10 Video Standards of Quality and Intentional Practice


A couple of years ago, a workshop was arranged to address an issue that arose in my absence.  My team was challenged by a manager to create a list of ten standards of quality video. While we corrected the issues, this exercise was an excellent way to solidify my thoughts on what I strive for in my video-making.

Interestingly enough, many others had similar types of standards. I thought I’d share my take on it:

10 STANDARDS OF QUALITY VIDEO
  • Clarity: all aspects; from writing to execution. Clarity means that the video is free from distraction—which may arise from poor writing (confusing, lacking conviction, obscure/esoteric language) to poor execution (distracting audio, anything unusual that takes away the attention from the message). Ironically, poor video quality is the most forgivable violation. People forgive a bad picture, the will not tolerate bad audio, and will lose interest from poor writing. (Amateur vs professional)


  • Visual Design: utilizing composition, camera placement, camera involvement (observer vs addressed), graphic design (color palette, text usage and movement, illustration/photos/animation) is an entire list in and of itself. Visual design doesn’t necessarily need to be pleasing, but it should support the content of the work).


  • Accessible: Aside from clarity, it needs to be accessible to the impaired.


  • Editing: there are two types of edits- invisible and intentional. Most of what we see online is intentional- edits for edits sake. It’s almost like visual poetry, or a slam cut to a loud graphic to keep your attention. However, the more you scream, the less you listen. Invisible edits do not attract attention to itself; it keeps the cognitive load to a minimum where the viewer can passively assimilate the information on its own merit. Invisible edits support the content as it is meant to not detract from it. 
  • Engagement: clarity is the gateway to engaging video. Engagement can be interesting content, interesting delivery, a highly desirable aesthetic, or a personable narrator. Engagements holds a person’s attention.
  • Connection: Relates contextual content to subject knowledge, deepening understanding. Connection invites the viewer to be an active participant in parsing the information, giving clues and fostering engagement. In the narrative world, mysteries are popular because it invites the viewer into solving the puzzle. Featured journalism uses storytelling, informational “tools” to educate the viewer and allow them to find the context of the information and relate it to the issue discussed.
    • Example:
      Malcolm Gladwell



  • Informative: A clear, engaging video can be devoid of any relevant information. A broad example of this is network/cable television… most entertainment. The opposite would be the evening news- dry exposition of information and facts. Documentaries often try to marry the two extremes.


  • Noteworthy: Bringing a noteworthy element separates the content into something memorable and significant. An unusual attempt or delivery not only keeps the video engaging but gives the viewer a touchstone to recall it later. If the video reaches the other standards, it will entirely help shape their thinking. 
  • Challenging:The content should challenge the viewer and invite them to compare different approaches and ideas that contrast their own thinking. However, there is a danger to fall into an opinion camp and skew the information to influence thinking. 
  • Invites Discussion:This one is a cheat- if all the other standards are met, the viewer/student will invite discussion with peers or the uninitiated.


INTENTIONAL PRACTICE
This is outside of the scope of the above standards list, but is important none-the-less. Intentional Practice is taking items that you have learned in a Youtube tutorial or a book on the subject, and applying it to a made up project.
5x5s: VIMEO used to have 5x5 video challenges. While they’ve mostly fallen to the wayside, I still think it’s a powerful took to keep in practice- much like how an illustrator uses a sketchbook to draw. If you’ve never heard of a 5x5 video challenge, it is simply this: Five 5 second clips strung together in an experimental narrative or comparison. The end video should be 25 seconds, and should use only the audio that was recorded with it. Purists eschew text, but I like the idea of anything goes- it’s experimental.
The purpose of the 5x5 is to train your eye for aesthetics and visual composition. It keeps you active on observation, shooting, and editing. Here’s my first attempt:


The 52 Week Video Challenge: Some others have decided to create a 1-2 minute video weekly. I plan on starting this challenge in January- a clean run. My hope is that it will improve my shooting and production style, and create a body of work. I think the hardest thing will be coming up with content each week- so there is a huge amount of diligence. It’s a perfect challenge for where I am right now.





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Kicking up the Settling Dust



Inktober 2019 came and went- and I actually managed to post a piece of art every single day. To be fair, I didn’t follow any prompts; I simply used a list for illustrations I needed for a table top card game I had designed, and when I got bored of that I did whatever. You can check out my Instagram profile to see the fruits of my month of madness.

That said, I wanted to continue to create creating ink illustrations. I don’t want to lose the huge gains I made improving my skill, and it gave me time to think about what I want to do. I am caught in a world between filmmaking and drawing. I seesaw in it because I like doing both, but if I want to gain true mastery I know I need to drop one or the other. The thing is I don’t want to.

That said, above is a drawing I did of a character from one of my feature-length screenplays which I want to adapt to graphic novel. I like the way she turned out, and it is close to the style I plan on making my oneshot comic. I originally had another idea for the oneshot, but I might go with this paranormal-noir script I have.

I just need to refine the idea into something workable. It always goes back to writing in that regard.

Right now my two main influences are Mark Schultz and Paul Pope. The two are extreme opposite when it comes to execution, but I find that love both styles and want to incorporate their art dna into my next project. I don’t know if it will be successful, but I intend to have fun exploring it!
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Self-applying Salt in Old Wounds

Old angst used for good.
A few days ago, I had a long conversation with my day job manager, Marc, who is also my mentor and friend. Our chat went to discussing those who we would consider our personal Nemesis. His was a narcissistic old professor he had while he was in college. The dude sounded like a real deuchbag, but Marc persevered. Mine, no less deuchy, was a former friend and business partner from ages (read 'DECADES') ago.

We both got worked up as old memories surfaced and we told our war stories of betrayal and disgust. It's easy for old wounds to open up especially when they're so deep as they happened so young. After our chat, the rekindling of old anger dredged up the motivation to work on some projects. Applying salt to an old wound is not healthy, but it is effective.

However, the poison faded quickly- the thought of drinking in more toxic memories to feel powerful conjured many a cautionary tale. They ARE old wounds, but they HAD HEALED. My former acquaintance had actually given me a gift in the form of a life-long lesson: he serves as a template as a type to avoid. It has worked time and time again... and come to think of it, as recently as six months ago.

Would I ever want to be a friend of this "old Nemesis" again?

No.

He had contacted me ten years ago and I tried, but I walked right into the same vat of manipulation and abuse. I doubt he's changed. I'm certain it's been played over a million times as he presents himself as a victim- most narcissists do. But, while I'm not "over it" (and likely will never be), the vigor of old wounds has faded. I can talk about it freely now without the sting- and that is indeed positive.

Still, it serves as a way to stimulate the creative process. Creative acts pull from personal experiences, and I used those feelings constructively. It provided energy to kickstart productivity- and served me well when I filled a dozen pages in my sketchbook last night. By 9pm, I was mentally and physically exhausted.

I have the opportunity to help with a new video project- a docuseries that will involve travel throughout the outback of the intermountain west. I had taken on this project because I love adventure and for the same reason I tapped into old angst—experiences are the truest building blocks to create something new.


The Dragon Has Awakened

LOSTSKIES.COM has been renewed. Those looking to jump on lapsed renewals will be met with disappointment. I’m planning on keeping this domain for a very, very long time.

I’ve been working furiously behind the scenes to jump-start my filmmaking efforts. Doing videos for my day job have kept my skills from growing cold.

LIBBY LENAN
Libby Lenan has graciously accepted my offer to create a video for her stunning single “Wilderness” (available on Spotify). She asked if I could record her covering a few songs for social media, to which I said “of course!”. She had worked with my old friends from ALSO SISTERS to create a video another of her songs, hopefully to be released soon.

NEW PRODUCTION HOUSE
I am teaming up with a few people to create a production house. I’m not ready to officially announce names yet, but it’s in serious works. We have a number of projects on the plate- a couple of minidocs, and a number of short films with a serious effort to create a feature film within a year or two. Two short films are greenlit-- and one, Bond’s Bail Bonds, is in full pre-production. I’ve began casting, but it will be led by my longtime collaborator Geoff Richards taking on the lead role of Frank Crandall, recovery agent. 

The show will play out much like an updated 80s detective show with quirky characters and cartoon danger. I have three short episodes planned- and we are planning on doing this using an iPhone.

UNDERRATED BUT POWERFUL
I have sung the iPhone’s praises before, but check out some examples of what can be done:

Ari Virem’s iPhone cinematography using the Moment animorphic lens.


Zach Snyder’s heavily stylistic Snow Steam Iron.



BRONCHO “Big City Boys” which utilizes a DOF adapter (much like my pre-DSLR days).

Feature films have been shot using the iPhone- the highest profiled are Sean Baker’s Tangerine and Steven Soderburg’s Unsane.

I’ve recently acquired a Zhiyun Smooth 4 and am planning on using an anamorphic lens adapter with it. We are currently location scouting and rounding out the rest of the cast. 

It’s exciting fully coming home to what I love. I have put it off for so long, chasing other paths and finding that they lead back here.