The spring edition of Navy Imagery Insider is focused on explaining what the MC needs to know to be successful when producing video content. Please let us know what you want to see in upcoming editions by emailing navymedia@navy.mil

1. NAVY INSIDER
U S N AV Y

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IN
F
FO
E O
R M AT
FIC
IMAGERY
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For members of the PA/VI community Spring Edition NI L NISI VERUM
Video
Road
Map
Shooting DSLR Video
Lighting Solutions
Codec Rules
Consistent Success
Reuse. Recycle. Repurpose.
Can You Hear What I See?
Video for Social Media
Video Terms & Definitions
703.614.9154 AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD Full story on page 5

2. DIRECTOR’S CORNER
Congratulations to the newly
selected members of the FY13
Advanced Navy Visual Journalism
training at the S.I. Newhouse School
of Public Communications, Syracuse University.
Congratulations! One of my favorite things to do each year is to join an invited
group of dedicated VI professionals to select the next
convening class of MCs for advanced training at Syracuse
It’s my pleasure to announce the names of the next University. There are only eight seats each year, four still
cohort to attend the Advanced Navy Visual Journalism media and four video media. The MCs we select are the future
program for 2013-2014 at Syracuse University’s producers and mentors for VI in the PA community. It is a task
each member of the board takes very seriously, not because
S.I. Newhouse School of Public Communication.
of the program’s cost; it’s about the future of VI as an effective
media for Navy communicators. While we were successful in
Please join me in congratulating:
filling each of the seats for the FY13 class, the future of this
program remains firmly in the hands of our khaki leadership in
Motion Media (8144) the chief’s mess and wardroom.
MC1(SCW) Demetrius A. Kennon, Director, In my job I see almost all of the released images and video
Surface Warfare Division (N96) content produced by our MCs. The talent is out there, but if
MC1(SCW) Nicholas Lingo, not identified early while they are shinny new SN’s and PO3s
Defense Information School we run the risk of some of our best and brightest missing what
regrettably is a small detailing window each year.
MC2(SW) Glenn B. Slaughter, USS Nimitz (CVN 68)
Aside from the fact selected candidates must exhibit a level
MC1(EXW/SW) Sean P. Spratt,
of work showing they have what it takes to refine their skills at
American Forces Network, Japan the graduate university level, he or she must also be a good
Sailor who can successfully navigate PTS, time on station
Photojournalism (8148) requirements, and high year tenure limits. Commands must
MC2(SW/AW) Torrey W. Lee, also show a willingness to allow their best Sailors to rotate
Commander, Third Fleet early. As leaders we must do for our best for our Sailors and
we owe it to our community to promote the Syracuse program
MC2(SW) Dominique A. Pineiro, to continue its viability and credibility.
Navy Public Affairs Support Element
If combat camera is a desired goal for an interested MC, great,
MC2 Antonio P. Turretto Ramos, NAS Oceana but Syracuse graduates also fill key positions at DMA, whether
MC1(EXW/SW/AW) Jonathon J. Rasmussen, with the newly established All Hands Magazine staff or the
Expeditionary Combat Camera Pentagon Channel. They can also serve as instructors at DINFOS
or at NPASE, and high visibility billets here in the Pentagon.
Congratulations and get ready to open your minds, Mr. Jeff Elliott, CHINFO OI-81, is your POC for information. He
study hard and create. is a graduate of the program, albeit during the days of iron clad
ships, but is always anxious to help anyone needing assistance
Vr/ Master Chief
with portfolio work and the application process. He can be
MCCM(SW/AW/EXW) Jon McMillan reached at 703-692-4754 or jeff.elliott@navy.mil.
Senior Enlisted Leader, Chief of Information
DIRECTOR Christopher Madden Staff Writers Lt. Cmdr. Chuck Abell Navy Office of Information
DEPUTY DIRECTOR Cmdr. Gary Ross Lt. Cmdr. Dave Luckett Pentagon RM4B514
OPERATIONS MANAGER Paul Taylor Oscar Sosa Washington, D.C. 20350-1200
Damon Moritz Office: 703-614-9154 DSN: 224
LAYOUT/ART MC1(SW/AW) Arif Patani
Director Tim Mazurek Contributors Andrew Geraci Download Insider at:
Merle Livingston www.slideshare.net/NavyVisualNewsService
EDITORIAL http://issuu.com/NavyVisualNewsService
Editor Jason Kelly
2 AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD navymedia@navy.mil

3. InsiderPerspective by Andrew Geraci
Shooting Video
with a DSLR Camera
Digital single-lens reflex cameras
capable of shooting high-definition
video have been on the market
for some time now and have
accelerated the rate and quality
in which we deliver our product.
These lightweight cameras with interchangeable lenses produce a
fantastic cinema quality image and allow you to blend in with the
crowd because of their compact size.
For the traditional video user, a DSLR camera can look like a
daunting new tool. Rest assured, it’s not. In many cases, it can be
easier and more versatile than a standard video camera. One of
the greatest benefits to shooting with a DSLR camera is its ability
to be used in tight spaces. This is helpful when you’re shooting
aboard ships, aircraft or other confined areas.
It’s best to use two hands when shooting, one steadying the body
and the other holding the lens. Locking and resting your elbow
against your chest or stomach also will help minimize camera
shake and provide more stability. It’s important to use lenses (when
possible) that feature image stabilization, as they will provide the
steadiest shots. If the lens you are using does not have this feature,
then it’s best to use a tripod or a monopod when shooting. Your
product will come out looking much more professional.
703.614.9154 AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD 3

4. If you’re using a DSLR camera on the run, it works best to have
your aperture set above f/5.6 to ensure you have some flexibility
on the focal range. If the scene is too dark, such as indoor
shooting locations, you can increase your ISO and/or decrease
your shutter speed. This will balance your exposure. Shooting at a
smaller aperture (f/5.6-22) will allow you to retain maximum focus
without having to change it constantly. Just keep in mind that the
smaller the aperture (larger the number), less light will be allowed
into the camera.
When using a DSLR camera in low-light situations, you should take
advantage of the camera’s ISO capabilities. Some DSLR cameras
on the market have ISOs that go up into the 100,000s, which
means that the sensor is capable of recording in near darkness.
Setting your ISO at such high levels does come at a price though.
If you shoot at or above 3200 ISO, you will start to see noticeable
image grain or noise. This can be a desired effect. However, once
you reach the 6400 ISO level, it can become rather unsightly,
especially if you’re using an older DSLR camera. Most modern
(2012+) models shoot low light levels at 6400 ISO at still acceptable
production quality.
Aside from achieving a well-balanced composition and exposure,
audio is by far the most critical and challenging element when
working with DSLR camera video.
Many older DSLR cameras lack audio options, such as monitoring,
selecting channels, changing levels and removing the impedance
Focusing is one of the most difficult, and sometimes the most tone, which becomes problematic in post production. Don’t worry
irritating task to perform on the DSLR camera. though! There’s always a workaround.
A trick that I learned while in the field that will help you out greatly If you’re not using a newer DSLR camera such as the Canon 5D
is to use your LCD monitor. When you want to focus, zoom in, Mark 3 or Nikon D800 that have all of these settings, you can
usually x10, find the critical focus and then lock your lens down at purchase an inexpensive impedance cable that can run from your
that specific range (for that shot). If you are using a prime lens, you camera to an external audio recorder such as a Zoom H4n that
can digitally zoom into your focal point. This will allow you to have a can be mounted on your camera for the most efficient use. If you
tack-sharp image that will make your boss drool. are using a newer model such as Canon 5D Mark 3 or Nikon D800,
you can hook standard mic cables directly into their appropriate
If you’re shooting at an aperture of greater than f/3.5 (meaning < ports and also have a headphone jack to ensure the sound is
3.5), it’s very important that you always check focus before an working correctly. Many video journalists live by this setup, which
interview. If you’re shooting at f/1.4 or f/1.2, your subject will move is one of the best ways to achieve great sound until DSLR cameras
out of focus if they move around because the in-focus range may adopt new audio functions.
only be one or two inches. One reason that you would want to use
an aperture at this speed is if you want to achieve a very selective The number one rule to remember when shooting video with a
focus depth and/or to create a very elegant bokeh/blur in the DSLR camera is to understand that there are no rules. Shoot
foreground and background, which are the orbs that appear in high, get on your stomach, peek around corners and blend in
lights when you use a very large aperture (small number). Another with the environment. DSLR cameras allow you to grow creatively,
reason would be if you were in a low-light situation. Having a large so you can push your own professional boundaries. Even with
aperture allows more light to enter the camera and hit the sensor technical limitations, find ways to adapt and overcome. The creative
and provides an image using a lower ISO. possibilities with a DSLR camera are endless. Happy shooting!
Andrew “Drew” Geraci is an award-winning photographer, the lead
multimedia producer for the Washington Times and the owner of
District 7 Media, LLC. He served nearly a decade in the U.S. Navy as a
photographer’s mate/mass communication specialist and attended the
military motion media course at Syracuse University. His background
includes photography, videography, broadcast journalism, motion HDR
time-lapse photography, 3D animation, motion graphics, web/graphic
design, and traditional storytelling. His clients include HBO, Netflix, NFL,
Discovery, Nike, ESPN, CNN, PBS, FOX, FBI, various companies in
Washington, D.C., as well as director David Fincher and editor Angus Wall.
4 AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD navymedia@navy.mil

5. Shooting Video:
The Roadmap
to Consistent
Success
By Lt. Cmdr. David Luckett
C
ompelling video supports the STORY TELLING:
• Most important is to plan ahead – anticipate
conversation about our Navy’s your story and the audio and visuals needed to
tell the story, then be flexible when on site
story is very much about applying solid • Look for sequence opportunities – repetitive
action is prime for shooting sequences
fundamentals – with a twist. These • People make our stories interesting, focus on
faces and the people involved in your stories
tips will help your product be seen by • For every action, there is a reaction. Look for the
reaction to make your story more rounded
more people and on more platforms. • Never stop shooting – when you think you
have enough video, you need more
BASICS: • Don’t forget the close-in shots of what
• White balance the subject is actually doing
• Use a tripod whenever possible unless
going for a specific effect Here is the twist many mass communication specialists can
• Pan or zoom for a reason, and remember to apply to improve their video shooting ability – shoot audio. Try
establish a start and finish for either to gather all of the audio you will need to tell the story by itself –
without your narration. Don’t plan on your voice telling a part of the
COMPOSITION: story. Work to get a subject in the story to deliver that content for
• Remember the rule of thirds and when you. This will maximize your editing options.
you break it, do so intentionally Listen to the environment around you when you’re on a shoot
• Fill your viewfinder – be aware of everything in the and intentionally gather the audio that can add to your story –
frame and avoid visual or audio distractions almost all audio can add to your story. Again, the more audio you
• Zoom with your legs, not your camera gather the more editing options you’re going to have. A couple of
• Apply the 30/30 rule – Change camera angle solid audio gathering techniques include:
30 degrees and distance from subject by 30 • Mic your interview subjects. This should be a
percent to best support dynamic sequences foregone conclusion, but it is still an issue.
• Change height of view perspective – go higher • Shoot with headphones whenever possible. It is easier
or lower with the camera for dynamic angles to fix problems on site when shooting than in editing.
• Shoot 20 seconds of natural room audio. This can help cover
the inevitable audio gaps when editing in post-production.
I don’t present these reminders and tips to be critical of the
content you’re gathering; I present them out of tremendous respect
for the amount of demands on you in the fleet today. There is no
shortage of people wanting your content. This will hopefully give a
solid roadmap to more reliably compelling video content that will be
usable in all of our platforms.
703.614.9154 AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD 5

6. Can You Hear What I See? By Lt. Cmdr. Charles M. Abell
The average viewer impressive video. So go back and record that event and during the shoot using headphones
sound a second time, as controlled as you to monitor the sound input.
can watch even the can, and add that additional track in post
production or add it as a separate track to your Fix it in Post.
simplest videos and not b-roll package. A final solution is to use your Too often an editor will receive a video
mic input and extend an external microphone that was only recorded with the on-camera
even think once about to the subject that you are recording. microphone, or the main channel 1 audio
You should anticipate what you will microphone failed only leaving the on-
what they are hearing. hear and what you want to hear in the final camera mic. While it is difficult to save, a few
production. tricks can be used in post production if you
This is the mark of a are using advanced video editing programs.
Mic’ing the Talent. Audio tools such as EQ (equalizers),
successful video. Lavalier microphones are the most popular mixers and waveforms can be very useful if
microphones for interviews but are often you know how to use them. Advanced editors
Yet a viewer who is watching a video that not placed correctly on the interviewee. The use them on every production to “sweeten”
has audio synchronization issues or a lot of “lav” should be placed on the person’s shirt the audio.
distracting noise immediately focuses on the or blouse, approximately 12 inches from his Audio sweetening is a term often used
poor audio instead of the video or its message. or her mouth. While placing the lav under in post production facilities for fine-tuning
The bottom line is that the viewer expects clothing may reduce wind, it inhibits the sound. Sweeten refers to subtly mixing sound.
to hear what they see. Natural sound is the microphone’s ability to fully capture natural Waveforms are best for visually displaying
best way to achieve this. sound coming out muffled. Instead, place it a noise, making it easier to cut the noise from
Every consideration must be made when front of the person on the suit’s lapel and use the production. The waveform is generally
you are recording an event to capture the a windscreen to reduce wind noise. displayed as a series of waves on each audio
natural sound. When you see a helicopter Handheld and hands-free wireless track channel. By lowering certain peaks
launching from the flight deck, you should microphones are often used at larger events in the wave, you can remove, reduce or
hear (as close to the original sound) what it as part of the public announcing system. If eliminate noise from your audio tracks.
sounds like when that helicopter is launching. possible, take a direct feed (line out) from
The slow turn of the engine as it starts – the the audio mixer to your camera. Some events Music Videos.
thump, thump, thump of the propeller blades will use a multi-box, which distributes the While it is very tempting to do, do not
as they turn in rhythm, and the sudden force PA audio. In some cases, you may get better use copyrighted music in your video
of wind and energy as the aircraft lifts off. audio if you use your own microphone, but productions. There is no debate, and there
Like an artist painting a canvas, your ears don’t limit yourself to mic’ing the lectern is no substitution for paying for a license
should hear what you are seeing. because the speaker may walk around while to use music. Claiming “Fair Use” does not
still making remarks. You should assume waive the U.S. Navy’s responsibility to follow
Tips for Recording Natural Sound. that when you are covering large events the copyright laws. CHINFO has an established
Use channel 2 on your camera, the on-camera on-camera microphone will not be “good account for using licensed production music,
microphone. Wear headphones or earplugs enough.” Take your on-camera mic off the and organizations with public affairs units
whenever possible. Not only listen to see camera and move it closer to the speaker for are eligible to have an account. There are
if your volume is appropriate, but listen to better ambient sound recording. Also, do forms to fill out and rules to follow, but you
see if you are capturing the audio of every not over power the line input with a powered can use this service without breaking laws.
distinct movement in your frame. The noise mic and a live-feed from the multi-box. You For more information, contact CHINFO OI-2
at your location may interfere with the proper can clear up most of your problems by simply at 703-614-9154 or navymedia@navy.mil.
capture of every sound you need to make an testing your system before the start of the
6 AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD navymedia@navy.mil

7. In the Dark:
Better Lighting Solutions for Low Light Events
By Lt. Cmdr. Charles M. Abell
T
he often overlooked key element shadows. You can also achieve a similar effect Accessorize.
to every successful video is by reducing the power intensity (dim).
lighting. Events are planned and The fill light will usually be at 45 degrees Barn doors and snoots will help direct your
take place without consideration for off the camera to subject axis and will be not light and reduce spill over. They also are
that essential ingredient. The camera as high as the key light. It should also be less useful for creating pattern effects and holding
operator assumes that if there is enough intense, nearly 1/3 the intensity of the key filters or diffusers. A variety of clips can be
light in the room for us to see, the light. Diffusing the fill light also helps with used to hold diffusers on barn doors from
camera will record the event as we see softening shadows. clothesline clips to butterfly paper clips.
it. Unfortunately, this isn’t true and even The backlight will be placed off-camera C-clamps from any hardware store give you
with the most technologically advanced behind the subject pointed towards the some additional hanging options.
cameras, consideration must be made subject’s hair. This will add more dimension A free light meter app on your smart
for enhancing the video recording with to your subject and the video overall. A good phone will not only get you into the ballpark
artificial lighting. way to see if you are using the backlight of correct exposure, but could save you several
Videographers need to know that light is correctly is to turn off the other two lights; hundreds of dollars of purchasing a pro light
to photography as ink is to writing. Video is with just your backlight, your subject should meter. However, I strongly recommend the
30 still frame photos per second with sound. be silhouetted. pro light meter over the smartphone app if it
Does this mean the video camera operator’s is within your budget.
job is 30 times harder? Not when you use Quality Lighting: A tape measure is helpful in determining
proper lighting techniques! Beyond Three Point Lighting. your distances from the camera to subject
and light distances to subject to help adjust
Three Point Lighting. Once you have developed three point lighting light intensity. More tricks of the trade can be
techniques, branch out and try adding to your found by searching the Internet or subscribing
A technique taught even in the most basic natural looking set. Instead of the fill light, to various video trade magazines.
video courses is called three point lighting. try using a key, background, ¾ backlight Another useful feature is the zebra feature
Despite setting up three lights – key, backlight (coming over the subject’s shoulder and hair), on your camera (crawling ants). It not only
and fill – novice videographers fall short of and some kick-lights. Kick-lights are used shows you where the highlights are but will
implementing this technique. The light should to highlight objects in the background or also show if your shot is overexposed.
look as natural as possible and not artificial. shadow areas that light cannot reach. The There are many more tricks of the trade
Too much key or backlight and the wrong goal is to add more dimensions to your video and videos to watch at www.vimeo.com or
placement of the lights can adversely affect by separating the subject from the foreground YouTube. Search “video lighting techniques.”
your video as well. Place the key light 45 to 90 and background. Also, add color filters to your Remember, the ultimate goal for good
degrees off the camera to subject axis at a high- kick or background lights to enhance artificial lighting is to make it look natural
er than subject angle. Also, diffuse the light so the mood of the video. and pleasing as possible. Your viewers will
that it is not so bright and does not create hard appreciate your videos more!
703.614.9154 AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD 7

8. Why H.264?
Quite simply, H.264 produces a gorgeous looking file. It also
requires less processing power to play back. This codec achieves
this while requiring about half the file size of MPEG-2. It is why
today’s H.264 is the accepted format for Blu-ray and is widely
used on the Internet (YouTube and Vimeo). H.264 will play in all the
major video and web-based video players such as Windows Media
Player, Apple QuickTime and Adobe Flash. While H.264 is a codec
(compression/decompression), it can be contained in a MOV, WMV,
Codec Rules
FLV or MP4 wrapper. A H.264 contained in a MP4 wrapper will
open in any player. A H.264 in any other wrapper will open in the
wrapper’s default player and may or may not work in other players.
You might ask why everyone does not use H.264. In my opinion,
of Engagement
the answer is about money. Most people may not realize this is why
their expensive edit or broadcast platforms will not, without exhaus-
tive work-arounds, ingest or playback H.264 video files. When H.264
was developed and released in 2003, it was patented, and royalties
had to be paid to use the codec. A lot of companies chose to go with
If you are an MC, this article will be one another, less expensive option, instead of paying these royalties. In
2010, the developers of the H.264 codec announced that it would be-
of the most important you will ever read. come free forever to consumers and to not-for-profit users. However,
if you were a for-profit company and sold more than 100,000 licenses
for software or hardware, then royalties would need to be paid.
By Merle Livingston, Defense Media Activity - Navy
Avid & H.264
O
Most companies opted to pay the royalties. A few have opted for
ften our mass communication other solutions rather than pay. Avid for example uses an A.M.A.
specialists are faced with the challenge (freeware) plug-in to ingest H.264.
Google is the other major corporation that resists royalties yet
of having to transfer video footage over is still embracing H.264. At the same time, it is developing its own
alternative to H.264, Web-M, which is intended to be and always
poor Internet connections. I am constantly remain an open source (free) codec.
asked to give my best advice on how to There are plenty of freeware software solutions and for-pay
encoding software solutions for transcoding files (including H.264)
overcome this restriction. Unfortunately, or for ingesting files into platforms that do not natively accept
there is not a one-size fits all answer. them. One of those programs currently owned by all the Navy Public
Affairs Support Elements is Adobe Media Encoder, which is included
Exporting from Adobe Premiere using H.264 codec in Adobe video suites or collection bundles and is also the actual
Using Adobe Premiere, you will want to use a H.264 setting or codec software used to export out of Adobe Premiere.
utilizing a VBR (variable bit rate) 2 pass option. When you select this To convert an H.264 file for ingest into an Avid platform using
option, you will be asked to input two parameters: target bitrate and Adobe Premiere or Adobe Media Encoder, output an MXF (Material
maximum bitrate. Exchange Format) OP1a, then select XDCAMHD 50 NTSC 60i, that
I will circle back and give a more detailed and, likely, confusing will output a file that can be directly ingested (drag and drop into
explanation. But first, I will give you just the information to help you a bin or using the import option) by an Avid platform. It will ingest
move great looking HD files. faster than if you used an AMA transfer and transcode mode to
The following are settings, and the results based on an original ingest the same file.
file size of 295MB. All settings and results are based upon a H.264 To output a file from Avid, I recommend simply exporting the
VBR 2 Pass transcode. file in Avid’s native format, which is the HD format XDCAMHD 422.
The file will be an MXF OP1a transcoded at 50 or 35 MBps. It will
Target Bit Rate: Maximum Bit Rate: Final File Size: be a file that is interlaced upper field first. If you upgraded to 6, you
10 50 35MB can easily export an MXF. If you have not upgraded, you will use the
20 50 69MB
export to device option “Select XDCAMHD drive or deck.” If you do
not have these devices, use a virtual XDCAM drive method.
30 50 104MB
You can then use either freeware or Adobe Media Encoder/
Of course, whenever possible, you want to send the highest pos- Premiere or for-pay software to convert it to the desired codec
sible quality that your connection allows – that means, if you have the and wrapper.
available bandwidth, camera originals, or if it is an edited sequence, a Though it sounds complicated, the result will produce a file that
H.264 file transcoded at a CBR of 50 megabytes per second. is far better looking than any other options. Additionally, the wait
I recorded a video demonstration on how to output a H.264 file time to transcode the file will be far less than if you used Avid to
using Adobe Premiere, and it can be viewed on YouTube at http:// export the same file. The other plus side is you are not using a very
ow.ly/ikgaH. I used Adobe Premiere Pro version 5.5. If you have expensive editing system and tying it up for that exhaustive wait to
version 6.5 or 4, your Premiere interface may look slightly different. export a file from Avid.
The video demonstration is straightforward enough to let you export If you have any questions or need help with any of these
great looking H.264 files. processes, you can reach me at merle.livingston@dma.mil.
8 AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD navymedia@navy.mil

9. Ruse. Rcycle. Rpurpose.
By Damon J. Moritz
Everybody is talking Archiving media can range from software- and submissions to the official record of the U.S.
based asset management systems to the very Navy become easy tasks.
about ever-shrinking simple solution with hard drives and folders.
Shoot and edit as you normally would. At the You may need to buy hard drives, but your
resources be it oil, trees end, either edit together a loose prime cut and local information technology department may
export it as an MXF file or use the camera’s have space it can allocate to you.
or money. Video people original files with a VIRIN.
You can also archive your prime cuts with
are some of the biggest If your command doesn’t have a digital-asset us to reduce the need to reshoot and “pay”
management system, you can store those for footage all over again. If you have high-
waste makers around. files in a centrally accessible external hard speed Internet access, contact CHINFO OI-2,
drive with a folder structure that is designed and I’ll share access on the Navy’s imagery
Sure, video transferred around your workflow. The key is to stay on server. CHINFO developed and deployed an
top of the archiving, so it becomes part of the enterprise-grade digital asset management
from videotape to process. Don’t let it become an end-of-the-week system to help with this archiving. The
item and don’t settle for less than 100 percent server is now hosted in the Amazon cloud
solid-state shrinks the completion. We spend too much time in the for improved access speed by our primarily
editing studio to let your good work go to waste. civilian customer base for uploading and
footprint, but that was downloading content.
Folders for shipboard videography teams can
only a small step toward be broken out into departments, hardware, Visual information managers, public affairs
events and intangibles such as sunsets or officers and chiefs need to develop and enforce
the great green culture. leadership. Shore-based folder structures are workflows for their archiving. Make it a part of
similar – command, landmarks, hardware and your regular training to reiterate the process
When we shot on tape, we had a physical item intangibles. Folders can be loosely or highly until it becomes second nature. And remember
in which we invested. We took time to write detailed. Add in subfolders for dates, camera archiving and retention of Navy-owned media
our name, VIRIN and subject matter on the types such as GoPro, high definition and is a skill that can be taught and that ultimately
tape, and then, it got put on a shelf. Today, we digital single-lens reflex, or types of shots like saves the Navy money.
shoot, edit and format, and then only send in wide, medium, close-up, and editing projects.
the final product. There is no physical media. CHINFO is responsible for feeding the media,
Design the structure so it works best for your including entertainment and documentary
We, as an enterprise, are wasting valuable and office. The research for content will take television producers. We’re also the Navy’s
ever-shrinking resources by not saving our minutes, rather than hours, of importing and centralized collection point for submitting
productions and their associated b-roll for hunting for the needle in the haystack. media to Defense Imagery Management
future use. Operations Center for archiving at the
These same folder structures can be applied National Archives.
The effort to save our media content will save to photo, graphics and story archiving as well.
us money. Take sequestration for example. Store everything you have for each subject in Every time CHINFO is able to respond to a
We face potential manning shortfalls with one location and eventually you will have a rich, media query with quality media products, we
furloughs on the horizon. Man-hours are deep archive of information that pays dividends all make money from your work. Send those
resources. With these resources shrinking, daily and saves you countless “rework” requests archive quality files to CHINFO every week –
who will shoot video when requests come in in the future. Long-term projects such as daily, if needed – and make money by reusing,
from media or Hollywood? change of command ceremonies, cruise books recycling and repurposing.
703.614.9154 AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD 9

10. FYI:
Video Terms and Definitions
B-Roll
From the days of linear video editing provides better picture quality for Interlace Vs. Progressive
with a- and b-rolls, the term refers to high-definition productions. Ultimately, it is about the display.
cover video used in editing to visually Progressive is the preferred method.
enhance a production. Today, b-roll CG Interlaced: A display system in which
is often used by news organizations Acronym for computer graphics. two interleaved fields are used to
and production companies to support Usually, it stands for images either create one frame. The number of
storytelling visually. Quality b-roll partially or completely created at a field lines is equal to one-half of the
should be brief in duration and without computer workstation. The term lower- frame lines. Interlacing fields allows
camera movement, poor focus or thirds refers to a CG in the lower third the level of light on a screen to be
exposure. B-roll should have quality of the screen. more constant thus reducing flicker.
natural sound supporting the scene. In progressive scanning, both the odd
Compression Ratio and even fields are displayed together,
Bandwidth A value that indicates by what factor resulting in a smoother looking image
The amount of data that can be sent an image file has been reduced and less motion artifacts.
through a transmitting system. It also after compression. The higher the
refers to the range of transmission ratio, the greater the compression. Prime Cut
frequencies a network can use. The Decompression expands a compressed A term used mostly by videographers
greater the bandwidth, the larger the file close to its original form. and butchers! For videographers,
amount of information that can be it simply means reviewing all of the
transferred over that network. Dropout original “raw” un-edited video and
A loss of picture information that may selecting all of the best scenes. For
Clipping appear as a short white flash and example, a one hour original recording
Video distortion caused by excessive include one or more picture scan lines. may yield a 10-minute prime cut video.
levels that cannot be handled by a
television system. Example: A camera Edit Decision List Safe Title and
is viewing a scene that contains bright A list of time code information defining
lights and/or specular reflections. each edit in a sequence. The EDL
Safe Action Areas
The video operator would adjust the consists of pertinent information Boundaries within the television
camera for appropriate skin tone levels such as time-code edit points, notes viewing area used as a guide to insure
and allow the extraneous super-white and switcher data. This is very useful the correct placement of graphics and
peaks to be clipped. during post-production work. titles so the desired information can
be seen. As a good rule, stay within
Color Bars Frame Rate 4:3 safe title area.
An electronically generated test In video and film, the standard number
pattern of colors used as a reference of frames continuously displayed per Time Code
for proper equipment setup. Proper second of viewing time. For example, A standardized numbering system
setup can be examined on a waveform 30 frames/60 fields per second (29.97 by which audio or video material is
monitor or vectorscope to verify that actual for color). specifically identified for editing or
the encoding process meets a set reference purposes. The maximum
standard or that it was not changed Generation time that could be displayed would be
by any subsequent transmission or The number of times an electronic 23:59:59:29. After that, the display
recording process. signal is copied. First generation refers would start over again at zero. Time
to the original material, usually in its code is critical for relaying important
Composite vs. unedited form. Care must be taken information to editors for post-
to ensure that distortion and other production work.
Component Video defects do not degrade the video and
Composite analog video combines audio quality. Analog duplication, Vectorscope and
luminance and chrominance. It is distortion and other noticeable
less expensive than component. The problems occur after only a few
Waveform Monitors
current practice is to use composite generations, typically seven or eight. Tools used to confirm the proper trans-
video signals for most applications, With digital duplication, a minimum of mission and/or recording of color signal
although component video editing is 20 generations may be made before and video levels. During recording and
gradually replacing composite editing. any defects are noticeable. editing, the vectorscope and waveform
A component signal keeps luminance monitors can be used to prevent exces-
and chrominance separate, and sive chroma and gain levels.
10
6 AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD navymedia@navy.mil

11. Video for Social Media:
Capture It, We’ll Use It
What makes a good video for social media? There’s no single blue-print answer.
By MC1 (SW/AW) Arif Patani
Lt. Shawn Eklund, former director of U.S. Navy but how will your audience be able to relate that recognizes a message is best received
Emerging Media, once told me, “Produce how to him? The messaging may be there, but the within entertainment. Therefore, the first
you consume.” I think that statement gets to packaging may just not be right. item on the agenda is to entertain – the
the answer of what makes a good video for Trace your messaging and packaging “candy” – the packaging. The second step is
social media. In fact, you already know the through your storyboard. For us, the Navy’s to inject the message – the “medicine.” For
answer because you’ve been consuming it. Emerging Media team, our audience includes more information about this philosophy, visit
What kinds of videos do you watch when Sailors, their families, and the American public http://ow.ly/iVjGP.
you are on Facebook or YouTube? Are you who all want to know that we are protecting Don’t let the “candy” detract from the
into documentaries or are you more of a them, defending them and spending their tax “medicine” by starting with a goal of going
“Gangnam Style” consumer? Either way, you dollars efficiently. viral. You may generate a tremendous amount
know what entertains you. So, take a deeper It’s your job as the storyteller to bridge of traffic with a “Gangnam Style” video, but
look and ask yourself some questions the next this gap from the Sailor working on a helo to that visibility may damage your command’s
time you like a video: Americans who have little interaction with the credibility by significantly deviating from your
• How does it keep me engaged? Navy. To relate to the American public, it could mission to tell your command’s story.
• How long is the video? be as simple as showing them how their sons Like most aspects of social media,
• What are some of the techniques and daughters are instrumental in maintaining brainstorm, be creative and focus on creating
the shooter or editor used? the ships, aircraft or submarine. For example, a quality product that helps your audience
• What message or story am I the Sailor who fixes helos enables them to fly understand and relate to your unit, its mission
getting out of this? and provide security to the carrier, making it and our Navy.
• How and why do I relate to this safer for the other 5,000 Sailors aboard, and If you have any questions or concerns,
story in both an entertainment ultimately keeping the bad guys away from please feel free to contact us at
and information way? our shore here at home. usnsocialmedia@gmail.com or 703-614-9154.
When it comes to what we as mass See how you can take your story and
communication specialists and public affairs wrap it back to Chief of Naval Operations
officers do for the Navy, it’s all about the Adm. Jonathan Greenert’s tenets: Warfighting
messaging and packaging. And when it First, Operate Forward and Be Ready. To the
comes to messaging, there are some tried average viewer, the CNO’s tenets may be hard
and true tactics. to relate to. But, they don’t have to be. As
Know your audience. Is this story for proof, watch MC1 Brett Cote’s video about the
Sailors, for the families of Sailors, or are you CNO’s tenets at http://ow.ly/iVjcO.
trying to reach the American public? In any To make communicating Navy messages a
case, be able to know for certain that your little easier, use this suggestion from creative
audience has a reason to consume it. An agency Mekanism. In order to generate
aircraft mechanic may have a great story massive views, Mekanism uses something it
about his job fixing helos day in and day out, calls “Candy with the Medicine,” a philosophy
703.614.9154 AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD 11
9

12. [
AP Style Guide
Academic degrees Use an apostrophe in bachelor’s
][ Schedule of Events
National Association of Broadcasters (NAB)
]
degree, a master’s, etc.; there is no possessive in Bachelor Conference
of Arts or Master of Science. Las Vegas Convention Center, Las Vegas, Nev.
April 6 – 11, Exhibits April 8 – 11
Affect vs. effect Affect, as a verb, means to influence. www.nabshow.com/2013
Effect, as a verb, means to cause. Effect, as a noun, means
a result. Photoshop World Conference and Expo
Orlando, Fla., April 17-19
Navy Capitalize when referring to U.S. forces such as the www.photoshopworld.com
U.S. Navy, the Navy, Navy policy. Lowercase when referring
to other nations such as the British navy. 2013 PEPCON: The Print + ePublishing Conference
Austin, Texas, April 28 - May 1
Marines Apply the same rule used for Navy. Do not use the www.pepconference.com
abbreviation USMC.
A Beginner’s Guide to Metadata
Ocean Lowercase when used alone or with multiple uses May 6 web seminar
such as the Atlantic and Indian oceans. www.digitalpreservation.gov/education/courses/
Directions and regions Lowercase north, northeast, beginnersguide.html
etc., when they indicate compass direction. Capitalize these Adobe MAX 2013 - The Creativity Conference
words when they refer to regions such as the East Coast or Los Angeles, Calif., May 4-8
are part of a proper name such as Northern Ireland or South www.max.adobe.com
Korea. 21st Annual Military Photography Workshop
Time of day Specify the exact time only if it is critical June 16 – 22
to the story. When giving a clock reading, use the time in Deadline for applications to attend is April 19
the datelined community. Do not convert clock times from For more information eligibility e-mail:
other time zones in the continental United States to Eastern dinfosphotographyworshop@dinfos.dma.mil
time. For example, the missile target was launched from the BlogWell
Pacific Missile Range Facility at 10:39 a.m. HST (3:39 p.m. Chicago, Ill., June 19
EST) on Kauai, Hawaii. www.socialmedia.org/blogwell
LINKS to KNOW
38 Brand New Web Design U.S. Navy Media Blog
Freebies for 2013 Shares the latest in digital media trends, tools and techniques
Collection of website design to promote continuous knowledge sharing and innovation
elements, mobile interfaces and among Navy communicators across the globe.
icon sets available for download. www.usnavymedia.tumblr.com
These elements are great for web
designers who are looking to give their
sites a modern look. Video School
http://ow.ly/iVjZX Do you want to refresh your video skills?
Learn how to make better videos
Barnstorm: The Eddie Adams Workshop Oct. 11-14
through lessons and tutorials
The Eddie Adams Workshop is an intense four-day gathering from the Vimeo community.
of the top photography professionals, along with 100 carefully www.vimeo.com/videoschool
selected students. The photography workshop is tuition-free, and
the 100 students are chosen based on the merit of their portfolios.
Application deadline is June 3.
www.eddieadamsworkshop.com
Photo by MC1 James R. Evans
Quick Tip: How to Use the Align Panel in Adobe InDesign
If you like Adobe InDesign, don’t miss how to use the Align panel within
InDesign in this free, 15-minute tutorial from Vectortuts+.
http://ow.ly/iVk75
All references to commercially available sites and services are provided for informational purposes only, without Department of the Navy endorsement.
12 AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD navymedia@navy.mil