Navy Imagery Insider November-December 2011

NAVY INSIDER
U S N AV Y
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For members of the PA/VI community Nov - Dec 2011 NI L NISI VERUM

An
Aircraft Carrier
First
Photo by MC2 James R. Evans

703.614.9154 AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD Full story on page 8

DIRECTOR’S
a product net as pos-
sible for each situation.
But if you take nothing
else from this column, CORNER
know this: I don’t want

Photo by MCSN Karolina A. Martinez
OI-2 continues to mature
our communication in its new role as Navy
to be just me calling Media Content Services.
you — I hope you will A critical part of that
also call me so we can effort has been new
work together well in partnerships with MCs
advance to support assigned to Defense
the communication Media Activity (DMA); they
initiatives. are now full-up members of the OI-2 team.

The other key point I’d Today, MCC Antuan Guerry is partnered with
Meet the Ops Guy: like to stress is this: as a community, we
our emerging media division OI-24 to support
ongoing development of the Navy Blog.
Paul Taylor absolutely must, in a significant way, short-
en the amount of time that passes between
While MC2 Alexander Gamble is managing
posts on the Navy’s Facebook account; as I
BLUF: I work at CHINFO, and I’m here to an event occurring and the release of our write, he is deployed to Pearl Harbor, Hawaii
help you… Seriously! communication products about that event. providing content on Navy.mil and Navy
social media outlets armed with a camera,
My name is Paul Taylor, and my official title One of the benefits of internal communica- laptop and air card. MC1 Andrew Meyers and
is operations manager for the Navy Office tion products is that we’re able to tell our MC2 Patrick Gearhiser are qualified assistant
of Information’s media content services stories free of external constraints. If we do photo editors on the OI-21 team supporting
directorate (OI-2). My position was estab- a better job of increasing our speed of play, Oscar Sosa with getting your imagery posted,
lished in the reorganization of the CHINFO we make it possible to market those inter- linked and distributed faster. All four have
staff to coordinate communication across nal products to external media who may had a positive and immediate impact on
our “owned” media platforms using our in- not be able to cover an event. If we provide OI-2’s ability to lead timely, targeted and
relevant, compelling, and TIMELY content, relevant media content initiatives in support
ternal editorial, still photo, video and social
it is more likely we will see our products in of the fleet.
media capabilities.
external markets. On another note with the sun-setting of All
What does that mean to the Navy and what Hands magazine, we are starting to look at
does that mean to you? For the Navy, the The submarine force provided a recent new and innovative ways to showcase visual
intent is that rather than communicating example in the CHILEMAR submarine res- content, particularly feature material. So in
randomly across preferred mediums or cue exercise Nov. 2. We worked closely in the spirit of All Hands we are developing
using preferred product types, I’ll help ac- advance of the exercise with Cmdr. Christy property on the Navy Blog to exhibit photo
count owners or fleet PAOs communicate Hagen, Lt. Cmdr. Denise Garcia, and the essays. The first is already on NavyLive so
across the full spectrum of mediums with staff at NPASE-West to identify the prod- check it out and provide us your input and
ucts that would make it possible for us to recommendations. This is intended to be a
the full range of product types appropriate
help them tell their story. We then worked dynamic environment so try not to think in
for the effort. terms of a traditional magazine layout, but an
together to determine how much they could
For you, I view my job as working for you opportunity for MCs to tell stories exclusively
realistically support (which was all of it, by
to help you achieve your (and your lead- through images on-line.
the way), and agreed on a product submis-
ership’s) communication objectives by sion timeline. Less than 24 hours after the Images for consideration should be
leveraging the power of Navy-owned media submarine rescue vehicle entered the water, forwarded to navymedia@navy.mil. Please
platforms like Navy.mil, All Hands Update, a we had received all the agreed upon prod- add information to the accompanying email
variety of interactive social media, and the or metadata to help identify your images for
ucts (Navy.mil story, still photos, b-roll, so-
Navy Imagery Server. NavyLive consideration.
cial media video, All Hands update). Since
they were completed in a timely manner, we For more information’ contact Mr. Oscar
To that end, you’re going to be hearing from
used them in an external media push to sev- Sosa oscar.sosa1@navy.mil or Lt. Shawn
me a lot more frequently than you might Eklund shawn.eklund@navy.mil.
have heard from CHINFO in the past. My eral hundred U.S. and Chilean media outlets.
intent will be to let you know what sort of In closing, I hope everyone has a moment
When a comprehensive plan like that to pause and enjoy family and friends as
communication products are needed in or- comes together, it’s a thing of beauty! we head into Christmas and New Years.
der to help tell our Navy’s and your organiza- Please don’t hesitate to call me or drop me Remember the many shipmates forward
tion’s story. For the most part these will be a note anytime we can help! Email me at deployed and away from home during the
products you’re already working on, but in william.p.taylor@navy.mil, or phone the holiday season. Watch out for each other and
some cases I’ll ask you for a communication office at 703-614-9315, or on the cell at return after the New Year ready to continue
product you may not have considered. My 703-835-7537. telling the Navy’s story in 2012.
intent will almost always be to cast as wide
DIRECTOR Christopher Madden Contributors MCC Sam Shavers Navy Office of Information
DEPUTY DIRECTOR CDR Gary Ross USS Carl Vinson Pentagon RM4B514
(CVN 70) Staff Washington, D.C. 20350-1200
EDITORIAL Office: 703-614-9154 DSN: 224
Editor CDR Gary Ross LAYOUT/ART
Staff Writers Oscar Sosa Director Tim Mazurek Download Insider at:
Damon J. Moritz www.slideshare.net/NavyVisualNewsService
http://issuu.com/NavyVisualNewsService

2 AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD navymedia@navy.mil

INSIDERPerspective by MCC SAM SHAVERS

Ditching my L aptop

for an iPad
I
zurek

know what you are thinking: “Why would anyone
r and Tim Ma

ditch their laptop for an iPad, especially someone
in the Public Affairs/VI community?” Laptops are
Michelle Turne

certainly more powerful, and one could argue they’re
tions by MC1

better suited for a mobile Mass Communication
Specialist. Right? Well not exactly, at least not in
Photo Illiustra

my case. It is all about the right tool for the job.
As part of the Secretary of the Navy’s able to write my captions, color correct
travel team, I’m on the road a lot and all my images as well as batch edit
have to release photos and video ITPC data faster and more intuitively
quickly, but when I’m shooting on on my iPad. For video files, iMovie
the fly and editing on a laptop in the does a pretty good job of converting
back of a moving car, it’s hard to my HD video into just about any format.
be timely. Post production is nearly With all these Apps, my workflow
impossible, unless I use my iPad. is efficient, allowing me to upload
my content straight to CHINFOs
Why? Well for starters it’s smarter, Media Content Services OI-2, Flickr,
lighter, and more portable than a Facebook and Youtube, on deadline.
laptop. Mine fits conveniently in the
side-pocket of my camera bag, always Now, I have to be honest, I haven’t
on and ready to be used. With the completely ditched my laptop---at least
iPad Camera Connection Kit, I’m not yet. Until hard-drives get bigger
able to transfer raw, jpegs and HD and Apps get better, I’ll still do all my
video files to my iPad with ease. This serious editing and post production
allows me to email, upload or edit on a laptop, but in the field my iPad is
media from an event in real time, at the center of my workflow. Just like
meeting critical deadlines for both the laptop replaced the desktop, I think
internal and external audiences. iPads will become the gold standard
among mobile photojournalists
Additionally, with Apps like iWork, and yes, the MCs of the future.
Filterstorm Pro and Photogene, I’m

Instruction DOD INST 5040.2 Visual Information, released Oct. 27, 2011. Consolidates a series
of DOD VI instructions: Provides guidance on VI: Responsibilities, Working Groups/
Panels, Exclusions, Life-Cycle Management, VI Record ID Number (VIRIN), Vision

Nugget ID, VI Activity Management, Combat Camera (COMCAM) and, Prohibited Alteration
of Official DOD Imagery. www.dtic.mil/whs/directives/corres/pdf/504002p.pdf

703.614.9154 AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD 3

OUTTAKES by Oscar Sosa

Getting the

Establishing Shot
A
n establishing photo is arguably the
most important image a photographer
can bring back from a shoot. It can
quickly tie in the who, what and where without
having to rely on the caption, and it can anchor
a picture story as the scene-setting image.


Photo by MC3 Megan L. Catellier
lens. A medium or
long telephoto shot
can also establish a
location and set the
scene. One tight
image that tells
As the opening image of a multimedia Ship commissionings are great examples the entire story is more dramatic than
presentation or picture story, the estab- of establishing shot successes and epic a series of images that individually give
lishing shot introduces the viewer to the fails. Roughly half the commissioning glances of an event. Telephoto lenses
subject and makes the viewer want to see photos we receive don’t show the ship. add impact by compressing the image
more. A good establishing shot taken at Everybody gets the principals at the po- and cleaning up the background, as well
the beginning of a shoot also allows the dium and some photographers send in as giving the photographer an important
photographer to concentrate on getting images of Sailors manning the rails, but tool to focus on a single element in an
in close to capture important details or to many photographers don’t take photos event and use that scene as a vehicle to
step back to give the subject context. of the ship that’s being commissioned. tell the story. See the photo below for a
A good image of the ship is essential to good example.
Most establishing photos, however, are establishing the context for the event.
treated like snapshots. The photogra- There are no rules for taking an estab-
pher looks at the scene, takes a photo Many establishing photos require plan- lishing shot, except that an establishing
with a wide-angle lens and then moves ning. Knowing the time and place usually photo is the most important image of
in to cover the assignment. Unimagina- isn’t enough, sometimes it’s neces- any shoot.
tive images taken this way rarely con- sary to arrive ahead of time and set up
tribute to the story. A good establishing before the event, or speak with the event
photo must be able to stand alone as a organizers to get a good idea of when
storytelling image because the estab- and where some of the best moments
lishing image is often the main image will occur. The Carrier Classic basketball
used to help tell the story. game is a great example of pre-planning.
Photo by MC2 Dominique M. Lasco

The USS Carl Vinson photography staff
Photo by MCSN Tyler J. Wilson

Every assignment should have an estab- was in position long before the game
lishing shot. Promotions, homecomings, started and captured several scene-
community service events, flight deck setting images that were carried by all
operations, VBSS, general quarters the major wire services.
drills, just about any event needs to have
a good, overall shot that sets the scene There’s no law that says establishing
and shows the context of the event. shots have to be taken with a wide-angle


GOTB-ROLL? by Damon J. Moritz

The
Little Codecs
Once upon a time Perhaps an oversimplification of the problem, but to-

digital video was
day Navy video encode standards are all over the place,
creating headaches for the MCs and their customers.

transmitted as MPEG Before we go in-depth on some of the problems, let’s

files. Everyone knew
define two terms:

what export settings
Codec: A video codec is software/code that enables
video compression and/or decompression for digital

to use and how to
video. Much like a JPEG compresses and decompress-
es a photo. It is a sort of brand of video encoding that

deal with an MPEG
helps the user standardize and become interoperable
with other users. H.264 is one of the more commonly

file for broadcast.
accepted codecs.

Videographers, editors
Container: A container or wrapper format is a meta-
file format whose specification describes how different

and customers lived
data elements and metadata coexist in a video file.
For example:

in harmony. Then in The QuickTime .MOV file is a very common container.

walked the Internet,
Typically when encoding a video file in H.264 codec
and exporting a MOV container, the video is a readily

and it all went to…
interoperable file that most computers can play and
edit directly. However, a QuickTime encoded with the
DVCPro codec limits the file to only a few computers
(primarily video editing computers) able to play the file.


Now let’s broaden our view a little.
There are several categories of codecs. These categories play a Delivery codecs/containers: These are final products. When you
vital role in your selection of the right codec for the right job. use these codecs you are selecting them for very specific deliverables.
There really is no one magic-codec. When the file is written, portions of “excess” information are stripped
or compressed in such a way as to optimize them for playback. Once
Professional/Acquisition codecs/containers: These are a delivery codec is used it really limits the use or quality of a file.
codecs produced by the video camera while recording. This is Examples: MP4 with H.264, M4V, FLV [Flash], MPEG2 (DVD).
the best file quality possible since with no conversion taking
place there is no loss. The issue with this is that there are a lot At this point you may be a little confused. Why isn’t an MP4
of proprietary codecs on the market that require all users to (H.264) considered an exchange format? It has the same codec
either license or at least install their codec to work with the video. and should be the same as an MOV (H.264), right? Well, no.
Examples include: MPEG Long GOP (M2T), AVCHD, PII, RED,
AVC, OP1A MXF, Go-Pro cineform. If you look at the available customizations (In your editor or in
QuickTime Pro) when using these different codecs you’ll see that
Intermediary/Archival codecs/containers: These codecs offer there are varying levels of changes available. In an MOV with
easy exchange with other video editors. They retain exceptional H.264 you can control significantly more than in an MP4 with
quality but can produce large files that present challenges for H.264. The container for MP4 is designed for a specific type of us-
transmission capabilities. In the long run they will stand the test age and as such it eliminates or compresses what it doesn’t need.
of time as broadcasters invest in these technologies. Examples This limits quality and to some degree of interoperability. MP4s are
include: MOV with DVCPro, MOV with JPEG 2000, MOV with great for YouTube, but no so great for editing or archiving. MOVs
DNxHD and OP1A (XDCAM MXF). are better for editing and archiving and still deliver in YouTube.

Exchange codecs/containers: With these codecs we’re starting On a day-to-day basis we see a lot of MP4 files coming from the fleet.
to sacrifice quality for file size and/or interoperability. These are These files are not our preference, where as the QuickTime MOVs
the more common codecs offering fairly good quality for broad- are our preference and achieve the right balance between quality, file
cast. They really aren’t intended for meeting long-term archival size, and interoperability. For the record, FLV files are a non-starter.
requirements, but they are generally good enough for quick file
exchanges when trying to meet a deadline just keep the origi- One last pitch; the Navy wants to provide support to documentary
nal file intact for archival considerations post event. Examples and motion picture venues; OI-2 needs those professional or archi-
include: MOV with H.264, and WMV with WM9 Advanced. val quality files. Your work is too important to treat as perishable
media without a full lifecycle.


Photo by GSE Eva Alvarado

The Carrier Classic Chronicle:
How Mass Communication Specialists
Provided Full-Court Press Coverage
by USS Carl Vinson (CVN 70) Public Affairs Staff

The need for versatility is critical to the MCs rate.
However, sometimes along comes a story that
requires some critical thinking outside the box, or
we must rely on the talents of others to tell our story.
Photo by MC2 Dylan McCord

That day came with the inaugural Quicken Weeks prior to ESPN’s live television broadcast
Loans Carrier Classic basketball game aboard on game day, Navy MCs were catering to an
USS Carl Vinson (CVN 70) on Veterans Day, audience excited about the historic event, said
Nov. 11. This was an opportunity to cover a Vinson’s PAO, Lt. Cmdr. Erik J. Reynolds.
one-of-a-kind event and showcase the abilities
of the Navy MC to the American public and “There was a strong interest from the Pentagon,
external media outlets. Chief of Information (CHINFO), Defense Media
Activity (DMA) and external media for the

President Barack Obama and Secretary of products many of our MCs were producing
the Navy Ray Mabus joined thousands of throughout this event,” Reynolds said.
service members to watch the NCAA Division
1 University of North Carolina Tar Heels face “We were in constant communication with
the Michigan State University Spartans on the CHINFO’s OI-2 staff so we would know exactly
ship’s flight deck; something that has never what types of products were needed both
been done before. for the internal Navy and the external civilian
audience,” added MCC (AW) Monica Nelson,


Photo by MC2 Dylan McCord
Photo by MC3 Rosa Arzola

Vinson’s Media Department assistant and ESPN sports analyst Dick Vitale. MC3 Carrier Classic provided me with an op-
leading chief petty officer. Kevin Harbach logged scores of hours portunity to do a much longer time-lapse.
following MC3 Bell and working together It was an interesting challenge and a lot of
It is important to know that MCs form with him to edit a final product, requiring fun” [Read how he did it on page 12].
across the Southwest region joined many late nights and countless edits by
forces with Vinson’s Media Department Chief Nelson before a product was finally Security was tight, so access to the game
to produce and release six print stories, uploaded to the Navy’s YouTube and was restricted to eight MCs in the open-air
seven social media videos and more than Facebook pages. arena wearing credentials, but only two
260 photographic images. were permitted courtside with additional
“Being in front of the camera gave me a all-access passes provided by the Morale
“Naval Air Forces, Navy Public Affairs chance to represent the Navy to people Entertainment Foundation. Planning
Support Element (NPASE) West, DMA who I would normally watch on TV,” Bell ahead was the key to ensuring smooth
and Vinson’s Media Department did an said. “I stepped into the shoes of the coverage of the game, according to game
outstanding job covering all the different people who would normally tell me what photographer MC2 (SW) James R. Evans.
aspects and development of the Carrier is going on at what may be a hard news
Classic,” Reynolds said. “This was truly a event, or in this case, a sporting event. “It was difficult, but not impossible to
large scale Navy Public Affairs community It’s a huge deal.” shoot this event since there were so many
team effort, more so than any other event barriers and restrictions,” Evans said.
than I’ve been involved in the Navy.” While telling the Navy’s story is the main “Thanks to coordination and early planning
focus, it was also a mermorable opportu- with Secret Service, we were able to push
Vinson and NPASE West MCs spent more nity to converse with athletes and an NBA through all the barriers and get the job
than eight days acquiring b-roll for a sum Hall of Famer. done.” Link to photo gallery here.
total of 50 viewable hours made available
to the public through OI-2’s Navy Imagery “It was an honor to be thanked by people Each product requirement was looked at
Server and the Amazon cloud. like [Earvin] “Magic” Johnson and the from a team perspective with pre-writing
President for serving my country,” Bell done whenever possible. The video team
While social media has been a widely said. “It was really humbling.” lead wrote scripts to shoot by; the print
used communication device for some team lead required rough drafts from team
time, the Carrier Classic gave MCs the MC1 (SW) Lowell Whitman, Vinson’s journalists prior to a story on construction,
opportunity to use it in new and unique Media Department leading petty officer, player tours, or the main event; and the
way as a critical means of message noted the popularity of an MC-created photo team lead made standard photo cap-
dissemination. For example, MC3 Zachary time-lapse video covering the set-up of tion tags for all the photographers to use.
Bell stepped out from his usual spot the Carrier Classic arena.
behind the video camera and onto the “Success comes from planning,” added
other side of the lens as a social media “It was viewed by more than 3.9 million Lt. Erik Schneider, Vinson’s assistant
personality to engage an audience with people when it was used on ESPN,” Whit- PAO. “We planned this event early with
pregame updates, including tours of the man said. “I’ve done many time-lapses for many commands that had a huge role in
ship with the NCAA basketball players various productions in the past, but the supporting us.”


[AP Style Guide
NEW IN 2011 – email, cellphone and
][ Schedule of Events

2011 CHINFO Merit Awards
][In the Loupe]
Transmission Update: In November
smartphone – all one word, lower case. Entries due at CHINFO by January 31, 2011 the Defense Asset Management
2012: Details available at System (DAMS) moved from Alexandria,
DOMESTIC DATELINES: Cities which https://www.chinfo.navy.mil/chinfo/ VA, to the Defense Media Activity
stand alone without state designations. MediaAwards.aspx (DMA) in Ft. Meade, MD. Moving
this system resulted in new internet
ATLANTA MILWAUKEE “Serving Abroad … addresses for all the servers. Defense
BALTIMORE MINNEAPOLIS Through Their Eyes” Visual Information (DVI) is aware of
BOSTON NEW ORLEANS Calling on all MCs, DOD is sponsoring some issues when connecting to the
CHICAGO NEW YORK a special exhibition at the Smithsonian DMA FTP and FFT servers as a result
CINCINNATI OKLAHOMA CITY American Art Museum, the Pentagon of this move. All connection attempts to
CLEVELAND PHILADELPHIA and other prominent venues, stateside the DAMS must use the domain name
DALLAS PHOENIX and overseas. The submission period for that server. Use of the IP address
DENVER PITTSBURGH runs from Veterans Day, Nov. 11, 2011, will result in connection failure. Please
DETROIT ST. LOUIS through Presidents Day, Feb 20, 2012. use the following addresses:
HONOLULU SALT LAKE CITY Get the details at:
HOUSTON SAN ANTONIO www.ourmilitary.mil/their-eyes/ FTP: Rabbit.defenseimagery.mil
INDIANAPOLIS SAN DIEGO serving-abroad-through-their-eyes/ FFT: Select the correct server and port
LAS VEGAS SAN FRANCISCO for the client version used.
LOS ANGELES SEATTLE Photoshop World 2012 Version 2.4 Port 923:
MIAMI WASHINGTON March 24-26 – Walter E. Washington jackrabbit1.defenseimagery.mil
Convention Center – Washington, DC Version 2.4 Port 20:
INTERNATIONAL DATELINES: Some Registration: https://photoshopworld. jackrabbit2.defenseimagery.mil:20
Special Cases com/register/ Version 2.6 Port 923:
jackrabbit3.defenseimagery.mil
Use UNITED NATIONS without a 2012 Navy Week Schedule
N.Y. designation in stories from U.N. Phoenix, AZ March 19-25 FFT port 923 is working only from
headquarters. New Orleans, LA April 16-23 within the NIPRNET not on commercial
Nashville, TN May 7-13 networks. The DMA CIO is working this
Instead of United Kingdom use Spokane, WA May 14-20 with DISA.
England, Northern Ireland, Scotland or Baltimore, MD June 13-19
Wales respectively. Boston, MA June 29-July 6 For more information about FTP
Sacramento, CA July 16-22 and FFT accounts please visit the
Sioux Falls, IA July 19-22 Defense Imagery web site at
Milwaukee, WI Aug. 6-13 defenseimagery.mil/learning/howto/
Chicago, IL Aug. 13-20 ftp.html, or contact the Operations
Toledo, OH Aug. 20-27 Coordination Center (IOCC) staff at
Cleveland, OH Aug. 27-Sept. 4 (703) 695-7118.
Detroit, MI Sept. 3-10
Buffalo, NY Sept. 10-17
Houston, TX Oct. 22-28

Desperately Seeking...
E D IA

Each year we look for images that show how our Sailors and civilians
celebrate the holiday season. So in keeping with that theme, we are
“desperately seeking” video and still content that shows the various
ways our navy people show their spirit in all faiths and traditions.
LM

Shipboard Holiday Decorations

S O CI A
Ships Decorated in port
Mail Call for Christmas/Holiday at Sea
Christmas Eve/At Sea – Religious Services
Your Social Media Team:
New Years Eve/At Sea
LCDR Chris Servello Mess Decks during Christmas Dinner
LT Shawn Eklund Closing out the ship’s log for 2011
Jessica Faller First Sunrise forward deployed Jan. 1st [e.g. Morning Colors]
Kristina Miller Picture Stories of Holiday Celebrations

All references to commercially available sites and services are provided for informational purposes only, without Department of the Navy endorsement.


What are QR Codes? by Lt. S h aw n E k l u n d

C
hances are, you’ve 3 Benefits of Using a QR Code How Do I Get Started?
• Automatic Information Sharing Anyone can use a QR code generator
probably seen QR codes provide direct access to a to set up at QR Code. There are a number
them around on variety of types of information, from of free QR code generators. For simple QR
a URL that links to a single landing codes try Kaywa. It can be used to create QR
everything from billboards page, contact, or entire eBook. codes that link to a web page, text, phone
• Building Fans on Facebook numbers, or SMS. If you are looking for some-
to Starbucks cups. QR (or Many QR code generators, thing advanced, Kerem Erkan allows you to
“quick response”) codes such as Likify, allow you to customize the color and format of your codes.
create a QR code that links to Some organizations have even gotten fancy
look and function much like a fully functioning Like button by overlaying their logo or branding assets on
on your Facebook page. QR codes, but this typically requires special
retailer barcodes used to • Driving Traffic and Results QR codes skills and tools (but can help with adoption).
price and track inventory. can help you drive traffic to searchable Once your QR Code is properly estab-
content and increase engagement with lished anyone with a QR code reader can view
However, QR codes are a such content. They also allow you to it. There are a variety of different device-spe-
bit more sophisticated than focus on a single goal, such as getting cific QR code readers. A quick Google search
average barcodes. They are a user to like your Facebook page, can help you find one. For instance, i-nigma
two-dimensional (2D) codes follow you on Twitter, or view visual is popular with iPhone users and accom-
that contain information in content on YouTube. modates virtually any type of camera phone,
alphanumeric form (whereas barcodes while many Android users are using Barcode
simply contain strings of numbers). Practical Applications Scanner; there are several to choose from.
People interact with QR codes by A QR Code is a powerful communication
reading or scanning them with their mobile and marketing tool. It is easy to create and Resources/References
smartphone devices (such as an iPhone maintain. Some recommended uses include: • mashable.com/2010/06/23/qr-codes-
or Android), directing users to company business cards, command brochures, small-biz
websites or multimedia content, store data posters, and signage, symposium and event • aids.gov/using-new-media/tools/qrcode
or contact information, call specified phone name tags, videos and PSAs. • socialmediaexaminer.com/how-qr-codes-
numbers and/or by MC2 Eddie Harrison and
Photo send text messages The type of information you could link to can-grow-your-business
emails without the need for cumbersome include: photo and video collections, contact • instructionaldesignfusions.wordpress.
URLs. The Navy is currently using QR codes information, instructions and guidelines, com/2010/09/30/qr-codes-augmented-
on many posters and brochures. Get the locations and directions, social media pages, reality-and-learning-for-health
Navy’s active QR code [pictured above] at web sites, and inquiry and feedback forms. • mashable.com/2009/12/07/google-qr-
navy.mil/view_single.asp?id=109681. codes

LINKS to KNOW

Mobile App for the AP Style Guide on iPhone LightStalking.com Training Guides:
and Blackberry. iPhone App is compatible with • B&W Landscapes - How to Capture a
iPad and iPod touch. BB devices must be running Proper Tonal Range - bit.ly/gqS0RI
4.2 and higher. www.apstylebook.com/mobile/ • Long Exposure Photography - bit.ly/pVt4DL
• The Photographer's Guide to Depth of Field -
Layers Magazine - A how to for all things within the bit.ly/umjg4p
creative Adobe suite. Full of tutorials, blogs, and
Layers TV for free access to some valuable training.
www.layersmagazine.com/
Photo by MC2 Benjamin Stevens


The Carrier Classic Chronicle:
How did I do that Time-Lapse?
photos and story by MCI(SW) Lowell Whitman

When I was initially tasked with shooting an eight- camera atop a Manfrotto joystick
day time-lapse of the setup for the Carrier Classic head. With the super clamp rated
basketball game, I wondered if I would be able to to hold up to 33 pounds, the swivel
securely place equipment worth thousands of dollars provided me with some elevation
in an area that also lent itself a good composition control while the joystick provided
of the flight deck. Fortunately, the lower yardarm a level and fine adjustment. I taped
aboard USS Carl Vinson provided both a great view all the moving parts I could find,
and an outlet to power the camera. but sure enough, when I watched
the time lapse a storm gust blew
The Media department had recently purchased two Canon XF 305 the camera noticeably to the left
video cameras that were perfect for the job. The 305 can record at the end of day three. For future
one to nine frames of video in intervals from one second up to reference, a ball head would have
ten minutes. Having never done a time lapse longer than a day or been better. I guarded against
so, I did a weekend test to determine what interval would show catastrophe by locking the camera
detail yet not bore viewers or require excessive post production. with a bicycle chain in case it fell.
The final equation was one frame every three minutes, allowing Lastly, I ran power to the camera
the camera to record 20 frames every hour, 480 frames per day and taped plastic bags over
equaling 8 seconds of watchable video per day. The camera was everything for weatherproofing.
set to record 1920x1080i at 50mpbs.
In postproduction the final product
With the technicalities worked out and the yardarm location in was edited using Adobe Premiere Pro CS5.5 transcoded in full
mind, I headed aloft with the help of a qualified combat systems HD as a 1920x1080p h.264/MPEG-4 file at 20mbps.
petty officer. From what I understood, most of the arena setup
would be taking place forward of the island. After finding a decent The entire project was a great success, and ran on major
frame, I mounted the camera on a railing using an Avenger super networks including ESPN with over 300 thousand view on the
clamp with a ball pin swivel clamp to a 3/8th screw mount with the Navy YouTube.
To view the time lapse video click here


Navy Imagery Insider November-December 2011

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Navy Imagery Insider November-December 2011