instructors gave of themselves and it was wonderful to witness. I of course taught a few sessions, too I absolutely love it when we can collaborate and draw on all of the expertise in the Chicago area as well as the expertise from the veteran reporters and editors who were taking the class.

I think we all feel a little bit pumped up and ready to pick up our cameras and turn around more Web video reports just as soon as we can. I know I am inspired by the efforts put forth by the students.

Check out this great film made by Camp VJ Chicago student, Allison Williams. She found Cecil Locke, Chicago Touch & Go Chess owner.


Find more videos like this on Camp Video Journalism

STUDENT COMMENTS
Because good Web video is really best when it engages what I like to call the ’social narrative’ I am going to share some screen captures from a few of the students who took the class. They clearly liked this type of instruction based on their Twitter, e-mail and Facebook updates.

From Marshall, who came from Indiana
Marshall's tweet.

Form Nicole who came from Washington, D.C.
Nicole's Facebook status update.

I am already looking forward to producing a new film next week. I will be spending a few days each in Bucharest, London and Berlin next week and will be rolling film.

Film at 11.

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Which video camera should I buy?

Robb Montgomery at Camp Video Journalism Chicago
I get asked this question a lot by editors I advise and people signing up for the Camp Video Journalism workshops and it is a good one.

I usually will respond with a few turnback queries to determine the best answer for them:

  • “Who is going to carry it?” a reporter, a photographer?
  • “How often will they be filing video stories?
  • “Where is this person going to file from?
  • “Will they be doing more than contributing footage?
  • “How big is their purse?”

If they are impatient, I simply tell them to buy the one with the best microphone. That usually slows them down enough to get them to listen to this fact about Web video.

It is more important to get a camera that records high-definition audio than it is to get one that merely takes pictures in Hi-Def or HDV.

Truth is there are some great cameras out there that won’t break the bank or the reporter’s back. It is very important to gear up according to need, skill level and frequency of use.

I often see clients planning to buy either way too much camera or far to amateur a kit to get the job done. I just saved a Canadian editor-in-chief about $50,000 from his budget by specc’ing gear that better matches what the staff at his paper will produce, day in and day out.


I like to look at these tiers or categories when answering the camera question.


1) GA REPORTER

Standard issue for every reporter would be a point and shoot that captures at least 8 megapixels for still frame photos and at least 800 pixels wide at 30 FPS for video. There are several to choose from and the models that I have been using for the past few years have been the Panasonic Lumix models. The LX2 and the FX-01. They have Leica lenses and are incredibly sharp and useful.

I am replacing my trusty pink FX-01 with a pink 8.1-MEGAPIXEL Compact Digital.

Panasonic Lumix camera with 8.1 Megapixels and 3x Optical zoom Leica DC Vario-Elmarit Lens. Has a built-in Flash, uses SD cards and shoots stills at 3,264 x 2,448 Resolution JPEG nd video at 848 x 480 (30/10fps) in QuickTime Motion JPEG format.

This pink camera is the ultimate stealth reporter cam. Nobody suspects that a pink cam can capture incredible footage.
Stylish and rugged - I have field-tested these baby Leicas filing reports in more than 16 countries. They are reporter-proof.

I order these Leica-lensed digicams for every journalist on staff so that they carry with them a camera that can take exquisite and very usable still frame images as well as crystal clear video, in a pinch. “In a pinch” being the key words in that last sentence.
These slender beauties are OK for video B-roll bits and the odd vox-pop interview.
Of course, it is available in other colors and costs about $150.

2) POOL CHECKOUT AND CUB VIDEOGRAPHERS
Just get the Canon HV30.
I was e-mailing Naka Nathaniel earlier this week about gear he suggests and he tells me the Canon HV30 is the unit he specs now for beginners and occasional users producing video reports. I agree it is a popular model, but beware, you will have to upgrade the microphone to get usable results in the field.

Canon VIXIA HV30 MiniDV High Definition Camcorder with 10x Optical Image Stabilized ZoomCanon HV30 HDV High Definition Camcorder - Successor to the award-winning HV20, the HV30 derives all the benefits of the Canon HD Camera System - Canon HD Lens, Full HD CMOS sensor and DIGIC DV II processor - for outstanding HDV1080i images. The new model features an all-black design, a multi-angle Vivid LCD screen, and the ability to capture in 24P or 30P mode for the internet.

OK fine, but this consumer-grade camera needs a real microphone. Best to add in the Rode VIDEOMIC Directional Shotgun Mic or Sennheiser MKE 400 Shotgun Microphone.

The HV30 has a mini-jack audio input and you want try to match that mini-jack with a shotgun mic. Pro mics use XLR connections not mini jacks - but there are solutions. Don’t forget to buy the dead cat, too.

The Rode DeadCat is a special muff-style Wind Screen for the Rode VideoMic.

3) SOLO VJ

For the reporter who will report, shoot, file and upload from the field (or the office) the Sony A1U is hard to beat in terms of price and perfromance. A pro camera, with pro audio jacks, pro camera settings it it suprisingly light and small - perfect for field work documentaries.

Sony Professional HVR-A1U High Definition Camcorder

  • High-definition video camera records in 1080i, 720p, and 720i specification with analog down-converting
  • Professional two-channel audio interface
  • 16:9 widescreen recording; 4:3 conversion capable
  • Carl Zeiss Vario-Sonnar T* 10x optical zoom lens; digital Super SteadyShot System dampens hand jitter and vibration
  • CMOS camera system; records to conventional DV tape stock

Some people prefer the more expensive Sony Z1U for field works but anyone who carries one (Like newsvideographer.com guru Angela Grant) will tell you they are lusting for a lighter pro camera like the A1U.

My A1U goes with me in carry-on luggage along with my laptop, portable drives and mics.

4) STUDIO SETUP

If you are going to be producing some shows in your newsroom studios - then, by all means, pick up a Sony Z1U or one of the bigger Panasonics that use G2 memory cards. Those beasts have three-chip CCDs and mate well to a sturdy tripod for producing traditional TV-style programs.

What cameras are you carrying? Are you using Flip cameras for anything more than spot news footage? Sound off, please.

Robb Montgomery is the CEO of Visual Editors.

(Photo of Robb with his Sony A1U camera at Camp VJ Chicago by David Dunkley Gyimah.)

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